We are delighted to be able to bring you this wonderful collection of pieces that have been carefully sourced from all over the world, each with its own unique story to tell.
We hope you enjoy flicking through this catalogue!
We look forward to seeing many of you on Saturday 7th May in the Harpenden Gallery.
If you would like to discuss any of the works further, please feel free to contact us: 01582 760332 harpenden@galleryrouge.co.uk
George Braque (1882 - 1963)
Persephone (s.8471) Medium: Original Woodcut, in colour, 1948, on Arches watermarked paper, signed by the artist in pencil Size: Paper size: 416 x 563 mm; Image size: 240 x 348 mm. Edition: 23/50 - There were also a few unnumbered proofs made. Publisher: Galerie Maeght, Paris Provenance: 1) Massachusetts Estate. 2) Horizon Gallery, Rockport, Massachusetts label, verso. Printed by: Fequest and Baudier, Paris, for George Braque Note: Braque very rarely made wood engravings, only 4 in his lifetime, and this is an especially nice example of the genre. The same composition as this was used by the artist to make a tapestry. Braque was most interested in Greek mythology and much of his art at this period relates to these. Persephone was the daughter of Zeus and Demeter, Queen of the Underworld. She was abducted by Hades - the king of the underworld. She is often depicted robed, carrying a sheaf of grain and in the act of being carried off by Hades. In this rather abstract depiction by Braque it is quite hard to see what is happening. My interpretation is that the figure on the left is Hades driving his chariot whereas Persephone is the column-like figure on the right carrying a sheaf of grain in the shape of a stick with circles attached. References: Dora Vallier: “Braque, The Complete Graphics” Catalogue Raisonee: Number 38 Engelbert: “ Braque. Catalogue de l’oeuvre graphique original”: No 28 Hatje : “L’Oeuvre graphique de Georges Braque” : No 30 Public Collections: Musee de Dieppe (Catalogue, Volume 1, No 11)
Price: £3,000
Les Fleurs Violets (s.8421) Bouquet des Fleurs Medium: Etching and Aquatint in colour, circa 1955/60, on Arches watermarked paper, signed by the artist in pencil, with blindstamp "ATELIER CROMMELYNCK PARIS" Size: Image size: 19 in x 11 5/8 in (48.3 cm x 29.5 cm); Paper size 26 in x 19 3/4 in (66 cm x 50.2 cm) Edition: 92/200 - There was also an edition of 50 on Japan paper. Publisher: Atelier Crommelynck, Paris Note: This array of bright violet and pink flowers appears to come alive amidst the rich hues and tones of the print. The various, subtle yellows and browns of the composition contrast nicely with the purple arrangement, allowing it to emanate with the radiance and vibrancy of spring. This vase of a bright and colourful arrangement of flowers gives new meaning to the still life genre. Braque helped redefine the meaning of the still life, adding a vibrant energy and evocative emotion inherent in the color and strokes of the work. The deep yellows and browns of the vase helps bring out the delicate speckles of pink and violet flowers, which hang loosely over the side. The flowers themselves appear to bleed in with the remaining tones of the background, allowing for a depth and richness that makes Braque's work so extraordinary. Reference: The Vallier Catalogue Raisonee is missing many works and this is one of those.
Price: ÂŁ3,250
After George Braque (1882 – 1963)
Feuillage en couleurs (s.8416) Foliage in colours Medium: Etching in colour, circa 1956, on BFK Rives watermarked paper, signed by the artist in pencil, with blindstamp "ATELIER CROMMELYNCK PRESSES DUTROU PARIS" Size: Image size: 440 x 380 mm ; Paper size 500 X 670 mm Edition: XVI/XX Publisher: The Society des Bibliophiles de France, Paris Note: There was also a version of this in Black and White which was possibly a state of our piece (Vallier 106) Reference: Dora Vallier “Braque: The Complete Graphics” Number 105
Price: £6,500
Bernard Buffet (1928 – 1999)
Soucis, 1977 (s.8467) Medium: Original Lithograph in 5 colours, 1977, on Arches watermarked paper, signed by the artist in pencil Size: 760 x 560 mm (Paper size) ; 660 x 470 mm (image size) Edition: EA (Artists proof) There were 30 artist proofs and a signed and numbered edition of 150 Literature: Charles Sorlier “Bernard Buffet Lithographe I” (Catalogue Raisonee) Number 235 Printed by: Mourlot Freres, Paris Published by: Editions Maurice Garner, Paris Public Collections: Bibliothèque Nationale, Paris, France
Price : £2,800
Bouquet de Soucis, 1976 (s.8467) Medium: Original Lithograph in 7 colour, 1976, on Arches watermarked paper, signed by the artist in pencil Size: 560 x 750 mm (Paper size); 470 x 670 mm (image size) Edition: Artists proof (EA). There were 30 artist proofs, 25 Hors commerce proofs on japan paper and a signed and numbered edition of 150 on Arches. Literature: Charles Sorlier “Bernard Buffet Lithographe I” (Catalogue Raisonee) Number 230 Printed by: Mourlot Freres, Paris Published by: Editions Maurice Gerniers, Paris, France Public Collections: Bibliothèque Nationale, Paris, France
Price : £2,800
Anemones,1976 (s.8467) Medium: Original Lithograph in 8 colours, 1972, on Arches watermarked paper, signed by the artist in pencil Size: 750 x 560 mms (Paper size); 580 x 490 mms (image size) Edition: EA (Artists proof) 11/30. There were 30 artist proofs, a signed and numbered edition of 150 and 25 hors commerce proofs on Japan paper. Literature: Charles Sorlier “Bernard Buffet Lithographe I” (Catalogue Raisonee) Number 232 Printed by: Mourlot Freres, Paris, France Published by: Editions Maurice Garner, Paris, France Public Collections: Bibliothèque Nationale, Paris, France
Price : £2,800
Pensees et Ombelles, 1983 (s.8467) Pansies and Ombels, 1983 Medium: Original Lithograph in 9 colours, 1983, on Arches (infinity) watermarked paper, signed by the artist in pencil Size: 760 x 580 mms (Paper size); 650 x 480 mms (image size) Edition: EA (Artist’s Proof)- There were 25 artist proofs and 125 signed and numbered copies. Literature: Charles Sorlier “Bernard Buffet Lithographe II (1979-1986)” (Catalogue Raisonee) Number 425 Printed by: Mourlot Freres, Paris Public Collections: Bibliothèque Nationale, Paris, France
Price : £2,800
Tulipes Jaunes et Rouges, 1983 (s.8467) Red and Yellow Tulips, 1983 Medium: Original Lithograph in 9 colours, 1983, on Arches (infinity) watermarked paper, signed by the artist in pencil Size: 760 x 580 mms (Paper size); 650 x 500 mms (image size) Edition: EA (Artist’s Proof)- There were 25 artist proofs and 125 signed and numbered copies. Literature: Charles Sorlier “Bernard Buffet Lithographe II (1979-1986)” (Catalogue Raisonee) Number 426 Printed by: Mourlot Freres, Paris Public Collections: Bibliothèque Nationale, Paris, France
Price : £2,800
La Cafetiere (sorlier 14) (s.8244) The Coffee Pot
Medium: Original Lithograph in 4 colours, 1955, on BFK Rives paper, signed by the artist in pencil Size: 670 x 480 mms (Image size); 760 x 560 mms (Paper size) Edition: From the signed and numbered edition of 300. There were also 30 artist proofs. Printed by: Mourlot Freres, Paris, France. Published by: Editions Guilde de la Gravure, Geneva. Literature: Charles Sorlier Number 14 Public Collections: Bibliotheque Nationale, Paris
Price : ÂŁ2,250
Les deux Oiseau (s.8423) The two birds Medium: Original Etching in black & white, circa 1990, signed by the artist in pencil (I cannot make out the watermark on this paper - it appears to be Morium du Gil 999) Size: 770 x 580 mms (Paper size); 465 x 610 mms (Plate size) Edition: EA XVII/XX (Artists proof) - From an unknown edition size Public Collections: Bibliothèque Nationale, Paris, France Note: Buffet was fascinated by birds and this theme cropped up many times in his oeuvre
Price : ÂŁ1,000
Le Café - Restaurant a Roger (s.8423) Medium: Original Lithograph in 10 colours, 1985, on Arches paper, signed by the artist in pencil Size: 770 x 580 mms (Paper size); 655 x 500 mms (Image size) Edition: EA - There was a signed and numbered edition of 150 and 30 artist proofs Literature: Charles Sorlier “Bernard Buffet - Lithograph II” Number 464, page 176 Public Collections: Bibliothèque Nationale, Paris, France Published by: Gallery Maurice Garnier, France
Price : £1,600
Le Village de Marines (s.8423) Medium: Original Lithograph in 13 colours, 1985, on Arches paper, signed by the artist in pencil Size: 760 x 580 mms (Paper size); 650 x 500 mms (Image size) Edition: EA - There was a signed and numbered edition of 150 and 30 artist proofs Literature: Charles Sorlier Number 470, page 94 Published by: Gallery Maurice Garnier, France Public Collections: Bibliothèque Nationale, Paris, France
Price : ÂŁ1,600
Marc Chagall (1887 – 1985)
Yizkor - La prier du souvenir Yizkor - The prayer of remembrance Medium: Original Drawing in brown ink on paper, 1946, signed by the artist and signed “Chagall, Paris” below right, dated below left Size: 214 x 130 mms (8.3 x 4.5 inches) Provenance: The Collection of Joseph Millner (Vice President of l’O.S.E.E and member of l’association des ecrinains quiffs de France), by decent. This eminent figure was born in Chelm, Poland, in 1887. He studied Engineering and Chemistry in Switzerland prior to the First World War. In 1914 he was mobile in the Russian army to open a Chemistry laboratory in Moscow, In 1916 he met his wife, Ida Rastiger. His brother in law, Grisha Rastiger, was an activist in the Jewish Socialist movement which had been founded in Vilna in 1897. Joseph Millner participated in the founding of two Jewish newspapers, one in Hebrew and the other in Russian, both of which were proscribed in the October Revolution. Lenin described such things as separatism and contrary to the Nationalism he sought to create. Chelm, the city of the writers birth, was considered by Poles to be a place of caustic dry humour and his personality fitted these perceived descriptions. Despite this he was described as a “Bon Viveur”. He was a famous writer well known for witty sayings, and living in difficult times he was described by contemporaries as a “yiddishiste”. Certification: The buyer obtains a certificate from the Comite Chagall dated in Paris 16th March 2016, Archive number 2016011 Note: Yizkor, inscribed on the drawing in Hebrew above left, is a special memorial prayer for the dead which is received in the synagogue four times a year following the Torah reading: on the last day of Passover, on the second day of Shavuot, on Shemini Atzeret and on Yom Kippur. Yizkor, in Hebrew, means “Remember”. It is not only the first word of the prayer, it also represents its overall theme. In this prayer, we implore God to remember the soul of our relatives and friends who have passed on. The drawing was made only one year after the end of the Second World War and doubtless reflects Chagall’s admiration and respect for a writer and scholar of Judaism. The Angel of the Lord can be seen above right. Perhaps the figures emerging from a door on the left are indeed those who should be remembered having perished in the Holocaust in the only too recent conflict. In 1946 all would have been aware of these tragic events. Condition: Small fixing spot central. Otherwise in good condition.
Price: £18,500
Self Portrait (s.8465) Autoportrait Medium: Original lithograph, 1960, on Arches paper, signed by the artist in pencil. Size: 475 x 320 mms (Paper size); References: Mourlot 282 Hatje: “Marc Chagall, The Lithographs” Number 282 Patrick Cramer “Marc Chagall, Catalogue Raisonne de livres illustres” Number 43 Edition: HC - A Hors Commerce proof There was an edition of 40 signed and numbered copies. Notes: Mourlot published volume 1 of a catalogue raisonne of the lithographs of Marc Chagall in 1960. Included in the text and cover of this work were 15 unsigned original Lithographs by the artist each without a margin. There were 100 Deluxe editions of the work published each of which contained a portfolio of 12 of these lithographs signed and numbered and it is from this group that our example comes. Printed by: Mourlot Freres, Paris, France Published by: Fernand Mourlot in October 1960.
Price: £7,000
Le Bateau Mouche au bouquet (s.ta261) Medium: Original lithograph, 1960, on Japan paper, numbered and signed lower right by the artist in pencil. Size: 430 x 330 mms (Paper size); 395 x 300 mms (Image size) References: Mourlot 352 Hatje: “Marc Chagall, The Lithographs” Number 352 Patrick Cramer “Marc Chagall, Catalogue Raisonne de livres illustres” Number 43 Edition: VII/X. This is a rare item from the edition of 10 on Japan Nacre paper. There were also: 20 copies on Arches wove numbered 11/30 with an unsigned suite of 120 copies, numbered 31/150 on Arches wove, plus an additional 30 copies hors commerce Notes: “Paris, my heart’s reflection, I would like to blend with it, not to be alone with myself.” This was part of a portfolio entitled “Regards sur Paris” (Gerard Bauer and various authors). Ten writers - all members of the Academie Goncourt - contributed essays to this book which presents the different sights and scenes of Paris. Each text is illustrated by a different artist with 2 full page and 1 double page Lithograph. Chagall’s contributions were: La Place de la Concorde Le Bateau Mouche au bouquet (This present example) Quai de la Tourelle For more then 60 years the Compagnie des Bateau-Mouches has told a love story to generations of passengers, those who are curious, poets, those who are romantic or in love … Today the company has 6 boats which travel up and down the river Seinne and serve a delicious lunch or dinner. Printed by: Mourlot Freres, Paris, France Published by : Andre Sauret, Paris. From "Regards sur Paris".
Price: £8,000
L’artiste et son modele (s.ta229) (This shows the artist at his easel, holding a pallet, with a model behind him and a bird to left) Medium: Original Etching , 1979 , in black and white, signed by the artist in pencil , on BFK Rives paper Size: 207 x 150 mms (image size) ; 375 x 555 mms (paper size) Published by: Galerie Patrick Cramer, Geneva, Switzerland Reference: Galerie Patrick Cramer “Marc Chagall - Gerald Cramer, Trente ans de travail et d’amitie” number 65 Exhibitions: Patrick Cramer Galerie, 8th June/15th August 1992. This show exhibited all the works of Chagall ever published by the Galerie. Note: Gerald Cramer first met the artist, Marc Chagall in 1952 when he published one of his works as a cover piece on a catalogue and this was to be the beginning of a long cooperation between them. Over a period of many years Gerald Cramer published 144 different prints including etchings, aquatints, monotypes and linocuts. Edition: 1/30
Price: £3,600
Jean Cocteau (1889 – 1963)
Jeune Garcon a la collerette jaune et blanche (s.8222) Medium: Original pastel drawing, 1955, on Canson blue paper, in colours, signed and dated by the artist “Jean” with a star beneath signature Verso is another cut down larger drawing of a Harlequin cut in two the bottom part of which can be seen with a signature and star dated 1955. Inscribed in pencil verso: (Inv A129362 - Chenve No 1366) - 122”. We are unsure of the relevance of this. Size: 320 x 500 mms Authentification: A certificate from the Jean Cocteau expert, Annie Guedras, comes with this item dated at Perigueux 3rd December 2014
Price: £5,750
La Jeune Mariee (s.8010) Medium: Original drawing in pencil and coloured crayons , 1956, signed by the artist with innitials dated and titled “La Jeune Marie” Size: 210 x 270 mms (paper size) Note: This image shows a veiled woman with outstetched arm. It was doubtless made to illustrate the publication by Cocteau of the same title. Authenticity: There is a certificate supplied by Annie Guedras, expert in the works of Jean Cocteau, dated12th July 2012. It is recorded in the archives of the Cocteau expert, Annie Guedras, under archive number 5465 E
Price: £3,500
Personage Fantastique (s.7324) Medium: Original wash drawing and collage, 1922, signed with initials “JC” made by the Surrealist technique using spots and dark brown ink on fine paper glued together of different thicknesses on a BFK Rives support. Size: 307 x 223 (paper size) - with a 35 mms strutting out piece. 270 x 209 (Image size) Note: This is a fine example of an early rare surrealist work by this artist. Authenticity: The buyer acquires a certificate by Annie Guedras, the Cocteau expert, dated 25th August 2009, archive number 5047 D, made in Perigaux, France
Price: £4,000
After Jean Cocteau
Seine, Entre tes Bras Amoureux (s.8371) Medium: Double sided fan, lithograph on paper and wood, with artists stamp and signed “Jean” lower right. Signed and extensively inscribed verso. Size: 320 x 600 mms Notes: This was made circa 1990 by Edouard Dermit, the adopted son and legacy of Jean Cocteau who owns the reproduction rights. The prototype was a drawing by Cocteau made between 1937 and 1940. Verso is a text by Jean Cocteau which (translated) says: “The Seine, between your loving arms Protect the peace of an island Where to avoid the noises of the City The Arts Find themselves at home” Edition: HC 8/25 There was and edition of 159 examples numbered 1/150 to 150/150 and a further 25 examples numbered HC 1/25 to HC 25/25 from which our example comes. Authenticity: Provided with the work is the original of a certificate by Annie Guedras the world renowned expert on the works of Jean Cocteau. It was issued at Perigueux, France, on the 15th July 2015
Price: £900
Salvador Dali (1904 – 1989)
Le Neurologiste, 1977 The Neurologist, 1977 Medium: Chine Ink and pen on cardboard, in 4 different colours: Brown, Black, Red and green, signed in red felt pen to centre “Dali”, dated in the centre to right “1977” signed a second time in Chine Ink lower centre “Dali” Provenance: Spanish Auction House Note: This drawing is of similar style, colour and composition to the three franc stamp, designed by Dali in 1978, for Postes de Francia, which went on sale through the French postal service in November 1979, according to Robert Descharnes, in "Dalí: la obra y el hombre", (Dali, the work and the man) published by Tusquets, 1984, page 412. This is of a subject matter of interest to the artist whose interest in psychology and medical related questions was profound. He had a great admiration for Freud who he met on several occasions. Neurology is a science for treating diseases off the nervous system which includes the brain, the spinal cord and the nerves and the artist no doubt had a fascination for this also. Authentification: The work has been shown to Nicolas Descharnes, the Internationally renowned Dali expert who confirms authenticity. The certificate is dated 22nd January 2016. We have a photocopy of the Certificate of Authenticity dated 1989, issued by D. Enrique Sabater, Salvador Dali’s secretary from 1968 to 1980. This is a document signed by the Notary Public Ramon Coll Figa and bearing stamps to the value of 30 Pesetas Exhibitions: This work of art was included in an exhibition of unpublished Salvador Dali drawings which took place in “La Galeria Barcelona Dondo” (Whose Director was Jaime Gil Aluja), Barcelona , in 1988. We have a photocopy of the article published in "El periódico" on 9th June 1988, in which this drawing illustrated being described as “Uno de los dibujos indictor de Salvador Dali”. The show consisted of 48 works in total Size: 655 x 488 mms
Price : £55,000
Title: Futbol (s.8447) Football - study for the Olympic Medallion. Medium : Original Drawing, pencil on cardboard, 1979, signed and dated “GDALI 1979” at centre right Size: 400 x 400 mms (15 3/4” x 15 3/4”) Note: This comes from a series called “Sports” which Dali made for the Olympic Games and our drawing is a study for the Medal made for the American Olympic Committee. Dali made a series of studies of Sports including Golf, Swimming and Tennis. Sold with the above is: 1984 Silver USA Olympics Medal by Salvador Dali Weight: 1.05 oz - containing 46.65 grams of .999 silver Provenance: Private Collection Gerone. Condition: In very good condition Authenticity: This is accompanied by a certificate of authenticity from Robert Descharnes dated at Paris, 23rd May, 2004, archive number D-3816
Price: £32,000
Title : Cybele (s.8345) Mother Earth Medium : Original multiple patinated bronze multiple sculpture , 1972/3, signed by the artist in the bronze, Literature: See “Sculptures and objects : Dali - the Hard and the Soft - by Robert and Nicolas Descharnes. Page 201 - Reference 497 Size: 400 mms Height x 130 x 110 mms (Including base( Excluding base: 310 x 130 x 110 mms Weight: 11 Kgs. Published by: Cory Gallery Editions, 377 Geary Street, San Francisco, USA Authenticity: We have a copy of a letter dated 5/6/1996 signed by Albert Field of the Salvador Dali Archives. He states that he has a copy of a contract signed by Salvador Dali and Edward J Cory concerning this item. He goes on to say that the Archives purchased statue number 30/100 from Mrs Estelle Cory. Cast by: Art Bronzes, San Leandro, California. Note:. We have a copy of a Press Release made by The Cory Gallery (Undated but presumably circa 1973). In this document it states that the Madonna-like face is fitted with Dali’s symbolical drawer in the forehead and that the handsome and forceful torso, with multiple breasts, proclaims her indeed a modern version of Artemis, the ancient Greek goddess of fertility. KYBELE (or Cybele) was the great Phrygian Mother of the Gods, a primal nature goddess worshipped with orgiastic rites in the mountains of central and western Anatolia. A further Dali motif is the melting clock on her shoulder. A further press cutting by Cory Galleries, of which we also have a copy, states “She has 18 breasts and a drawer in her forehead” and the Limited Edition of 100 copies offered to serious collectors at $7500-00 each copy. Edition: 9/100 - Editioned in the bronze. There was a larger sculpture of the same subject made in an edition of 8
Price : £5,500
The Spring at Evian (Perrier) 1969 (s.8276) Medium: Original silkscreen print, in colours, 1969, signed by the artist in the screen and dated. Size: 535 x 375 mms (Paper size) Note: By 1984 Perrier was the world’s leading mineral water company having been founded in 1904. It came from a natural spring in Verges, a spa town in Provence, and was famous for its alleged health giving properties. This work was the text of a full page advertisement in French Newspapers commissioned by Perrier. Edition: There was an edition of 25 on cardboard and a large edition of unknown size on thin poster paper from which our example comes. Published by: Perrier Company, France Printer: SCAL-GP Reference: Prestel “Catalogue Raisonee of Prints II: Lithographs and wood engravings 1956/1980 - No 1231 Condition: very good
Price: £250
Title: L’Ange de la melancolie (s.7970) The Angel of Melancholy Aurelia, 1972 - Prestel 562/565 Medium : Original Drypoint Etching with aquatint in colours, on Arches France watermarked paper, 1972, signed by the artist in pencil Note: This subject comes from the portfolio “Aurelia” it consisted of 4 works in total. 1) Visage Surrealiste - Prestel 562 (Page 207) /Field 72- 5 A (Page 72) 2) Memorabilia (Memorabilia) - Prestel 563 (Page 207) /Field 72- 5 C (Page 72) 3) L’Ange de melancholie - (The angel of melancholy)- Prestel 564 (Page 207)/Field 72- 5 D (Page 72) 4)Le Colosse (The Collosus) - Prestel 565 /Field 72- 5 B (Page 72) Dali drew his inspiration for these etchings from Gerard de Nerval’s halluciatory “Aurelia ou le reve et la vie” (1855). In this famous work The text superimposes three quests - that of the woman he loved and lost, of forgiveness and the meaning of dreams - through a plethora of myths and beliefs. See also: Bruce Hochman “Print Price Guide to the Graphic Works of Salvador Dali” page 102 - Valued at US$14,000 Edition: This was printed on a number of different papers. a)175 on Arches paper b)100 on Auvergne c)I - XXV on Japanese paper d)70 of various states Published by:Editions d’Art de Francony, France Printed by: Ateliers Rigal, Paris, France Size: Paper size 760 x 560 mm; Image size 575 x 370 mms Condition: Minor folds and creases
Retail: £2,000
Alberto Giacometti (1901 – 1966)
Title: Portrait of Iliazd (s.8453) Medium: Original Etching, 1962, on Rustic China paper, with full margins, signed by the artist in pencil Size: 5.5 x 4.1 in (13.97 x 10.41 cm) Edition: 40 - An numbered edition as explained below. Literature: Herbert Lust “Alberto Giacometti The complete graphics” Number 172 Note: This is part of the portfolio”Iliazd. Les douse portraits du Celebre Orbandale” which was published in Paris. It consisted of 12 etchings and the portfolio was signed by the artist on the title page and numbered at the end by the publisher. The illustration in Lust is not signed but the notes state that “Copies exist in which all the etchings have been signed by the artist” and this is, without doubt, one of those. Alberto Giacometti’s austere figures and portraits speak to human existence in a post-war era defined by alienation and uncertainty. Fascinated by the practice of representing the same sitter again and again to reveal the constant variability of a single person, Giacometti often took his wife, his mother, and his brother as subjects. In the series of 12 prints from which this work originates, the artist conjures the writer and editor Iliazd, who held major influence in the art world during his lifetime. Ilia Mikhailovich Zdanevich (Known as Iliad) (1894 - 1975) was a Georgian and French writer/artist and an active participant in Russian Futurism and Dada. During the First World War he lived in Tbilisi where he published several collections of poetry. In 1921 he arrived in Paris where he joined a group aiming to present Russian emigres with French culture and later went on to publish two novels. His later career was rich and varied analysing church elevations and creating fabrics for Coco Chanel. But it is above all that his rocks on artists books are remembered collaborating with Picasso, Max Ernst, Miro, Braque, Chagall, Matisse and, of course, Giacometti and others. Major Collections: Walker Art Centre, Minneapolis, Minnesota De Young, San Francisco
Price: £3,750
After David Hockney OM CH RA (born 1987)
Still Life with Curtains (s.8303) Medium: Home Made Print executed on an Office colour copy machine, 1986, in 4 colours (Black, Blue, Red, Grey), on 100% rag Arches Text 120g paper, signed and dated lower right, Artists chop mark (DH in Circle) lower right, Size: Paper size: 279 x 214 mm; Plate size : 340 x 547 mms Reference: Tokio Museum (Catalogue Raisonee) Number 289, page 288 David Hockney’s website: www.hockneypictures.com Note: No stranger to controversy David Hockney has pioneered a number of trends over the years some of which have been picked up by the mainstream movements and some of which were not. In the 1980’s he started working with “Faxed Art”, Polaroid prints and “Home Made Prints”, of which this is an example. He used an office photocopy machine and produced prints in editions. There are a number of different editions of this over of different subjects. Since Hockney never made the matrix from which this was created it is properly described as “after” David Hockney Edition: 44/48 Condition: Trimmed irregularly on lower margin by 2 mms. Public Collections: Machida City Museum of Graphic Arts.
Price: £6,500
Roy Lichtenstein (1923 – 1997)
Untitled (Sea) (s.8350) Medium: Original screenprint, 1996, on 300 gram Coventry Rag Vellum paper, signed by the artist in pencil Edition: 152/175 Size: 80.33 x 100.97 cms (Paper size) Reference: This work is not included in the Corlett catalogue raisonee which does not include all the later Lichtenstein prints. Published by: The artist and Ronald Feldman Fine Arts, Inc, New York
Price: ÂŁ18,500
Illustration for “Passage du Nord-Ouest” (s.8358) Medium: Original etching and aquant, 1992, on 250-gram Velin d’ Arches paper, in 1 colour, in 1 run, from 1 plate: 1 black, signed and dated by the artist in pencil Published by: Les Editons du Solsce, Paris, France Printed by : Atelier Dupont-Visat, L’Editeur, Paris, France/ Collaborated with Albert Dupont. Edi3on: 31/80; plus 45 HC numbered in Roman numerals. There was also an editon of 42 copies on Japan nacre paper. Size: 352 x 480 mms (Sheet size) ; 279 x 375 mms (Plate size) Reference: Mary Lee Corle`: “The prints of Roy Lichtenstein, A catalogue raisonne 1948 - 1993” Number 273 (page 247) Note: This is the seventh print from a suite entled “La Nouvelle Chute de l’Amerique” (The new fall of America) which took the form of an unbound book. The editon consisted of suites coming from the book which were initated and those made separately in Suites (which our example is) which were signed by the artist (the la`er being more desirable).
Price: £5,200
Henry Matisse (1869 – 1954)
Femme Allongée (s.8398) Reclining woman Medium: Original Etching in colours, 1925, on Chine Appliqué , on Velin Arches, paper paper, signed in the plate and dated 1925, signed also by the artist in pencil lower right on the margin Size: 120 x 91 mms (plate size) mms , 260 x 210 mms (Paper size) ; Edition: 67/100 The edition consisted of 100 examples on Velin Arches paper with a signed and numbered etching by Matisse (from which our example comes) 10000 examples, unsigned, on velin Lafuma paper 20 examples Hors Commerce numbered I to XX Literature: Claude Duthuit “Henri Matisse - Catalogue Raisonee des ouvrages illustres” Number 3, pages 10/11 Printed by: Ateliers Daniel Jacomet et Cie, Paris Published by: Editions Quatre Chemins, 18 rue Godot-de-Mauroy, Paris - 15th December 1925. Public Collections: Bibliothèque Nationale, Paris, France Note: This comes from an Album made under the direction of Madame V Raking and W Walter of the Editions Quatre Chemins. It consisted of 64 reproductions of drawings made by Matisse between 1898 and 1925. The work was made for an exhibition of the artists drawings which took place at the time.
Price : £5,800
Odalisque au Magnolia (s.8337) Odalisque with Magnolia’s Medium: Original Lithograph, 1923, on Japon paper, signed by the artist in pencil. Edition: 45/50 ; There were also 6 Trial Proofs on Chine and Japon and 10 Artists proofs. Reference: Claude Duthuit “Henri Matisse, Catalogue Raisonee de l’oeuvre grave: Number 432 Giles Neret: “Henri Matisse” Discussed and illustrated on page 126. Size: 300 x 402 mms (Image size) ; 500 x 645 mms (Paper size) Note: For a short period during the 1920’s Matisse was preoccupied with a series of works depicting “Odalisques” who were ladies of the Harem in Arab lands whom the artist had seen on a trip to Morocco. There are a number of paintings made on this theme with bright dramatic colours showing the backgrounds often associated with Islamic themes. The lithographs Matisse made during this period are very diverse in style and background also - all made with great care and precision. This lithograph is similar to an etching made at Nice in 1924 (Duthuit 86) with the same title but reversed. There is also a painting, similar to the reversed etching with the same title now in a Private Collection but illustrated in Neret. The stone has been cancelled. Public Collections: Bibliotheque National, Paris Victoria & Albert Museum, London Baltimore Museum of Art University of California, Los Angeles
Price: £24,000
Nu Assis a la Chemise de Tulle (s.8335) Seated nude in a Tulle shirt Medium: Original Lithograph, 1925, on Chine paper, Signed by the artist in pencil Edition: Essai (trial proof) There were 7 Trial Proofs, 10 artists proofs and a signed and numbered edition of 50. References: Claude Duthuit “Henri Matisse, Catalogue Raisonee de l’oeuvre grave: Number 465 Berggruen, Lithographies rares, 1954 - Marchions 1967, no 66 Note: For a short period during the 1920’s Matisse was preoccupied with a series of works depicting “Odalisques” who were ladies of the Harem in Arab lands whom the artist had seen on a trip to Morocco. There are a number of paintings made on this theme with bright dramatic colours showing the backgrounds often associated with Islamic themes. The lithographs Matisse made during this period are very diverse in style and background also - all made with great care and precision. Examples Exhibited: Victoria & Albert Museum, 1972 Public Collections: Bibliothèque Nationale, Paris Victoria & Albert Museum, London Baltimore Museum of Art Size: Image size: 368 x 279 mms Paper size: on Chine 550 x 372 mms
Price: £22,500
Odalisque au Collier (s.8336) Odalisque with a collar Medium: Original Lithograph on Chine paper , 1923, Signed by the artist in pencil Edition: 10/50; There were also 5 Trial proofs and 10 artists proofs Reference: Claude Duthuit “Henri Matisse, Catalogue Raisonee de l’oeuvre grave: Number 434 Note: For a short period during the 1920’s Matisse was preoccupied with a series of works depicting “Odalisques” who were ladies of the Harem in Arab lands whom the artist had seen on a trip to Morocco. There are a number of paintings made on this theme with bright dramatic colours showing the backgrounds often associated with Islamic themes. The lithographs Matisse made during this period are very diverse in style and background also - all made with great care and precision. Public Collections: Bibliotheque National, Paris Musee Matisse, Nice Musee Pouchkine, Moscow Baltimore Museum of Art University of Californias, Los Angeles Size: 235 x 308 mms (Image size); 360 x 460 mms (Paper size) Note:
Price: £12,000
Jeune Hindoue (s.8341) Young Hindu Medium: Original Lithograph on Arches velin paper, 1929, signed by the artist in pencil Edition: 29/50; There were also 11 trial proofs, and 10 artists proofs References: Claude Duthuit “Henri Matisse, Catalogue Raisonee de l’oeuvre grave: Number 508 Lieberman, 1956, pp 111 and 25 - He titles this “Seated Odalisque” Marlborough “Matisse: The essence of line” selected prints 1900/1950 - Illustrated 58 Size: 285 x 358 mms (Image size); 395 x 495 mms (Paper size) Note: For a short period during the 1920’s Matisse was preoccupied with a series of works depicting “Odalisques” who were ladies of the Harem in Arab lands whom the artist had seen on a trip to Morocco and this Hindu theme is a branch of these studies. There are a number of paintings made on this subject with bright dramatic colours showing the backgrounds often associated with Islamic art. The lithographs Matisse made during this period are very diverse in style and background also - all made with great care and precision. Public Collections: Bibliotheque National, Paris Baltimore Museum of Art Philadelphia Museum of Art
Price: £17,000
Portrait of Rene Lerich Medium: Original Lithograph on greyish chine applique paper, 1949, with full margins, signed by the artist in pencil Published by: La Diane Francaise, Nice Printed by: Mourlot Freres, Paris Literature: 1) Duthuit, Claude, Henri Matisse Catalogue Raisonné des ouvrages illustrés, 1988, listed as cat no 27 on pages 222 and 223. 2) Duthuit-Matisse, Marguerite, and Duthuit, Claude, Henri Matisse Catalogue Raisonné de l'oeuvre grave, Tome II, 1983, listed as pl. 325 on page 200. Size: 191 x 130 mms (Chine appliqué size); 137 x 222 mms (Paper support size) Note: This work was the frontispiece of Professor Leriche's book, 'La Chirurgie, discipline de la connaissance' (Surgery, discipline of knowledge). During the Second world war, in 1940, Matisse was gravely ill with severe abdominal pains. He was transported to a hospital in Lyons where the surgeon, Rene Lerich (1879 - 1955) conducted an emergency operation and slowly the artist returned to health. The surgeon and artist became firm friends as a result of this experience and when the former wrote his book Matisse produced the lithographic portrait for the cover. 'La Chirurgie, discipline de la connaissance' (Surgery, discipline of knowledge). Lurch was a famous surgeon who pioneered many medical advances. He received many honours during his lifetime one of which was being depicted on the French postage stamp for 35 Francs. He authored more than 1,400 publications covering nearly every facet of surgery, and won countless awards and honorary degrees. However, he remained at heart the eternal curious observer and experimenter. One admirer described him in this way: “So acute are his powers of observation and deduction, so illuminating the flashes of inspiration which he directs upon his problems, that there are few—if any—surgeons of his generation who, having asked themselves ‘why?’ have been able to reply ‘exactly thus’ as often as has René Leriche.” Edition: 13/300. There were also 50 Hors Commerce examples made.
Price: £1,200
Joan Miro (1893 – 1983)
Femme (s.8469) Woman Medium: Original drawing in wax cray on pink paper, 14/VII1977, signed by the artist in ink, dated and titled verso. The right edge of the drawing has been torn regularly by the artist. Size: 31 x 18.5 cms Authenticity: The buyer obtains an original certificate from ADOM (Association pour la defence de l’oeuvre do Joan Miro), the authenticating body for this artists works, dated th December 2013. It consists of seven members, under the presidency of Ariane LelongMainaud, including the direct descendants of the painter and the greatest specialists of his work. Note: The tear on the right of the drawing is very typical of Miro’s works of this period and is an interesting facet of what he did. In his celebrated exhibition at the Grand Palais in 1974 the artist included many such works which became the subject of considerable controversy. The artist, throughout his career, brought his art to the brink of annihilation and back again. Some of the canvases on display in the Barcelona Miro Museum have been burned with very little of the original art surviving. Miro considered this an important aspect of the surrealist ethic. Condition: In good condition with fresh colours.
Price: ÂŁ28,500
Le Marteau sans maitre (D.946) (S.8461) The hammer without master Medium: Original Etching with aquatint 1976, in colours, on Arches wove our iil paper, signed by the artist in pencil Size: Paper size: 440 x 675 mms; Plate Size : 280 x 225 mms ; Reference: Jacques Dupin “Miro Graveur” (Catalogue Raisonee) ( Volume IV, pages 34/40) Number 946 Patrick Cramer “Joan Miro, The Illustrated Books” - Number 216 (pages 532/5) Edition: HC 13/25 There was a total signed edition of 215 proofs consisting of: 25 Hors Commerce proofs, marked HC and numbered from 1 to 25 (From which our example comes) 125 proofs numbered from 1 to 125 15 Exemplaires de Chapelle for collaborators 50 proofs, numbered from I to L, with a suite of 26 etchings on Japan Nacre paper Printed by: Morning, Paris Publisher: Le Vent d’Arles, Paris, 1976 Note: The etching was published in the page book “Le Marteaux sans Maitre” by Rene Char in 1976. It came in a portfolio of 26 etchings all printed in colours.
Price: £3,600
Le Lezard aux plumes d’or - Hirondelle sullen - (Maeght 812) Medium: Original lithograph, 1971, in colours, on Rives paper with the watermarked signature of the artist, (Not hand signed), with folding leaves of the book) Size: image size 340 x 478 mms - single sheet References: Patrick Cramer “The Illustrated Books” Number 148, page 370 ; Mourlot 789-828 Maeght: “Joan Miro Lithographe” - Volume IV – number 812 Edition: There was an unsigned edition as follows: 170 on Rives paper with a watermark signature of the artist (from which our example comes 30 examples, numbered 1/20 and I to X, with suites on parchment and Japan 20 examples numbered 21/40 with a suite of 13 lithographs of Japan kochi paper, numbered and signed 120 examples numbered 41/150 and XII to XX There were also 50 examples, with large margins, on Japan nacre paper and 50 on Rives with the watermark of the artist, numbered and signed. Note: This was part of a series of 15 Lithographs which Miro made for the poet Louis Broder. Printed by: Mourlot Imprimeur, Paris, France Published by: Broder Editeur, Paris, France Provenance: 1) Brodeur Editeur, Paris, France 2) German Dealer (who purchased direct from the above)
Price: £1,000
Le Lezard aux plumes d’or - Un Verre de Lait (Maeght 815) Medium: Original lithograph, 1971, in colours, on Rives paper with the watermarked signature of the artist, (Not hand signed), with folding leaves of the book) Size: image size 340 x 478 mms - single sheet References: Patrick Cramer “The Illustrated Books” Number 148, page 370 ; Mourlot 789-828 Maeght: “Joan Miro Lithographe” - Volume IV – number 815 Edition: There was an unsigned edition as follows: 170 on Rives paper with a watermark signature of the artist (from which our example comes 30 examples, numbered 1/20 and I to X, with suites on parchment and Japan 20 examples numbered 21/40 with a suite of 13 lithographs of Japon kochi paper, numbered and signed 120 examples numbered 41/150 and XII to XX There were also 50 examples, with large margins, on Japon nacre paper and 50 on Rives with the watermark of the artist, numbered and signed. Note: This was part of a series of 15 Lithographs which Miro made for the poet Louis Broder. Printed by: Mourlot Imprimeur, Paris, France Published by: Broder Editeur, Paris, France Provenance: 1) Brodeur Editeur, Paris, France 2) German Dealer (who purchased direct from the above)
Price: £1,000
After Jean Miro (1893 – 1983)/After Jordi Artigas (1892 – 1980)
Placa Miro-Artigas (s.8291) Medium: Ceramic terracotta tile, circa 1980, stamped verso “MiroArtigas” with monogram and numbered in marker pen. Size: Size : 400 x 400 mms; Edition: 500 numbered copies Published by: The Miro Foundation, Barcelona, 1992 Authenticity: This item comes in the box of issue. stamped on this box is the authenticy document , with the Succession Miro stamp, which reads as follows: ”Placa Miro-Artigas. Aquesta placa de gres, es una, reproduccion d’una ceramica original de Miro-Artigas, de 40 x 40 cms. Realitzada en el any 1970.Ha estata cuita en al mateix forn de Llenya que l'original. L’Edicio consta de 500 pieces numerates del 1 al 500” Note: This item is Multiple authorised by the succession Miro made after an original unique piece which was created in 1970. This prototype work is catalogued in the catalogue of works by Miro/Artigas. Literature: Poligrafa: “Miro Artigas ceramics” (Catalogue Raisonee) Number 378 for the prototype. In 1953 Miró and Artigas worked at Artigas's studio in Galicia near Barcelona. There they created "firestones" which they exhibited under their joint names including in 1956 a joint exhibition in New York. The following year the two worked on a mural for the UNESCO headquarters and for the University of Harvard. It was Artigas's role to render Miro's designs into the 585 ceramics plates.[1] The tiles that made up the two murals for the UNESCO building were created in Gallifa and Miro supervised their installation in Paris. They were originally displayed outside but they are now contained within a building built to preserve them. Miro was to win a Guggenheim Prize for one of the murals in 1958.The two worked together until Artigas's failing health meant that his son, Joan Gardy Artigas, took over his role. Jordi Artigas died in 1980 in his home city. In 1989 his son set up a Foundation in the name of his father which exists to improve both artists and their art.
Price: £1,200
Pablo Picasso (1871 – 1973)
Pigments rouge dans un panier (S.8458) Red peppers in a basket Medium: Coloured crayons on paper, Dark Green, Light Green, Yellow, Blue and red, dated 14/9/1957, dedicated “Pour Gilberte Duclaud, son ami” and signed by the artist in blue crayon. The drawing was originally folded into quarters and posted to the recipient which accounts for folds vertically and horizontally across the piece. On the verso of the frame can be seen the envelope in which it was posted addressed to Gilberte Duclaud. The envelope is stamped and dated 16/9/1957. Picasso himself wrote the address in coloured crayons which is a work of art in itself. Size: 210 x 270 mms Authentification: - The work comes with a certificate of authenticity by Claude Picasso dated 20/4/200 - There is also a signed certificate from Gilberte Ducloud dated, Paris, 5th June, 1986. This certifies that the drawing was given to her as a present y Picasso to thank her for many exhibitions of his works in her different Galleries in Cannes between 1957 and also in 1967 etc. - Note: Gilberte Duclaud, Director of Galerie 65, was the author of a book entitled “Ces peinters nos amis” which was published in the same year as this drawing was made. The book was published by Galerie 65. On the front cover it had a colour lithograph entitled “Dans l’atelier de Picasso” which had been printed by Mourlot Freezers. The book dealt with a number of different artists such as Buffet, Daboval, Dali, Pons, Mane Katz, Tinges and, of course, Pablo Picasso. Gilbert Ducloud was a considerable literary figure and had been painted in the 1920’s by Theofile Steinlen. The work may have had some sort of recognition of a quarrel. Red peppers obviously are very piquant and the artist, who loved metaphor, may have been making some sort of barbed comment with his gift to Gilberte. If this was the case it was patched up because we know that Picasso went on to make further exhibitions at her Gallery thereafter. Condition: In good condition. The drawing was originally posted by the artist to the recipient and was folded vertically and horizontally to be placed in the envelope. The fold marks are visible. Provenance: 1) The artist: Gift to Gilberte Ducloud 2) Gilberte Ducloud, Galerie 65, Cannes 3) Small French Auction: Osenat, Fontainbleu “L’Espirit du XX siècle” Lot 126 - sold for a very low price. Given the quality and attractiveness of this drawing we are unable to understand why it went so cheaply and we, ourselves, paid very much for the piece when we bought it in due course,. Similar quality works in larger auctions invariably sell for very considerably more then this one did. Suffice it to say that the buyer was exceedingly fortunate. Sometimes such strange things do happen in small auction houses which are not at all well publicised. 4) Paris Art Dealer 5) London Art Dealer
Price: £62,000
Colombe sur lit de paille (s.8433) + Dove on a straw bed Medium: Rectangular Dish , 1949, made of white earthenware clay, decoration in engobe pad, Verso with “Madoura Plain Feu” stamp and inscribed “Madoura d’apres Picasso” Literature: Mallen, Enrique, ed. (OPP) 1997-2015. Online Picasso Project. Sam Houston State University. (49:274) Ramié, Alain. (GM.88) (AR) 1988. Picasso: catalogue de l'oeuvre céramique édité 1947-1971. Vallauris: Galerie Madoura. (79.III) Manufactured by: Madoura Potteries, France Note: Picasso was heavily involved in the Peace Movement at this time and donated a quite a few pieces of his art to that cause. His daughter was called “Paloma” which is Spanish for Dove and his design of the Dove became an internationally recognised symbol of the Peace Movement Condition: In very good condition. Size: 320 x 390 mms Edition: 300 copies produced
Price: £9,750
Femme au Fauteuil (s.8472) Deux Femmes I Medium: Original Etching and aquatint, 11/11/1963, I. Mouguins, on Rives Paper, with full margins, signed by the artist in pencil and dated in the plate. Edition: 32/50. There were also 15 artist proofs. Size: 568 x 450 mms (Paper size); 314 x 416 mms (Plate size) Publisher: Galerie Louis Leiris Gallery, Paris, France Printed by : Crommelynck Freres, Paris, France Note: This is a portrait of the artist’s wife, Jacqueline Roque (1927 - 1986). Their marriage lasted 11 years until his death, during which time he created over 400 portraits of her, more than any of Picasso's other loves. Pablo Picasso met Jacqueline in 1953 at the pottery, in Vallauris where she worked, when she was 26 years old and he was 72. He romanced her by drawing a dove on her house in chalk and bringing her one rose a day until she agreed to date him six months later. In 1955, when Picasso's first wife Olga Khokhlova died, he was free to marry. They married in Vallauris on 2 March 1961. The cancelled plate still exists. References: Bloch, Georges. Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol. Berne: Kornfeld and Klipstein. 1968-1979. (I:1127) B.1127 Geiser, Bernhard and Brigitte Baer.Picasso: Peintre-Graveur, Catalogue raisonné de l'oeuvre gravé et des monotypes, 7 vols. Berne: Kornfeld. 1986-1996 - B.1122.B.1 Mallen, Enrique, ed. Online Picasso Project. Sam Houston State University. 1997-2016. (63:066) Provenance: Massachusetts Estate. Condition: A nice clean and unrestored copy.
Price: £9,850
Diurnals (s.8451) Seated Woman in Beach Attire Seated Female Nude Diurnes Femme assis en pyjama de plage Medium: Original Linocut, Mouguins, July 1961, Second State, on Arches wove paper, signed by the artist in pencil Literature: Alan Wofsy - “The Complete Linocuts” L-094 Bloch, Georges (GB.79) (B)1968-1979. Pablo Picasso, catalogue de l'oeuvre gravéet lithographié, 4 vol. Berne: Kornfeld and Klipstein. (I:1062) Geiser, Bernhard and Brigitte Baer. (GB.96) (Ba) 1986-1996. Picasso: Peintre Graveur, Catalogue raisonné de l'oeuvre gravé et des monotypes, 7 vols. Berne: Kornfeld. (1276) Goeppert, Sebastian, Herma Goeppert-Frank & Patrick Cramer. (GC) 1983. Goeppert, Sebastian, Herma Goeppert-Frank & Patrick Cramer. (GC) 1983. Mallen, Enrique, ed. (OPP) 1997-2015. Online Picasso Project. Sam Houston State University. (62:044) Patrick Cramer: Pablo Picasso: The Illustrated books - Number 115 Berggruen : 323 Bloch Books : 112 Edition: 57/100 From the signed and numbered edition of 100. The First state had but one impression with the head and torso in the shape of a triangle (Baer 1275). The second state consisted of one or two Trial proofs on Offset paper and a definitive edition of 100 signed and numbered impressions on Arches paper. Size: Image size: 299 x 391 mms; Paper size 430 x 543 mms Published by: Editions Berggruen, Paris, in 1962 Printed by : Arnera, Vallauris Condition: In very good condition. Note: This work was included in the Deluxe version of the book “Diurnes” which was a collaboration between Picasso, the photographer Andre Villers and the poet Jacques Prevent. Originally the linocut was presented in a cloth-covered portfolio with tie strings with a reproduction of the title in Picasso’s hand on the front. A selection of works including Picasso’s origiunal cut-outs, Villers photographs and Perverts manuscripts were exhibited together at Galerie Madoura, Cannes and at Galerie Berggruen, Paris (Berggruen was also the Publisher of the book). The book was cleverly constructed by Picasso’s cut-outs being photographed by Villers in a surrealistic fashion and Pervert, letting his eyes wander from image to image, giving a delightful account of there visual promenade. The title “Diurnes” evokes figurative beings who only live for a day and Prevert tells the story of 30 “ephemeris" from sunrise to sunset. The linocut represents a seated woman.
Price: £12,500
Flutiste and Performing Goat (s.8372) + Flutiste et chevre savante Faune et Chevre Medium: Original Linocut, Cannes, 4.12.1959, printed in 2 colours, on Arches watermarked paper, signed by the artist in pencil and dated in the lino. Literature: Alan Wofsy - “The Complete Linocuts” L-087, page 110 Bloch, Georges: (GB.79) (B) 1968-1979. Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol. Berne: Kornfeld and Klipstein. (I: 949) Bloch, Georges: Books 122 Geiser, Bernhard and Brigitte Baer. (GB.96) )Ba 1986-1996. Picasso: Peintre Graveur, Catalogue raisonné de l'oeuvre gravé et des monotypes, 7 vols. Berne: Kornfeld. (1267) Goeppert, Sebastian, Herma Goeppert-Frank & Patrick Cramer. (GC) 1983. Patrick Cramer: Pablo Picasso: Catalogue Raisonné des livre Illustres. Geneva: (123) Goeppert, Sebastian, Herma Goeppert-Frank & Patrick Cramer. (GC) 1983. Pablo Picasso: The Illustrated Books. Geneva: Patrick Cramer. (123) Mallen, Enrique, ed. (OPP) 1997-2015. Online Picasso Project. Sam Houston State University. (59:085) McVinney, L. Donald, et al (DM 85) 1985. Picasso Linoleum Cuts : The Mr. and Mrs. Charles Kramer Collection in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art: Random House. (45) Catalogue Barcelona: 34 Edition: There was a book Edition of 2000 copies with lettering. Artists proof. There was a signed and numbered edition of 50 on paper with wide margins. Size: Image size: 110 x 205 mms ; Paper size 233 x 346 mms Published by: Editions Berggruen, Paris, in 1962 Printed by : Arnera, Vallauris Note: It was Tristan Tzara who introduced Picasso to the Art Dealer Bergguren in 1950 from which a warm friendship developed. This was to be the third catalogue Bergruen made devoted to Picasso and was made to be the front cover of the work “Picasso, 60 and de Gravures” published by Berggruen in 1959. In it are reproductions of 409 prints made between 1904 and 1963. There was a book edition of the linocut which was unsigned and this “Print Edition before the lettering”. The piece shows a goat standing on it’s hind legs before a seated flute player. Condition: In very good condition.
Price: £7,250
Autour d’el Greco portraits, avec modele étendu, et “Bonhomme” (s.8473) El Greco Portraits with reclining model and Snowman. Medium: Original Etching and aquatint and drypoint, 2nd state, 15th April 1968, III. Mouguins, on Rives Paper, with full margins, signed by the artist in pencil. Edition: 18/50. There were also 17 artists proofs. Size: 467 x 378 mms (Paper size); 223 x 320 mms (Plate size) Publisher: Galerie Louis Leiris Gallery, Paris, France Printed by : Crommelynck Freres, Paris, France Note: In the post war period, now in his late sixties, Picasso began to take stock of his life’s work. In 1947 he donated 10 paintings to the Musee d’Art Moderns in Paris and as a result of this, got to see his work displayed, for the first time, alongside masterpieces from the Louvre. From then onwards Picasso increasingly produced pieces based explicitly on the work of the Old Masters. In 1950 he made a number of such works including El Greco’s portrait of his son. El Gerco’s work had left a mark on Picasso since his earliest days and had influenced much of the painting he had produced in Paris at the turn of the century. The Masterpiece, “Les Demoiselles d’Avignon” of 1907 owed much in style to the influence of El Greco. Our etching is part of this continuing “hommage” to a great artist of a bygone age. Besides the El Greco portraits, however, it shows other aspects in the cartoons” such as the receding model and funny face - these owed little to the Old Master and are very much “Picasso” himself. Plate 41 from the 347 series. The cancelled plate still exists. References: Bloch, Georges. Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol. Berne: Kornfeld and Klipstein. 1968-1979. (B:1521) Geiser, Bernhard and Brigitte Baer. Picasso: Peintre-Graveur, Catalogue raisonné de l'oeuvre gravé et des monotypes, 7 vols. Berne: Kornfeld. 1986-1996. (1537.Bb1) Holloway, Memory (MH.06) Making Time: Picasso's Suite 347. New York: Peter Lang. 2006. (92p) Mallen, Enrique, ed. Online Picasso Project. Sam Houston State University. 1997-2016. (68:246) Tankard, Alice Doumanian. Picasso's Guernica after Ruben's Horrors of War: A Comparative Study in Three Parts - Iconographic and Compositional, Stylistic, and Psychoanalytic. Philadelphia: Art Alliance Press. 1984. (37)
Price: £7,500
Le Portraitiste Medium: Original etching, (16th December 1966 IV, Mouguins), on Rives Paper, signed by the artist in pencil and dedicated “pour Aldo Crommelynck” Edition : A dedicated proof outside the edition of 50. References: Bloch, Georges. [GB.79] (B) 1968-1979. Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol. Berne: Kornfeld and Klipstein. (I:1234) FitzGerald, Michael C. [MF.10] 2010. Pablo Picasso: Im Atelier des Künstlers. München: Himer Verlag. (215p) Geiser, Bernhard and Brigitte Baer. [GB.96] (Ba) 1986-1996. Picasso: Peintre Graveur, Catalogue raisonné de l'oeuvre gravé et des monotypes, 7 vols. Berne: Kornfeld. (1471.Bb2) Kleinfelder, Karen. [KK.93] 1993. The Artist, His Model, Her Image, His Gaze: Picasso's Pursuit of the Model. Chicago & London: University of Chicago Press. (38) Mallen, Enrique, ed. (OPP) 1997-2015. Online Picasso Project. Sam Houston State University. (66:077) Printed by: Crommelynck Freres, France Note: In 1959 the brothers Crommelynck opened their printing atelier in the rue de Gergovie, Paris. They had been working in the Atelier of Roger Lacourier since they were both 17 years old and that it where they met Pablo Picasso. Their new business was an instant commercial success and they worked with a number of very well known artists such as André Masson, Alberto Giacometti, Jean Arp, Tal Coat, Zao Wou-ki, Hans Hartung, and Joan Miró. In 1963 Aldo and Piero moved to Mouguins in the South of France where they worked with Picasso until his death in 1973. After Picasso’s death the brothers returned to Paris before going their separate ways in 1985. In 1986 Aldo opened an Atelier in New York with the famous dealer, Daniel Wildenstein where he worked with artists such as Claes Oldenburg, Ed Ruska and Keith Haring. This proof is dedicated to Aldo Crommelynck and doubtless comes from his private collection. It is an interesting item. Published by : Galerie Louise Leiris, Paris Size: 313 x 417 mms (plate size), 450 x 574 mms (paper size)
Price: £7,500
Tete de jeune fille (s.8406) Head of Young Girl Medium: Original Lithograph, 19/2/1946, on Arches paper, 10th state, signed by the artist in pencil Literature: Bloch, Georges. 1968-1979. Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol. Berne: Kornfeld and Klipstein. (I:393) Mallen, Enrique, ed. 1997-2015. Online Picasso Project. Sam Houston State University. (46:027) Mourlot, Fernand. 1949-1964. Picasso lithographe, 4 vols. Monte Carlo: André Sauret, Editions du Livre. (9.10) Mourlot, Fernand. 1970. Picasso: Lithographs. Boston: Book & Art Publisher. (9.10) Richardson, John, ed. 2012. Picasso and Françoise Gilot: ParisVallauris, 1943-1953. New York: Gagosian Gallery. (105p) Size: Image: 12 x 9 7/8 in. (305 x 251 mm.); Sheet: 16 7/8 x 12 ½ in. (429 x 318 mm.) Condition: In very good condition. Published by: Galerie Louise Leiris, Paris Printed by: Mourlot Freres, Paris Edition: 32/50. There were also 18 artists proofs Note: This is a portrait of Francois Gilot who was the artist’s muse and lover. She was the mother of Claude and Paloma. There are a large number of portraits of Francois dating from this period.
Price: £13,000
Le Columbe Volant (a l’arc-en-ciel) The Flying Dove with a rainbow Medium: Original chalk drawn Lithograph in 8 colours, black, yellow, green, rose, ochre, light brown, grey & blue, 10th October 1952 , on Arches watermarked paper, signed and dated by the artist in the stone and also signed by the artist in pencil, lower right. Edition: 106/200. There were also 38 Trial proofs. Size: Image size: 500 x 645 cms ; Paper size 550 x 762 cms Literature • Bloch, Georges. Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol. Berne: Kornfeld and Klipstein. 1968-1979. (B:712) • Mallen, Enrique, ed. Online Picasso Project. Sam HoustonState University. 1997-2016. (52:007) • Morris, Lynda & Christoph Grunenberg. Picasso: Peace and Freedom (Tate Liverpool, 21 May 30 August, 2010; Albertina, Vienna, 22 September - 16 January, 2011; Kunsthaus Zürich, 15 October, 2010 - 30 January, 2011). London: Tate Publishing. 2010. (56) • Mourlot, Fernand. (M) Picasso lithographe, 4 vols. Monte Carlo: André Sauret, Editions du Livre. 1949-1964. (M.214) • Mourlot, Fernand. Picasso: Lithographs. Boston: Book & Art Publisher. 1970. (M.214) • Ocaña, María Teresa, ed. [TO.04] Picasso: War & Peace (Museu Picasso, Barcelona, 26 mayo - 26 septiembre, 2004). Barcelona: Museu Picasso. 2004. (264) Note: In the aftermath of the Second World War Picasso joined the communist party and was active in promoting its activities through his art. The Newspaper “Le Patriot” was a supporter of this ideology and Picasso made a number of lithographs and Linocuts which were published by this organisation amongst which was our work. This was sold to raise finds for the communist party. The poster was made , using the earlier lithograph, to raise funds and awareness for the Disarmament summit conference to be held in Paris in May 1960 - the conference in fact never took place. La Colombe - The Dove is one of the most famous themes in Picasso's art of the 1950's. He was asked to make an image to express the ideals and aims of the new ' Peace Conference' which would bring together all the European nations in the aftermath of the war - the forerunner of the United Nations. His image of the 'Dove of Peace' was to become one of the most famous symbols of the era. Picasso made a number of versions of the Dove composition in connection with this project, amongst them the versions of the 'Dove surrounded by Linked Hands', and of the 'Dove with the Ear of Corn' (picking up from the Bible story of Noah's Ark), and then a group of compositions with the Dove against a rainbow of colours. The version above belongs to this group. The lithograph was originally drawn on the stone in October 1952 but apart from c.5 proofs no edition was printed at that date; in May 1960 Picasso returned to the image and, using transfer paper, added colours for the background. The edition of 200 signed impressions was then pointed. Subsequently the image was used again to embellish a poster for the 1960 Peace Conference. Published by: The later poster was published by Le movement de la paix, Paris, France. We are not sure who the publisher was for our lithograph. Printed by: Mourlot Freres, Paris, France Collections: Saarlandmuseum, Saarbrücken. Stiftung Saarländischer Kulturbesitz. Also Galerie l'Art et la Paix Public Exhibitions: Picasso: Peace and Freedom (Tate Liverpool, 21 May - 30 August, 2010; Albertina,Vienna, 22 September - 16 January, 2011; Kunsthaus Zürich, 15 October, 20 / 10 - 30 January, 2011).
Price: £7,600
Composition au Vase de Fleurs (s.8408) Composition with vase of flowers Medium: Original Lithograph, 10/3/1947, on Arches paper, printed in 3 colours, grey, red and black, dated in the stone in reverse, signed by the artist in pencil. Size: 502 x 656 mms (Paper size); 455 x 605 mms (Image size) Edition: 37/50 - There were also 5 artists proofs. References: Bloch, Georges.1968-1979. Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol. Berne: Kornfeld and Klipstein. (B:426) Mallen, Enrique, ed. 1997-2015. Online Picasso Project. Sam Houston State University. (47:072) Mourlot, Fernand. 1949-1964. Picasso lithographe, 4 vols. Monte Carlo: André Sauret, Editions du Livre. (74) Mourlot, Fernand. 1970. Picasso: Lithographs. Boston: Book & Art Publisher. (74) Genial Picasso. Málaga: Diario Málaga-Cajasur-Universidad de Málaga. (286p)Reusse “Pablo Picasso Lithographs” Number 188 Public Collections: Museum of Modern Art, (MOMA) New York
Price: £10,000
The Painter and his Easel from “Regards sur Paris” Le Peintre et son modele Medium: Original Lithograph, Crayon on transfer paper transferred to stone, Mouguins, 7/6/1962, on Japan Nacre paper, dated in the stone, signed by the artist in pencil. Size: 430 x 330 mms (Paper size); 395 x 300 mms (Image size) Edition: VII/X. This is a rare item from the edition of 10 on Japan Nacre paper. There were also: 20 copies on Arches wove numbered 11/30 with an unsigned suite of 120 copies, numbered 31/150 on Arches wove, plus an additional 30 copies hors commerce Notes: This was part of a portfolio entitled “Regards sur Paris”. Ten writers - all members of the Academie Goncourt - contributed essays to this book which presents the different sights and scenes of Paris. Each text is illustrated by a different artist with 2 full page and 1 double page Lithograph. The author of the work, Pierre Dumouchelles, called Mac Orlan, was born in 1893 and particularly qualified to describe his city having lived in the “Bateau Levoir” from 1906 to 1912. The year he left Picasso also gave up his studio there. In 1962, half a century later, Picasso illustrated Mac Orlands text about their old quarter with three lithographs of which this example is one. References: Bloch, Georges: Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol. Berne: Kornfeld and Klipstein. 1968-1979. (B:1034) FitzGerald, Michael C. Pablo Picasso: Im Atelier des Künstlers (Graphikmuseum Pablo Picasso Münster, 28 August - 21 November, 2010). München: Himer Verlag. 2010. (210p) Goeppert, Sebastian, Herma Goeppert-Frank & Patrick Cramer. Pablo Picasso: Catalogue Raisonné des livre Illustres. Geneva: Patrick Cramer. 1983. (120.1) Goeppert, Sebastian, Herma Goeppert-Frank & Patrick Cramer. (GC) Pablo Picasso: The Illustrated Books. Geneva: Patrick Cramer. 1983. (120.1) Mallen, Enrique, ed. Online Picasso Project. Sam Houston State University 1997-2016. (62:067) Mourlot, Fernand : Picasso lithographe, 4 vols. Monte Carlo: André Sauret, Editions du Livre. 1949-1964. (M353) Mourlot, Fernand: Picasso: Lithographs. Boston: Book & Art Publisher. 1970. (353) Mourlot Sale, 2003 Lot 324 Public Collections: Kunstmuseum Picasso, Münster. (Inv 837.353) Printed by: Mourlot Freres, Paris, France Published by : Andre Sauret, Paris. From "Regards sur Paris".
Price: £5,850
The Painter and his Model from “Regards sur Paris” Le Peintre et son modele Medium: Original Lithograph, Crayon on transfer paper transferred to stone, Mouguins, 7/6/1962, on Japan Nacre paper, dated in the stone, signed by the artist in pencil. Size: 430 x 330 mms (Paper size); 395 x 300 mms (Image size) Edition: VII/X. This is a rare item from the edition of 10 on Japan Nacre paper. There were also: 20 copies on Arches wove numbered 11/30 with an unsigned suite of 120 copies, numbered 31/150 on Arches wove, plus an additional 30 copies hors commerce Notes: This was part of a portfolio entitled “Regards sur Paris”. Ten writers - all members of the Academie Goncourt - contributed essays to this book which presents the different sights and scenes of Paris. Each text is illustrated by a different artist with 2 full page and 1 double page Lithograph. The author of the work, Pierre Dumouchelles, called Mac Orlan, was born in 1893 and particularly qualified to describe his city having lived in the “Bateau Levoir” from 1906 to 1912. The year he left Picasso also gave up his studio there. In 1962, half a century later, Picasso illustrated Mac Orlands text about their old quarter with three lithographs of which this example is one. References: Bloch, Georges : Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol. Berne: Kornfeld and Klipstein. 1968-1979. (B:1035) FitzGerald, Michael C: Pablo Picasso: Im Atelier des Künstlers (Graphikmuseum Pablo Picasso Münster, 28 August - 21 November, 2010). München: Himer Verlag. 2010. (210p) Mallen, Enrique, ed: Online Picasso Project. Sam Houston State University. 1997-2016. (62:466) Mourlot, Fernand : Picasso lithographe, 4 vols. Monte Carlo: André Sauret, Editions du Livre. 1949-1964. (M.354) Mourlot, Fernand: Picasso: Lithographs. Boston: Book & Art Publisher. 1970. (M354) Mourlot Sale, 2003 Lot 324 Printed by: Mourlot Freres, Paris, France Public Collections: Kunstmuseum Picasso, Münster. (Inv 839.354) Published by : Andre Sauret, Paris. From "Regards sur Paris".
Price: £6,750
Bulls, Suns and Foliage (s.8384) Medium: Original silkscreen print on silk, 1950, signed by the artist with a printed signature and date. Literature: Rayner, Chamberlain and Stapleton “Artists textiles in Britain” illustrated and described on page 49. Rayner, Chamberlain and Stapleton “Textile Design “Artists Textiles 1940 - 1976” Illustrated and described on page 87 Size: 81.9 x 85.1 cms Published by: The Institute of Contemporary Arts Note: Artists had played a minor role in textile design in the early 1950’s but this was changed when in 1952 the ICA became involved in encouraging this oeuvre. Picasso made a gift to his friend Roland Penrose, a director of the ICA, of a design for this Limited Edition silk headscarf to raise funds for the newly formed Institute. The “Bulls and Sunflowers” design was originally drawn by the artist in the ICA visitors book in 1950. It was later used for a design of some graphic works and for the cover of the Institutes exhibition of Picasso drawings held to commemorate the artist’s 70th birthday in 1951. These items are rare today because the survival rate has not been high. Our example, in extremely good condition, has fine fresh colours. The concept of artists designed textiles became a popular one and was the subject of a recent exhibition of works in the Deign Museum. Certain artists, including Picasso, Dali, Miro, and a coterie of British Artists such as Moore, Sutherland, Nicholson and Gear became quite involved in promoting this line of artistic endeavour. The oeuvre was associated with Fashion Design and built on the work original promoted by “The Ascher Project” of the 1940’s when a number of prominent artists had designed the celebrated “Artists squares”. This slightly later work was not part of that project but was, indeed, also made by Ascher. Printed by: Ascher Condition: Folds and stains as would be expected in an object of this age and type Public Exhibitions: Fashion and textiles Museum, Bermondsey Edition: This is from an unnumbered Limited Edition of 100.
Price: £3,000
Camille Pissarro (1830 – 1903)
Eugene Dutuit Road, Rouen (s.8455) Rue Eugene Dutuit a Rouen Medium: Original Lithograph, 1896, on Ingres de colour remote paper laid paper, signed by the artist in pencil “C.Pissarro” below right and titled in pencil "Rue Eugène-Dutuit à Rouen” below centre. Size: 222 x 148 mms (Plate size); Sheet size: 266 x 360 mms Edition: “Ep d’etat No 4” inscribed lower left margin. There were a total of 9 proofs made in 1896 and a further 6 proofs made posthumously by the Asmoleum. Museum, Oxford, in 1998. Our example is number 4 of Nine. Provenance: From the Private Collection of Benno & Babette Rothschild, Columbus, Georgia, USA Reference: Loys Delteil “ Camille Pissarro: L’Oeuvre Grave et Lithographie” - Catalogue Raisonne. Printed by : Talliardat, Paris: Talliardat printed for various artists, in particular, including not only Camille Pissarro, but also for Maxmilien Luce. He also printed the lithographs published by the anarchist review Les Temps Nouveaux, directed by Jean Grave, amongst which is the important Pissarro colour lithograph “La Charrue” (D. 194). During his collaboration with Pissarro, Talliardat gathered an important collection of the artist's lithographs, which included many working proof states, and rare and even unique impressions. Talliardat's collection was eventually sold off, along with a number of works by Paul Signac, Henri Edmond Cross and Luce, in a sale on Decmber 6, 1943 conducted by the Pissarro expert and scholar Jean Cailac. Notes: In his old age the artist suffered from a recurring eye infection that prevented him from working outdoors except in warm weather. As a result of this he often painted outdoor scenes while sitting by the window of a hotel room. He moved around France and possibly this lithograph was done in that way. There exist quite a number of Lithographs made in Rouen dating from this period. The Road whose name this lithograph bears, Eugene Duthuit, was born in 1807 in Marseilles and died in Rouen in 1886. He was a notable historian and collector of art. The road itself still exists and is in the historic centre of the town boasting some excellent medieval timbered buildings as can be seen from our lithograph. The Medieval church of Saint-Maclou is seen in the background. Condition: Minor defects as would be expected from a work more then 100 years old. Professionally repaired tear, approximately 3 mms, to right edge of sheet above centre. Repaired page loss at lower left sheet corner approximately 5 mms; line of discolouration along right sheet edge, at widest approximately 3 mms. Indentation, vertical length of sheet in the paper on left hand margin (probably due to original paper defect). None of the above are serious and once framed will not be visible under the mount.
Price: £6,000
Jacques Villon – After Paul Signac (1863 – 1935)
Le Port de la Rochelle (s.8457) Medium: Aquatint in colours, 1925, on Arches watermarked paper, signed by the artist in pencil “P Signac”, Printed below left “Grave par Jacques Villon, 1925” printed below right “Bernheim-Jeune, Editeur d’Art, 8 rue St Honore, Paris”, signed in the print “P Signac 1924” Edition: 103/200 Published by: Galerie Bernheim-Jeune, Paris, France, 1928 Printed by: Chalconigaph du Louvre Size: 694 x 548 mms (Paper size); 595 x 462 mms (Plate size) Reference: Ginestet and Pouillon : “Jacques Villon, Les Estampes et les Illustrations” (Catalogue Raisonee) number E. 644, Note: This is made “in the pointillist manner” and is typical of Signac’s work of the period. He was heavily influenced by Seurat who had pioneered this Post Expressionist style. The work was created in conjunction with his friend, Jacques Villon. Villon made a number of lovely aquatints in this period after the greatest artists of the day including Picasso, Matisse, Braque, Derain and many others. Condition: In very good overall condition apart from a repaired tear in upper margin not affecting the image.
Price: £2,850