‡ JOSEPH CORNELL (AMERICAN 1903-1972) UNTITLED (LE CAIRE) Printed paper on cardboard box with printed paper reels and red thread 4.8 x 10.6 x 10.6cm (1¾ x 4 x 4 in.)Executed circa 1939-41.Provenance: Robert Schoelkopf Gallery, New York Castelli-Feigen-Corcoran Gallery, New YorkExhibited: New York, Castelli-Feigen-Corcoran Gallery, Joseph Cornell: Objects & Small Boxes, October 1977 Los Angeles, James Corcoran Gallery, Joseph Cornell: Box Constructions, February-March 1978 New Brunswick, New Jersey, Rutgers University Art Gallery, Vanguard American Sculpture: 1913-1939, September-November 1979, no. 24, travelled to Chapel Hill, New Carolina, Ackland Art Center, December 1979-January 1980; Omaha, Nebraska, Joslyn Art Museum, February-March 1980, Oakland, California, Oakland Art Museum, April-May 1980 Chicago, Betsy Rosenfield Gallery, Joseph Cornell, February-March 1982 Madrid, Fundacion Juan March, Joseph Cornell, April-May 1984, no. 47 (illustrated in colour in the exhibition catalogue); also travelled to Barcelona, Fundacion Joan Miro, June-July 1984 Condition Report: In fair condition commensurate with age. The top of the lid has become detached from the main part of the box. There is some fading and light staining with surface dirt and handling marks, particularly to the edges. The reels appear to be in generally good condition with their original blue and red thread. Condition Report Disclaimer
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λ ÖYVIND FAHLSTRÖM (SWEDISH 1928-1976) STUDY FOR PHASE 3 OF THE COLD WAR Tempera, ink, and pencil on paper Signed, titled and dated 1964 & 1968 (lower right) 25 x 35cm (9¾ x 13¾ in.) Provenance: Sidney Janis Gallery, New York Sale, Sotheby's, London, 22 February 1990, lot 415 Exhibited: Barcelona, Museu d'Art Contemporani de Barcelona, Öyvind Fahlström, Another Space for Painting, October 2000-January 2001 (illustrated in the catalogue, p.23) Lucca, Fondazione Ragghianti, Öyvind Fahlström, Another Space for Painting, March-May 2001 New York, The Yellow Chair Gallery, Öyvind Fahlström: Myth Science, September-November 2015 Condition Report: Executed on white wove paper which is slightly discoloured throughout. Some further light staining to the upper edge and corners. A small horizontal handling crease to the tip of the upper left corner. A few scattered spots of foxing. The work appears to be hinged to the mount at intervals along each edge verso. Unexamined out of glazed frame.Condition Report Disclaimer
λ ÖYVIND FAHLSTRÖM (SWEDISH 1928-1976) SKOGSSPÅR (TRAIL OF PRINTS IN THE WOODS) Ink, watercolour and gouache Inscribed and dated 16B/62 (lower right) 29 x 20cm (11¼ x 7¾ in.) Provenance: Sale, Sotheby's, London, 22 February 1990, lot 400 Exhibited: Barcelona, Museu d'Art Contemporani de Barcelona, Öyvind Fahlström, Another Space for Painting, October 2000-January 2001 (illustrated in the catalogue, p.116) Lucca, Fondazione Ragghianti, Öyvind Fahlström, Another Space for Painting, March-May 2001 New York, The Yellow Chair Gallery, Öyvind Fahlström: Myth Science, September-November 2015 Condition Report: Unexamined out of glazed frame, this work appears to be in good original condition.Condition Report Disclaimer
MARAVILLAS CON VARIACIONES ACRÓSTICAS EN EL JARDÍN DE MIRÓ (SEE CRAMER BOOKS 211)Two color lithographs, 1975, on Guarro paper, numbered 179/300 in pencil, printed and published by Ediciones Polígrafa, Barcelona, framed.Sheets approximately 19 1/2 x 14 inches; 495 x 356 mm.Frames 27 1/4 x 21 1/4 inches; 692 x 540 mm.Provenance:Berggruen & Cie, Paris, 1987No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
A 19th century ship's log for the Royal Navy Swiftsure-class battleship HMS 'Swiftsure', kept by William Williams, commencing in Malta on 1st January 1873 and terminating in Barcelona on 31st December 1873, manuscript remarks, calendar and notes on current location within drawn tables, inserted with a loose watercolour of a ship with her officers and crew on parade fly leaf inscribed Malta and Devonport, marbled endpapers, inscribed front board, thin folio.*Notes- HMS 'Swiftsure', leading ship of the Swiftsure class, was built in 1870 and was sister to the later HMS 'Triumph'. Initially commissioned at Devonport in 1871 for the Channel Fleet. Found to be almost unbeatable as a performer under sail, she later relieved HMS 'Defence' in the Dardanelles in 1872, and remained in the Mediterranean until 1878. Later in her career, after a modernizing refit - which included being fitted with torpedo capacity, in the annual manoeuvres of 1893, Swiftsure asked permission from the Admiral to spread sail, as her engines were inadequate to generate the power required to produce the speed ordered. This was the last occasion in which a British battleship spread sail while travelling in company with a fleet at sea.
Catalan School. Vall de Boí. Romanesque. Circa 1160 - 1175"Virgin from a Calvary"Carved and polychromed wooden sculpture.41 × 11 × 7.5 cm.The relevance of our sculpture is evident, as it is cataloged and reproduced in the monumental encyclopedia Catalunya Romànica, volume XXVI, page 373.According to Jaume Barrachina's file, the sculpture's location at the time of publication was unknown, and its existence was only known through an old photograph from the Arxiu Más (Mas CA-13 162). Barrachina places it geographically in the western Pyrenees and dates it to the second half of the 12th century or the beginning of the 13th centuryThis piece is fully Romanesque in style, and notably, the Virgin retains her original polychromy. She is depicted frontally, with her hands crossed over her chest. Her shoulders are narrow, and she has an elongated, slender face with large, slanted eyes. She wears a simple red polychromed tunic and a blue mantle decorated with red rosettes, each outlined with white dots and bearing a white cross at the centre. The mantle falls from her head, covering it while revealing a little of her hair at the forehead, parted into two locks.One of her shoes has lost much of its texture; the other shows traces of black polychromy.On the reverse, a vertical hollow could suggest the figure was used as a reliquary. This magnificent image may be associated with significant examples of Catalan Romanesque sculpture, such as the Virgin from the Calvary of Tragó de Noguera, kept in the MNAC (Museu Nacional d’Art de Catalunya) in Barcelona. In that composition, the Virgin Mary and Saint John flank Christ on the cross. The similarities with this Virgin are striking, particularly in the way Mary is portrayed with both hands crossed and the highly schematic Romanesque style. That said, in our opinion, this sculpture is of superior quality and craftsmanship.We should also consider the Mare de Déu de Ger, also part of the MNAC collection and originally from the parish church of Santa Coloma de Ger. It shares significant stylistic similarities with this figure: the long, slender face, narrow shoulders, and mantle that falls from the head. Chronologically, they also belong to the same period. Returning to Jaume Barrachina's description, he notes that it is an image of the standing Virgin Mary dressed in a tunic, veil, and mantle. Her hands are crossed at her waist, and she holds her left hand with her right.This forms a characteristic image of a Calvary. Barrachina compares it with the previously mentioned Calvary of Tragó, which, as he specifies, is somewhat later than ours. There is another similar one that is also out of its original context and conserved in the Episcopal Museum of Vic (see Catalunya Romànica, vol. XXII, p. 90). 90).Barrachina concludes by stating that, due to the limited available material (he had available at the time) it is challenging to provide a precise stylistic approximation. Nevertheless, the elongated shape of the head, facial features, and the tip of the headdress on the forehead undoubtedly refer to a sculpture from the western Pyrenees.Provenance: Private collection, Spain.Reference Bibliography:Catalunya Romànica, vol. XXVI. page 373. Text by Jaume Barrachina.
Catalan School. Romanesque. Circa 1175."Christ in Majesty. Maiestas Domini""Carved and polychrome wooden sculpture.47 x 15 x 6 cm. This marvellous image would originally have formed part of the central mandorla of a Romanesque altar frontal of Catalan origin. It preserves its original polychromy.This sculpture depicts Christ enthroned and crowned, as celestial majesty, holding the open Book of Life on his left leg and raising his right hand in a gesture of blessing. This unique piece bears a clear resemblance to the Maiestas from the Romanesque altar frontal of Santa Maria de Taüll (inv. 003904-CJT), kept in the Museu Nacional d’Art de Catalunya, Barcelona.The Pantocrator we present is published in the Encyclopaedia of Spanish Romanesque Art, in the volume corresponding to A Coruña, in a study by Professor Gerardo Boto Varela, Chair of Art History at the University of Girona. In his analysis, the professor discusses the piece, its Pyrenean origins, and its comparison with the Taüll Maiestas, stating that both works “feature a central lock of hair on the forehead, prominent beard and moustache, a long tunic [...], a cloak barely covering the right shoulder and falling to the waist on the left [and] the same parallel and concentric folds on the legs of both pieces, though with a greater graphic density in the MNAC carving.” Boto also affirms that “the Pyrenean lineage of the piece can be asserted with confidence, and it would have originated within the diocese of Urgell.” Professor Boto notes that the position of all anatomical extremities is hieratic, the face frontal and expressionless—as is customary—and defined only by the remnants of paint and the cylindrical crown atop the head. The reverse of the piece is completely flat.Although it is a free-standing figure (de bulto redondo), the brevity of the base in relation to the vertical projection confirms that the sculpture was intended to be inserted against a flat surface along its back.In both typology and morphology, it corresponds to the "Christ in Majesty" figures that appear within a mandorla at the center of certain altar frontals from Catalonia, of Pyrenean origin, executed in the second half of the 12th century. Provenance: Private collection. A Coruña, Spain. Reference bibliography:- VV.AA. (2013). "Enciclopedia del Románico en Galicia". Tomo I. Pág. 393 y 394. Texto del Profesor Gerardo Boto Varela.
Jacobus Storck (Amsterdam, the Netherlands, 1641 - 1692)"Encounter of the Dutch and Portuguese navies"Oil on canvas. Relined. Signed and dated 1673.83 x 124 cm.On the back is a label from the Barcelona gallery Sala Parés from 1977. Stuck to the stretcher are the remains of a handwritten label with information about the artist and incomplete work.
Willem van Herp, The Elder (Antwerp circa 1613 - 1677)‘Moses trampling on Pharaoh's crown’.Oil on canvas. Relined.84 x 119 cm. 81876 is written in the lower right margin. On the back, there is a Ministry of National Education, service of defence of the National Artistic Heritage label with date of entry 25-11-39 and a label from Sala Parés in Barcelona dated 1987.A version identical to this one is part of the collection of the Instituto Moll with inventory number 220.
Finlay, Ian Hamilton Ephemera A collection of 22 small publications and items of ephemera: Three Gates. Wild Hawthorn Press, 1996; Huff Lane. Wild Hawthorn Press, 2000; 5x1. Wild Hawthorn Press and Joan Miro Foundation Barcelona, 1999; echoes. A variation on Heidegger. Wild Hawthorn press; Fugit Hora [small pamphlet]; temple of fame - New Arcadians card; Gardens of Exile. New Arcadians, 1983; Art of Navigation. New Arcadians, 1983; Stephen Bann - Illustrated essay, 1972, copy owned by Tessa Ransford with her signature inside the front cover and annotations throughout; Unnatural Pebbles. Graeme Murray Gallery, 1981, copy owned by Tessa Ransford; Cambridge Poetry Festival catalogue, 1977, with manuscript proofing and comments; Costly, Ron & Ian Hamilton Finlay. Heroic Emblems. Press Calais-Vermont, 1977; Grains of Salt. Wild Hawthorn Press, 1996, copy owned by Tessa Ransford with her underlinings; My Friend Tree. Wild Hawthorn Press (Fettes Row), 1961; 3 posts for a stream; Wild Hawthorn art test; An early Picasso,1996; Eye Spy Trees. Arcadian; Finlay, Alec. Mesostic Interleaved, signed; Idem. Cantus (2006 pamphlet, Essence Press); Clark, Thomas A. Two evergreen horizons (22)
DAYAN MOSHE: (1915-1981) Israeli Military Leader and Politician. A good signed and inscribed 4to bifolium printed card, 6 x 8.5, issued in Spain on the occasion of Dayan´s visit to Barcelona, 28th March 1981. The printed bifolium states to the front cover "Campaña Unida Pro-Israel" ("Joint Campaign in favour of Israel"), bieng a "dinner honouring Major-General Moshe Dayan". To the inside left page bearing a printed full page biography of Dayan and to the right page a 4.5 x 6.5 photograph of Dayan, ina head and shoulders close-up pose, neatly affixed. Signed in bold black ink beneath the signature `To Enrique Mugica with best appreciation - M. Dayan´. Small traces of former affixing to the front cover edges, otherwise GEnrique Mugica Herzog (1932-2020) Spanish Lawyer and Politician. Minister of Justice 1988-91. Mugica managed the establishment of diplomatic relations between Spain and Israel. His father was a Basque violinist who was killed during the Spanish Civil War and his mother was French with Polish-Jewish origin. His brother Fernando was murdered by ETA, terrorist group, in February 1996.
NAPOLEON I: (1769-1821) Emperor of the French 1804-14, 1815. L.S., `Nap´, a bold ink signature, one page, gilt edges, 4to, at the Palace of Saint Cloud, 30th June 1810, to the Duc de Feltre, in French. The handwritten document is a letter dictated by Napoleon, addressed to his Minister of war, and relates to the besieges of the Spanish cities in Catalogne, Tortosa and Tarragone, including specific orders to his Marshals. Napoleon Bonaparte states in part `Monsieur le duc de Feltre, la prise de Mequinenza facilite beaucoup celle de Tortosa, puisque l´Ebre fournit naturellement le moyen de transporter l´équipage de siège; mais il est indispensable que le duc de Tarente fasse le siège de Tarragone pendant que le général Suchet fera celui de Tortosa. Envoyez un officier près du Duc de Tarente pour savoir ce qu´il faut...´ (Translation: "Monsieur the Duke de Feltre, the capture of Mequinenza greatly facilitates that of Tortosa, since the Ebro river naturally provides the means of transporting the siege crew; but it is essential that the Duke of Taranto makes the siege to Tarragona while General Suchet takes in cahrge the siege to Tortosa. Send an officer to meet the Duke of Taranto in order to know what is needed..." Further, Napoleon sends military orders and clearly explains that he wishes to be informed about anything related to the French armies in Catalogne, saying `Voici la saison où la cavalerie peut vivre partout. Je désire connaitre positivement la situation des choses à cette armée. Il faut qu´elle entre en communication avec l´armée d´Aragon. Le duc de Tarente pourra laisser plus de troupes sur ses derrières pour assurer ses communications avec la France...´ (Translation: "This is the season when the cavalry can live anywhere. I wish to know positively the situation of things in this army. It must enter into communication with the army of Aragon. The Duke of Taranto will be able to leave more troops behind him to ensure his communications with France...") Further again, and to a postscriptum, dated in Rambouillet, 10th July 1810, Napoleon orders to swipe all harvests, stating `Le temps de la récolte est arrivé; si le duc de Tarente reste inactif, l´ennemi la coupera et la renfermera dans ses places fortes. C´est le moment d´approvisionner Barcelone, en fauchant tout autour´ (Translation: "The harvest time has come; if the Duke of Taranto remains inactive, the enemy will collect it and confine it to its strongholds. It is time to supply Barcelona, mowing down everything around") Accompanied by the original small manuscript acknowledgement of receipt. Paper with watermark. VGEtienne Jacques Macdonald (1765-1840) Marshal of France. Duc de Tarante.Louis Gabriel Suchet (1770-1826) Marshal of France. Duc d´Albufera. One of the most brilliant of Napoleon´s Generals. Suchet was appointed commander of the Army of Aragon mentioned in the present letter by Napoleon, and Governor of that region. Within two years, he brought the area into complete submission by wise and skillful administration no less than by his valor. In April 1810, he defeated O´Donnell at the Siege of Lerida, then laid siege to Mequinenza in May, as reported on the present letter. Suchet would capture Tortosa on 2nd January 1811, and for his successful Siege of Tarragona from May to June 1811, Suchet was made a Marshal of the Empire by Napoleon on 8 July 1811.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 22nd November 1951, to Max [Pellequer] (´Mon cher Max´), in French. Picasso writes to make a request of his friend, ´Pour une exposition que m´intéresse beaucoup je voudrais que vous prétiez le tableau de la femme à la taie dans l´oeil de votre collection. Faites mois ce plaisir. Monsieur Aparicio est chargé de organiser cette exposition (vous pouvez à Sabartes qui est au courant)´ (Translation: ´For an exhibition that interests me greatly, I would like you to lend me the painting of la femme à la taie from your collection. Please do me this favour. Mr Aparicio is in charge of organising this exhibition (you can ask Sabartes, who is aware of this)´), and continues to add that he does not know when he will go to Paris, remarking ´Je suis fou de travail et je n´ose pas laisser trop de choses commencées sans a peu-près les terminer´ (Translation: ´I am swamped with work and don't dare leave too many things half done without finishing them´). A letter of good content for its reference to Picasso´s famous portrait La Celéstine. A few very light, extremely minor creases, VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Jaime Sabartes (1881-1968) Spanish artist, poet and writer, a close friend of Pablo Picasso who would later become his secretary and administrator.La Celéstine (la femme à la taie) was created by Picasso in 1904, before his definitive departure from Barcelona to Paris, and marks the end of the artist´s famous blue period. The portrait is of Carlotta Valdivia, a Barcelona brothel owner, who becomes the enigmatic image of La Celestina, a matchmaker who, in Fernando de Rojas's eponymous work, is paid to foster Calixte's passion for Melibea. Also known as The Tragicomedy of Calixte and Melibea, this sixteen-act work recounts the misadventures of various characters who all meet a tragic end, with death triumphing over love corrupted by money. Once owned by Max Pellequer, the painting is now housed in the Musée Picasso in Paris.
MESSI LIONEL: (1987- ) Argentinean Footballer, considered one of the greatest football players of all time. Signed colour 10 x 8 photograph by Messi, the image showing him celebrating a goal in a back half-length pose, wearing his Barcelona F.C. strip. Signed in bold silver ink with his name alone to the image. EX.
LAM WIFREDO: (1902-1982) Cuban artist. An important collection of five illustrated A.Ls.S., Wifredo (3), another with his full signature, and two with his initial W, ten pages (total), 4to and 8vo (1), Caldes de Montbui, May - June 1937 and n.d. (2), to Balbina Barrera, an amateur artist and Lam´s lover, in Spanish. The correspondence comprises -(i) A.L.S., Wifredo (twice), three pages, 4to, Caldes de Montbui, 16th May 1937. Lam writes from the sanitorium where he was recovering after joining the Republican side in the Spanish Civil War, making several references to Barcelona and also stating ´I'm a little nervous but very hopeful that I'll get better soon. The doctor is coming tomorrow and we'll see what he says´, and further adding ´They haven't brought me my paints yet, but when they do, I'll start working on my painting´. Lam closes his letter by writing ´What? Are you going to the beach?´ beneath which he adds an original drawing of a slender woman lying full-length on a beach, with a sailing boat on the sea in the far distance, and the head of a man in profile, evidently a self-portrait, to the right. (ii) A.L.S., Wifredo Lam, two pages, 4to, Caldes de Montbui, 12th June 1937. Having received the paints he was waiting for, Lam writes of a work that he is on the verge of completing, ´I have finished, or will finish this afternoon, a large painting that I really like because, although it has a certain effect, it is not bad for people to see the flaws, as this is proof that you are moving forward and that you are not a proud fool! If you knew how much progress I have made, you would be amazed and filled with joy, because it has taken me a lot of effort to see clearly how to paint´, and continues, ´I think my illness was a consequence of my failed attempts, because every time I paint, I believe you are by my side, and it's true, because your portrait is always watching me from the wall, watching everything I do and every movement I make in front of my paintings!´, further remarking ´Now, don't go thinking that I have a museum, because although I work a lot, I also throw a lot away, as they are only sketches that I do on large sheets of paper, and the materials I use are glue and wall paint, so the work I do is for study and easy to transfer to a final form, as all the problems have been solved´. Lam also writes of his current situation and health, ´My dear, I have some bad news. I can't stay at the nursing home because the doctor told me that my condition is chronic... But now the nursing home is having difficulties and they are dismissing all the patients in one way or another... But I can't give this up for now, and I'll tell you why: Cordón was here and he was very kind and asked me if I wanted to go to Russia, and of course I told him that I would go as long as they would take better care of me there and cure me, even if I had to have an operation, but getting well soon is what matters to me, and we agreed on that. He left for Madrid four days ago, and today I found out about the closure of the premises, which I must tell you has put me in a very bad mood, as I cannot leave Barcelona´. To the lower half of the second page Lam has added an ink illustration which features a horse galloping on a snady beach and with the sea in the distance, a lone woman lying on the sand close to the horse, and two naked lovers in full-length poses, the artist identifying various elements of the drawing, and in the left margin writing ´This is a new painting I have in mind. What do you think?´. (iii) A.L.S., Wifredo, two pages, 4to, Caldes de Montbui, 15th June 1937. Lam provides his lover with an update on his health, and also reflects on the artistic career he has chosen, and his ambitions for the future, in part, ´Today here in Caldes, I'm feeling better, but a little annoyed because I don't know what to do: whether to stay in the nursing home or leave.......I have to keep studying, working on my projects, and I'll talk about this. As you know, all my dreams of going to Paris to study have always failed, and this has always saddened me and lowered my morale, because I know very well that with a little study there, I would gain a great advantage over my competitors......I think that until I fulfil this need, I am and will remain bitter.......Always and at all times, I will do and be as I set out to do when I chose this path in my life, and that is to fight with determination to achieve my goal......I don't like knowing that I have a chronic illness at all, I'm furious´. To the second page Lam has drawn two beautiful illustrations, each featuring full-length naked studies of two lovers, one almost identical to part of the drawing in his previous letter, and the other depicting a lady seated with her back to the viewer, but with her face and breasts reflected in a mirror on the wall opposite, and with her male lover standing in a full-length pose before her. Of the drawings Lam writes ´You can't get any idea of the drawings other than that they all show a man and a woman, but as for their artistic and poetic meaning, of course not, because they are two very carefully studied sketches´.(iv) A.L.S., with his initial W, two pages, 8vo, n.p., n.d. The artist writes of one of his works, which he appears to have sold, ´I saw the man from the painting and he gave me a bad feeling. He treated me very kindly and assured me that everything would be sorted out on Friday. We'll see. For now, he has told me to choose the frame and tomorrow I will take the painting to his house. I think he means business´ and further writes ´If you only knew how much I've dreamed since I was a child of seeing and travelling the world, especially Italy.....If it weren't for the Italian-Abyssinian-English conflict, I assure you that I would already be getting everything ready and I would be seeing you in Italy´. At the foot of the page Lam has added illustrations of several figures, including three heads in profile, and the second page features two light pencil studies by the artist, over which he has drawn two further profile studies, one of a woman, in ink. In the margins Lam writes ´I'm feeling better now, we'll see how I feel later´.(v) A.L.S., with his initial W, two pages, 4to, n.p., n.d. Lam writes a somewhat downhearted letter, stating, in part, ´Don't condemn me, I'm just thinking about loneliness, I'm feeling down, see you soon....Well, tonight I'll write you a long letter because right now I'm feeling the emptiness of loneliness......Don't be angry, I'm very upset, be patient..... I'm fed up. Goodbye, see you tomorrow´. To the first page Lam has drawn an image of a lady standing in a full-length pose wearing a dress and, as the artist notes, a new belt. The second page is dominated by a wonderful self-portrait of Lam standing in a half-length pose, holding a brush in one hand and his palette in the other, with his head turned in profile as he observes the painting that he is working on; a seascape featuring a lighthouse that rests on an easel. In the distance two figures can be seen, with a large bird flying above their heads, and several other figures appear to the right.An exceptional and extremely rare series of illustrated letters. The final letter has a small area of paper loss and a very lengthy split running across almost the whole width of the page, and the letter almost neatly divided into two separate halves. Otherwise VG, 5
MESSI LIONEL: (1987- ) Argentinean Footballer, considered one of the greatest football players of all time. Signed colour 8 x 10 photograph by Messi, the image showing him in a full-length action pose wearing his Barcelona F.C. strip in a Champions League game against Olympique Lyonnais on the 19th of September 2007 at the Camp Nou stadium, where he scored the second goal, Barcelona winning 3-0. Signed in bold black ink with his name alone to the image. EX.
FOOTBALL CLUB HOUSE: SIGNED LIONEL MESSI BARCELONA SHIRT, Nike Dri-FIT shirt for La Liga, size L, with Messi's signature in ink on the no. 10Provenance: private collection Neath Port Talbot, promotional shirt for advertising campaign, obtained by vendor whilst working for PepsiCoComments: condition as new
FOOTBALL CLUB HOUSE: SIGNED LIONEL MESSI BARCELONA SHIRT 2017, Nike Dri-FIT shirt for La Liga, size L, with Messi's signature in ink on the no. 10Provenance: private collection Neath Port Talbot, promotional shirt for advertising campaign, obtained by vendor whilst working for PepsiCoComments: condition as new
Five Children's Football Shirts to include Paris Saint-Germain FC 2019-2020 Away 137-147cm (G), Paris Saint-Germain FC 2022-2023 Special Medium (G) Chelsea FC 2018-2019 Home 5-6 Years (G) with some marks Tottenham Hotspur FC 2021-2022 Home 128-137cm (G-F) with some marks Barcelona FC 2013-2014 Home. Size 12 (G) with small wear to sponsors logo
Ferrer, Angel Guerrero (zeitgenössischer Künstler, tätig in Barcelona, zunächst Studium der klinischen Psychologie an der Universität in Barcelona),"Ohne Titel (Stillleben mit Steinen und Zweig)", Öl auf Holz, signiert und datiert unten rechts A, G. (20)22, rückseitig bezeichnet Angel 2022, 20 x 60 cm
JEAN HUGO (FRENCH 1894-1984) ⊕ Works from the Estate of Alexander Iolas by Jean Hugo and Niki de Saint Phalle (lots 68-74) Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector whose influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s. Iolas defied family expectations to follow his father into the cotton trade, instead he travelled widely throughout Europe and trained as a ballet dancer before starting to deal in art. Arriving in New York in 1935, he became manager of Hugo Gallery on East 55th Street founded by Elizabeth Arden, Robert Rothschild and Maria dei Principi Ruspoli Hugo in 1945. The gallery gained a reputation for Surrealist art after Iolas staged a pivotal exhibition of new work by Max Ernst, Dorothea Tanning and René Magritte in 1947. Five years later Iolas mounted the landmark show of the yet undiscovered Andy Warhol, staging his artistic debut Fifteen Drawings Based on the Writings of Truman Capote in 1952 and propelling the young American artist to stardom. Iolas and Warhol subsequently worked closely together, with Iolas credited for commissioning one of Warhol’s final print epics The Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding his reputation and market. In 1955, in partnership with Brooks Jackson, Iolas established his own independent gallery franchise across Paris, Milan, Rome, Geneva, Madrid and Athens. Famous for his bombastic claims and often amusing opinions (once dismissing Balthus and Cy Twombly as terrible painters in the same breath), his eye was informed by intuition, his theatrical nature inextricably linked to his professional undertakings. Speaking to art historian Maurice Rheims in 1965, Iolas stated: 'I don’t consider a gallery as a commercial occupation. It’s purely artistic… it’s a show in which the audience members are the dancers, and the scenery is made by the painter. Jean Hugo (lots 68 & 69) The small format gouaches by Jean Hugo (lots 68 & 69) are typical of the artist's colourful and playful style. Great-grandson of the Romantic novelist and politician Victor Hugo (1802-1885), Hugo was raised in a lively artistic environment, and began drawing and writing poetry from an early age. His artistic career spans the twentieth century, from his early sketches of the First World War to the creative fervour of his years in Paris. Part of an extensive artistic circle, he counted Picasso, Cecil Beaton (see lot 54) and Jean Cocteau among his friends. Niki de Saint Phalle (lots 70-74) Executed between 1968 and 1970 the following five lots capture the artist's Saint Phalle's idiosyncratic style in which she combines vibrant colours with a youthful spirit. Teeming with characters, quotations and annotations, the works shed light on the artist's personal state of mind, which later informed her illustrated book AIDS: You Can’t Catch It Holding Hands of 1986, an important work that delivers life-saving healthcare information about the transmission of HIV through colourful cartoons in an attempt to destigmatise the disease. Self-taught, in her early years Saint Phalle's work was dominated by feminist rage and destruction, but she gradually moved on to a period typified by the celebration of womanhood through sculptures of female bodies, often immense, in fibreglass and polyester resin. Her work reached its zenith in such monumental outdoor projects such as Dragon for the son of Roger Nellens, at Knokke-le-Zoute created in the early 1970s in collaboration with her long term creative and romantic partner Jean Tinguely (1925-1991), and The Tarot Garden, a sculpture garden in Pescia Fiorentina, Tuscany featuring twenty-two monumental figures inspired by Guadi's Parc Güell in Barcelona, that opened in 1998. JEAN HUGO (FRENCH 1894-1894) THE GAS TOWER; HARVEST TIME; WORKING LANDSCAPE (I-III) (i) signed Jean Hugo lower right; numbered no. 71 on the reverse (ii) signed Jean Hugo lower left (iii) signed Jean Hugo lower right each gouache and pen and ink on paper (i) 6 x 9cm; 2 1/4 x 3 1/2in (ii) 5.5 x 9cm; 2 1/4 x 3 1/2in (iii) 5.5 x 9cm; 2 1/4 x 3 1/2in 48 x 26cm; 19 x 10 1/4in (framed as one) (3) Property from the Estate of Alexander Iolas Each paper is attached to board with tape along all four edges from the reverse. There is some minor discolouration to the upper and lower edges of the paper (i); and minor discolouration to the sky area (ii), both visible in the image. There is also a very minor hair accretion, visible under very close inspection (ii). There are no apparent condition issues with (iii). Otherwise this work is in very good original condition. The work is framed under glass.
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ LETTRE D'AMOUR A MON AMOUR signed and numbered 45/75 Niki de Saint Phalle in pencil lower rightscreenprint in colours on coated paper with margins 50 x 70 cm; 19 3/4 x 27 1/2inunframed Property from the Estate of Alexander IolasNiki de Saint Phalle (lots 70-74)Executed between 1968 and 1970 the following five lots capture the artist's Saint Phalle's idiosyncratic style in which she combines vibrant colours with a youthful spirit. Teeming with characters, quotations and annotations, the works shed light on the artist's personal state of mind, which later informed her illustrated book AIDS: You Can’t Catch It Holding Hands of 1986, an important work that delivers life-saving healthcare information about the transmission of HIV through colourful cartoons in an attempt to destigmatise the disease.Self-taught, in her early years Saint Phalle's work was dominated by feminist rage and destruction, but she gradually moved on to a period typified by the celebration of womanhood through sculptures of female bodies, often immense, in fibreglass and polyester resin. Her work reached its zenith in such monumental outdoor projects such as Dragon for the son of Roger Nellens, at Knokke-le-Zoute created in the early 1970s in collaboration with her long term creative and romantic partner Jean Tinguely (1925-1991), and The Tarot Garden, a sculpture garden in Pescia Fiorentina, Tuscany featuring twenty-two monumental figures inspired by Guadi's Parc Güell in Barcelona, that opened in 1998.
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ GOLDEN HEADsigned and numbered 27/50 Niki de Saint Phalle in pencil lower right screenprint in colours on wove paper with margins88.5 x 60cm; 34 3/4 x 23 1/2inunframedProperty from the Estate of Alexander IolasNiki de Saint Phalle (lots 70-74)Executed between 1968 and 1970 the following five lots capture the artist's Saint Phalle's idiosyncratic style in which she combines vibrant colours with a youthful spirit. Teeming with characters, quotations and annotations, the works shed light on the artist's personal state of mind, which later informed her illustrated book AIDS: You Can’t Catch It Holding Hands of 1986, an important work that delivers life-saving healthcare information about the transmission of HIV through colourful cartoons in an attempt to destigmatise the disease.Self-taught, in her early years Saint Phalle's work was dominated by feminist rage and destruction, but she gradually moved on to a period typified by the celebration of womanhood through sculptures of female bodies, often immense, in fibreglass and polyester resin. Her work reached its zenith in such monumental outdoor projects such as Dragon for the son of Roger Nellens, at Knokke-le-Zoute created in the early 1970s in collaboration with her long term creative and romantic partner Jean Tinguely (1925-1991), and The Tarot Garden, a sculpture garden in Pescia Fiorentina, Tuscany featuring twenty-two monumental figures inspired by Guadi's Parc Güell in Barcelona, that opened in 1998.
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ MACHINE A REVERsigned and numbered Niki de Saint Phalle / 27/50 in pencil lower right screenprint in colours on wove paper with margins88 x 61 cm; 34 1/2 x 24in unframed Property from the Estate of Alexander IolasNiki de Saint Phalle (lots 70-74)Executed between 1968 and 1970 the following five lots capture the artist's Saint Phalle's idiosyncratic style in which she combines vibrant colours with a youthful spirit. Teeming with characters, quotations and annotations, the works shed light on the artist's personal state of mind, which later informed her illustrated book AIDS: You Can’t Catch It Holding Hands of 1986, an important work that delivers life-saving healthcare information about the transmission of HIV through colourful cartoons in an attempt to destigmatise the disease.Self-taught, in her early years Saint Phalle's work was dominated by feminist rage and destruction, but she gradually moved on to a period typified by the celebration of womanhood through sculptures of female bodies, often immense, in fibreglass and polyester resin. Her work reached its zenith in such monumental outdoor projects such as Dragon for the son of Roger Nellens, at Knokke-le-Zoute created in the early 1970s in collaboration with her long term creative and romantic partner Jean Tinguely (1925-1991), and The Tarot Garden, a sculpture garden in Pescia Fiorentina, Tuscany featuring twenty-two monumental figures inspired by Guadi's Parc Güell in Barcelona, that opened in 1998.
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ WHAT SHALL I DOsigned and numbered Niki de Saint Phalle 26/50 in pencil lower right screenprint in colours on wove paper with margins 89 x 61 cm; 35 x 24in unframedProperty from the Estate of Alexander IolasNiki de Saint Phalle (lots 70-74)Executed between 1968 and 1970 the following five lots capture the artist's Saint Phalle's idiosyncratic style in which she combines vibrant colours with a youthful spirit. Teeming with characters, quotations and annotations, the works shed light on the artist's personal state of mind, which later informed her illustrated book AIDS: You Can’t Catch It Holding Hands of 1986, an important work that delivers life-saving healthcare information about the transmission of HIV through colourful cartoons in an attempt to destigmatise the disease.Self-taught, in her early years Saint Phalle's work was dominated by feminist rage and destruction, but she gradually moved on to a period typified by the celebration of womanhood through sculptures of female bodies, often immense, in fibreglass and polyester resin. Her work reached its zenith in such monumental outdoor projects such as Dragon for the son of Roger Nellens, at Knokke-le-Zoute created in the early 1970s in collaboration with her long term creative and romantic partner Jean Tinguely (1925-1991), and The Tarot Garden, a sculpture garden in Pescia Fiorentina, Tuscany featuring twenty-two monumental figures inspired by Guadi's Parc Güell in Barcelona, that opened in 1998.Not laid down. The paper is in good fresh condition. The left edge is ragged. There is a triangular tear approx 1cm x 1cm to the left of the red heart on the upper left side, visible in the online illustration. There are some handling marks notably to the edges towards the lower right corner, and a very light surface crease / handling marks to the extreme top edge in the centre. Otherwise the work is in good original condition.
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ RAIN, CLOUDS, TIME, TEARSsigned and numbered Niki de Saint Phalle 12/75 in pencil lower leftscreenprint in colours on wove paper 50 x 65cm; 19 3/4 x 25 1/2inunframed Property from the Estate of Alexander IolasNiki de Saint Phalle (lots 70-74)Executed between 1968 and 1970 the following five lots capture the artist's Saint Phalle's idiosyncratic style in which she combines vibrant colours with a youthful spirit. Teeming with characters, quotations and annotations, the works shed light on the artist's personal state of mind, which later informed her illustrated book AIDS: You Can’t Catch It Holding Hands of 1986, an important work that delivers life-saving healthcare information about the transmission of HIV through colourful cartoons in an attempt to destigmatise the disease.Self-taught, in her early years Saint Phalle's work was dominated by feminist rage and destruction, but she gradually moved on to a period typified by the celebration of womanhood through sculptures of female bodies, often immense, in fibreglass and polyester resin. Her work reached its zenith in such monumental outdoor projects such as Dragon for the son of Roger Nellens, at Knokke-le-Zoute created in the early 1970s in collaboration with her long term creative and romantic partner Jean Tinguely (1925-1991), and The Tarot Garden, a sculpture garden in Pescia Fiorentina, Tuscany featuring twenty-two monumental figures inspired by Guadi's Parc Güell in Barcelona, that opened in 1998.
Autographed PAUL SCHOLES 16 x 12 photo : Col, depicting Manchester United's PAUL SCHOLES running away in celebration after scoring a wonderful winning goal against Barcelona in the 2008 Champions League semi-final second leg at Old Trafford, victory secured United's place in the Final, signed in black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Football programmes & tickets, a selection of approx. 60 programmes, some with tickets inc. FAC Finals, 59 with ticket, 60, 63 with ticket, 64 with ticket, 65, 66 with ticket, 69, 75, 79, 2000 with ticket and pennant. Other programmes inc. England v Rest of the World 53, TSV Munich v West Ham ECWC Final 65, QPR v Lask Linz (Austria) Fr 54/55, Man Utd v Everton Lancs League Supplementary Competition Final 64/65 (token removed), London v Barcelona ICFC Final 57/58 played at Chelsea, plus various other England Internationals, Finals, Non-League etc (some duplication) (gen gd)
Trade cards, Spain, Eduardo Pi, Chocolate, Footballers & Match Action, all featuring Barcelona FC, 1920's, teamgroup, individual players inc. Zamora, Samitier, Alcantara etc, various match action shots including games v Notts County, St. Mirren, Ilford, Crook Town (set, 42 cards) (some with faults, fair/gd)
Football cards, Spain, a collection of 35+ postcard size cards, various series including 15 photographic cards showing Spanish International players & manager Beniti Diaz Iraola, circa 1950, five football postcards from the FA Centenary 1963 stamped & postmarked Monaco, 1963, other, earlier trade cards inc. Barcelona v Notts Co, Castellblanch cards of Barcelona players etc (some with faults, fair/gd)
Two baptismal bowls in a Shell Shape, Silver. Spain. 20th century.1.Marked with a Star, Spain. 915/1000.Marked with a letter B and number 291, Barcelona.14 x 9 cm.2.Marked with a Star, Spain. 915/1000.Marked José Amor.10,5 x 12 cm.Total gross weight: 80,30g.(10.5 x 0 x 12 cm)Zwei Taufschalen in Muschelform, Silber. Spanien. 20. Jahrhundert.1.Gekennzeichnet mit einem Stern, Spanien. 915/1000.Gekennzeichnet mit dem Buchstaben B und der Nummer 291, Barcelona.14 x 9 cm.2.Gekennzeichnet mit einem Stern, Spanien. 915/1000.Gezeichnet: José Amor.10,5 x 12 cm.Gesamtbruttogewicht: 80,30g.(10,5 x 0 x 12 cm)
Antoni Tàpies 1923 Barcelona - 2012 Barcelona Chair on Paper. 1965. Mischtechnik. Links unten signiert und datiert. Auf festem Velin (mit Wasserzeichen). 90 x 64,5 cm (35,4 x 25,3 in), Blattgröße. [AW]. • Antoni Tàpies ist einer der wichtigsten spanischen Künstler des 20. Jahrhunderts. • Eindrucksvolle Auseinandersetzung mit dem Gegenstand der informellen Malerei. • In den 1960er Jahren entwickelt er eine innovative und unverwechselbare Bildsprache, die u. a. Schrift und Zeichen sowie die Verwendung von Alltagsgegenständen beinhaltet. • Arbeiten des Künstlers wurden u. a. auf der Biennale in Venedig und der documenta in Kassel gezeigt. PROVENIENZ: Erker-Galerie, St. Gallen. Privatsammlung Schweiz. Privatsammlung Norddeutschland (vom Vorgenannten erworben). LITERATUR: Anna Augustí, Tàpies. The Complete Works. Volume 2: 1961-1968, Barcelona 1990, WVZ-Nr. 1392 (m. SW-Abb.). Aufrufzeit: 07.06.2025 - ca. 17.52 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONAntoni Tàpies 1923 Barcelona - 2012 Barcelona Chair on Paper. 1965. Mixed media. Signed and dated in the lower left. On firm wove paper (with the watermark). 90 x 64.5 cm (35.4 x 25.3 in), size of sheet. [AW]. • Antoni Tàpies is one of the most important Spanish artists of the 20th century. • Impressive exploration of informal painting. • In the 1960s, he took on an innovative visual language that included letters, symbols, and everyday objects. • His work has featured in, among others, the Venice Biennale and the documenta in Kassel. PROVENANCE: Erker-Galerie, St. Gallen. Private collection, Switzerland. Private collection, North Germany (acquired from the above). LITERATURE: Anna Augustí, Tàpies. The Complete Works. Volume 2: 1961-1968, Barcelona 1990, catalogue raisonné no. 1392 (illustrated in b/w). Called up: June 7, 2025 - ca. 17.52 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Sean Scully 1945 Dublin - lebt und arbeitet in Königsdorf und Berlin, Barcelona und New York 8.23.04. 2004. Pastell. Rechts unten signiert und datiert bzw. betitelt '8.23.04'. Auf Aquarellkarton von Arches (mit dem Präge- und dem Trockenstempel). 58 x 77,2 cm (22,8 x 30,3 in), nahezu blattgroß. [CH]. • In der Verbindung von leicht versetzten, asymetrisch aufeinandertreffenden Farbfeldern, fließenden Linien und warmtoniger kontrastierender Farbigkeit entsteht eine spannungsvolle Komposition von großer Anziehungskraft. • Die samtige Materialität des Pastells, der malerische Pinselduktus und die weichen Kanten, an denen verdeckte Farbschichten zum Vorschein kommen, verleihen der Arbeit eine besonders lebendige, sinnliche Qualität. • Die Pastelle des Künstlers befinden sich weltweit in den bedeutendsten musealen Sammlungen, darunter das Museo Nacional Centro de Arte Reina Sofía, Madrid, die Phillips Collection und die National Gallery of Art, Washington, D.C., das Metropolitan Museum of Art und das Museum of Modern Art, New York. PROVENIENZ: Sammlung Rudolf Grass, Politischer Club Colonia, Köln. Privatsammlung Nordrhein-Westfalen (2004/2005 vom Vorgenannten erworben). 'Ich male in Schichten und die Ränder sind komplex und unbestimmt. Das verleiht meinen Bildern einen echten Bezug zur Zeit und zur Arbeit: Ein wirklicher Mensch hat sie ausgeführt, er hat echte Zeit und echte Arbeit und Suche hineingesteckt [..]. Streifen und Bänder und Linien und Schachbrettmuster verwende ich, um Rhythmus zu erzeugen. Ich möchte permanent Kombinationen, Figuren und Verbindungen neu schaffen, die wie der Rhythmus der Musik des Lebens sind [..].' Sean Scully, 1996, zit. nach: Kirsten Claudia Voigt (Hrsg.), Inner. Gesammelte Schriften und ausgewählte Interviews von Sean Scully, Berlin 2018, S. 54. Aufrufzeit: 07.06.2025 - ca. 15.32 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONSean Scully 1945 Dublin - lebt und arbeitet in Königsdorf und Berlin, Barcelona und New York 8.23.04. 2004. Pastel. Signed and dated/titled “8.23.04” in the lower right. On Arches watercolor paper (with embossing- and blindstamp). 58 x 77.2 cm (22.8 x 30.3 in), nearly the full sheet. [CH]. • The combination of slightly staggered, asymmetrically intersecting color fields, flowing lines, and warm contrasting colors makes for a striking composition. • The velvety materiality of the pastel, the painterly brushwork, and the soft edges where hidden layers of color emerge lend the work a remarkably vibrant, sensual quality. • The artist's pastels can be found in major museum collections worldwide, including the Museo Nacional Centro de Arte Reina Sofía, Madrid, the Phillips Collection and the National Gallery of Art, Washington, D.C., the Metropolitan Museum of Art and the Museum of Modern Art, New York. PROVENANCE: Rudolf Grass Collection, Politischer Club Colonia, Cologne. Private collection, North Rhine-Westphalia (acquired from the above in 2004/2005). 'I paint in layers and the borders are complex and undefined. This lends my pictures a genuine connection to time and work: a real person created them, investing real time, real work, and real exploration [..]. I use stripes, bands, lines, and checkerboard patterns to create rhythm. I always want to create new combinations, figures, and connections that are like the rhythm of the music of life [..].' Sean Scully, 1996, quoted from: Kirsten Claudia Voigt (ed.), Inner. Gesammelte Schriften und ausgewählte Interviews von Sean Scully, Berlin 2018, p. 54. Called up: June 7, 2025 - ca. 15.32 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Georges Rouault 1871 Paris - 1958 Paris Pierrot au Bouquet. Um 1947. Öl auf Papier auf Leinwand. Verso auf der Leinwand mit dem Stempel 'Atelier de Georges Rouault' und der Signatur von Isabelle Rouault. Auf dem Keilrahmen sowie auf dem dort befindlichen Papierklebeband wohl von Isabelle Rouault zweifach betitelt und mit den Maß- und Technikangaben sowie einmal mit der Archivnummer 'V 120' bezeichnet. 25,5 x 19,4 cm (10 x 7,6 in). [CH]. • Das Motiv des Pierrots und des Clowns durchzieht Rouaults gesamtes Œuvre und findet sich ab der Jahrhundertwende in zahlreichen berühmten Gemälden und grafischen Arbeiten wieder. • In diesem Werk löst Rouault Figur und Raum in kräftigem Kolorit und in dem für sein Spätwerk so charakteristisch flirrendem, pastosem Farbauftrag auf. • Große Erfolge nach dem Zweiten Weltkrieg: 1945 ehrt das Museum of Modern Art, New York, den Künstler mit einer umfassenden Retrospektive, gefolgt von weiteren retrospektiven Ausstellungen im Kunsthaus Zürich (1948), im Musée National d'Art Moderne, Paris, und im Stedelijk Museum, Amsterdam (1952), sowie einer Wanderausstellung in den USA und Japan (1953). • Arbeiten aus diesem Motivkreis befinden sich weltweit in den bedeutendsten musealen Sammlungen, darunter die Albertina in Wien, das Centre Pompidou, Paris, das Kunsthaus Zürich, das Los Angeles County Museum of Art (LACMA), das Museum of Modern Art und das Metropolitan Museum of Art, New York. Mit einer Fotoexpertise von Isabelle Rouault. PROVENIENZ: Privatsammlung Baden-Württemberg. Privatsammlung Baden-Württemberg (1999 vom Vorgenannten erhalten). 'I have seen clearly that the 'clown' was I, was us, almost all of us.. We are all clowns to a greater or lesser extent.. Who would then dare say that he has not been overwhelmed, down to the pit of his stomach, by an immense pity?' Georges Rouault in einem Brief an Edouard Schuré, zit. nach: Fabrice Hergott, Barcelona 1992, S. 15. Aufrufzeit: 07.06.2025 - ca. 17.02 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONGeorges Rouault 1871 Paris - 1958 Paris Pierrot au Bouquet. Um 1947. Oil on paper on canvas. With a stamp “Atelier de Georges Rouault” and the signature of Isabelle Rouault on the reverse of the canvas. Twice titled by Isabelle Rouault on the stretcher and on the adhesive paper tape, as well as twice inscribed with the dimensions and the technique, and once with the archive number “V 120”. 25.5 x 19.4 cm (10 x 7.6 in). [CH]. • Pierrot and clown are recurrent motifs in Rouault's œuvre, as numerous famous paintings and graphic works the artist made since the turn of the century demonstrate. • In this work, Rouault dissolves figure and space in a vibrant coloring and a flickering, impasto application of the paint that is so characteristic of his late period. • Rouault enjoyed great success after World War II: in 1945, the Museum of Modern Art in New York honored the artist with a comprehensive retrospective, followed by further retrospective exhibitions at the Kunsthaus Zürich (1948), the Musée National d'Art Moderne, Paris, and the Stedelijk Museum, Amsterdam (1952), as well as a traveling exhibition in the United States and Japan (1953). • Works from this series can be found in the most important museum collections worldwide, including the Albertina in Vienna, the Centre Pompidou / Musée national d'art moderne, Paris, the Kunsthaus Zürich, the Los Angeles County Museum of Art (LACMA), the Museum of Modern Art and the Metropolitan Museum of Art, New York. Accompanied by a photo expertise issued by Isabelle Rouault. PROVENANCE: Private collection Baden-Württemberg. Private collection Baden-Württemberg (acquired from the above in 1999). 'I have seen clearly that the 'clown' was I, was us, almost all of us.. We are all clowns to a greater or lesser extent.. Who would then dare say that he has not been overwhelmed, down to the pit of his stomach, by an immense pity?' Georges Rouault in a letter to Edouard Schuré, quoted from: Fabrice Hergott, Barcelona 1992, p. 15. Called up: June 7, 2025 - ca. 17.02 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
JOHN WAYNEArchive of materials relating to John Wayne and his yacht the Wild Goose. Los Angeles: mostly 1960s. Two plastic binders containing autograph material by and about John Wayne; several sleeves of photographs and related ephemera; an envelope of press cuttings about the vessel; and a Seth Thomas seven-jeweled eight-day ship's bell clock (with wooden mount and key) reputedly from the Wild Goose. Condition varies, some minor soiling but generally clean. The clock movement is currently running but not guaranteed to be in working order.John Wayne’s yacht Wild Goose was built in 1942—delivered 1943—as a U.S. Navy mine sweeper (USS YMS-328), serving off the coast of Alaska during World War II. The ship was decommissioned in 1946 and sold out of service in 1948, eventually (after passing through several hands as a private yacht) being purchased for $116,000 by John Wayne in 1962. A spacious vessel at 136 feet, it could accommodate over a hundred people in its saloon and had five staterooms, and Wayne had the ship renovated to the highest standards of luxury. It served him as a retreat during the last sixteen years of his life. Moored at Newport Beach, it is now listed on the US National Register of Historic Places, and it still operates for dinner cruises today.The first captain of the vessel under Wayne's ownership was Peter Stein, who developed a close bond with the new owner. Approximately thirty of Captain Stein's letters to his wife Nina from on board the ship are preserved, housed in one binder. These carry a wealth of anecdotes about John Wayne and his guests, and are written from various ports of call including Bermuda, Barcelona, Panama, Gibraltar, Costa Rica, etc. Most are dated in the early 1960s. Stein captained the vessel until 1969, when he suffered a massive heart attack and died. He is buried in the same Newport Beach cemetery as John Wayne, who succumbed to stomach cancer a decade later.The second binder includes two typed letters from John Wayne to Captain Stein (signed as "Duke"); a card from Pilar and John Wayne to Stein; a letter from Mary Batjac of Batjac Productions, Wayne's independent film production company; several visiting cards inscribed "Good Luck. John Wayne" and a signed card by Alan Jay Lerner to Stein; a signed photograph of Wayne, and another with an affixed signature; an extensive selection of images of the Wild Goose and life on the vessel; correspondence home from Peter Stein's grandson from on board the ship in the 1970s; and much other material.John Wayne's shipboard life was an important outlet from the pressures of Hollywood, especially as his health deteriorated in later years. On the Wild Goose, he could escape publicity and spend time with his friends and family. The photographs and letters here provide an interesting window into this private, gilded sanctum on the waves. No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available. Request a condition report
Ballard (J. G.) Crash, first American edition, original cloth-backed boards, slight bumping to spine tips and corners, light toning to upper and lower edges, dust-jacket, light browning, 2 closed tears to head of lower panel, New York, 1973; Crash, signed by the author on title, light browning to margins, original wrappers, slight sunning to spine, extremities a little rubbed, Barcelona, 1979; and 13 others, editions of Crash, 8vo (15)*** Provenance: From the library of Margaret Hanbury, J.G. Ballard’s primary agent from June 1983 until a few months after his death in April 2009.Hanbury previously worked for the agent John Wolfers, who also represented Ballard. On Wolfers’ retirement, Hanbury established The Hanbury Agency, at Ballard’s encouragement.
HERMANN SERIENT* ( geboren 1935 in Melk )Spanische Schönheiten, 1979Gouache/Papier 21 x 30 cm beschriftet Barcelona, datiert 1979SCHÄTZPREIS / ESTIMATE € 400 - 600STARTPREIS / STARTING PRICE € 400Österreichischer Künstler des 20. Jahrhunderts. Lebt und arbeitet in Wien und im Südburgenland. Absolvierte eine Goldschmiedelehre, lebte in den 1960er Jahren als Künstler, Karikaturist der Wiener Arbeiterzeitung und Jazzmusiker in Wien und reiste per Autostopp durch Europa. Experimentierte mit selbstgemachten Instrumenten, fotografierte und machte Trickfilme für den ORF. Ab den 1970er Jahren als Vorläufer der Grünbewegung gesellschaftliche und umweltpolitische Themen in seinen Arbeiten. Arbeitet in altmeisterlicher Technik wie die Vertreter des Magischen Realismus und der Wiener Schule des Phantastischen Realismus Ernst Fuchs, Arik Brauer, Rudolf Hausner und Wolfgang Hutter. Interesse an Werken von Hieronymus Bosch und Pieter Breughel. Groteske, rätselhafte, märchenhafte und mystische Elemente wie im Surrealismus. Themen und Motive immer auf die Gegenwart bezogen, Gesellschaftskritik und Aufzeigen von Umweltzerstörung. Unberührte Landschaften aus dem Südburgenland, Lichtsituationen, Tages- und Jahreszeiten und farbintensive Stimmungen. Leuchtkraft der Farben durch Anmischen der Pigmente, Ölfarben und Eitempera. 2005 und 2015 Ausstellungen in der Landesgalerie Burgenland in Eisenstadt. Weiterführende Künstler und Begriffe: Surrealismus, Franz Ringel, Friedensreich Hundertwasser, Tempera, Grafik, Druck, MonotypieBitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° beim Schätzpreis gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer hinzu. Diese beträgt 13% bei Gemälden, Aquarellen, Zeichnungen, Grafiken sowie Skulpturen und 20% bei Fotografien und allen anderen Objekten. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.
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