There are 719 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeRené MAGRITTE (1898-1967), d'après.La voix des airs (1990)Lithographie éditée en 1990 par le Studio d’Arte Perna , Milano.Numérotée en bas à gauche en chiffres romains “/ CC” ( /200 exemplaires)Signée dans la planche.Accompagné d'un document notarial et d'un certificat d'édition.Dimensions : 48 x 34 cm.
* CHARLES OAKLEY (BRITISH 1925 - 2008), DARDANELLES pencil on card, signed, titled and dated '85mounted, framed and under glassProvenance: Pyms Gallery, London (label attached to the reverse of the frame) Exhibited: Pyms Gallery, London, 'Lost Illusions: Works with Romantic and Historic Associations by Charles Oakley', 24th June-19th July 1986, cat. no.2Literature: Charles Oakley and Mary Hobart, 'Lost Illusions: Works with Romantic and Historic Associations by Charles Oakley', Arts Council of Northern Ireland, Belfast, 1986, cat.31 (unpag.) (illus.)image size 19cm x 35cm, overall size 26cm x 41cm Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen.
Vibrant and expressive, this limited edition digital print on canvas by celebrated Brazilian artist Romero Britto reimagines Rene Magritte's The Son of Man through the lens of Britto's signature pop art and neo-cubist style. Titled Mr. Magritte, this 2020 work captures the surrealist theme of the hidden self while infusing the composition with bold geometric patterns, swirling lines, and glittering embellishments. The apple-faced figure, clad in a vivid mosaic-like suit and hat, is surrounded by a whimsical, color-rich background featuring expressive hearts, clouds, and playful curvilinear forms. Executed in a limited edition of 100, this piece is hand-signed by the artist and numbered 34/100. Accompanied by a certificate of authenticity from Britto Studios, this work exemplifies Britto's signature visual language of joy, hope, and optimism. Romero Britto is a Brazilian artist known for his distinctive fusion of pop art, cubism, and graffiti-inspired aesthetics. Born in 1963 in Recife, Brazil, Britto displayed an early passion for art, drawing inspiration from the vibrant culture and colorful energy of his homeland. He later moved to Miami, where he gained international recognition for his bold, cheerful works that often depict themes of love, happiness, and hope. His instantly recognizable style, characterized by bright colors, dynamic patterns, and thick black outlines, has earned him worldwide acclaim, leading to collaborations with major brands, corporations, and charitable organizations. Britto's works have been exhibited in prestigious museums and galleries around the globe, and he is regarded as one of the most licensed artists in history. Through his Happy Art Movement, Britto seeks to inspire positivity and social good, reinforcing his belief that art is too important not to share.Artist: Romero Britto (Brazilian/American b. 1963)Issued: 2020Dimensions: 39.50"L x 49.50"HCountry of Origin: Brazil/United StatesCondition: Age related wear.
RENE MAGRITTE (FRENCH 1898-1967), AFTER ONE PLATE FROM 'LES ENFANTS TROUVÉS' - 1968 Lithograph, ed. 350, initialled by Fernard Mourlot to margin, signed in plate, printed by Mourlot, Paris, published by A.C. Mazo, Paris; and the accompanying original red linen portfolio box with lithographic cover, of this image, and associated literature from the original issue (3) the image 30.5cm x 45.5cm (12in x 18in)
DUANE MICHALS10 Fotografien. Köln: Galerie Wilde 1975.Portfolio mit 10 Silbergelatineabzügen auf Kodak AZO F Fotopapier (Blattgröße 20,4 x 25,2 cm; Foto12,3 x 17,9 cm) in Passepartouts, jeweils vom Künstler signiert, datiert, nummeriert und bezeichnet, verso mit Galeriestempel und weiterer Bezeichnung. 1 Doppelbl. mit Titel, einem Einführungstext von Dr. Wulf Herzogenrath und Impressum. In OrLn.-Kassette mit Deckelschild (44,5 x 33,5 x 4 cm).(Kassette mit minimalen Gebrauchsspuren.)Nr. 25 von 30 arabisch num. Exemplaren (GA 35). – Enthällt folgende Arbeiten: Art Dealer without a Gallery 1970, Robert Duval 1966, Tennessee Williams 1966, Henri Cluzot 1968, Robert Rauschenberg 1963, Claes Oldenburg 1971, Andy Warhol 1958, Joe Dellasandro 1971, René Magritte 1965, Selfportrait as a Devil 1972.
René Magritte (1898-1967, after): 'Les Amants', lithograph in colours, ed. 101/275, dated 2011Work: 51 x 38 cmFrame: 82,5 x 68,5 cm The lithograph based on the painting 'Les Amants' by Rene Magritte and edited by Philippe Moreno, with the authorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the left and right bottom corner).
René Magritte (1898-1967, after): 'La nuit de Pise', lithograph in colours, ed. 117/275, dated 2011Work: 51 x 38 cmPaper: ca. 56 x 43,5 cmFrame: 82,5 x 69 cmThe lithograph based on the painting 'La nuit de Pise' by Rene Magritte and edited by Philippe Moreno, with the authorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the left and right bottom corner).
Surrealism A large collection of volumes on Surrealism and by Surrealist Authors to include Sylvester (David) Renee Magritte: Catalogue Raisonne, London: The Menil Foundation and Philip Wilson Publishers, 1992, folio, three volumes including original dustcovers; Bulletin de Liaison Surrealiste, 1970, Paris: Jean Louis Bedouin, 1970-1976, 10 volumes; Bounoure (Vincent) and Camacho (Jorge) Talismans, Paris: Editions Surrealiste, 1967, numbered edition 303/651; further including several volumes by Aragon, Surrealist publications and magazines, unpublished PhD and MA theses, as well as art historical volumes on artists such as Max Ernst, Salvador Dali, Marcel Duchamp, Giorgio de Chirico, Joan Miro and others (qty) The Library of Roger Cardinal Roger Cardinal (1940-2019)Roger Cardinal was one of Britain’s most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.Cardinal’s interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ‘other’. His fascination with artists such as the violently psychotic Adolf Wölfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at Christie’s auctioneers ran quite contrary to Cardinal’s thinking.Much of Roger Cardinal’s library has recently been donated to the Tate Gallery including the handwritten diaries that he kept his whole life. Cardinal often used books as working tools, heavily annotating in the margins - as with many volumes in the current sale. The library offered reflects Cardinal’s varied interests and fluent command of French and German. Alongside a large collection of art reference works in his specialist subjects, we also find collections of books on fairy tales and science fiction.
Alec Monopoly (American 1986-), 'Richie Magritte', 2023, giclee print in colours on 300gsm Cotton Rag paper, signed and numbered from an edition of 150 in pencil; sheet: 61 x 45.5cm, 75 x 60cm inc framesheet: 61 x 45.5cm, 75 x 60cm inc frameIn very good conditionNo knocks, tears or creases to the sheetFramed in a black frame with Artglass, float mounted leaving all edges and corners of the sheet visibleThis work has not been examined outside of the frame.
René Magritte (1898-1967) after. Homme au Chapeau Melon, from Le Lien de Paille (Kaplan & Baum 19) Etching with pale ochre platetone, 1969, with the artist's signature stamp and 'Gravure Originale Atelier Rene Magritte' blindstamp, inscribed 'H.C' in pencil, aside from the edition of 150, printed and published by Georges Visat, Paris, on BFK Rives paper, with full margins, sheet 280 x 226mm (11 x 9in)
* CHARLES OAKLEY (BRITISH 1925 - 2008), MOONLIGHT RENDEZVOUS oil on board, titled label verso framed image size 49cm x 95cm, overall size 65cm x 110cm Partial artist's label verso. Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen. Very good condition with no visible or known issues.
CONTEMPORARY ARTISTS: Selection of signed colour postcards, and a few slightly larger photographs, by various contemporary artists, most of the images depicting examples of their work and a few of them showing the artists themselves, including Richard Long (Berlin Circle, 1996), Jan Sudak (No! Please Don´t!, 1997), Clive Barker (Homage to Magritte, 1969), Fred Herzog, Sylvie Fleury, Christo & Jean-Claude, Daniel Spoerri etc. Generally VG, 9
MAGRITTE RENÉ: (1898-1967) Belgian Surrealist Artist. His work has influenced Pop Art and Minimalist Art. A.L.S., `René´, one page, to a postcard photograph, Knokke, 16th June 1962, to Alinne Gonne, in French. Magritte states `Un bonjour de Knokke (dont le Casino expose une centaine de mes tableaux jusque fin Août) de Knokke où nous sommes venus, puis partis, puis revenus et où nous reviendrons encore...´ (Translation: "Hello from Knokke (where its Casino is exhibiting a hundred of my paintings until the end of August) from Knokke where we came, then left, then returned and where we will return again...") Also signed at the base by Georgette Magritte, his model, muse and wife. The postcard bears to the front an image of the beach of Knokke. Postcard and stamped. VG
Umfangreiche Sammlung von 89 Ausstellungsplakaten, vorwiegend Kestner-Gesellschaft Hannover2 x Olympia-Plakat 1972; R. Wittenborn; Eduardo Paolozzi; Alfred Hrdlicka; André Thomkins; Christo; Picasso, Nicholas Krushenick, Asger Jorn; Alfred Jensen, Eva Hesse; Wols; Hans-Georg Rauch; August Macke, Claes Oldenburg; Pol Bury; Saul Steinberg; Alfred Ho; Peter Ackermann; H.-J. Breuste; Walter Dexel; Joseph Beuys; Arnulf Reiner; Günther Uecker; Walter Pichler; Bernhard Luginbühl; Bernhard Lüthi; Dada-Foto; Howard Kanovitz; Pierre Alechinsky; Jochen Gerz; Mataré; Rebecca Horn; Vostell; Nikolaus Lang; Jorge Castillo; Gisela Andersch; Morandini; Henri Michaux; George Rickey; Dieter Roth; Cy Twombly; Tomi Ungerer; Almir Mavignier; Jiri Kolar; Richard Lindner; Alan Davie; Roy Lichtenstein; Fruhtrunk - Girke - Pfahler; Jim Dine; Soto; Lucio Fontana; Wotruba; Kalinowski; Werner Heldt; Domenico Gnoli; Gotthard Graubner; Max Bill; Giorgio de Chirico; R. B. Kitaj; Max Ernst; Magritte; Miguel Berrocal; Alex Colville; David Hockney; Mára; Jürgen Brodwolf; Boljka - Zelenko; vorwiegend Edition Kestner-Gesellschaft Hannover, teils Original-Farbserigraphien: u.a. Krushenick, Paolozzi, Lindner, Bill u. Kitaj; unterschiedliche Zustände, Selbstbesichtigung empfohlen!
lithograph printed in colors after the 1963 "La reconnaissance infinie" painting by René Magritte with stamps of ADAGP and the "Magritte Succession" and with a signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 246/275 naar het werk dd 1963 getiteld "La reconnaissance infinie" - 45 x 60 met droogstempels van ADAGP en van de Succession Magritte en met signatuur van Charly Herscovici
lithograph printed in colors after the 1967 "La page blanche" painting by René Magritte with stamps of ADAGP and the "Magritte Succession" and with a signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 129/275 naar het werk dd 1967 getiteld "La page blanche" - 45 x 60 met droogstempels van ADAGP en van de Succession Magritte en met signatuur van Charly Herscovici
lithograph printed in colors after the 1969 ""Un peu de l'âme des bandits" painting by René Magritte with stamps of ADAGP and the "Magritte Succession" and with a signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 147/275 naar het werk dd 1969 getiteld "Un peu de l'âme des bandits" - 60 x 45 met droogstempel van ADAGP en van de Succession Magritte en met signatuur van Charly Herscovici
lithograph printed in colors after the 1955 "Le Maître d'école" painting by René Magritte - name-stamped, stamped by the 'Succession Magritte' and with a signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 81/275 : "Le Maître d'école" - 50,5 x 38 met monogram van Charly Herscovici, naamstempel en droogstempel van de 'Succession Magritte"
lithograph printed in colors after the 1960 "Le tombeau des lutteurs" painting by René Magritte with stamps of ADAGP and the "Magritte Succession" and with a signature of Ch. HerscoviciMAGRITTE RENÉ (1898 - 1967) kleurlitho n° 129/275 naar het werk dd 1960 getiteld "Le tombeau des lutteurs" - 45 x 60 met droogstempels van ADAGP en van de Succession Magritte en met signatuur van Charly Herscovici
Clive Barker, British b.1940- Homage to Magritte #2 (gold), 1969; Homage to Magritte #3 (silver), 1969; two screenprints on paper, each signed, dated, titled and numbered from the edition of 10 in pencil, each image: 74 x 46 cm, (x1 framed/ x1 unframed) (ARR) (2) Provenance: from the collection of Klaus Hinrichsen. Note: Klaus Hinrichsen (1912–2004) was a German-born art historian who fled Nazi Germany in 1938. He was interned at Hutchinsons Camp on the Isle of Man from 1940, where he organised exhibitions featuring refugee artists such as Kurt Schwitters. Prevented from working in public art institutions after his release, he dedicated himself to collecting and researching maps, ethnographic works, and lithographs, meticulously cataloguing his acquisitions. He sourced items from Sotheby’s, Christie’s, and antique dealers, prioritising historical significance and conducted extensive provenance research at the British Library. His archive, including records and ephemera from his time in internment, is now held at the Tate Gallery.
Original offset poster by René Magritte for the World Festival of Cinema and Fine Arts in Knokke 1949, signed in red the plate bottom rightOriginele offset affiche door René Magritte voor het wereldfestival voor film en schone kunsten in Knokke 1949, gesigneerd in rood de plaat rechts onderaan119 x 76.5 cm
Marcel Broodthaers (Belgian, 1924-1976), 'Portraits' series taken between 1957-1974, a selenium-toned silver gelatin print photograph of René Magritte standing behind a canvas in his 'L'Empire des Lumières' series, 18.5 by 15.5cm, framedNote: See an example in the Art Institute of Chicago, Reference No. 1991.1502
1.Magritte (Poging tot het onverklaarbare) - A book exploring the surrealist works of René Magritte, known for his enigmatic and thought-provoking paintings.2.Ensor - Focuses on the works of James Ensor, a pioneer of expressionism and symbolism, famous for his grotesque and carnival-like scenes.3.Raoul De Keyser (Retour 1964–2006) - Showcases the minimalist and abstract paintings of Raoul De Keyser, blending geometry with poetic simplicity.4.Avermaer (René Turkry) - Likely delves into the works of Albert Avermaet, a Belgian painter with a focus on rural life and historical depictions.5.Leon De Smet - Highlights the impressionist works of Léon De Smet, known for his luminous color palette and intimate domestic scenes.6.Raveel - Features the work of Roger Raveel, a key figure in contemporary Belgian art, bridging abstraction and realism with vivid, everyday themes.7.Roger Raveel (Hij verbeeldde onze tijd) - Another work focusing on Raveel, emphasizing his interpretation of modern life through a personal, colorful lens.8.Henri Evenepoel (1872–1899) - Chronicles the short yet impactful career of Henri Evenepoel, who blended impressionism and post-impressionism with a unique use of color.9.Georges Lemmen - Explores the work of Georges Lemmen, a neo-impressionist painter known for his pointillist style and intimate portraits.10.Floris Jespers - Discusses Floris Jespers, an avant-garde artist who transitioned from expressionism to cubism, creating distinctive, abstract works.11.Magritte - Another book on René Magritte, delving deeper into his surrealist universe and his exploration of reality and illusion.12.Roger Raveel - Focuses on a specific period or thematic element in Roger Raveel’s body of work, emphasizing his innovative approach.
RENÉ MAGRITTE (Belgian 1989 - 1976)A lithograph print of magritte’s les bijoux indescrets Paris, 1958 Lithograph on paper, depicting a hand extending down to a dark pink surface, a face emerging from the wrist, published by San Lazzaro in 1958 and printed by Fernand Mourlot, with certificate of authenticity from N Isen, Philadelphia, Pennsylvania, titled and signed, and numbered 286/575 in pencil along the lower margin, mounted, framed and glazed. Image 26cm x 34.5cmWith frame 53.5cm x 62cm
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ UNTITLED signed Niki de Saint Phalle and numbered 26/50 lower right screenprint in colours on wove paper 89 x 61cm; 35 x 24in unframed Property from the Estate of Alexander Iolas see note to lot 47 Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, 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 artist 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 extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his 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), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, 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 (FRENCH 1894-1984) ⊕ (i) SAILING BY THE LIGHTHOUSE (ii) BUOY AT DUSK (iii) ON FOOT ACROSS THE PLAIN each signed Jean Hugo lower right gouache on paper each: 7.8 x 4.6cm; 3 1/4 x 1 3/4in 55.5 x 23.5cm; 21 3/4 x 9 1/4in (three framed as one) Property from the Estate of Alexander Iolas see note to previous lot Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, 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 artist 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 extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his 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), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, 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 (FRENCH 1894-1984) ⊕ (i) ON THE QUAY (ii) BY THE CLIFFS (iii) ACROSS THE SOUND each signed Jean Hugo - (i) lower left, (ii) & (iii) lower right; (i) inscribed no. 103 on the reverse, (ii) inscribed no. 41 on the reverse, (iii) inscribed no. 113 on the reverse gouache on paper 4.8 x 8cm; 2 x 3 1/4in (i) & (iii) 8 x 4.8cm; 3 1/4 x 2in (ii) 55.5 x 23.5cm; 21 3/4 x 9 1/4in (three framed as one) Property from the Estate of Alexander Iolas Jean Hugo was the great-grandson of the Romantic novelist and politician Victor Hugo (1802-1885). Brought up in a lively artistic environment, he began teaching himself drawing and poetry from an early age. His artistic career spans the twentieth century, from his early sketches of the First World War through the creative fervour of his years in Paris thereafter. Part of an extensive artistic circle, he counted Picasso, Cecil Beaton and Jean Cocteau (see lot 68) among his friends. Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, 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 artist 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 extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his 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), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, 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.
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ WHY DON'T YOU LOVE ME? signed Niki de Saint Phalle and numbered 24/100 lower right screenprint in colours on wove paper 40 x 60cm; 15 3/4 x 23 1/2in unframed Property from the Estate of Alexander Iolas Executed in 1968. see note to lot 47 Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, 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 artist 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 extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his 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), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, 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.
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ REMEMBER signed Niki de Saint Phalle and numbered 54/100 lower right screenprint in colours on wove paper 50 x 61.3cm; 19 3/4 x 24 1/4in unframed Property from the Estate of Alexander Iolas Executed in 1969. Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, 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 artist 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 extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his 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), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, 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. The present lot together with lots 48-52 executed between 1968-1970 depict Saint Phalle's idiosyncratic style characterised by vibrant colours and a youthful spirit, works that have been included in what has been called 'outsider art' as she did not receive an academic training. The works portray numerous characters with quotations and annotations that shed insight into the artist's deeply personal state of mind as she navigates heartbreak and reproductive health. The works later informed Saint Phalle's 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. Saint Phalle was a self-taught avant-gardist, one of the late twentieth century’s great creative personalities, with traits that once clouded and now halo her importance. First dominated by feminist rage, the artist’s creative direction eventually moved away from an epoch of destruction 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 REVER signed N. Saint Phalle and numbered 29/50 lower right screenprint in colours on wove paper 88.5 x 61cm; 34 3/4 x 24in unframed Property from the Estate of Alexander Iolas Executed in 1970. see note to previous lot Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, 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 artist 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 extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his 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), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, 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 (FRENCH 1894-1984) ⊕ (i) THE TOWN FOOTBALL PITCH (ii) LANDSCAPE AT DUSK (iii) A DOG AND HIS MASTER each signed Jean Hugo lower right; (i) inscribed no. 87 on the reverse, (ii) inscribed no. 152 on the reverse, (iii) inscribed no. 45 on the reverse gouache on paper 7.8 x 4.6cm; 3 1/4 x 1 3/4in (i) & (iii) 7 x 3.4cm; 2 3/4 x 1 1/4in (ii) 58 x 23.5cm; 22 3/4 x 9 1/4in (three framed as one) Property from the Estate of Alexander Iolas see note to lot 44 Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, 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 artist 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 extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his 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), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, 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.
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ WHAT SHALL I DO? signed Niki de Saint Phalle and numbered 28/50 lower right screenprint in colours on wove paper 89 x 61cm; 35 x 24in unframed Property from the Estate of Alexander Iolas Executed in 1969. see note to lot 47 Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, 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 artist 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 extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his 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), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, 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.
NIKI DE SAINT PHALLE (FRENCH-AMERICAN 1930-2002) ⊕ OUR LOVE WAS A BEAUTIFUL FLOWER signed Niki de Saint Phalle and numbered 3/75 lower right screenprint in colours on wove paper 50.2 x 57.5cm; 19 3/4 x 22 1/2in unframed Property from the Estate of Alexander Iolas Executed in 1969. see note to lot 47 Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, 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 artist 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 extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his 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), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, 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.
Friedrich Schröder-Sonnenstern 1892 Berlin - 1982 Berlin Die moralische Schwanenbeschwörung. 1956. Farbstiftzeichnung. Rechts unten signiert und datiert, links unten betitelt. Verso monogrammiert und datiert. Auf glattem Karton. 49 x 70,8 cm (19,2 x 27,8 in), Blattgröße. [EH]. • Bis Mitte der 1950er Jahre zeichnet Friedrich Schöder-Sonnenstern fast ausschließlich mit Bleistift, erst dann mit farbigen Buntstiften. • 1973 auf der Schöder-Sonnenstern-Retrospektive der Kestner-Gesellschaft gezeigt. • Die Mythologie seiner Bildwelten ist so komplex wie die Vielfältigkeit seines Lebens. PROVENIENZ: Sammlung Carl Laszlo, Basel. Sammlung Schweiz. AUSSTELLUNG: Friedrich Schröder-Sonnenstern, Kestner-Gesellschaft Hannover, 8.6.-1.7.1973, Kat.-Nr. 124 (verso mit einem Etikett und dem applizierten Katalogeintrag). Wundersame Welten. Von René Magritte bis Daniel Richter, Museum im Kleihues-Bau, Kornwestheim, 13.5.-24.9.2023. Aufrufzeit: 07.12.2024 - ca. 17.14 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONFriedrich Schröder-Sonnenstern 1892 Berlin - 1982 Berlin Die moralische Schwanenbeschwörung. 1956. Colored pencil drawing. Signed and dated lower right, titled lower left. Monogrammed and dated on the reverse. On smooth cardboard. 49 x 70.8 cm (19.2 x 27.8 in), size of sheet. [EH]. • Until the mid-1950s, Friedrich Schröder-Sonnenstern drew almost exclusively with pencil, and only began using colored crayons thereafter. • Shown at the Schröder-Sonnenstern retrospective at the Kestner Gesellschaft in 1973. • The mythology of his imagery is as complex as his life was diverse. PROVENANCE: Carl Laszlo Collection, Basel. From a Swiss collection. EXHIBITION: Friedrich Schröder-Sonnenstern, Kestner-Gesellschaft Hanover, June 8 - July 1, 1973, cat. no. 124 (with a label and the catalog entry attached to the reverse). Wundersame Welten. Von René Magritte bis Daniel Richter, Museum im Kleihues-Bau, Kornwestheim, May 13 - September 24, 2023. Called up: December 7, 2024 - ca. 17.14 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.
William N. Copley 1919 New York - 1996 Key West/Florida Baby Carriage. 1972. Acryl auf Leinwand. Rechts unten signiert 'CPLY' und datiert. 162,5 x 130,5 cm (63,9 x 51,3 in). [AR]. • William N. Copleys poppig-surreale Welt der Dinge: Stillleben aus der 'Nouns'- und 'Mail Order'-Werkgruppe. • Wie einen königlichen Thron inszeniert er den Kinderwagen in knalligen Farben und seinen typisch schwarzen Umrisslinien. • Gekonnter Balanceakt zwischen Surrealismus und Pop-Art, zwischen erzählerischem Stillleben und überbordender Ornamentik. • Im Entstehungsjahr ist William N. Copley an der wichtigen documenta 5 in Kassel unter der Leitung von Harald Szeemann beteiligt. Die vorliegende Arbeit ist im Archiv des William N. Copley Estate, New York, registriert. Wir danken Herrn Anthony Atlas für die freundliche wissenschaftliche Beratung. PROVENIENZ: Estate William N. Copley. David Nolan Gallery, New York. Galerie Klaus Gerrit Friese, Stuttgart. Privatsammlung Süddeutschland. AUSSTELLUNG: CPLY, Galleria d'Arte Il Fauno, Turin, 1973 (m. Abb.). William N. Copley, Kunsthalle Bern, 4.10.-9.11.1980; Musée national d'art moderne Centre Georges Pompidou, Paris, 26.11.1980-11.1.1981; Stedelijk Van Abbemuseum, Eindhoven, 24.1.-18.2.1981, Badischer Kunstverein, Karlsruhe, 24.3.-10.5.1981, Kat.-Nr. 83. Copley, Museum Frieder Burda, Baden-Baden, 18.2.-10.6.2012; Max Ernst Museum Brühl des LVR, Brühl, 24.6.-4.11.2012; Stiftung Ahlers Pro Arte / Kestner Pro Arte, Hannover, 16.11.2012-1.4.2013 (m. Abb. S. 137). LITERATUR: Klaus Gerrit Friese (Hrsg.), William N. Copley. Unter uns, Ostfildern 2009, S. 55 (m. Farbabb.). 'Bill Copley's work is to die for.' Andy Warhol 'Cply cmpltly cptvts me.' Roy Lichtenstein Andy Warhol und Roy Lichtenstein über William N. Copley (auch Bill genannt), zit. nach: Götz Adriani, On the Quest for the Ridiculous Picture, in: Stiftung Frieder Burda (Hrsg.), Copley, Heidelberg/Berlin 2012, S. 13-23, hier S. 23. William N. Copleys poppig-surreale Welt der Dinge Zu Beginn der 1970er Jahren konzentriert sich William N. Copleys Schaffen auf die Darstellung von Objekten. In seinem charakteristischen Malstil entwickelt er eine poppig-surreale Welt der Dinge, die sich in einer Art Crossover aus erzählerischem Stillleben und überbordender Ornamentik auf die alltäglichen Gegenstände unseres Lebens fokussiert und sich dabei an Stilmitteln der Pop-Art und des Surrealismus bedient. Kleine Objekte wie Pfeifen, Werkzeuge oder Küchenutensilien, aber auch große Gegenstände wie Möbelstücke, Glocken oder einen Kinderwagen isoliert er aus ihrem täglichen Umfeld und setzt sie in starker Nahansicht mit den typisch schwarzen Umrisslinien der Pop-Art vor bunten Farbflächen plakativ in Szene. Durch die Isolierung und flächige Darstellung, die unter anderem von Surrealisten wie René Magritte bekannt ist, umgibt die Objekte dabei zumeist eine eigenartige Aura der Stille. Und doch ist der Mensch auf gewisse Weise anwesend. Die ursprüngliche Nutzung der Objekte bleibt vor dem inneren Auge sichtbar. Das Läuten der Glocken, das Klappern von Glas und Geschirr, die Schläge eines Hammers, das Kindergeschrei im Kinderwagen: Copleys Objekte bilden gewissermaßen die Kulisse für Assoziationen, Erinnerungen, und Fantasien, oder wie es Siegfried Gohr beschreibt: 'Was zuerst als naiv erscheint, erweist sich als die Strategie einer kraftvollen Evokation von Dingen.' (Siegfried Gohr, Copley und die Lust an den Dingen, in: Galerie Fred Jahn, William N. Copley. Nouns, München 1999, S. 7). Ganz ähnlich verhält es sich auch mit Copleys Werk 'Baby Carriage' von 1972, das im Geburtsjahr seiner Tochter Theodora entsteht. Vor knallig pinkem Hintergrund inszeniert er den Kinderwagen als eine Art Thron, verziert mit überbordendem, barock anmutendem Dekor, ausgestattet mit weichen Kissen und einem rosa Sonnenschirm. Die Arbeit wirkt dabei ungemein verspielt und mit ironischen Elementen behaftet, die neugierig machen auf die leisen Zwiegespräche in Copleys niemals unschuldiger Welt der Dinge. Als Vorlage für seine Stillleben aus der 'Nouns'- und 'Mail Order'-Werkgruppe verwendet er vielfach Abbildungen aus den Versandkatalogen der amerikanischen Kaufhauskette 'Sears, Roebuck & Co.' aus der Zeit um 1900, wobei er den heute altmodisch wirkenden Objekten gewissermaßen neues Leben einhaucht. Das malerische Werk des amerikanischen Künstlers ist dabei stets im Surrealismus verwurzelt. Copley gilt jedoch ebenso als Vorläufer der Pop-Art. In kaum einer anderen Werkgruppe kommt dies so deutlich zum Ausdruck wie in seinen Objektinszenierungen, mit denen er einen gekonnten Balanceakt vollführt und zwei grundverschiedene Kunstrichtungen wie selbstverständlich miteinander vereint, ohne sich dem einen oder dem anderen Stil dabei komplett zu verschreiben. [AR] Aufrufzeit: 07.12.2024 - ca. 16.26 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.
MAGRITTE RENE: (1898-1967) Belgian surrealist artist. A.L.S., `René´, written to the verso of a colour picture postcard depicting a group of children playing on the sea shore, [Knokke], 28th August 1962, to his cousin Aline Gonne Magritte, in French. Magritte states in part `Chère Cousine, J´ai essayé de vous trouver à Blankenburg. Mais aucun concierge à la Digue ne vous connait, ni aucun boulon électrique ne porte votre nom aux portes des appartements… Je retourne avec Georgette à Bruxelles vendredi…´ (Translation: “Dear Cousin, I tried to find you in Blankenburg. But no concierge at the Digue knows you, nor any electric lamp bears your name on the apartment doors… I am returning with Georgette to Brussels on Friday...“) Also signed at the base by Georgette. Postmarked and stamped. G to VG Georgette Magritte, spouse of René Magritte and also his muse and model.
René Magritte, Homme à la rose et au cor de brume. Homme fumant la pipe. Rose. Verso: Tour racinée.Vier Bleistiftzeichnungen auf Papier. Drei Blätter aus einem Skizzenbuch mit Perforation am Oberrand, ein Blatt doppelseitig. Jeweils 16,9 x 10,4/10,6 cm. Ein Blatt (Rose) unten rechts der Mitte verblasst signiert 'Mag'. - Jeweils im ehemaligen Passepartout-Ausschnitt schwach gebräunt.Jeweils mit einer Foto-Expertise von Charly Herscovici, Fondation - Comité Magritte, Brüssel, vom 11. April 2024.ProvenienzPrivatsammlung Nordrhein-WestfalenLiteraturVolker Kahmen, Erotik in der Kunst: Aspekte zur Kunst der Gegenwart, Tübingen 1971, S. 14, Abb. 3 (Rose)
René Magritte, La Fidélité des ImagesPortfolio mit 16 posthumen Gelatinesilberabzügen von den Originalnegativen 1976. Von 10,6 x 5,2 cm (23,8 x 17,8 cm) bis 11 x 7,2 cm (23,8 x 17,8 cm), Hoch- und Querformate. Jeweils im unteren Bildrand von Georgette Magritte mit Bleistift monogrammiert, nummeriert und fortlaufend beziffert 'I' bis 'XVI'. Einzeln unter Passepartout montiert und zusammen mit einem doppelseitigen Titelblatt, darauf mit Bleistift nummeriert und mit detaillierten Angaben zur Edition, in Original-Portfoliobox. Exemplar 42/100 (+ 10 A.P.). Edition Lebeer Hossmann, Brüssel/Hamburg und Sonnabend Gallery, New York.LiteraturDie truglosen Bilder, René Magritte. Bioskop und Photographie, Köln u.a. 1976, mit Abbn.Inhalt:L'amour, 1928La mort des fantômes, 1928La descente de la Courtille, 1928Lex voyantes, 1930L'ombre et son ombre, 1932La vertu récompensée, 1934Le jugement dernier, 1935L'étoile de pierre, 1935L'apparition, 1935Les pharaons ou la huitième dynastie, 1935Le bonheur du jour, 1935Dieu, le huitième jour, 1937L'éminence grise, 1938Le destructeur, 1943La reine Sémiramis, 1947L'oiseleur, 1955
ERWIN STOLZ* (Gießhübl-Sauerbrunn 1896 - 1987 Wien)SonntagMischtechnik/Papier 47 x 31 cmmonogrammiert ESTverso beschriftet SonntagSCHÄTZPREIS / ESTIMATE °€ 1000 - 2000STARTPREIS / STARTING PRICE °€ 1000Der österreichische Künstler Erwin Stolz erhielt eine Ausbildung zum Agraringenieur, doch in seiner Freizeit beschäftigte er sich intensiv mit der Malerei. Während des Ersten Weltkrieges diente er als Offizier und kam als Kriegsgefangener nach Italien. Nach Kriegsende widmete er sich ganz der Malerei. Anfangs als Schildermaler, Industriegraphiker und Zeitungszusteller tätig, besuchte er zahlreiche Kurse, um sich künstlerisch weiterzubilden. Er hatte Kontakte zu Gustav Karl Beck, Erich Mallina, George Kenner, Alexander Rothaug und den Künstlern des Hagenbunds. Stolz war auch mit dem Komponisten Josef Matthias Hauer befreundet, einem Musiker und Musiktheoretiker aus dem Umfeld von Arnold Schönberg, der unter den Nazis als entartet galt. Im Schaffen von Stolz finden sich Einflüsse von Jugendstil (Gustav Klimt, Carl Moll, Koloman Moser, Otto Wagner, Joseph Maria Olbrich, Josef Hoffmann, Art Déco (Wiener Werkstätte), Neuer Sachlichkeit (Carry Hauser, Franz Lerch, Sergius Pauser, Franz August Sedlacek, Ferdinand Bruckner, Robert Musil, Franz Nabl, Robert Michel, Robert Neumann, Joseph Roth), Symbolismus (Léon-François Comerre, Eugen Bracht, Arnold Böcklin, Edward Burne-Jones, Pierre Puvis de Chavannes, Mikalojus Konstantinas Čiurlionis, Lovis Corinth, Henry Cros, Tivadar Kosztka Csontváry, Jean Dampt, Jean Delville, Maurice Denis, Francisco Durrio de Madrón, James Ensor, Johann Heinrich Füssli, Akseli Gallen-Kallela, Paul Gauguin, Isobel Lilian Gloag, Henry de Groux, Vilhelm Hammershøi, Per Hasselberg, Dora Hitz, Ferdinand Hodler, Ludwig von Hofmann, Wjatscheslaw Iwanowitsch Iwanow, Rudolf Jettmar, Fernand Khnopff, Max Klinger, Georges Lacombe, Franz von Lenbach, Sigmund Lipinsky, Frances MacDonald McNair, Josef Madlener, Jacek Malczewski, George Minne, Gustave Moreau, Edvard Munch, Michail Wassiljewitsch Nesterow, Max Nonnenbruch, Odilon Redon, Auguste Rodin, Félicien Rops, Sascha Schneider, Giovanni Segantini, Leon Spilliaert, Franz von Stuck, Per Adolf Svedlund, Jan Toorop, Adolfo Wildt, Jens Ferdinand Willumsen, Michail Alexandrowitsch Wrubel) und Surrealismus (André Breton, Louis Aragon, Philippe Soupault, René Magritte, Salvador Dalí, Joan Miró, Frida Kahlo). Stolz war ebenso der Anthroposphie zugeneigt wie seine Zeitgenossin und Künstlerkollegin Gertraud Reinberger-Brausewetter.Bitte 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.
ERWIN STOLZ* (Gießhübl-Sauerbrunn 1896 - 1987 Wien)Argonauten, 1924Mischtechnik/Papier 43,5 x 26 cmsigniert Erwin Stolz, datiert 24SCHÄTZPREIS / ESTIMATE °€ 1200 - 2400STARTPREIS / STARTING PRICE °€ 1200Der österreichische Künstler Erwin Stolz erhielt eine Ausbildung zum Agraringenieur, doch in seiner Freizeit beschäftigte er sich intensiv mit der Malerei. Während des Ersten Weltkrieges diente er als Offizier und kam als Kriegsgefangener nach Italien. Nach Kriegsende widmete er sich ganz der Malerei. Anfangs als Schildermaler, Industriegraphiker und Zeitungszusteller tätig, besuchte er zahlreiche Kurse, um sich künstlerisch weiterzubilden. Er hatte Kontakte zu Gustav Karl Beck, Erich Mallina, George Kenner, Alexander Rothaug und den Künstlern des Hagenbunds. Stolz war auch mit dem Komponisten Josef Matthias Hauer befreundet, einem Musiker und Musiktheoretiker aus dem Umfeld von Arnold Schönberg, der unter den Nazis als entartet galt. Im Schaffen von Stolz finden sich Einflüsse von Jugendstil (Gustav Klimt, Carl Moll, Koloman Moser, Otto Wagner, Joseph Maria Olbrich, Josef Hoffmann, Art Déco (Wiener Werkstätte), Neuer Sachlichkeit (Carry Hauser, Franz Lerch, Sergius Pauser, Franz August Sedlacek, Ferdinand Bruckner, Robert Musil, Franz Nabl, Robert Michel, Robert Neumann, Joseph Roth), Symbolismus (Léon-François Comerre, Eugen Bracht, Arnold Böcklin, Edward Burne-Jones, Pierre Puvis de Chavannes, Mikalojus Konstantinas Čiurlionis, Lovis Corinth, Henry Cros, Tivadar Kosztka Csontváry, Jean Dampt, Jean Delville, Maurice Denis, Francisco Durrio de Madrón, James Ensor, Johann Heinrich Füssli, Akseli Gallen-Kallela, Paul Gauguin, Isobel Lilian Gloag, Henry de Groux, Vilhelm Hammershøi, Per Hasselberg, Dora Hitz, Ferdinand Hodler, Ludwig von Hofmann, Wjatscheslaw Iwanowitsch Iwanow, Rudolf Jettmar, Fernand Khnopff, Max Klinger, Georges Lacombe, Franz von Lenbach, Sigmund Lipinsky, Frances MacDonald McNair, Josef Madlener, Jacek Malczewski, George Minne, Gustave Moreau, Edvard Munch, Michail Wassiljewitsch Nesterow, Max Nonnenbruch, Odilon Redon, Auguste Rodin, Félicien Rops, Sascha Schneider, Giovanni Segantini, Leon Spilliaert, Franz von Stuck, Per Adolf Svedlund, Jan Toorop, Adolfo Wildt, Jens Ferdinand Willumsen, Michail Alexandrowitsch Wrubel) und Surrealismus (André Breton, Louis Aragon, Philippe Soupault, René Magritte, Salvador Dalí, Joan Miró, Frida Kahlo). Stolz war ebenso der Anthroposphie zugeneigt wie seine Zeitgenossin und Künstlerkollegin Gertraud Reinberger-Brausewetter.Bitte 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.
ERWIN STOLZ* (Gießhübl-Sauerbrunn 1896 - 1987 Wien)Begegnung mit einem EngelTusche/Papier 58,2 x 40,2 cmsigniert Er. StolzSCHÄTZPREIS / ESTIMATE °€ 600 - 800STARTPREIS / STARTING PRICE °€ 600Erwin Stolz erhielt eine Ausbildung zum Agraringenieur, doch in seiner Freizeit beschäftigte er sich intensiv mit der Malerei. Während des Ersten Weltkrieges diente er als Offizier und kam als Kriegsgefangener nach Italien. Nach Kriegsende widmete er sich ganz der Malerei. Anfangs als Schildermaler, Industriegraphiker und Zeitungszusteller tätig, besuchte er zahlreiche Kurse, um sich künstlerisch weiterzubilden. Er hatte Kontakte zu Gustav Karl Beck, Erich Mallina, George Kenner, Alexander Rothaug und den Künstlern des Hagenbunds. Stolz war auch mit dem Komponisten Josef Matthias Hauer befreundet, einem Musiker und Musiktheoretiker aus dem Umfeld von Arnold Schönberg, der unter den Nazis als entartet galt. Im Schaffen von Stolz finden sich Einflüsse von Jugendstil (Gustav Klimt, Carl Moll, Koloman Moser, Otto Wagner, Joseph Maria Olbrich, Josef Hoffmann, Art Déco (Wiener Werkstätte), Neuer Sachlichkeit (Carry Hauser, Franz Lerch, Sergius Pauser, Franz August Sedlacek, Ferdinand Bruckner, Robert Musil, Franz Nabl, Robert Michel, Robert Neumann, Joseph Roth), Symbolismus (Léon-François Comerre, Eugen Bracht, Arnold Böcklin, Edward Burne-Jones, Pierre Puvis de Chavannes, Mikalojus Konstantinas Čiurlionis, Lovis Corinth, Henry Cros, Tivadar Kosztka Csontváry, Jean Dampt, Jean Delville, Maurice Denis, Francisco Durrio de Madrón, James Ensor, Johann Heinrich Füssli, Akseli Gallen-Kallela, Paul Gauguin, Isobel Lilian Gloag, Henry de Groux, Vilhelm Hammershøi, Per Hasselberg, Dora Hitz, Ferdinand Hodler, Ludwig von Hofmann, Wjatscheslaw Iwanowitsch Iwanow, Rudolf Jettmar, Fernand Khnopff, Max Klinger, Georges Lacombe, Franz von Lenbach, Sigmund Lipinsky, Frances MacDonald McNair, Josef Madlener, Jacek Malczewski, George Minne, Gustave Moreau, Edvard Munch, Michail Wassiljewitsch Nesterow, Max Nonnenbruch, Odilon Redon, Auguste Rodin, Félicien Rops, Sascha Schneider, Giovanni Segantini, Leon Spilliaert, Franz von Stuck, Per Adolf Svedlund, Jan Toorop, Adolfo Wildt, Jens Ferdinand Willumsen, Michail Alexandrowitsch Wrubel) und Surrealismus (André Breton, Louis Aragon, Philippe Soupault, René Magritte, Salvador Dalí, Joan Miró, Frida Kahlo). Stolz war ebenso der Anthroposphie zugeneigt wie seine Zeitgenossin und Künstlerkollegin Gertraud Reinberger-Brausewetter.Bitte 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.
Loading...
