Catalogue Raisonee Vol I

FRONT COVER: Vasarely`s corridor, Res. Pémore. Caracas - Venezuela Left to rigth: Serigraphs: Sofia, Mizzar Neg., Ibadan, Einstein, Folkokta, Bekwa V, Eridan BC, Sonora. Albums: Venezuela 1956, ION 1989, Cinetique NB 1975, Vancouver 1982, Response a Vasarely 1974, 11+1 1985, Octal 1972, Oeuvres Prodondes Cinetique 1970, CTA-102 1966 Eng. Pedro Benavide´s Collection. BACK COVER GUARD: UNESCO symbol for International Education Year, 1970 BACK COVER: Victor Vasarely Photo courtesy of Michele Vasarely archive´s PAGE 3: Self-Portrait, 1941 Drawing: Pencil on papers, 45.2x33.5cm Museum of Fine Arts Budapest Collection under Inventory number V86 PAGE 4: Mail hall of Michele Vasarely`s Residence. P.R.. October 2014 Left to rigth: Ms Morela C. Benavides, Ms. Michele Vasarely and Eng. Pedro Benavides.

The autor wishes to thank Michele-Catherine Vasarely for her invaluable support and kind collaboration. Project managment & Author: Eng. Pedro Benavides P. Translations: Michele Vasarely - Morela C. Benavides Editing: Printer: Impresos Publigrafica 66, C.A. Desing: Pedro Benavides P. - Orlando Valdez Production: P.Benavides, C.A. Printed in Venezuela Test Catalog for corrections. Edition of 10 Images of Victor Vasarely works ©Vasarely Estate

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Main hall of Michele Vasarely`s Residence, Puerto Rico. October 2014. Left to right: Ms. Morela C. Benavides, Ms. Michele Vasarely and Eng. Pedro Benavides.

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Victor Vasarely

Prologue

Les éditions de Victor Vasarely : un témoignage de ses recherches en arts plastiques, un engagement pour la démocratisation de l'art par Michèle Vasarely Comment ne pas être redevable à Monsieur Pedro Benavides d'avoir réalisé le catalogue raisonné des éditions de Victor Vasarely ? Connaissant parfaitement bien l'étendue, la complexité et la diversité de ce domaine, je salue le travail immense qu'il a effectué, avec patience et persévérance. Tous les amateurs de l'œuvre de Vasarely comprennent l'intérêt de cette tâche et seront comblés par cet extraordinaire résultat. Il peut paraître surprenant que ce soit un Vénézuélien qui, durant plusieurs années, s'est attelé à cette tâche. En fait, je me suis souvent demandé quel eût été le devenir de la carrière de Vasarely si, dans les années 1952-1953, il n'avait pas rencontré des Vénézuéliens : Sofia Imber, Carlos Raúl Villanueva, le collectionneur Inocente Palacios, Guillermo Meneses ; par leur intérêt pour les créations de l'artiste, ils lui permirent, pour le projet de la Cité Universitaire de Caracas, de réaliser son rêve d'élève du « Mühely » : l'intégration d'œuvres plastiques dans l'architecture, et d'acquérir une solide renommée. Mais qu'y a-t-il d'extraordinaire à ce qu'un artiste édite des gravures qu'il a lui-même créées ou qu'il transcrive ses peintures sur toile dans une autre technique, un autre format, sur papier ? Ne serions-nous pas tentés de penser que cette activité est une préoccupation de tout artiste et qu'elle existe de tout temps ? Si les techniques de la gravure sont ancestrales, que ce soit sur bois, sur minéral ou sur métal, leur utilisation pour la production d'estampes sur papier a tardé à naître, tout simplement parce qu'il a fallu que se vulgarise l'emploi du papier, c'est-à-dire au début de notre ère en Chine et au XIVème siècle en Occident. Et l'estampe a d'abord permis de fournir en grand nombre des images pieuses… et des cartes à jouer, ainsi que des textes, des partitions, des papiers peints, des planches anatomiques, des cartes géographiques… Dans le domaine de l'art, l'estampe était fournie comme modèle aux artisans qui exécutaient des vitraux, des sculptures… L'intérêt des artistes pour l'estampe a été très variable d'un siècle à l'autre, frisant l'indifférence ; nombre d'entre eux se contentaient de faire reproduire leurs peintures en petits formats noir et blanc, pour se faire connaître, comme prospectus. Les techniques de la gravure, qui ne sont pas nées de volontés esthétiques, se prêtaient-elles mal aux exigences artistiques ? Cantonnée dans le rôle de servante de la peinture, l'estampe occidentale n'a été qu'exceptionnellement (avec Albrecht Dürer, exemple remarquable) un moyen de création artistique. A telle enseigne que le développement de la photographie après l'invention vers 1830 de Nicéphore Niepce et de Jacques Daguerre provoqua un traumatisme profond dans le petit monde des graveurs, dont la plupart transformèrent leur atelier en échoppe de photographe. Ce n'est qu'à la fin du XIXème siècle que s'est déployé l'intérêt de quelques artistes pour l'estampe en même temps qu'ont été fixées de strictes règles de limitation du tirage et de numérotation de chaque exemplaire. Procédé millénaire déjà utilisé en Chine, la sérigraphie commence à être très employée au cours de la deuxième moitié du XXème siècle. Michel Melot, conservateur au laboratoire des Estampes de la Bibliothèque Nationale de France, estime que « le procédé convient parfaitement aux jeux géométriques de Victor Vasarely qui fut l'un des premiers à le remettre en honneur ». Quelle formation et quelle expérience ont-elles amené Vasarely à l'estampe ? Dans sa Hongrie natale, à Budapest, en 1928, Vasarely s'inscrit au « Mühely » (L'Atelier) que vient d'ouvrir Sandor Bortnyik. Outre l'apprentissage des diverses techniques du graphisme et de la publicité, Bortnyik sensibilise ses élèves au dédain pour la peinture de chevalet, au recours à la machine, aux moyens mécaniques de multiplication, à la collaboration interdisciplinaire. S'exilant en France, à Paris, en 1930, Vasarely côtoie immédiatement les domaines de l'imprimerie et de l'édition en se faisant embaucher chez l'imprimeur Draeger, puis à l'agence Havas, chez l'éditeur Dewambez. Il monte ensuite une société d'édition d'encarts pharmaceutiques qu'il anime jusqu'en 1957. Mais toute l'expérience accumulée depuis le « Mühely » jusqu'à la conception de publicités n'est pas suffisante pour expliquer le passage de Vasarely des arts graphiques à l'art et son engagement dans les éditions artistiques. En rapport avec l'essor industriel, de nombreuses démarches de réconciliation apparaissent à la fin du XIXème et au début du XXème siècles : l' « Arts and Crafts Exhibition Society » fondée en 1888 par William Norris et C. R. Aschbee ; créé en 1907 par l'architecte Hermann Muthesius, le « Deutscher Werkbund » (L'Union de l'œuvre) essaie d'unir artisanat et industrie et d'appliquer à la fabrication en série les formes inventées par les artistes et les artisans ; fondé en 1918, l' « Arbeit für Kunst », sorte de Commission des Arts, pose comme principes la réforme des écoles d'art et la lutte contre un individualisme démesuré.

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A Budapest, la formation pratique au « Mühely » s'accompagne d'une information sur les orientations de certains courants artistiques de l'époque : en finir avec « l'art pour l'art », introduire l'art dans la cité… L'école du Bauhaus ouverte en Allemagne, à Weimar, en 1919, après une phase de fusion des arts et de l'artisanat, s'engage dans la création d'une esthétique fonctionnelle en lien avec les industries. Dans ses « Entretiens » avec Jean-Louis Ferrier (Pierre Belfond éd., Paris 1969), Vasarely se rappelle que, à Berlin et à Dessau, Bortnyik avait rencontré Gropius, Kandinsky, Klee, tous trois professeurs au Bauhaus, ainsi que Gabo, Lissitsky, Gontcharova, artistes russes. Ceux-ci avaient partagé l'effervescence artistique après la Révolution d'Octobre 1917 : Maïakovski proclame que « Les rues sont nos pinceaux, les places sont nos palettes » ; les artistes investissent le domaine public, construisent des décors éphémères dans la rue, participent aux affiches de propagande ; l'avant-garde constructiviste organise des expositions dans les avenues ; Malevitch anime des places publiques ; Kandinsky est chargé de développer le réseau des musées dans toutes les régions de la Russie… Détour par la peinture traditionnelle Comment, avec une telle éducation artistique, Vasarely en vient-il à pratiquer la peinture de chevalet ? Vasarely n'est pas un peintre précoce. Ce n'est qu'en 1945, à 39 ans, qu'il se lance dans la peinture. Il commence par un style « symbolico-réaliste ». Son exposition en 1946 est préfacée par Jacques Prévert avec le poème Imaginoires et acquiert les sympathies de surréalistes et le regard attentif de André Breton. Ce choix est d'autant plus étonnant que Vasarely s'est imprégné au « Mühely » des premières réalisations de ce qu'à l'époque on ne nommait pas encore « art abstrait » : Kandinsky, Malevitch et son fameux « Quadrilatère noir » de 1913, le « rayonnisme » de Natalia Gontcharova et de Mikhail Larionov, Mondrian, Van Doesburg… Vasarely pourrait continuer dans une voie qui lui assure le succès ; mais toutes ses réussites prometteuses ne le satisfont pas. En 1947, il ouvre une autre voie avec les grandes formes elliptiques « Belle-Isle ». En 1948, c'est l'expérience de Gordes, un village du Sud de la France, qui lui inspire sa période « Cristal ». Dans Regards sur le passé, Kandinsky, devant sa première expérience « abstraite », avoue : « Un abîme effrayant s'ouvrait sous mes pas tandis qu'en même temps s'offrait à moi une imposante responsabilité et que se posaient toutes sortes d'interrogations et la plus importante de toutes : qu'est-ce qui doit remplacer l'objet ? » ; de même Vasarely reconnaît : « Cristal, c'était un pressentiment terrifiant : la marche vers la géométrie, vers une sorte d'appauvrissement ». Aujourd'hui, un peintre abstrait est parfois considéré avec condescendance comme un simple peintre traditionnel ; à l'époque, l'art abstrait est loin d'être un acquis définitif ; les va-et-vient d'artistes, comme Herbin ou de Staël, entre figuratif et abstrait sont assez courants ; nous sommes à mille lieues d'une fière légion de jeunes conquistadores arrogants et sûrs d'eux-mêmes, armés de théories implacables, prêts à en découdre avec les poussiéreux tenants de l'art figuratif. Retour à l'enseignement du « Mühely » Vasarely se rappelle l'enseignement qu'il a reçu de Sandor Bortnyik au Mühely : « L'art pour l'art a vécu », « Il faut en finir avec le tableau de chevalet », la nécessité pour la création de s'adapter aux évolutions du monde industriel. Il m'a souvent témoigné l'importance du Mühely, son admiration et sa reconnaissance pour Bortnyik, jusqu'à la veille de son dernier jour : ce soir-là nous avons eu une longue discussion où, tout en s'interrogeant sur le devenir de son œuvre, il évoqua encore son professeur. Parallèlement à ses peintures, avec les outils du graphiste, les techniques de la photocomposition, Vasarely agrandit ses « Photographismes », explore les réseaux de lignes noires et blanches, les superpose, les croise, les inclut dans ses toiles. Puis en 1959 il met au point ses « Unités plastiques » par lesquelles, selon Yvaral, « il a été le précurseur, dans son domaine, sur le développement actuel d'un art combinatoire. Il a le premier réalisé une superbe synthèse de la codification des éléments de création plastique » (dans le catalogue de l'exposition que j'ai organisée : « Propositions pour un art numérique », Fondation Vasarely éd., Aix-en-Provence 1999). Gaston Diehl (dans « Vasarely », Flammarion éd. Paris 1972) témoigne : « C'est cet immense clavier dont il déploie les fastes en 1963 » à Paris, au Pavillon Marsan du Palais du Louvre. Puis ce sont les « Permutations et Algorithmes », puis la série « Hommage à l'Hexagone », la période « Structures Universelles »… Nous sommes loin des craintes de « la marche vers une sorte d'appauvrissement » ! Vasarely s'exprime aussi par l'écrit Outre le mariage de l'art avec les nouvelles technologies, il est préoccupé de restaurer le caractère social de l'art : donner à voir. « La foule, les masses, une multitude d'êtres, voilà la nouvelle dimension. L'art c'est l'aspect plastique de la communauté. » C'est ainsi qu'il s'exprime dans ses « Notes brutes », ainsi nommées parce qu'initialement griffonnées sur des morceaux de papier, sorte de carnets d'atelier traduisant ses préoccupations du moment ; elles ne constituent pas des préceptes définitifs ; commencées en 1946, elles sont des jalons d'une pensée qui se construit, se précise, se consolide, à l'image de son œuvre créatrice qui se structure au fil des années. Les « Notes brutes » restituent ses expériences créatrices et les conclusions théoriques qu'il en tire. Consciente de leur importance, je leur ai consacré un site Internet (www.vasarelyparvasarely.com) qui en rassemble des extraits significatifs.

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En 1953, il note : « A l'intérieur de la cité future, la « fonction poétique » évoluera vers des formes industriellement multipliables, donc généreusement diffusables. L'option fondamentale en faveur d'une intégration de l'œuvre à la communauté justifie d'emblée l'adoption des techniques de diffusion, option fondamentale qui implique l'idée de don. Mais la diffusion est aussi nécessité et loi interne de l'esthétique nouvelle. L'éthique de la création artistique ne peut dès lors se concevoir sans elle. Aucune proposition plastique n'est valable si elle est extrinsèque à la technique de diffusion, qui justifiera son existence par l'intégration dans la communauté. » Toujours en 1953 : « Car si l'Art voulait être hier SENTIR ET FAIRE, il peut être aujourd'hui CONCEVOIR ET FAIRE FAIRE. Si la conservation de l'oeuvre résidait, hier encore, dans l'excellence des matériaux, la perfection de leur technique et dans la maîtrise de la main, elle se retrouve aujourd'hui dans la conscience d'une possibilité de RECREATI0N, de MULTIPLICATION et d'EXPANSION. Ainsi disparaîtra, avec l'artisanat, le mythe de la pièce unique, et triomphera enfin l'oeuvre diffusable, grâce à la MACHINE et par elle. » Le recours à des formes géométriques simples et à des couleurs en aplat facilite la transcription non seulement en sérigraphie, mais aussi en carreaux de céramique et en tout autre matériau de construction. C'est en 1949 que Vasarely soumet à la sérigraphie sa première planche. Dès 1954, trois de ses œuvres sont intégrées en grandes dimensions, justement au Venezuela, en étroite collaboration avec l'architecte de la nouvelle Cité universitaire de Caracas. Quel est le rôle joué par Vasarely dans la renaissance de la sérigraphie ? Ayant bénéficié de progrès techniques au début du XXème siècle, la sérigraphie, utilisée essentiellement dans les domaines de la signalisation, de l'affiche, de la publicité, est petit à petit délaissée et peine à exister en France. Après la Seconde Guerre Mondiale, elle commence à être investie par les artistes. Matisse, paraît-il, allergique à toute reproduction mécanique se son œuvre, fait une timide tentative en 1946 limitée à trente exemplaires. Herbin joint sept sérigraphies à chaque exemplaire de son livre « L'art non-figuratif, non-objectif » édité en 1949 par Lydia Conti. Denise René confie à l'atelier Arcay l'exécution d'un portfolio de sérigraphies de Vasarely, Dewasne, Poliakoff, Bozzolini… en 1954, le premier édité par sa galerie. Avec Wilfredo Arcay, Victor Vasarely noue une étroite et longue collaboration de plusieurs décennies. Pour les 35 ans d'activité de l'atelier Arcay, le critique d'art Otto Hahn écrit, après avoir signalé que le mot « sérigraphiste », contraction de sérigraphe et de graphiste, a été trouvé par Vasarely : « Couleur après couleur, Wilfredo Arcay invente des solutions là où il y a des problèmes » ; puis il cite la définition du « sérigraphiste » que lui a confiée Wilfredo Arcay : « Un peu plus près, qu'il n'est habituel, du cœur de la création ». Françoise Woimant, archiviste paléographe, conservateur général chargée des collections du XXème siècle au sein du Département des Estampes de la Bibliothèque Nationale de France, précise : « Alors que l'estampe est devenue pour beaucoup un champ d'expérience inépuisable, elle ne remplit pour les tenants de l'art géométrique, partis à la recherche d'un langage plastique universel adapté à notre temps, que le rôle à leurs yeux primordial d'agent de diffusion. Refusant le principe de l'œuvre unique, Vasarely nourri de l'esprit du Bauhaus est le premier peintre de sa tendance à l'avoir compris et à avoir systématiquement utilisé à ces fins la sérigraphie dès 1949, suivi sur cette voie par Jean Dewasne ». (ouvrage collectif « La gravure », PUF éd. Paris 1972). Une critique d'art américaine m'a expliqué qu'à l'inverse de la France, la sérigraphie s'est énormément développée aux EtatsUnis tout au long du XXème siècle et paradoxalement lors de la Grande Dépression, à partir de 1935 avec le Federal Art Project comme en atteste la collection d'affiches de publicité et de propagande du Work Progress Administration. Malgré cet avantage des Etats-Unis sur la France, j'ai entendu dire que Andy Warhol se considérait comme le fils spirituel de Victor Vasarely. Si l'on veut bien ne pas prendre pour argent comptant l'histrionisme de Warhol qui se déclare le chantre du « Business Art », on peut admettre que, cherchant à rendre artistiques les produits de consommation populaire fabriqués en grande masse, il a réussi à rendre populaires les productions artistiques massives. La Grande-Bretagne, berceau du pop'art, a aussi été un foyer de la sérigraphie, en particulier avec les affiches de propagande de la Seconde Guerre Mondiale. Dans la même veine que Andy Warhol, avec la même réputation de « Business Art », une génération plus tard, c'est-à-dire aujourd'hui, Damien Hirst fait, lui aussi, sérigraphier ses séries de ronds de couleur (les « Spot Paintings ») et ses macrophotographies de papillons exotiques. Et les multiples ? Quelle différence entre une sérigraphie et un multiple ? L'étiquette « multiple » a été retenue pour désigner des œuvres en trois dimensions : reliefs, volumes, œuvres cinétiques profondes (deux ou trois plaques de verre parallèles espacées)… Leur fabrication nécessite des matériaux spécifiques (bois, plexiglas, acier…) et exige une exécution complexe et impeccable, donc plus coûteuse. Tout comme pour l'estampe, le nombre d'exemplaires est arbitrairement fixé, limité ou non ; chaque exemplaire peut être numéroté et signé par l'artiste. Sous cet angle, le multiple ne se distingue pas de la sérigraphie, ou de l'estampe en général ; une sérigraphie sur papier est autant un multiple qu'une sérigraphie sur un volume en métal. Si on excepte les réalisations de l'Avant-Garde russe et du Bauhaus, les premières tentatives d'éditions de multiples en trois dimensions, du moins en France, sont à mettre au crédit de Daniel Spoerri, artiste du Nouveau Réalisme, vers 1955, puis du galeriste Claude Givaudan. En 1966, Denise René ouvre sa galerie « Rive Gauche », avec vitrine sur le boulevard SaintGermain, pour la consacrer aux éditions et aux multiples.

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Dans les « Entretiens » (Adam Biro éd. Paris 1991), à la question de Catherine Millet : « Je sais que votre opinion était de limiter les tirages alors que certains artistes auraient souhaité des tirages illimités. Pourquoi ? », Denise René répond : « Une partie de nos multiples ont eu du succès, mais les amateurs boudaient dès que le tirage était trop grand », puis : « Avec d'autres artistes, nous avons tenté la stratégie inverse. Nous avons réalisé des multiples à tirage très limité, cinquante exemplaires maximum. Cela s'est révélé tout aussi dangereux. Pour que le prix de revient permette un prix de vente abordable, nous étions obligés de stocker une quantité importante de matériaux ». Denise René déplore : « Même proposée à un prix minime, une œuvre originale à laquelle il manquait la signature de l'artiste ne se vend pas. Personnellement, je reconnais que je n'aime pas non plus une œuvre non signée, je la regarde comme une lettre qu'on m'aurait envoyée sans signature ». Et Catherine Millet de commenter : «Le fétichisme de la signature est indéracinable ». Un fétichisme contre lequel Vasarely n'a cessé de combattre. Y compris à son détriment. Les façades de célèbres galeries commerciales parisiennes, à l'occasion de la saison de vente du Blanc, sont décorées avec d'immenses agrandissements d'un fragment d'une peinture de Vasarely. Sa galeriste intente un procès. Pendant l'instruction, Vasarely accorde une entrevue à un hebdomadaire ; sincèrement convaincu de dénoncer l'art destiné aux coffres-forts des collectionneurs et d'offrir généreusement ses idées, il déclare que « l'art est trésor commun ; il ne saurait y avoir de copie en art » désavouant ainsi ses propres avocats. « L'art social » préconisé par Vasarely serait-il un art idéologique ? Dès 1953, Vasarely note : « Je suppose une profonde aspiration plastique de l'être humain, tout comme une aspiration à la mélodie, au rythme ou à la poésie. Je crois que les possibilités existent désormais pour satisfaire les besoins naturels de l'être humain aux joies sensorielles ». En 1961, il insiste encore : « La plasticité est nourriture, due à tous au même titre que la connaissance, le rythme, le chant ou les vitamines ». Il constate un sous-développement culturel ou au moins un retard dans la compréhension des écoles d'art du passé. En 1970, il relève encore que « la culture des classes moyennes est plus que discutable ; conditionnée, elle admire sans distinction ruines, vieilleries dégradées ou faux, et les dégénérescences des beaux-arts. L'éducation plastique n'a jamais été au diapason des mouvements, le décalage ente les connaissances de l'homme moyen et les avant-gardes est presque irrattrapable ». Dans ses « Notes pour un manifeste » de 1955, plus connues sous le vocable « Manifeste jaune », il précise déjà : « L'effet du produit d'art sur nous (…) : ces diverses sensations se produisent en premier lieu dans notre être émotif (…). Par cela, le but de l'Art est à peu près atteint. L'analyse, la compréhension d'un message dépendent de nos connaissances et de notre degré de culture. (…) A la place de la « compréhension » de l'Art contemporain, nous préconisons sa « présence ». La sensibilité étant une faculté propre à l'humain, nos messages atteindront certainement le commun des mortels par la voie naturelle de sa réceptivité émotive. En effet, nous ne pouvons laisser indéfiniment la jouissance de l'œuvre d'art à la seule élite des connaisseurs. » A propos de la tapisserie, autre forme d'éditions, il écrit en 1969 : « Sans dire miniaturisation, je préconise néanmoins un format moins prétentieux pour ces nouveaux multiples. La démographie croissante dans le monde entier nécessitera encore longtemps la construction de cellules d'habitation de superficie modique. Une tapisserie d'un à deux mètres carrés pourrait apporter la joie et la chaleur dans ces innombrables foyers où un bien-être matériel de confort et d'hygiène règne déjà, mais où la beauté plastique manque cruellement. C'est notre faute de ne continuer à travailler que pour les “seigneurs” ». Se défiant de toute philosophie préalable, Vasarely est animé d'un profond humanisme et, comme le souligne Gaston Diehl, « il estime avec raison pouvoir introduire partout un sentiment de beauté jusque dans la moindre habitation ». Mais, par ailleurs, au nom de la démocratisation de l'art, Vasarely entendrait-il, par la diffusion de ses éditions et par l'intégration architecturale, imposer la dictature de sa seule création ? En mettant au point un alphabet plastique, Vasarely le considère comme un outil utilisable par n'importe quel créateur. Il estime que le recours à des éléments codifiés de création plastique permettrait l'avènement d'un « folklore planétaire » authentique. « La création en arts plastiques d'un combinatoire de cet envergure offre un outil ayant un caractère universel, tout en permettant la manifestation de la personnalité comme celle des particularismes ethniques. On aperçoit déjà les contours d'un véritable folklore planétaire, moderne dans son idée et dans sa technique, unitaire à sa base, hautement complexe à ses sommets » (conférence prononcée en 1967 par Vasarely à l'ICAS de New York). Dans son ouvrage « Plasti-Cité » (sous-titré « L'œuvre plastique dans votre vie quotidienne », en collaboration avec Michel Ragon, Casterman éd, Paris 1970), il préconise que chacun puisse, à partir de matériaux colorés préfabriqués, composer lui-même son environnement intérieur : « Rien ne s'oppose à ce que des êtres esthétiquement prééduqués et maîtres de leur goût construisent, à partir de ces multiples, à la fois leur propre univers plastique et leur cellule d'habitation ». Et parmi les éditions, en 1969 puis en 1971, figurent les jeux « Participations » comprenant 400 unités plastiques colorées permutables ; l'acquéreur peut les combiner librement et composer autant de tableaux différents qu'il souhaite.

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L'art, par sa diffusion massive, ne risque-t-il pas de devenir un simple objet à la mode ? Les idées généreuses se heurtent parfois au cadre social étriqué. Pour permettre le fonctionnement de sa Fondation et faire face aux échéances financières, Vasarely édite ses anciennes créations « figuratives », en particulier les fameux « Zèbres », ainsi que quelques-unes de ses « Etudes Graphiques » des années 1930. Bien sûr, il s'est même laissé aller à accorder inconsidérément des droits de reproduction. Solutions de facilité, opérations purement commerciales, que, me confiait-il un peu honteux, il regrettait beaucoup car, à l'exception de rares réussites, elles se situaient à l'opposé de sa conception de la diffusion de l'art comme trésor commun. Il était mortifié de constater que l'art était parfois réduit à « un jeu de société à la mode ». Il se remémorait ce qu'il écrivait en 1952 sur « L'artiste et l'éthique » ; presque prémonitoirement, il y évoquait ses craintes que « la production-consommation, dans un monde qui vit de sursis, ferait fleurir le dilettantisme et les sensibleries et transformerait le produit d'art surabondant en article de bazar ». Personnellement, je ne m'aventurerai jamais à trahir les orientations de Vasarely ni à compromettre sa création dans des gammes de gadgets. « L'art révèle ! » En 1937, dans son essai « Quand les cathédrales étaient blanches », l'architecte Le Corbusier exprime magistralement que « l'art est l'expression inconsciente, incontrôlable, infrelatable de l'esprit d'une époque et de l'esprit des peuples au moment où ceux-ci sont suffisamment façonnés par le réseau tissé par les usages, les lois, les administrations quand une unité est atteinte. L'art révèle ! ». Même si les élans, initialement fougueux, en faveur de la diffusion de l'art et de son intégration dans l'environnement quotidien se heurtent aux difficiles rapports sociaux « dans un monde qui vit de sursis » et qui ne parvient pas encore à « atteindre une unité », même si, au fil du temps et des gigantesques difficultés rencontrées, les convictions se sont assagies dans leur expression, la « pensée-art » de Vasarely reste axée sur le rôle incontournable de l'art dans la société qui devrait façonner notre époque. « Au prix de nombreuses années encore, l'œuvre pénètre les couches humaines et devient trésor commun, (…) comme omniprésence des stimuli plastiques renouvelables, quotidiennement nécessaires à l'équilibre de tous ». En attendant, écrit-il encore, « de nos jours, avec les éditions, l'artiste a réussi à résoudre la contradiction qualité-nombre, grâce aux progrès de la technique, ouvrant ainsi à un très large public l'accès des œuvres de valeur ». « La valeur d'une œuvre ne consiste pas en la rareté de l'objet, mais en la rareté de qualité qu'elle signifie ». Ainsi, les éditions de Vasarely n'apparaissent pas comme une annexe accessoire, facultative, marginale, de son activité créatrice. Tout comme ses intégrations architecturales, elles sont un des aboutissements de ses recherches plastiques, à partir desquelles il a progressivement construit une pensé globale sur l'art. Ses idées ne restent pas que des mots, il les traduit en permanence en actes concrets. Mises en pratique de ses théories sur l'art, les éditions ont simultanément nourri sa pensée. Elles sont un élément particulier indissociable d'un ensemble cohérent. Un aspect d'un tout. Au même titre que ses recherches en atelier, ses peintures sur toile, ses intégrations dans l'architecture et ses écrits, les éditions de Victor Vasarely sont une expression de l'unité de son œuvre, alliant ses pratiques et ses théories.

Michèle Vasarely janvier 2015

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Quelques distinctions décernées à Vasarely pour ses éditions 1965 – Grand Prix de la VIème exposition internationale de la Gravure à Ljubljana (Yougoslavie) 1965 – Médaille d'Or décernée par la Société d'Encouragement à l'Art et à l'Industrie 1966 – Prix de la Ière Biennale internationale de la Gravure à Cracovie (Pologne) 1968 – Prix « Prestige du Papier », Paris 1968 – 1er Prix « Œuvres à thème libre » IIème Biennale internationale de la Gravure à Cracovie (Pologne) 1971 – Prix international Diano Marina (Italie) décerné à l'ouvrage « Discours de la Méthode – Descartes-Vasarely », album de 24 œuvres originales dont 6 lithographies, 14 sérigraphies, 2 collages, 1 œuvre profonde cinétique, 1 sculpture aluminium, Esselier éd, Paris 1969 1972 – Prix décerné par le Musée National de Varsovie à l'occasion de la IVème Biennale internationale de la Gravure à Cracovie (Pologne) 1974 – Médaille d'Or de la Biennale internationale de Graphisme de Fredrikstad (Norvège)

Victor Vasarely and Michele Vasarely at artist`s residence.

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Victor Vasarely

Preface

Editions of Victor Vasarely: a testament to his research in visual arts, a commitment to the democratization of art by Michèle Vasarely How not to be indebted to Mr. Pedro Benavides to have realized the catalog of the editions of Victor Vasarely? Knowing full well the extent, complexity and diversity of this area, I salute the tremendous work he has done with patience and perseverance. All lovers of Vasarely's work include the value of this task will be delighted by this extraordinary result. It may seem surprising that a Venezuelan who, for many years, has taken on this task. In fact, I've often wondered what would have been the fate of the Vasarely career if in the 1952-1953 years, he had not met Venezuelans: Sofia Imber, Carlos Raúl Villanueva, the collector Inocente Palacios, Guillermo Meneses ; by their interest in the creations of the artist, they allowed him, for the project of the University City of Caracas, to realize his dream of student "Mühely": the integration of plastic arts in architecture, and to gain a solid reputation. But what is there extraordinary in that an artist publishes prints he himself has created or that transcribe his paintings on canvas in another technique, another format, on paper? Do we not be tempted to think that this activity is a concern of every artist and exists in all times? If the engraving techniques are traditional, whether on wood, mineral or metal, their use for making prints on paper was slow to rise, simply because it had to be popularized employment paper, that is to say at the beginning of our era in China and in the fourteenth century in the West. And printmaking was first allowed to provide large numbers of religious images ... and playing cards, as well as texts, scores, wallpapers, anatomical charts, maps ... In the field of art, printmaking was provided as a model for craftsmen who executed stained glass windows, sculptures ... The interest of artists for the print was very variable from one century to another, bordering the indifference ; many of them were content to breed their paintings in small format black and white, to be known as prospectus. Techniques of engraving, which are not born of aesthetic will, is wrong they lend to artistic requirements? Confined to the role of servant of painting, printmaking Western was exceptional (with Albrecht Dürer, remarkable example) a means of artistic creation. So much so that the development of photography after 1830 invention of Niepce and Daguerre Jacques caused deep trauma in the small world of writers, most of whom turned their studio photographer's shop. It was not until the late nineteenth century that has deployed the interest of some artists for printmaking at the same time that were laid down strict draw limitation rules and numbering each copy. Millennium process already used in China, screen starts to be widely used during the second half of the twentieth century. Michel Melot, curator of Prints laboratory of the National Library of France, believes that "the process is perfect geometric games that Victor Vasarely was one of the first to put it in honor.” What training and experience do they have brought Vasarely to print? In his native Hungary in Budapest in 1928, Vasarely is at the "Mühely" (L'Atelier) that just opened Sandor Bortnyik. Besides learning the various techniques of graphic design and advertising, Bortnyik educates its students disdain for easel painting, the use of the machine, mechanical multiplication means, interdisciplinary collaboration. Exiling himself in France, in Paris in 1930 Vasarely immediately alongside the fields of printing and publishing by being hired at the printer Draeger, then Havas among the Dewambez editor. He then climbs a publishing company of pharmaceutical inserts that runs until 1957. But all the experience from the "Mühely" to the design of advertisements is not sufficient to explain the passage of Vasarely graphic arts to art and his commitment to artistic editions. In connection with the industrial boom, many reconciliation initiatives appear in the late nineteenth and early twentieth centuries: the "Arts and Crafts Exhibition Society" founded in 1888 by William C. Norris and R. Aschbee; created in 1907 by architect Hermann Muthesius, the "Deutscher Werkbund" (The work of the Union) tries to unite and crafts industry and apply to mass production forms invented by artists and artisans; Founded in 1918, the "Arbeit für Kunst" sort of the Arts Commission, poses as the reform principles of art schools and the fight against an excessive individualism.

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In Budapest, the practical training "Mühely" is accompanied by information on the directions of some artistic movements of the time: do away with "art for art's sake" introduce art in the city ... the Bauhaus school in Germany opened in Weimar in 1919, after melting phase of arts and crafts, engages in the creation of functional aesthetics related industries. In his "Interviews" with Jean-Louis Ferrier (Pierre Belfond ed., Paris 1969), Vasarely recalled that in Berlin and Dessau, Bortnyik met Gropius, Kandinsky, Klee, all three teachers at the Bauhaus, and Gabo, Lissitzky, Goncharova, Russian artists. They had shared the artistic effervescence after the 1917 October Revolution Mayakovsky proclaimed that "The streets are our brushes, squares are our palettes"; artists invest the public domain, build ephemeral decorations in the streets, participating in propaganda posters; the forefront constructivist organizes exhibitions in avenues; Malevich animates public spaces; Kandinsky is responsible for developing the network of museums in all regions of Russia ... Detour through traditional painting How, with such artistic education, Vasarely it comes to practice easel painting? Vasarely is not an early painter. It was only in 1945, at 39, he began painting. It begins with a "symbolic and realistic" style. His exhibition in 1946 is prefaced by Jacques Prévert poem with Imaginoires and acquires surrealist sympathies and the watchful eyes of André Breton. This choice is all the more surprising that Vasarely was impregnated "Mühely" of the first achievements of this at the time was not yet called "abstract art" Kandinsky, Malevich and his famous "Black Quadrilateral" of 1913, "Rayonism" Natalia Goncharova and Mikhail Larionov of Mondrian, Van Doesburg ... Vasarely could continue in a way that ensures success; but all promising successes do not meet him. In 1947, he opens another way with the big elliptical shapes "Belle Isle". In 1948, it is the experience of Gordes, a village in southern France, which inspired his "Crystal" period. Glance in the past, Kandinsky, at his first experience "abstract", admits: "A frightening abyss opened under my feet while at the same time offered me an awesome responsibility and were asking all kinds of interrogations and most important of all: what should replace the object? "; Vasarely well recognized: "Crystal, it was a terrifying premonition: progress towards geometry, towards a kind of loss." Today, an abstract painter is sometimes regarded with condescension as a simple traditional painter; at the time, abstract art is far from a definitive acquisition; the up-andcoming artists, as Herbin or de Stael, between figurative and abstract are quite common; we are a thousand miles a proud legion of young conquistadores arrogant and sure of themselves, armed with implacable theories, ready to do battle with the dusty supporters of figurative art. Back to teaching "Mühely" Vasarely recalled the teaching he received from Sandor Bortnyik Mühely the "Art for art lived," "must end with the easel painting", the need for creating fit the evolution of industry. He often testified the importance of Mühely, admiration and gratitude for Bortnyik until the eve of his last day: that night we had a long discussion in which, while reflecting on the future of his work, he still spoke his teacher. Alongside his paintings, with graphic tools, techniques phototypesetting, Vasarely expanded his "Photographismes" explores the networks of black and white lines, superimposed crosses, includes them in his paintings. Then in 1959 he developed his "plastic units" by which, according Yvaral, "it was the forerunner in its field, the current development of a combinatorial art. He first made a superb synthesis of Codification plastic creative elements "(in the catalog of the exhibition that I organized." Proposals for a digital art ", ed Vasarely Foundation, Aix-en-Provence 1999 ). Gaston Diehl (in "Vasarely" Flammarion Paris 1972 ed.) Says: "It's this huge keyboard which it deploys the splendor in 1963" in Paris at the Pavillon Marsan of the Louvre. Then there are the "Permutations and Algorithms" and the series "Homage to the Hexagon" period "Universal Structures" ... We are far from fears of "the walking towards a kind of impoverishment"! Vasarely is also expressed in writing Besides the marriage of art with new technology, it is concerned to restore the social nature of art: to see. "The crowd, the masses, a multitude of beings, is the new dimension. Art is the plastic aspect of the community. " Thus he expressed in his "Raw scores," so named because originally scribbled on pieces of paper, a kind of workshop books reflecting his concerns of the moment; they are not definitive precepts; Started in 1946, they are milestones of a thought that is constructed, precise, consolidates, in the image of his creative work that structure over the years. "Gross Notes" restore his creative experiments and theoretical conclusions he draws. Recognizing their importance, I devoted them a website (www.vasarelyparvasarely.com) which gathers significant excerpts. In 1953, he noted: "Within the future city, the" poetic function "will evolve into forms industrially multipliable so generously releasable. The fundamental choice in favor of integration of the work to the community immediately justifies the adoption of broadcasting techniques, fundamental option which implies the idea of ​​gift. But dissemination is also necessary and internal law of the new aesthetic. Catalogue raisonné des éditions - Projet de préface – version 3 (4 février 2015)

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The ethics of Artistic creation can not therefore be conceived without it. No plastic proposal is valid if it is extrinsic to the diffusion technique, which justify its existence by integrating into the community. " Also in 1953: "For if Art wanted to be yesterday FEEL AND MAKE it can be DESIGNING AND TO MAKE today. If the conservation of the work lay, yesterday, in the excellence of materials and perfection of their technique and mastery of hand, she now finds itself in the consciousness of the possibility of RECREATI0N of Multiplication and EXPANSION. Thus disappear, with crafts, the myth of the single piece, and finally triumph work diffusible through the MACHINE and through it. " The use of simple geometric shapes and solid colors facilitates transcription not only screen printing, but also ceramic tiles and other building material. It was in 1949 that Vasarely subjected to screen printing his first board. In 1954, three of his works are integrated into large, precisely in Venezuela closely with the architect of the new University City of Caracas.

What is the role played by Vasarely in the revival of screen printing? Having benefited from technical advances in the early twentieth century, screen printing, used primarily in the areas of signage, displays, advertising is gradually neglected and hardly exist in France. After World War II, it begins to be invested by the artists. Matisse, it seems, allergic to any mechanical reproduction his work, made a timid attempt in 1946 limited to thirty copies. Herbin joined seven serigraphs each copy of his book "The non-figurative art, non-objective" published in 1949 by Lydia Conti. Denise René entrusts Arcay workshop running a silkscreen port-folio of Vasarely, Dewasne, Poliakoff, Bozzolini ... in 1954, the first published by his gallery. With Wilfredo Arcay, Victor Vasarely tied a long and close collaboration of several decades. For 35 years of Arcay workshop activity, art critic Otto Hahn wrote, after pointing out that the word "silkscreen" silkscreen contraction and graphic designer, was found by Vasarely "color after color, Wilfredo Arcay invent solutions where there are problems "; then he quotes the definition of "silkscreen" entrusted to him Wilfredo Arcay "A little closer than is usual, the heart of creation." Françoise Woimant, palaeographer, curator archivist in charge of the twentieth century collections in the Department of Prints from the National Library of France, said: "While the print has become for many an inexhaustible field experience, she performs for proponents of geometric art, went in search of a universal visual language adapted to our time, the role their primordial eyes of diffusion agent. Rejecting the principle of a single work, Vasarely nourished the spirit of the Bauhaus was the first painter of his tendency to have understood and to have systematically used for these purposes screenprinting in 1949, followed this path by Jean Dewasne " . (Collective work "Burning" PUF ed. Paris 1972). An American art critic explained that, unlike France, screen printing has grown tremendously in the United States throughout the twentieth century, and paradoxically during the Great Depression, from 1935 the Federal Art Project as evidenced by the collection of advertising posters and propaganda of the Work Progress Administration. Despite this advantage of the United States to France, I heard that Andy Warhol himself as the spiritual son of Victor Vasarely. If one wants to not take for granted Warhol's histrionics who claims the singer of "Art Business", we can assume that, trying to make art popular consumer products manufactured in great mass, he managed to make popular the massive artistic productions. Britain, the birthplace of pop art, was also a focus of screen printing, especially with propaganda posters from the Second World War. In the same vein as Andy Warhol, with the same reputation of "Art Business", a generation later, that is to say, Today, Damien Hirst done, too, its color screen print round series (the "Spot Paintings") and its macro photographs of exotic butterflies. And multiple? What is the difference between a screen and a multiple? The "multiple" label was chosen to describe three-dimensional works: reliefs, volumes, deep kinetic works (two or three parallel glass plates spaced) ... Their manufacture requires specific materials (wood, plexiglass, steel ...) and requires a complex and flawless execution, and therefore more expensive. As for the print, the number of copies is arbitrarily fixed, limited or not; Each copy is numbered and signed by the artist. From this angle, the multiple is indistinguishable from screen printing or engraving in general; screen printing on paper that is as much a multiple screen printing on a metal volume. Catalogue raisonné des éditions - Projet de préface – version 3 (4 février 2015)

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If we except the achievements of the Russian Avant-Garde and the Bauhaus, the first attempts to multiple editions in three dimensions, at least in France, is to the credit of Daniel Spoerri, artist of New Realism, around 1955, then the gallery owner Claude Givaudan. In 1966, Denise René opens his gallery "Left Bank", with window on the Boulevard Saint-Germain, to dedicate the editions and multiples. In the "Interviews" (Adam Biro Paris ed. 1991), the question of Catherine Millet: "I know your opinion was to limit the prints while some artists have wished unlimited prints. Why ? "Denise René replied:" Part of our many were successful, but fans were sulking when the draw was too great "and" With other artists, we tried the opposite strategy. We performed multiple in very limited quantities, fifty copies maximum. This proved just as dangerous. For the cost allows an affordable selling price, we had to store a significant amount of material. " Denise René laments: "Even offered for a nominal fee, an original work which was missing artist's signature is not selling. Personally, I admit that I do not like an unsigned work, I look like a letter might have sent me no signature. " And Catherine Millet's comment: "The fetishism of the signature is ineradicable.” A fetishism against which Vasarely has stopped fighting. Including to its detriment. The facades of famous Parisian shopping malls, on the occasion of the White selling season, are decorated with huge enlargements of a fragment of a painting of Vasarely. His gallery owner sues. During the investigation, Vasarely gives an interview to a weekly; sincerely convinced to denounce the Creators safes collectors and generously offer his ideas, he said that "art is the common treasure; there can be no copy of art "and disavowing his own lawyers. "Social Art" advocated by Vasarely would it be an ideological art? In 1953, Vasarely note: "I guess deep plastic aspiration of the human being, as a yearning for melody, rhythm or poetry. I think the possibilities now exist to meet the natural needs of the human sensory joys. " In 1961, he again insists: "Plasticity is food, due to all along that knowledge, rhythm, song or vitamins." He noted a cultural underdevelopment or at least a delay in understanding the art schools of the past. In 1970, he also notes that "the culture of the middle class is more than questionable; conditioned, she admires without distinction ruins, junk degraded or false, and degenerations fine arts. Plastic education has never been attuned to the movements, offset ente the way human knowledge and the avant-garde is almost unassailable. " In his "Notes for a manifesto" of 1955, better known under the term "Yellow Manifesto", it already states: "The effect of the art product on us (...): these various sensations occur first in our emotional being (...). By this, the end of art is almost reached. The analysis, understanding of a message depends on our knowledge and our level of culture. (...) Instead of "understanding" of contemporary art, we recommend his "presence." The sensitivity is a clean power to human, certainly our messages reach the common man the natural way of his emotional receptivity. Indeed, we can not indefinitely allow the enjoyment of the work of art to the only elite connoisseurs. " About tapestry, another form of editions, he wrote in 1969: "Without saying miniaturization, I nevertheless advocates a less pretentious format for these new multiple. The growing population in the world still require long construction area of ​​small residential units. A tapestry of one to two square meters could bring joy and warmth in these countless homes where a material welfare of comfort and hygiene reigns already, but where the plastic beauty sorely lacking. It's our fault for not continue to work for the "lords". " Distrusting any prior philosophy, Vasarely is animated by a deep humanism and, as emphasized Gaston Diehl, "he believes rightly able to introduce everywhere a sense of beauty into any home.” But also on behalf of the democratization of art, Vasarely hear it, the dissemination of its editions and architectural integration, impose the dictatorship of his only creation? By developing a plastic alphabet, Vasarely considered a tool used by any designer. He believes that the use of codified elements of artistic creation would usher in a "planetary folklore" authentic. "The creation in fine arts with a combination of this scale provides a tool having a universal character, while allowing the manifestation of personality such as ethnic particularities. We already see the outlines of a true planetary folklore, modern in its concept and in its technical unit at its base, highly complex in its summits "(lecture delivered in 1967 by Vasarely in New York ICAS). In his book "Plasti-City" (subtitled "The plastic work in your daily life", in collaboration with Michel Ragon, Ed Casterman, Paris 1970), he advocates that everyone can, from prefabricated colored materials, dial himself inside his environment: "There is no reason that aesthetically prééduqués beings and masters of their taste construct, from these multiple, both their own plastic universe and residential cell." And among the editions, in 1969 and 1971, are the "Holdings" games including 400 interchangeable colored plastic units; the purchaser can freely combine and compose as many different tables he wants.

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Art, by its massive distribution does he not risk becoming a mere object in fashion? The generous ideas sometimes come at narrow social framework. To enable the operation of the Foundation and meet financial deadlines Vasarely publishes his old creations "figurative", especially the famous "Zebras" and some of his "Etudes Graphics' 1930 course it has even indulged in recklessly grant reproduction rights. easy solutions, purely commercial, that he told me a little ashamed, he greatly regretted because, with the exception of the few success stories, they were at opposite its design dissemination of art as treasure common. He was mortified to see that art was sometimes reduced to "a board game fashion." He remembered what he wrote in 1952 on "The Artist and ethics"; prémonitoirement almost there spoke of his fears that "the production-consumption in a world that lives reprieve, would flourish dilettantism and sentimentality and transform the art of surplus produce in Article Bazaar". Personally, I would never venture to betray the guidance of Vasarely and compromise its creation in gadgets ranges. "Art reveals! " In 1937, in his essay "When the cathedrals were white," the architect Le Corbusier expresses masterfully that "art is the unconscious expression, uncontrollable infrelatable the spirit of an era and the spirit of the people when they are sufficiently shaped by the network created by the customs, laws, governments when a unit is reached. The art reveals! ". Although elk, initially spirited, for the dissemination of art and its integration into the everyday environment are faced with difficult social relations "in a world that lives reprieve" and is still unable to "reach one unit ", although, over time and gigantic difficulties, convictions have assagies in their expression," thinking-art "of Vasarely remains focused on the essential role of art in society that should shape our era. "At the cost of many more years, the work enters the human layers and becomes common treasury, (...) as ubiquitous renewable plastics stimuli needed for daily balance of all." Meanwhile, he writes, "these days, with the editions, the artist has managed to resolve the contradiction value number, thanks to advances in technology, opening to a wide audience access to works value ". "The value of a work does not consist of the rarity of the object, but the scarcity of quality it means."

Thus, Vasarely editions do not appear as an appendix accessory, optional, marginal, his creative activity. Like its architectural integrations, they are one of the results of his artistic research, from which he gradually built a global thought on art. His ideas do not remain just words, it continuously translated into concrete actions. Put into practice his theories on art, editions were simultaneously fed his thought. They are a special integral part of a coherent whole. One aspect of the whole. Along with his research workshop, paintings on canvas, its integration in the architecture and writings, editions of Victor Vasarely is an expression of the unity of his work, combining its practices and theories.

Michèle Vasarely January 2015

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Some awards received for its editions Vasarely 1965 - Grand Prix of the VI International Exhibition of Engraving in Ljubljana (Yugoslavia) 1965 - Gold Medal awarded by the Société d'Encouragement in Art and Industry 1966 - Price of the First International Biennial of Engraving in Krakow (Poland) 1968 - Award "Luxury Paper», Paris 1968 - 1st Prize "free theme Works" Second International Biennial of Engraving in Krakow (Poland) 1971 - International Prize Diano Marina (Italy) awarded to the book "Discourse on Method - Descartes Vasarely 'album of 24 original works including 6 lithographs, serigraphs 14, two collages, one profound work kinetic aluminum sculpture 1, Esselier ed, Paris 1969 1972 - Prize awarded by the Warsaw National Museum on the occasion of the Fourth International Biennial of Engraving in Krakow (Poland) 1974 - Gold Medal of the International Biennial of Graphic Fredrikstad (Norway)

Victor Vasarely à son atelier d'Annet sur Marne

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Victor Vasarely

Prologue Prologue pour les Editions

Editions, Multiples, Spatials et Remarquable Oeuvres de Victor Vasarely: par Pedro Benavides Tout d'abord, je remercie Dieu d'avoir encouragé ma rencontre avec mon amie Michele Vasarely pour son attention et sa collaboration lors de ma première visite à sa résidence à Porto Rico. Elle, après avoir vu le matériel qu'elle portait, était intéressée et m'a demandé de lui donner les trois volumes du travail. Il a vérifié la nuit jusqu'à l'aube. Le lendemain, il m'a dit que le travail serait la prise en main du catalogue raisonné de Vasarely. Je n'ai jamais pensé ou imaginé un tel succès, je m'attendais à des critiques et des commentaires sur certaines pages, mais elle a dit: «... c'est totalement extraordinaire, et plus encore, que vous ne connaissiez pas l'artiste, ce travail, Contexte de l'oeuvre De Vasarely va devenir comme une Bible, tout le monde va l'avoir, va rester dans l'avenir comme une marque forte dans l'histoire de l'oeuvre de Vasarely ". Pendant de nombreuses années, j'avais de nombreux doutes, mais le vaincre était mon défi, mon défi. Mon intuition m'a dit que c'était encore longtemps pour consolider un résultat digne pour un si grand artiste. Ma fille aînée, Morela Carolina Benavides, m'a encouragé à continuer dans cette tâche, elle m'a dit que ce serait une thérapie pour mon problème de santé "myélome multiple" (MM). J'ai commencé ce travail comme une évasion pour ce problème, à la recherche d'une façon de faire face et de concentrer mon attention sur le début de chercher de l'information pour construire une base de données en termes de multiples, mais jamais pensé qu'il engloberait tellement, je n'avais pensé que Le multiple qui étaient dans ma collection. Ensuite, est venu l'agitation de continuer à enquêter et a systématiquement commencé à faire tout le travail, initialement le soutien était l'information trouvée dans quelques volumes du travail général de l'artiste, fabriqués par différents éditeurs, dans lesquels seules les «éditions» sont mentionnées Mais je ne vois pas ou ne l'est pas, ce qui m'a apporté une nouvelle préoccupation et cela m'a amené à continuer d'enquêter. Lors d'une deuxième visite à mon ami Michele, elle m'a dit ces mots: "Le travail de Vasarely est divisé en deux parties d'égale importance, le travail peint original et les éditions. Les modifications sont une partie importante du travail. Comme je l'ai dit hier, il est divisé en deux parties, l'œuvre originale peinte, et l'univers des éditions. Pour Vasarely, c'était primordial. Avec la croyance que tout le monde sait: «l'art pour tous», était la seule façon de pénétrer dans la masse, le monde, tout, je ne dis pas que les problèmes ont priorité dans le travail, mais c'est vraiment égal au travail peint pour Lui dans son esprit. Il ya une revue de Vasarely dans son contexte à l'époque, il était socialiste, mais de la plus belle façon, il voulait partager avec les gens, qu'il n'était pas un droit pour l'élite d'avoir des œuvres de son propre. Non seulement cela, mais il a ouvert la voie à d'autres artistes qui sont venus plus tard, comme Andy Warhol, qui a déclaré qu'il avait été inspiré par Vasarely pour la multiplication de ses œuvres. Vasarely a ouvert une porte pour lui-même et pour les autres artistes, c'est ainsi que l'artiste est si bien connu dans le monde entier, ce n'est pas à travers le travail original, mais ses éditions. Il a été le premier à les réaliser, il a inventé le concept de la multiplication des œuvres. Il faut dire que les éditions de Vasarely sont très bien faites, elles ne sont pas faites rapidement, elles sont très belles, elles ressemblent beaucoup aux originaux. Les couleurs, le matériel, les encres qui ont été choisies, ne laissent pas l'imprimante seule, ont toujours supervisé le processus dans l'atelier lui-même, ont regardé les couleurs et ont décidé qui étaient et n'étaient pas, il était vraiment en train de le faire. Si nous pensons, démarrer le catalogue raisonné avec les éditions, il semble tout à fait logique, vous l'avez fait, choisissez cette vague pour commencer et je pense que c'est le plus logique. La voie de l'artiste, sa priorité, était de partager quelque chose avec le monde, et puisque tout le monde ne peut pas acheter une pièce originale, la seule façon était les éditions, je pense que dans la pensée de l'artiste était une priorité. Catalogue Raisonee des editions - Prologue - version 2 (29 mars 2017)

Si vous cochez un catalogue d'une maison d'enchères, Vasarely apparaîtra toujours, pourquoi? Parce qu'il a apporté des corrections pour étendre son travail pour que le monde ait accès. Le travail d'un artiste, ne peut pas appartenir à un petit groupe de personnes, serait totalement injuste, l'accès à l'art devrait être global. Pour cette raison, il a également essayé de faire des intégrations à l'architecture et travaille dans la rue, qui ne sont pas achetés, mais seulement en regardant peut être apprécié, cependant, n'a pas atteint le succès qu'il attendait, mais a fait quelques intégrations importantes. L'artiste était vraiment sincère, non artificiel, voulait partager tout son travail avec tout le monde, ne devait pas avoir de gloire ni de vanité. Bien qu'il ait fait beaucoup d'argent, ce qui n'est pas quelque chose à cacher, il ne se souciait pas du tout, il n'était pas matérialiste, il vivait selon ses idées sociales, il n'était pas très opulent et a vécu sa vie assez simple, j'ai fait Ne l'utilise pas, c'est pourquoi il a fait le musée de Budapest et le musée de Pecs, a également aidé de nombreux jeunes artistes, ont aidé beaucoup de Sud-Américains, par exemple Jésus Soto et Julio Le Parc, quand ils sont arrivés sans en connaître personne, il les a aidés, D'une certaine manière, aidez-les ou envoyez-les à la Galerie Denise René les a aidés avec ou travaillé avec lui, mais il les a également aidés jusqu'à la fin, comme mon mari Yvaral, ils étaient des êtres humains exceptionnels, vraiment ... des êtres spéciaux. Le talent, l'intégrité et la générosité sont des qualités difficiles à trouver ensemble chez une seule personne. " Trois questions m'ont été posées par Michele Vasarely lors de la visite, qui ont été très importantes parce qu'elles ont marqué le point culminant de ce travail. Les questions étaient les suivantes: Vous en tant que vénézuélien, parce que vous avez fait le catalogue de Vasarely et non de Soto? La réponse immédiate était que l'admiration que j'avais pour Vasarely est très spéciale et plus que beaucoup de respect pour ce que je déclare dans son Manifeste jaune: «... l'art doit être accessible aux masses, non seulement pour une élite» Qui est L'excellente idée de la manière de l'artiste. Vous avez réalisé qu'il allait reconstruire le monde du spectacle ou que vous pensiez que vous le feriez directement, avez-vous un objectif ou que vous le ferez peu à peu? En fait, quand je commence un travail, j'aime toujours arriver à la fin, je n'étais pas content de terminer le travail d'impression, ils comprennent des sculptures, des reliefs, des céramiques, du verre, des tapisseries et tout cela, aucune information ne figure dans les livres ou les catalogues Cela existe déjà Vous rendez-vous compte de l'importance historique de ce travail? J'ai rencontré l'artiste par admiration pour son travail, ce qui a ouvert la porte pour faire ce travail. Le travail de Vasarely a toujours été une admiration pour moi, lorsque j'ai commencé le catalogue, je ne voulais pas m'arrêter. J'espère que ce travail, dans le cadre de votre travail, est un guide, tant pour les conservateurs, les musées, les maisons de vente aux enchères que pour les collectionneurs Cela me donne beaucoup de satisfaction parce que je pense que ce travail classera chaque édition, car il y a beaucoup de confusion et beaucoup de confusion sur le marché, il mettra tout à sa place, ici, vous pouvez voir le nombre d'éditions , Qui a imprimé tout le monde, sa taille et son année.

Catalogue Raisonee des editions - Prologue - version 2 (29 mars 2017)

Après ma visite à mon amie Michele, mon défi était plus grand, je pensais que je ne ferais qu'une petite partie de cet énorme projet et que je trouvais qu'il fallait l'améliorer, éliminant certaines erreurs, ce qui m'a coûté beaucoup plus de mois de travail depuis My La santé a présenté de nombreux problèmes, mais je n'ai pas abandonné, avec la faveur de Dieu, j'ai persévéré ... Et aujourd'hui, je présente ce travail: Il se compose de deux parties: Premier volume: éditions imprimées, avec 55 albums à partir de 1955 à 1989 et Plaques à partir de 1949 à 1991, y compris la collection de l'artiste, toutes signées et numérotées par Vasarely. Affiches, publicités, cartes postales et éditions illimitées réalisées par Editions du Griffon Neuchâtel sous la supervision de l'artiste. Deuxième volume: multiple, de 1964 à 1997 et quelques post-mortem 1998-2013. Des oeuvres en surbrillance, y compris des travaux profonds << Transparent verre-plexiglas >>, sculptures en aluminium et monumentale intérieur et extérieur et intérieur Fondation Vasarely. Il comprend également une revue historique des expositions, principalement des groupes individuels et des groupes où les éditions sont exposées. Je remercie toutes les personnes qui ont collaboré à ce grand projet, en particulier ma fille Morela Carolina, qui documentent mes deux visites dans le premier voyage à Michele Vasarely qui a permis d'inclure dans le prologue des informations importantes concernant ce travail. Je remercie également les personnes qui m'ont donné le courage de poursuivre la recherche et d'être en mesure d'améliorer ce travail important à tout moment, dans le but d'accéder au catalogue des œuvres uniques qui finirait par être couvertes en deux volumes, en raison de Le vaste travail et le nombre d'œuvres réalisées par Víctor Vasarely, père de l'Op-Art. Je consacre ce travail à tous les amateurs d'art, en particulier à mes enfants et petits-enfants. Pedro Benavides Feb-2017

Victor Vasarely avec sa belle-fille Michèle Vasarely.

Catalogue Raisonee des editions - Prologue - version 2 (29 mars 2017)

Victor Vasarely

Prologue Preface pour les Editions

Edition, Multiples, Spatials and Remarkable Works of Victor Vasarely: by Pedro Benavides First of all, I thank God for encouraging my meeting with my friend Michele Vasarely, whom I also thank for your kind attention and cooperation during my first visit to your home in Puerto Rico. She, after seeing the material she was carrying, was interested and asked me to lend her three volumes to check them better. She checked that night until dawn. The next day he told me that he had checked the work and that it could be taken as Vasarely's catalog raisonnÊ. I never thought or imagined such a high achievement, I had criticism and comments on certain pages, but Michele Vasarely said: "... it is extraordinary, and even more, than without knowing the artist, this work, in the context of Vasarely's work, will become a Bible, everyone will have it, it will remain in the future as a strong brand in the history of Vasarely's work.� For many years I had many doubts, but I reached them, it was my challenge. My intuition told me that there was still a long time to consolidate a worthy result for such a formidable artist. My oldest daughter, Morela Benavides, encouraged me to continue in this task, she told me that this would be a therapy for my "multiple myeloma" (MM) health problem. I started this work as an escape for this problem, looking for a way to cope and focus my attention on starting to look for information to build a database in terms of editions, I never thought it would encompass so much, I had only thought about the editions that featured in my collection. Then came the agitation of continuing to investigate and systematically began to do all the work, initially the support was information found in some volumes of the general work of the artist, made by different publishers, in which only the "Editions" are mentioned. See or not, what has brought me a new concern and this has led me to continue researching. On a second visit to my friend Michele Vasarely, she told me: "Vasarely's work is divided into two parts of equal importance, the original painted work and the editions, which is an important part of the work. As I said yesterday it is divided into two parts, painted work Vasarely believed that "art for all". It was the only way to penetrate the masses, the world, everything, I do not know, not to say that problems have priority in the work, but it is really equal to the work that was painted on his mind. There is a revision of Vasarely in the context. At that time, he was socialist, but in the most beautiful way, I wanted to share with people, that it was not an elite right to have his own works, not only that, but he paved the way for other artists that came later, as Andy Warhol, who stated that he had been inspired by Vasarely for the multiplication of Vasarely opened a door for himself and for other artists, so the artist is so well known throughout the world, it is not through the original work, but its editions. He was the first to realize them, he invented the concept of multiplication of works. It must be said that the Vasarely editions are very well made, they are not made quickly, they are very beautiful, and they look very similar to the originals. The colors, the material, the inks that were chosen, do not leave the printer alone, they have always supervised the process in the workshop itself, looked at the colors and decided who they were and were not really doing it. If we think, begins the catalog raisonnÊ with the editions, it seems quite logical. The way in which the artist, his priority, was to share something with the world, and since not everyone can buy an original piece, the only way was the editions, so I think that in the artist's mind was a priority.

Reasoned Catalog of editions - Preface - version 2 (29 march 2017) 3

If you check a catalog of an auction house, Vasarely will always appear, why? Because he made editions to extend his work so that the world had access. The work of an artist, can not belong to a small group of people, it would be totally unfair, access to art must be global. For this reason he also tried to make integrations to the architecture and works on the street, which are not bought, but only to observe can be appreciated, however, did not achieve the success he expected, but has made some important integrations. The artist was really sincere, not artificial, he wanted to share all his work with everyone, it was not glory or vanity. Although he earned a lot of money, which is not something to hide, he did not care about anything, he was not materialistic, he lived according to his social ideas, he was not very opulent and he lived his life quite simply, he did not use it, that's why he did the Budapest Museum and the Pecs Museum, also helped many young artists, helped many South Americans, for example Jesus Soto and Julio Le Parc, when they arrived without knowing anyone, he helped them, somehow helped or pushed to the Gallery Denise RenĂŠ to help them with or worked with him, but he also helped them to the end, as did my husband Yvaral, who were exceptional human beings, truly ... special beings. Talent, integrity and generosity are qualities that are hard to find together in one person. “ Three questions were posed to me by Michele Vasarely during the visit, which were very important because they marked the way towards the culmination of this work. The questions were: As Venezuelan, why did you make the Vasarely's catalog and not Soto's? The immediate response was that the admiration I have for Vasarely is very special and more than a lot of respect for what I declare in his Yellow Manifesto that "... art must be accessible to the masses, not only to an elite‌" The great idea of the artist's path. Did you realize that you were going to rebuild the art world or would you believe that you would do it directly, did you have an objective or would you do it little by little? In fact, when I start a job, I always like to get to the end, I was not happy to finish the printing job, which included sculptures, reliefs, ceramics, glass, tapestries and all that, no information appears in the books or catalogs that already exist. Do you realize the historical importance of this work? I met the artist out of admiration for his work, what opened the door. Vasarely's work has always been an admiration for me, when I started the catalog, I did not want to stop. I hope that this work, as part of your work, will be a guide for curators, museums, auction houses and collectors. I hope that this work, as part of your work, will be a guide for curators, museums, auction houses and collectors. This gives me great satisfaction because I feel that this work will classify each edition, since there is a lot of confusion and much confusion in the market, it will put everything in its place, and here you can see the number of editions that printed the whole world, its size and its year.

Catalogue Raisonee des editions - Preface - version 2 (29 mars 2017)

After my visit to my friend Michele, my challenge was greater, I thought that I would only do a small part of this huge project and I felt that it was necessary to improve it, eliminating some mistakes, which cost me many more months of work, since my health presented many problems but I did not give up, with the favor of God I persevered ... And today I present this work: It consists of two parts: First volume: printed editions, with 55 albums from 1955 to 1989 and plates from 1949 to 1991, including the artist's collection, all signed and numbered by Vasarely. Posters, Advertising, Postcards and Unlimited Editions by Editions du Griffon Neuchatel under the supervision of the artist. Second volume: Multiple, from 1964 to 1997 and some post-mortem 1998-2013. Outstanding works, including deep works << Transparency glass-plexiglass >>, sculptures of aluminum and monumental interior and exterior and interior Vasarely Foundation. It also includes a historical review of the exhibitions, mainly individual and some groups where the editions are exhibited. I thank again all the people who collaborated in this great project, especially my daughter Morela Benavides, who document my two visits in the first trip to Michele Vasarely that allowed to include in the prologue important information about this work. I also thank the people who gave me the courage to continue the research and be able to improve at any time this important work with the aim of reaching the catalog of unique works, which would eventually be covered in two volumes, the extensive work and the number of works carried out by VĂ­ctor Vasarely, father of Op-Art. I dedicate this work to all art lovers, especially my children and grandchildren.

Pedro Benavides Feb-2017

Michele Vasarely with Pedro Benavides and Morela C. Benavides. Puerto Rico, 2014

Catalogue Raisonee des editions - Preface - version 2 (29 mars 2017)

Victor Vasarely

Printed Editions

Printed Editions On the last century, the mankind is thirsting to “see” in order to further its knowledge. In Art, the posthumous recognition always lags behind; frustrates the artist and his contemporaries. Art and technique are not contradictory. By advancing on the area of computation in the last years like the internet, allowed use a powerful resource avaliable to all people in their home or office, opening a direct communication data, which are updated brillantly clearing the way for the arts by allowing them to be broadly integrated into the modern-day community. From now on, the idea and technique of art will have to move forward hand in hand with the most advanced thought and technology of the time. It is in this way that the dream of co-existent culture and civilization will come true. Vasarely wanted the artworks were not intended by value, only for the wealthy elites, so work for prints screenprints (print multiple), giving to the poorer classes, the opportunity to acquire a work of the original, also signed and numbered by the artist but cost quite a pretty faithful accessible art. In the beggining (1949), the production of multiples on silkscreen using works with designs created by Vasarely (Oil, acrylic, tempera, collage), colors and shapes always the most faithful possible to the original, however, there are some color changes around the shapes and backgrounds continue to also get a variation and not a copy using the same silkscreen. Example of Series: “Betlegeuse” 1965, “Procion” 1968, “Yvaral” 1969, “Domb” 1970. This serigraph was stamped on a types of papers named “Arches” (1), “BFK Rives” (2) . This silkscreen was under the edition of Denise René, and printed by Atelier Arcay or Domberger Stutgart, the size serigraph has two components, print size (image) and paper size (sheet). In some cases, the impression size is equals of the paper size. Example: “Jindey” 1969,“CTA-102” 1973. Some prints are grouped in sets of 4 to 12, named “Albums”. In some Albums, from the total of edition, a percent is printed in separates plates and additional exists some prints in specials tirage, in “HC” (Hors Commerce), “AP”, “A/P” o “EA” (Artist Proof / Épreuve d´Artiste) and a quantity, is some kind of donation of the artist (in the case of Vasarely) to a “Foundation Vasarely” which have “FV”. In our work, the size of the sheet has been placed, there may be cases that mistakenly took the size only of the print, date of publication, title, work name, edition, number of copies, publisher, publisher name And sometimes the printer. In this compilation he has only used works numbered and signed by Vasarely, no works without signature have been used, except the editions made by du Griffon, which were authorized and supervised by Vasarely. Posters, Advertisement and Postal Cards were also included. In the market there are many misleading copies being only decorative in nature. We have taken the information in the first place, certified publications (books, catalogs), may have some errors I have tried to correct as possible. Second, we used as a query, the Internet, where pages are registered (Artprice, Christie's, Bonham's, Skinner, Stockholms Auktionsverk, Bukowski Market, Ketterer Kunst, etc..), And finally we used support from the private collection of my father (Eng Pedro Benavides) which is quite extensive works of Vasarely, containing several original works in oil, tempera and drawings, multiple prints, albums and multiple plates and in different materials.

(1) is high quality, air-dried paper that is preferred among printers and watercolorists. It has a warm-white colour and can be found in hot-pressed, cold-pressed, and rough varieties. (2) traditional paper developed as round shape, 100% Cotton, Compatible with pigmented and dye inks, Instant dry, water resistant, No optical brighteners to prevent any discoloration of the paper and retain its original color for generations, Alkaline reserve to prevent deterioration due to the action of the atmosphere (CO2, ozone, etc ...), moisture or aggressive fumes, Certificate no acid to avoid paper degradation

By Morela Benavides O.

Victor Vasarely

Printed Editions

Éditions imprimées En el último siglo, la humanidad sigue sedienta por "ver" con el fin de avanzar en su conocimiento. En arte, el reconocimiento póstumo siempre va a la zaga; frustra el artista y a sus contemporáneos. El Arte y la técnica no son contradictorias. Debido al avance tecnológico en los últimos años, como el Internet, se ha permitido el uso de un poderoso recurso disponible para todas las personas en su hogar u oficina, la apertura de un conjunto de datos de comunicación directa, que se actualizan brillantemente despejando el camino para las artes permitiéndo ser ampliamente integrada a la comunidad de hoy en día. A partir de ahora, la idea y la técnica del arte tendrán que moverse hacia adelante de la mano con el pensamiento más avanzado y la tecnología de la época. Es de esta manera que el sueño de coexistencia de la cultura y la civilización se hará realidad. Vasarely quería que las obras de arte no estuvieran destinadas por su valor, sólo para las elites ricas, por lo que trabajó para realizar ediciones (múltiples de impresión), dando a las clases más pobres, la oportunidad de adquirir una obra de arte, también firmada y numerada por el artista pero a un costo accesible. En sus inicios (1949), la producción de múltiples de serigrafía utilizando obras con diseños creados por Vasarely (óleo, acrílico, tempera, collage), colores y formas siempre se hizo lo más fiel posible al original, sin embargo, hubo algunos cambios de color alrededor las formas y los fondos para obtener una variación y no una copia usando la misma serigrafía. Ejemplo de la serie: "Betlegeuse" 1965 ", Proción" 1968, "Yvaral" 1969 ", Domb" 1970. Estas serigrafías fueron estampadas con un tipo de artículos llamados "Arcos" (1), "BFK Rives" (2). Estas serigrafías estaban bajo la edición de Denise René, impresos por Atelier Arcay o Domberger Stuttgart, las serigrafía tienen dos componentesen cuanto a tamaño de impresión (imagen) y a tamaño del papel (hoja). En algunos casos, el tamaño de la impresión es igual al tamaño del papel. Ejemplo: "Jindey" 1969 ", CTA-102" 1973. Algunas impresiones se agrupan de 4 a 12 elementos, llamados "Álbumes". En algunos álbumes, del total de edición, un porcentaje se ha impreso en planchas separadas y existe un adicional de algunas impresiones para promociones especiales de tiraje, en HC (Hors Comerce, AP, A/P o EA (Artista Prueba / Épreuve d'Artiste) y una cantidad, que va destinada como un tipo de donación del artista (en el caso de Vasarely) a la "Fundación Vasarely", que llevan FV. En nuestro trabajo, se ha colocado el tamaño de la hoja, puede haber casos que equivocadamente tomaron el tamaño sólo de la impresión, fecha de publicación, título, nombre de la obra, edición, número de copias, el editor, el nombre del editor y, a veces el impresor. En esta recopilación sólo ha utilizado obras numeradas y firmadas por Vasarely, no se han utilizado obras sin firmar, exceptuando las ediciones hechas por du Griffon, las cuales fueron autorizadas y supervisadas por Vasarely. Adicionalmente se incluyeron Posters, Advertisement y Postal Cards. En el mercado existen muchas copias engañosas siendo solo de carácter decorativo. Hemos tomado la información en primer lugar, de publicaciones certificadas (libros, catálogos), pueden tener algunos errores que se han tratado de corregir tanto como sea posible. En segundo lugar, se utilizó como consulta, la Internet, en páginas especializadas donde se debe estar registrado (Artprice, Christie, Bonham, Skinner, Stockholms Auktionsverk, Bukowski Mercado, Ketterer Kunst, etc ..), y finalmente se utilizó el apoyo de la colección privada de mi padre (Ing. Pedro Benavides) que es bastante extensa en cuanto a obras de Vasarely, esta contiene varias obras originales en óleo, témpera y dibujos, distintas impresiones, álbumes y múltiples en diferentes materiales. (1) alta calidad, papel de secado al aire que se prefiere entre impresores y acuarelistas. Color blanco cálido y se puede encontrar en variedades de prensado en caliente, prensados en frío, y ásperos. (2) Papel tradicional desarrollado en forma redonda, 100% algodón, Compatible con tintas pigmentadas y tinte,resistente al agua, pero no los abrillantadores ópticos de secado instantáneo para evitar cualquier decoloración del papel y conservar su color original durante generaciones, reserva alcalina para evitar el deterioro debido a la acción de la atmósfera (CO2, ozono, etc ...), la humedad o vapores agresivos, Certificado no ácido para evitar la degradación del papel

By Morela Benavies Otaiza

Victor Vasarely

Printed Editions

First and last pages of "Yellow Manifest” folder has the opportunity to publish the exhibition "Le Mouvement", 1955.

Denise René and Victor Vasarey, Galerie Denise Rene, Paris, 1955. (André Moraria Photo)

Denise René buyer was the idea that an examination of the concept and nature of the movement to create an exhibition. In April 1955, it also opened “Le Mouvement” (the motion) with Yakoov Agam, Pol Bury, Jesús Rafael Soto, Jean Tinguely, Robert Jacobsen, Alexander Calder, Marcel Duchamp and Victor Vasarely participation. The exhibition "great impetus to the international kinetic art movement to flourish," for this exhibition, was edited a catalog (actually a flyout, a four meadow out a yellow card, which has two sides printed theoretical texts) appeared Vasarely called “Yellow Manifest”, based on the research of constructivist and Bauhaus pioneers, he postulated that visual kinetics (plastique cinétique) was based on the perception of the viewer who is considered the sole creator, playing with optical illusions. which raises new media art significance. photograph, film, various media cooperation to replicate importance of art democratizing. Lot of this is the Paris exhibition from revolutionary act, and success brought the idea of “kinetic art” catalog otherwise specifically printed for practical reasons. yellow paper, so he came out as the cheapest.

Sorata T, Eng Pedro Benavides Collection. Res. Pemore, Caracas. Photo by: Petre Maxim.

Works of Vasarely (Sorata-T), Bury, Jacobsen, Soto, Tinguely at exhibition “Le Mouvement”, 1955

Works of Jacobsen, Agam, Tinguely at exhibition “Le Mouvement”, 1955

Victor Vasarely

Printed Editions Album Index Pag.

Album I

Album I

“Victor Vasarely” 1955

27

Venezuela 1956 .................. 29 Cinetique III 1959 ............... 31

“Victor Vasarely”

Kassak-Vasarely 1961 ....... 33 Folklore Planetary 1964 ...... 35

1955

EDITIONS Atellier Arcay / Denise René

Lapidaire 1966 ................... 37 CTA-102 1966 .................... 39 Code 1967 ........................ 41 Constelations 1967 ........... 43 Permutations 1968 ............ 45 Hexagone 1966 ................ 47

Descartes-Vasarely 1969

VASARELY

“Enigmes” On picture, Lajos Kassak and Victor Vasarely 1974 EDITIONS Atellier Arcay / Denise René

Deep Works Cinétiques 1970 Gestalt 1970 ....................... Clarities 1970 ..................... Vega 1971 ..........................

49 53 55 57 59

Gordes 1971 ....................... Mini-Musée 1971 ............... Octal 1972 ......................... VP 1972 ...........................

61 63 65 67

Bach-Vasarely 1972 ........... 69 Xico 1973 ........................... 72 Lapidaire-2 1973 ................ 73

75

Enigmes 1974 ........................

Responses a Vasarely 1974

1982

Cinetique NB 1975 ................ Gaia 1975 ............................. Sonora 1976 ...................... Meta 1976 ............................

79 81 83 85

d`Art XXe 1977.................... Vi-Va 1978 ......................... Microcosmos 1979.............. Reflets 1979 ........................

87 89 89 91 93

Paris-Tokyo 1980 ............... Helios 1981 ........................ Helios 2 1981 ..................... Hommage to Bartok 1981 ...

94 95 96 97 99

Melodies 1982 ........................

Vancouver 1982

1982 EDITIONS K.G. Heffel Fine Art Inc. & Intercontinental Art Agency Ltd. Vancouver

77

101

Vasarely III 1982 .................... 103 Louisiana 1983 ......................105 Moyen - Atta 1983 ............... 106 Budapest I 1984 .................... 107 Budapest II 1985 ................... 109 11+1 1985 .............................. 111 Kunst-Oslo 1985 .................... 113 Jalons 1986 ............................ 115 Origenes 1986 ...................... 117 Figurative 1 1987 ...................119 Figurative 2 1987 ...................120 AZ Album 1988 ..................121 Diam 1988 ......................... 123 ION 1989 ........................... 125 Les Annes Cinquante 1989. 127 Variaciok 1989....................... 1989. . 129

Left ot rigth: Victor Vasarely, Michele Vasarely, Otto Hahn and Yvaral (Jean-Pierre Vasarely, Victor Vasarely`s son)

Donner a Voir 1989 ............. 131 Vasarely IV 1989................. 133 Zebrak 1989 ....................... 135

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Album I “Victor Vasarely” Published In: 1955 Editions: Denise René / Print: Atelier Arcay Preface: V.Vasarely Dim. Ext Medium: Serigraphy Dim. Image 1.- Garam-1 (1) 2.- Akka

(1948) (1949)

66 x 50 cm 66 x 50 cm

49x31.5cm 36x34cm

100 100

3.- Zaïra 4.- Donan

(1950) (1950)

66 x 50 cm 66 x 50 cm

43x38cm 49x31.5cm

100 100

5.- Pamir 6.- Luberon

(1951) (1951)

66 x 51.5 cm 66 x 50 cm

42x34cm 44x33cm

100 100

7.- Senanque 8.- Darjiling

(1952) (1952)

66 x 50 cm 66 x 50 cm

37.5x34cm 37.5x34cm

100 100

9.- Kandahar 10.- Orom-II

(1953) (1953)

50 x 66 cm 66 x 50 cm

34x36.5cm 51x34cm

100 100

11.- Zsolt 12.- Keryado

(1953) (1954)

66 x 50 cm 66 x 50 cm

40.5x37.5cm 100 40.5x34cm 100

Album “Vasarely” . Set of 12 prints of 1948 - 1954. Album numbered 1-65, Separated plates were numbered 66-100. (1) Lehr - Berlin, auction 620, 27-April-2013 Mentioned on Vasarely III,Editions du Griffon Neuchatel (Switzerland)1974, p.240

27

VASARELY 1955

Atellier Arcay / Editions Denise René

Portfolio of <<Album I>> 1955. Folio in linen cover.

1.- Garam-1

2.- Akka

3.- Zaïra

4.- Donan

5.- Pamir

6.- Luberon

Victor Vasarely

Albums (numbered and signed by the Artist)

7.- Senanque

8.- Darjiling

9.- Kandahar

10.- Orom

11.- Zsolt

12.- Keryado

28

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Album “VENEZUELA” Published In: 1956 Editions:Denise Renè,París/Atelier Arcay Poems:Guillermo Meneses Medium: Serigraphy Dim. Ext. Dim. Image 13.- La Mañana 14.- El Llano

(1950) (1951)

65 x 50 cm 65 x 50 cm

46x34.5cm 37x34cm

15.- Los Andes 16.- Mar Caribe

(1950) (1950)

65 x 50 cm 65 x 50 cm

48.5x27.5cm 155 43.5x34.5cm 155

17.- Orinoco 18.- Maracaibo

(1955) (1955)

65 x 50 cm 65 x 50 cm

44x35cm 155 43.5x35.5cm 155

19.- Barlovento 20.- El Cielo

(1952) (1954)

65 x 50 cm 65 x 50 cm

37x34cm 47.5x36cm

155 155

21.- El Alto Valle 22.- La Orquidea

(1952) (1955)

65 x 50 cm 65 x 50 cm

41x34cm 51x24.5cm

155 155

23.- Calles pequeñas (1948) 24.- Caracas (1955)

65 x 50 cm 65 x 50 cm

37.5x34cm 37x35cm

155 155

155 155

This album was numbered 1 to 130, the series of the separated plates 131 to 155. With twelve poems, numbered, with title-page, text and justification, signed by the author. Mentioned on Vasarely III,Edition du Griffon Neuchatel,(Switzerland) 1974, p.240

1956

Atellier Arcay / Editions Denise René

Portfolio Album <<Venezuela>>.

13.- La Mañana

14.- El llano

15.- Los Andes

16.- Mar Caribe

17.- Orinoco

18.- Maracaibo

Victor Vasarely

Albums (numbered and signed by the Artist)

Twelve poems by Guillermo Meneses LA MAÑANA — Una columna de luz ha creado esta primera brasa de la cual toma la mañana sus fuegos, los hornos fulgurantes del sol de mediodía. EL LLANO — La tierra duerme las alturas de su ansiedad en el juego que imita las formas del agua. Maña y ardid de juglar que cambia las apariencias de los seres y presenta como lisa superficie este duro material sostenido por los cuatro clavos de los puntos cardinales para soportar un mundo de yerbas, de palmas, de bestias, de gentes. La vida es también juego brujo : la relación entre el hombre y el toro es una cinta, la vecindad entre el caballo y la palma es una sombra, la amistad entre la garza y el remanso es el pañuelo para decir adiós al amor de un momento. LOS ANDES — Ya serena en la vecindad del cielo el logrado poder de alzarse hasta la estrella desde el caliente asiento de los trópicos. Triunfo violento y sano de la piedra. Por eso tiene a bien un gesto de pereza y tiende un brazo hacia la mar, su pareja de pasión, su pareja de poder no olvidada en las alturas del aire. Serena en la zona de los astros, echa sobre sus hombros un frívolo capotillo de nieves. En las axilas le crece el vello de la hoja tibia y de la flor peluda. Rubios trigales se alzan en sus laderas como lanzas del sol. Historias que son el nervio de la Patria la marcan de eternidad. MAR CARIBE — Territorio de demonios y furias, de viento y espuma, blanca espuela de plata, vértigo azul de codicia y violencia, salada agonía rota y viva en su afán de posesión. Dios Huracán hinca en su entraña, a veces, el aguijón de espanto y sopla sobre sus aguas y sus islas. En los puñales de sus olas se hiere el sol el pecho cristalino. El aire, el cielo, el agua inquieta, la roca dura y la arena dorada trituran el calor o caen por él derrotados. Unos a otros se destruyen y crean la vida de la costa : sus peces, sus moluscos, sus algas bailarinas, la tarea de los hombres que viven en la hermosa ribera caribe. Solo ese mar es mar.

19.- Barlovento

20.- El Cielo

21.- El Alto Valle

22.- La Orquìdea

23.- Calles pequeñas de la vieja ciudad

24.- Caracas “Boug I”

ORINOCO — Es el sueño de la tierra. Mágica ruta sin regreso hacía los resplandores de cosas que no existen. Hombres de hueso y de ansiedad se hundieron en él, siguieron su camino que ofrece espejos a la pluma, límite a la bestia de pelos de seda y colmillo asesino, eco burlón y oscuro al grito de los monos, al canto de los pájaros, a la voz del llanto y de la rabia. Hombres de fiebre y de pasión se hundieron en él y en la raíz de la primera gota quisieron ver al Rey que baña en oro su arcilla inmortal. Como la Línea del Destino en la mano abierta de la patria, ha señalado muerte, locura, terror, jadeo oscuro de lágrima caliente y de , te quiero » desgraciado. Hoy señala un futuro blanco de luz : los poderes del agua, los brillos minerales, los humos trepidantes de las fábricas, Manoas y Dorados de esta edad sin fantasmas. Es el río de Venezuela. Su memoria y su deseo. Su nostalgia y su apetencia. El sueño de la tierra. MARACAIBO — ¡Ah, la guitarra azul con su secreta pasión de piedra y fuego! Voz marinera dejó caer en el cristal guajiro el nombre de la Patria cuando lanzaba al aire el brillo de un recuerdo, cuando cantaba la canción de ayer, cuando miraba en la sortija el escudo de la ciudad de los leones adriáticos. ¡ Ah, la guitarra azul, secreto disfraz de la sirena de fuego y piedra ! ¡ Ah, la guitarra azul donde cayó el antiguo nombre — el escudo antiguo — y se hizo el nombre nuevo — el nuevo escudo — con estrellas y misterios, con espigas y lanzas y un caballo que corre sobre la vida, sobre el corazón ! ¡ Ah, la guitarra azul ! Cruzan su piel — guarda de la sirena de candela — los barcos cargados con los frutos del pasado hacia los puertos del porvenir. Voz marinera canta con la canción de ayer — con el recuerdo y el escudo — la fausta nueva permanente. ¡ Ah, la guitarra, la guitarra azul! BARLOVENTO — El hombre es de fango como antes de la palabra de Dios y nace de sí mismo como una flor que se mira en el agua, como una roja almendra perfumada, como un lucero, como un pez, como un hombre que baila, grita, mucre, se hace demonio y ángel, llora y alza su canto y golpea el tambor de donde caen semillas de fuego, flores de brasa, almendras rojas, risa y deseo y gana de vivir. FI hombre es fango y nace de sí mismo. Angel, demonio, Dios que canta y baila y mueve sus dedos sobre el parche para la fiesta de la semilla sobre la tierra fecunda color de fango, color de hombre. EL CIELO — Castillos de plata encendidos allá, en el alto cielo. El viento se los lleva sobre las yerbas, sobre las montañas, sobre las llanuras de la tierra y del mar. Cruzan empavesados de su luz el corazón de la noche. Son edificios de acero que giran en torno al deseo de los hombres que miran la noche venezolana. EL ALTO VALLE — Este cielo en penumbra cierra los párpados como cierra las alas una mariposa de cansancio y de azul. Junto a su fatigada gana de dormir — de morir — están el miedo y el amor de su fantasma familiar — gigante lila cuyo misterio quema la primera estrella —. Pesa el cielo de sí mismo, de su propia caída. Las luces de la ciudad lo hieren y sostienen. Dos mariposas — azul y cansancio — cierran las alas de sus ojos para el sueño, para la muerte, para la noche. LA ORQUIDEA — Unico ser desnudo en la faz de la tierra. Entraña sin pudor. Sitio el más bello para el juego y la danza de la puerta abierta, del visitante preso, del mudo caracol. Para la ceremonia de la ofrenda del polen, los insectos se inclinan ante la sagrada herida de oro y rozan la bella desnudez color de tarde con sus capas de acero. Homenaje ritual a la pureza de la bella entraña. CALLES PEQUEÑAS DE LA VIEJA CIUDAD — Calles de ternura y de silencio. Desde la noche cae este metal inquieto que se refleja en la corriente de la sangre, en sus yerbas, en sus historias, en sus recuerdos. Cada aguja, cada gota, cada reflejo, se vuelve hacia la flor de plata donde nació y se hace un diálogo de espejos que se parece al amor. CARACAS — Las torres como lanzas, los muros como escudos, guardan su pecho, el pulso de su corazón, las huellas de sus recuerdos. Eterna en su montaña, sus labios dicen sí al futuro desde las terrazas de su presente, desde las canciones de su pasado Guillermo Meneses

Victor Vasarely Nº Title

Dimensions

Albums (numbered and signed by the Artist) Edition

Album “CINÉTIQUE III” Published In: 1959 Editions: Denise Renè, París / Atelier Arcay Preface: V.Vasarely Medium: Serigraphy Dim. Ext Dim. Image 25.- Umbriel 26.- Vega 27.- Cassiopée

(1959) (1957) (1957)

60 x 50 cm 50 x 60 cm 60 x 50 cm

55x36cm 35x51cm 56.5x31cm

150 150 150

28.- Bora 29.- Betelgeuse 30. -Gotha

(1959) (1957) (1958)

60 x 50 cm 50 x 60 cm 60 x 50 cm

50x39.5cm 35x52cm 50x33.5cm

150 150 150

31.- Oeta 32.- Procion 33.- Ixion

(1956) (1959) (1956)

60 x 50 cm 60 x 50 cm 60 x 50 cm

55.5x37cm 54x32cm 45x39.5cm

150 150 150

34.- Markab 35.- Altaïr 36.- Keïho (1)

(1958) (1957) (1956)

50 x 60 cm 60 x 50 cm 60 x 50 cm

40x56cm 48x39.5cm 51.5x37cm

150 150 150

VEGA

CASSIOPÉE GOTHA

1959

BORA BETELGEUSE

OETA

PROCION

IXION

MARKAB

ALTAIR Atellier Arcay / Editions Denise René

(1) Yellow mask included. Represented on UMMA (University of Michigan Museum of Art)USA,Gift the Estate of Maxine W.Kunstadter in memory of Sigmud Kunstadter,Class of 1922. Represented on Art Intitute Chicago. Permanent Collection. Nº 1998.894.1 Entire Album catalogued on Blumsbury, Lot. 209, 5-Nov-2008 Mentioned on Vasarely III,Edition du Griffon Neuchatel (Switzerland)1974. p.240.

UMBRIEL

Portfolio Album “Cinetique III” - 1959. Folio in linen cover. 82.8 x 64.5 cm

25.- Umbriel

26.- Vega

27.- Cassiopée

28.- Bora

29.- Betelgeuse

30.- Gotha

KEIHO

Victor Vasarely

31.- Oeta

33.- Ixion

35.- AltaĂŻr

Albums (numbered and signed by the Artist)

32.- Procion

34.- Markab

36.- KeĂŻho

Victor Vasarely Nº Title

Dimensions

Album “Vasarely - Kassak” Editions: Denise René, París / At. Arcay Medium: Serigraphy Dim. Ext. 37.- Homage to Malevich 38.- Yllam 39.- Andromède 40.- Tlinko Neg. 41.- Tlinko 42.- Orgovan

Albums (numbered and signed by the Artist)

(1) (1)

Edition

Published In:1961 Preface: Jean Cassou Dim. Image

50 x 65 cm 65 x 50 cm 50 x 65 cm

34x56cm 50.5x38cm 48x38.5cm

200 200 200

65 x 50 cm 65 x 50 cm 65 x 50 cm

56.5x37.5cm 56.5x37.5cm 46.5x39cm

200 200 200

43.- Construction 1 44.- Popular Motives 1 45.- Popular Motives 2

50 x 65 cm 50 x 65 cm 50 x 65 cm

200 200 200

46.- LK22 47.- IMA 48.- IP23KL

50 x 65 cm 50 x 65 cm 50 x 65 cm

200 200 200

This album was numbered 1 to 100, the separated plates 101 to 200. With Manifest of the two artist (1) With a serigraph on transparent film, forming together a kinetic image. Represented on UMMA (University of Michigan Museum of Art) USA,Gift the Estate of Maxine W.Kunstadter in memory of Sigmud Kunstadter,Class of 1922 Represented on Centre Pompidou, MNAM-CCI, Dist. RMN Portfolio Album Vasarely-Kassak-1961 Vasarely oeuvres 1950-1960 Kassák oeuvres 1920-1930 (43 to 48). Mentioned on Vasarely III,Edition du Griffon Neuchatel (Switzerland)1974,p.240

37.- Homage to Malevich

40.- Tlinko Negatif

33

38.- Yllam

41.- Tlinko

Photo by P.B. Nov. 2012 Folio. In linen cover.

39.- Andromède

42.- Orgovan

Victor Vasarely

Albums (numbered and signed by the Artist)

Vasarely honored some artists, participating with them in editions of albums with works of both, in this case Lajos Kassak

Lajos Kassak (Hungarian: 21 March. 1887 - 22 Jul. 1967) Hungarian poet, novelist, painter, essayist, editor, theoretician of the avantgarde, and occasional translator. He was among the first genuine workingclass writers in Hungarian literature. Self-taught, he became a writer within the socialist movement and published journals important to the radical intellectual culture of Budapest in the early 1900s. Although he cannot be fully identified with any single avant-garde movement. His works include concrete poetry, billboards, design, novels, and paintings, and were influenced by Expressionism, Dadaism, Futurism, Surrealism and Constructivist tendencies. The Lajos Kassák Museum is dedicated to his work, located near his last residence in northern Budapest.

44.- Kassak II “Popular Motives 1”

Lajos Kassák

43.- Kassak I “Construction 1”

46.- Lk22

45.- Kassak III “Popular Motives 1”

47.- IMA

48.- IP23KL

34

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Album “Planetary Folklore” Published In:: Editions: Gallery Der Spiegel,Colgné (Germany) Printer: Domberger,Stuttgart

Medium:Serigraphy

1964

Preface:Albert Fabri

Dim. Ext

Dim. Image

49.- Bellatrix Rouge

(3)

65 x 62 cm

63 x 60cm

125

50.- Beryll-1

(3)

65 x 62 cm

63 x 60cm

125

51.- Eridan Jaune

(3)

65 x 62 cm

63 x 60cm

125

52.- Kiu-Siu

(3)

65 x 62 cm

63 x 60cm

125

(1)(2)(3) 65 x 62 cm

65 x 62 cm

125

63 x 60cm

125

53.- Orion MC 54.- Sikra

(3)

65 x 62 cm

(1) Bonhams,Sale 15401,Lot.7195, 21-Oct-2007, (2) Collection of Metropolitan Museum of Art, New York, N# 1991.1066.5 (3) Lempertz Auction House, Sale 904, Lot. 448, 1-Jun-2007, Cologne. Mentioned on VASARELY II, Section “Planetary Folklore” Editions du Griffon Neuchatel (Switzerland) 1970. Mentioned on VASARELY III, du Griffon Neuchatel (Switzerland) 1974, p. 241

35

VASARELY

Folklore Planetary Folklore Pl1964 anétaire 1964 Editions Der Spiegel,Cologné (Germany)

Portfolio Album “Folklore Planetary” - 1964. Contained in original portfolio

49.- Bellatrix Rouge

50.- Beryll-1

51.- Eridan Jaune

52.- Kiu-Siu

Victor Vasarely

53.- Orion MC

Albums (numbered and signed by the Artist)

54.- Sikra

36

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Published In: Album “LAPIDAIRE” Editions: Denise Renè, París / Atelier Arcay Medium: Serigraphy Dim. Ext Dim. Image

1966

55.- Zaphir

(1964)

83 x 75 cm

69 x 65cm

150

56.- Rubin

(1964)

83 x 75 cm

69 x 65cm

150

57.- Ezust

(1964)

83 x 75 cm

69 x 65cm

150

58.- Turkiz

(1964)

83 x 75 cm

69 x 65cm

150

59.- Arany

(1964)

83 x 75 cm

69 x 65cm

150

60.- Topaze (1964)

83 x 75 cm

69 x 65cm

150

61.- Granat (1964)

83 x 75 cm

69 x 65cm

150

62.- Korund (1964)

83 x 75 cm

69 x 65cm

150

Catalogued on Hirshhom Museum,Washington D.C.,permanent collection. Mentioned on VASARELY III, du Griffon Neuchatel (Switzerland) 1974. p.241

37

VASARELY

Atellier

LAPIDAIRE

Arcay / Editions Denise René

Portfolio Album “Lapidaire” - 1966. Folio in linen cover.

55.- Zaphir

56.- Rubin

57.- Ezust

58.- Turkiz

Victor Vasarely

Albums (numbered and signed by the Artist)

59.- Arany

60.- Topaze

61.- Granat

62.- Korund

38

Victor Vasarely Nº Title

Dimensions

Albums (numbered and signed by the Artist) Edition

Album “CTA - 102” Published In: 1966 Editions: Galerie Der Spiegel, Cologne, Denise Renè, París Printer: Poldi Domberger Bonlanden. Edition 1-150 and 15 HC Medium: Serigraph on Cardboard (thick: 2mm) 63.- CTA-102-1 (1) 64.- CTA-102-2 (1)

70.5 x 70.5 cm 70.5 x 70.5 cm

150 150

65.- CTA-102-3 (3) 66.- CTA-102-4 (2)(3)

70.5 x 70.5 cm 70.5 x 70.5 cm

FV7+150

67.- CTA-102-5 (4) 68.- CTA-102-6

70.5 x 70.5 cm 70.5 x 70.5 cm

69.- CTA-102-7 70.- CTA-102-8 (2)

70.5 x 70.5 cm 70.5 x 70.5 cm

150

FV7+150

150 150 FV7+150

(1) Bonhams, Sale “Prints Featuring”, Lot. 265, 20-Feb-2013, London. (2) University of Worwick Art Collection. Coventry, U.K.

EDITIONS GALERIE DER SPIEGEL, COLOGNE COOPERATION BY DENISE RENE, PRINTED IN FRANCE © 1966

(3) Christies Sale 5327,19-7-2007,CTA-102-4 (Lot.44), CTA-102-8 (Lot.47), South Kensington, London. (4) Artcurial, Sale 2354, Lot. 38, 25-Jun-2013. Mentioned on VASARELY III,du Griffon Neuchatel (Switzerland) 1974. p.241 Album “CTA-102” - 1966. Black cloth covered overlaping box

64.- CTA-102-1 “CTA-102-Gold”

69.- CTA-102-3

63.- CTA-102-2 “CTA-102-Silver”

66.- CTA-102-4 “Paraj”

Victor Vasarely

Albums (numbered and signed by the Artist)

68.- CTA-102-5

67.- CTA102-6

65.- CTA-102-7 “Ködd”

70.- CTA-102-8 “Sirius”

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Code”

Edition

Published In:

Editions: Le Soleil Noir, Paris Medium: Bound and printed paper

1967

Preface: Clarence Lambert

71.- Centauri

38 x 28 cm

150

72.- Sablier D´Or

38 x 28 cm

150

73.- Naissances 3

38 x 28 cm

150

74.- Canopus

38 x 28 cm

150

38 x 28 cm

150

76.- Alphar

38 x 28 cm

150

77.- Code

38 x 28 cm

150

78.- Tlinko Bleu

38 x 28 cm

150

75.- Opale

(1)

(1) Christie`s, Sale 1800, Lot. 572, 9-Feb-2007 Editorial Cover to aspects illustrated by Vasarely, casket in noir. Original edition 1-150 and 25 AP, on arches vélin of club series. On etching numbered and signed by Vasarely Mentioned on VASARELY III, du Griffon Neuchatel (Switzerland) 1974. p. 241 Portfolio Album “Code” - 1967. Folio in linen cover.

41

71.- Centauri

72.- Sablier D´or

73.- Naissances 3

74.- Canopus

Victor Vasarely

Albums (numbered and signed by the Artist)

75.- Opale

76.- Alphar

77.- Code

78.- Tlinko Bleu

42

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Constellations” Published In: Editions: Denise Renè, París / Atelier Arcay Dim. Ext Dim. Image Medium: Serigraph 79.- Capella I (1959) 80.- Capella II (1959) 81.- Capella III (1959)

Edition

1967

80 x 50 cm 80 x 50 cm 80 x 50 cm

70x35cm 70x35cm 70x35cm

150 150 150

82.- Gamma

(1958) (1)

80 x 50 cm

70x35cm

150

83.- Centauri

(1961) (1)

80 x 50 cm

72x35cm

150

84.- Procion

(1960)

80 x 50 cm

70x35cm

150

85.- Eridan 2

(1956)

80 x 50 cm

70.5x35.5cm 150

86.- Sir Ris

(1960) (1)

80 x 50 cm

70x35cm

150

Dry pad marked “DENISE RENE EDITEUR” on all sheets Represented on MoMA by Gift of Galerie Denise René. © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris Plates by Foundations Vasarely numbered FV (1-60). Represented on UMMA (University of Michigan Museum of Art)USA,Gift of Peggy and Stanley Winkelman Represented on Vasarely Múzeum - Pécs (1) Mentioned on “Vasarely ses maitres ses amis” Embassy of France presented on Sao Paulo-Rio de Janeiro-Salvador-Brasilia. Mentioned on VASARELY III, Editions du Griffon Neuchatel(Switzerland)1974. p.240.

79.- Capella I

43

80.- Capella II

Portfolio Album “Constallations” - 1967. Folio in linen cover.

81.- Capella III

Victor Vasarely

82.- Gamma

85.- Eridan 2

Albums (numbered and signed by the Artist)

83.- Centauri

84.- Procion

86.- Sir Ris

44

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Permutations” Editions: Denise Renè, París / At. Arcay Medium: Serigraphy Dim. Ext.

Edition

Published In:

1968

Dim. Image

87.- IX- Pos.

(1963)

68 x 68 cm

60x60cm

150

88.- Eg 89.- Ombre (1)

(1963) (1963)

68 x 68 cm 68 x 68 cm

60x60cm 60x60cm

XXI+150

90.- Boglar 91.- ALOM-JV

(1963) (1963)

68 x 68 cm 68 x 68 cm

60x60cm 60x60cm

XXX+150

92.- ZETT-KZ 93- CTA 25 BC

(1963) (1963)

68 x 68 cm 68 x 68 cm

60x60cm 60x60cm

XLIII+150

94.- ALOM-BR 95.- CTA 25 BF

(1963) (1963)

68 x 68 cm 68 x 68 cm

60x60cm XXV+150 60x60cm XXIV+150

150

150

150

Dry pad marked “DENISE RENE EDITEUR” on the left side down in all sheets

87.- IX-Pos. “De-Bc / Neuf B.C”

Edition of 150 plus FV 1-30. CTA 25 BC has FV 1-43 (1) Artcurial, Sale 2354, Lot. 25, 25-Jun-2013 Mentioned on VASARELY III,Ed. du Griffon Neuchatel (Switzerland)1974. p.240 Portfolio Album “Permutations” - 1968. Folio in linen cover.

45

88.- EG

89.- Ombre

90.- Boglar

91.- ALOM JV

Victor Vasarely

Albums (numbered and signed by the Artist)

92.- Zett KZ

93.- CTA 25 BC.

94.- ALOM BR

95.- CTA 25 BF.

46

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “HEXAGONE” Published In: Editions: Denise Renè, París / Atelier Arcay Medium: Serigraphy Dim. Ext. Dim. Image

Edition

1969

96.- Ion-7 97.- Meh-1

(1)

68 x 68 cm 68 x 68 cm

60x60cm 200 60x60cm FV32+200

98.- Meh-2 99.- Ion-2

(2) (4) (1)

68 x 68 cm 68 x 68 cm

60x60cm 60x60cm

100.- Ion-10 101.- Deuton MC

(2) 68 x 68 cm (1) (2) (4) 68 x 68 cm

60x60cm FV37+200 200 60x60cm

102.- Maamor 103.- Deuton JB

(3) (4)

68 x 68 cm 68 x 68 cm

60x60cm FV41+200 200 60x60cm

200 200

Dry pad marked “DR DENISE RENE EDITEUR” in all sheets Represented on MoMA by Gift of Galerie Denise René. © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris (1) Victor Vasarely “Cat. G.A. Labussola” 27-Mar-1971, Torino (2) Represented on MFA (Museum Fine Arts Boston) (3) Artcurial, Sale 2354, Lot. 24, 25-Jun-2013 (4) Colección permanente Museo de la Estampa y del Diseño Carlos Cruz-Diez-FMN, Caracas. Mentioned on VASARELY III,du Griffon Neuchatel (Switzerland)1974.p.240.

Portfolio Album “Hexagone” - 1969. Folio in linen cover.

96.- Ion-7

97.- Meh 1

98- Meh 2

99.- Ion 2

Victor Vasarely

Albums (numbered and signed by the Artist)

100- Ion 10

101.-Deuton MC

102.- Maamor

103.- Deuton J.B.

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Album “Descartes-Vasarely” Published In: 1969 Medium: Lithography / Serigraphy / Collage / Acrylic / Aluminum Edition: Esselier, París Lithography 104.- Étude Bleue II

46 x 40 cm

1930

138

105.- L`Échiquier

46 x 40 cm

1935

138

106.- Arlequin

46 x 40 cm

1935

138

107.- Étude Axonométrique 46 x 40 cm

1937

138

46 x 40 cm

1938

138

46 x 40 cm

1943

138

110.- Ezinor

46 x 40 cm

1953

138

111.- Naissances

46 x 40 cm

1951

138

112.- Latorça

46 x 40 cm

1953

138

46 x 40 cm

1953

138

114.- Zara

46 x 40 cm

1954

138

115.- Zeta

46 x 40 cm

1955

138

116.- Nethe

46 x 40 cm

1956

138

108.- Zèbre 109.- Zèbres-5

(1)

Serigraphy

113.- Orom

(1)

117.- Bellatrix

(1)

46 x 40 cm

1957

138

118.- Pleïone

(1)

46 x 40 cm

1961

138

119.- Quasar

(1)

46 x 40 cm

1964

138

120.- Deuton

46 x 40 cm

1966

138

121.- Ond

46 x 40 cm

1967

138

122.- Vonal

(1)

46 x 40 cm

1967

138

123.- Tridim

(1)

46 x 40 cm

1968

138

124.- Sauzon

(1)

46 x 40 cm

1947

138

125.- Canopus

(1)

46 x 40 cm

1959

138

126.- Oeuvre Profond

46 x 40 x 5 cm

1956

138

127.- Image-Miroir

46 x 40 x 40 cm

1965

138

Photo by P.B 2011

Descartes - Discours de la Méthode by Editions Esselier, Paris 1969. The complete set of 24 artworks originals, comprised of one Plexiglas optical multiple: “Oeuvre Profond” sculpture screenprinted in black on acrylic panel. cr.1956. Signed and numbered in ink. One aluminum sculpture: “Image Miroir”, metal sculpture screenprinted in black and silver on polished aluminium. cr.1965. Signed and numbered in ink. Created at the Atelier Gold et Lebey, Graveurs sur Métal, Paris 1969, 14 screenprints in colors, 6 lithographs in colors, and 2 collage works, on BFK Rives paper, with full margins and the full sheets, text by René Descartes. The prints all signed and numbered of a edition of 138 in pencil (there were also 15 artist's proofs and seven hors commerce)

Collage

Sculpture

104.- Étude Bleue II

(1)

105.- L´Échiquier

(1) Victor Vasarely “Cat. G.A. Labussola” 27-Mar-1971, Torino VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. p. 241. “Victor Vasarely Il Maestri del Novecento”. Sansom Editore ©. p. 89 Vasarely wins the International Prize Diano de Marco, Italia by the album “Discours de la Méthode - Descartes a Vasarely”. (Ed. Esselier, París). p. 86

106- Arlequin

49

107.- Étude Axonométrique

Victor Vasarely

Albums (numbered and signed by the Artist)

108.- Zèbre

109.- Zèbres-5

111.- Naissances

112.- Latorça

114.- Zara “Cristal”

115.- Zeta

110.- Ezinor “Cristal”

113.- Orom “Denfert”

116.- Nethe

50

Victor Vasarely

51

Albums (numbered and signed by the Artist)

117.- Bellatrix

118.- Pleïone

119.- Quasar

120.- Deuton

121.- Ond

122.- Vonal

123.- Tridim

124.- Sauzon “Belle Isle”

125.- Canopus

Victor Vasarely

Albums (numbered and signed by the Artist)

View 1

Serigraphy/2 on aluminium multiple. D: 460 x 400 x 400 mm (18 1/8” x 15 3/4” x 15 3/4”) Hand signed by Victor Vasarely in black ink on one of the aliminium panels, nearest to the center.

View 1

Serigraphy on Plexiglass. D.: 400x460x50 mm.

Hand signed by Victor Vasarely in black ink on the plexiglass, left corner.

Playing with the light and shadow, Vasarely creates an X-shaped sculpture composed of aluminium sheets. The effect of the reflecting aluminium panels and the “mirror imaging” of the positive and negative spaces between the circles and squares serves.

View 2

126.- Image Mirroir

View 2

127.- Ouver Profonde

52

Victor Vasarely Nº Title

Dimensions

Album “oeuvres Profondes Cinétiques”

Albums (numbered and signed by the Artist) Edition In:

1970

Editions: du Griffon Neuchâtel, Switzerland Medium: Serigraphy over PVC / Serigraphy over paper 128.- Vita 1 129.- Vita 2 130.- Vita 1 131.- Vita 2

Pos. Pos. Neg. Neg.

(1)

27 x 27 cm 27 x 27 cm 27 x 27 cm 27 x 27 cm

ea+500 ea+500 ea+500 ea+500

132.- Tuz-2 133.- Tuz-3 134.- Tuz-2 135.- Tuz-3

Pos. Pos. Neg. Neg.

(1) (1) (1)

27 x 27 cm 27 x 27 cm 27 x 27 cm 27 x 27 cm

ea+500 ea+500 ea+500 ea+500

Album serie Oevres Profondes Cinetiques contains 16 variations, (8 Serigraphies on PVC, 8 serigraphies on paper) obtaining 8 combinations composed by one on PVC and one on papar. “Tuz” 1966, Published on Victor Vasarely Werner Spies, Harry N. Abrahams, Inc,N.Y. 1971. (1) Exhibition Galerie Kellermann, Düsseldorf Mentioned on VASARELY III, du Griffon Neuchâtel (Switzerland) 1974. p. 242. Portfolio Album “oevres Profonde Cinetiques” - 1970. Cover on Silver Board.

128.- Vita 1 Pos.

129.- Vita 2 Pos.

130.- Vita 1 Neg.

131.- Vita 2 Neg.

Victor Vasarely

Albums (numbered and signed by the Artist)

Victor Vasarely Exhibition in Gallerie Kellermann Düsseldorf Pieces of oeuvres Profondes Cinétiques Album 1970 Size with frame: 51.5 x 51.5cm Left to right: Tuz 2 Neg. Tuz 2 Pos. Vita 1 Pos. Tuz 3 Pos.

Exhibition on Gallerie Kellermann, Düsseldorf, Germany

133.- Tuz-3 Pos.

134.- Tuz -2 Neg.

132.- Tuz-2 Pos.

135.- Tuz-3 Neg.

Victor Vasarely Nº Title

Dimensions

Albums (numbered and signed by the Artist) Edition

Album “GESTALT” Published In: 1970 Editions: Denise Renè / Hans Mayer, Düsseldorf (Germany) Medium: Serigraphy 136.- Izzo Vert

80 x 80 cm

200

137.- Izzo Rouge-vert

80 x 80 cm

200

138.- Izzo Rouge

80 x 80 cm

200

139.- Gestalt Mauve

80 x 80 cm

200

140.- Gestalt Jaune

80 x 80 cm

200

141.- Gestalt Bleu (1)

80 x 80 cm

200

142.- Gestalt Gris-jaune

80 x 80 cm

200

143.- Gestalt Gris

80 x 80 cm

200

Dry pad “DR DENISE RENE EDITEUR” in all sheets (1) Drouot Richelieu, Sale 7, Lot. 9, 1-Apr-2009 Mentioned on VASARELY III, du Griffon Neuchatel (Switzerland) 1974. p. 240.

55

Portfolio Album “Gestalt”-1970.Original box in linen cover. 81x81x2cm

136.- Izzo Vert

137.- Izzo-Rouge-Vert

138.- Izzo Rouge

139.- Gestal Mauve

Victor Vasarely

Albums (numbered and signed by the Artist)

140.- Gestal Jaune

141.- Gestal Bleu

142.- Gestal Gris-Jaune

143.- Gestal Gris

56

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Album “CLARITIES” (AMIEL) Published In:1970 Editions: Denise René / Atelier Arcay / Léon Amiel, New York. Medium: Serigraphy Dim. Ext Dim. int 144.- Oerveng 145.- Vonal-1P

(1)

58x50,5cm 58x50,5cm

40x40cm 40x40cm

250 250

146.- Deuton RB 147.- Kantara-2

(1) (2)

58x50,5cm 58x50,5cm

40.5x40cm 46x37.2cm

250 250

148.- Antares 149.- Opale-3

(1) (3)

58x50,5cm 58x50,5cm

45x31cm 40x40cm

250 250

150.- Dia-Or 151.- Quazar EZ

(1)

58x50,5cm 58x50,5cm

39.5x39.5cm 39.5x39.5cm

250 250

152.- Our-MC-2 153.- Laika

(1) (4)

58x50,5cm 58x50,5cm

40.5x40.5cm 46.5x36cm

250 250

(1) Victor Vasarely “Cat. G.A. Labussola” 27-Mar-1971, Torino (2) “Vasarely, Vol. I” Herakleidon, 2005 Greece (3) Christies, Sale 5610, Lot. 431, 14-Sept-2010. (4) Hargesheimer Kunstauktionen, Sale Art Moderne Contemporain,Lot.254,26-May-2017

VASARELY “CLARITIES” CLARITIES AMIEL

Atelier Arcay / Editions Denise René

Complete Folio includes on Colection of Vasarely Muzeum Pécs

Mentioned on VASARELY III, du Griffon Neuchatel (Switzerland) 1974. p. 240 Portfolio Album “Clarities” - 1970. Folio in linen cover.

144.- Oerveng

146.- Deuton RB

145.- Vonal-1P

147.- Kantara-2

Victor Vasarely

Albums (numbered and signed by the Artist)

148.- Antares

149.- Opale-3

150.- Dia-Or

151.- Quazar EZ

152.- Our-MC-2

153.- Laika

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Album “VEGA” Published In: Editions: Denise Renè, París. / Atelier Arcay Medium: Serigraphy Dim. Ext. Dim. Image 154.- Vega Sakk 155.- Vega 222

1971

1967 1970

78 x 68 cm 78 x 68 cm

58x58cm 58x58cm

267 267

156.- Vega Wa-A (1) 157.- Vega Pal 4 (2) 1969

78 x 68 cm 78 x 68 cm

61x58cm 58x58cm

267 267

158.- Vega Pal V 159.- Vega Pal VI

1969

78 x 68 cm 78 x 68 cm

58x58cm 58x58cm

267 267

160.- Vega Lum-Or 1969 161.- Vega Fel BR 1968

78 x 68 cm 78 x 68 cm

58x58cm 58x58cm

267 267

Dry pad marked “DR DENISE RENE EDITEUR” in all sheets (1) Christie´s, Sale 5610, Lot. 429, 14-Sept-2012 (2) Christie´s, Sale 2019, Lot. 338, 31-Jul-2008 Mentioned on VASARELY III, du Griffon Neuchatel (Switzerland) 1974. p.240 Portfolio Album “Vega” - 1971.

59

154.- Vega Sakk

155.- Vega 222

156.- Vega Wa-A

157.- Vega Pal 4

Victor Vasarely

Albums (numbered and signed by the Artist)

159.- Vega Pal VI

158.- Vega Pal V

160- Vega Lum-Or

161.- Vega-Fel BR

60

Victor Vasarely Nº Title

Albums (numbered and signed by Artist)

Dimensions

Album “GORDES”

Edition

Published In:

1971

Editions: Foundation Vasarely, Gordes Medium: Serigraphy - Engraving - Lithography Dim. Ext. Dim. Image

Serigraphy by Atelier Arcay, París (Created 69-71) 162.- Koska MC (1) (1970) 72 x 62 cm (1970) 72 x 62 cm 163.- Vega Pauk

50x50cm 66x32cm

250 250

(1971) 72 x 62 cm (1969) 72 x 62 cm

52x48cm 60x42cm

250 250

166.- Ond Dva (1971) 72 x 62 cm 167.- Tridim-Gestalt (1969) 72 x 62 cm

51x51cm 63x56cm

250 250

164.- Chyet-Ond 165.- Kidio

Engraving by Mourlot, París (Created 1948) 168.- Gordes Gestalt (2) 169.- Gordes Synthese (2) 170.- Gordes Village

72 x 62 cm 72 x 62 cm 72 x 62 cm

38.5x29.5cm 38.5x29.5cm 38.5x29.5cm

250 250 250

Lithography by Mourlot, París (Created 1948) 171.- Gordes Nives 172.- Gordes Tabor 173.- Gordes Taïra

(2) (2) (2)

72 x 62 cm 72 x 62 cm 72 x 62 cm

250 63x44cm 54x48cm FV30+250 250 54x48cm

(1) Christie´s, Sale 5327, Lot. 84, 19-Jul-2007 (2) Vasarely Vol. I Herakleidon 2005, Greece. Entire Album on Christie´s, Sale 2359, Lot. 595,02-Dec-1997 Mentioned on VASARELY III, du Griffon Neuchatel (Switzerland) 1974. p.241

Portfolio Album “Gordes” - 1971. Folio in linen cover.

162.- Koska Mc

163.- Vega Pauk

164.- Cheyt-Ond

165.- Kidio

166.- Ond DVA

167.- Tridim-Gestalt-FN

61

Victor Vasarely

Albums (numbered and signed by Artist)

View of Province of Gordes, France. At rigth Castle of Gordes (Vasarely Museum in Gordes). Established on 1970

168.- Gordes Gestalt

169.- Gordes Synthese

171.- Gordes Nives

172.- Gordes Tabor

170.- Gordes Village

173.- Gordes TaĂŻra

62

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Mini-Musée” Edition: Imre Pán. París. Medium: Serigraphies

Edition

Published In:

1971

Dim. Ext Dim. Image

VASARELY

174.- Karim

(1950)

16x13cm

12.5x8cm

150

175.- Imatra

(1951)

16x13cm

10x9.5cm

150

176.- Lioran

(1951)

16x13cm

12x10cm

150

Mini-Musée

177.- Basilan

(1951)

16x13cm

10x9cm

150

1971

178.- Maan

(1951)

16x13cm

10x8cm

150

179.- Ontil

(1952)

16x13cm

8.5x8cm

150

180.- Silour

(1952)

16x13cm

12x10cm

150

EDITIONS I Pan, París

Edition 1-150, plus EA 1-10, plus I-XV artist collection, Total edition of 175 Mentioned on VASARELY III, du Griffon Neuchatel (Switzerland) 1974. p.240

174.- Karim

63

176.- Lioran

Portfolio Album “Mini-Musée” - 1971. Cover on Board

175.- Imatra

177.- Basilan

Victor Vasarely

Albums (numbered and signed by the Artist)

178.- Maan

Victor Vasarely at his studio, Annet-sur-Marne. Works, upper left to right: Marsan II 67, Cleo 1958-61, Planetary 1970, Karim 1949, Basilan 2 1951 and Basilan 3 1951

179.- Ontil

180.- Silour

64

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “OCTAL-Michel Butor”

Edition Pub. In:

1972

Editions: Studio Bruckmann Kunst, Munich (Germany) Doble Edition: 150-850 examples Medium: Lithography Poeme de Michel Butor. Printed on Cuyo Rives-Couronne 260 g / m2 Periode Belle-Isle - 1947 181.- Sauzon 182.- Locmaria 183.- Kerisle

31x25cm 33x25cm 32x25.5cm

1015 1015 1015

48 x 40 cm 48 x 40 cm 48 x 40 cm

33x25.5cm 34x28cm 33.5x25.5cm

1015 1015 1015

48 x 40 cm 48 x 40 cm 48 x 40 cm

30x27cm 32.5x21.5cm 29x25.5cm

1015 1015 1015

48 x 40 cm 48 x 40 cm 48 x 40 cm

Periode Denfert - 1939 - 1952 184.- Ménerbes 185.- Aïlho 186.- Tecoma

(1)

Periode Cristal - 1948 187.- Elche 188.- Garam 189.- Cibira

(1) Christie´s, Sale Nº 9791, Lot. 425, Date 31-Oct-2003 Mentioned: Vasarely III,Edition du Griffon Neuchatel (Switzerland)1974.p.240

181.- Sauzon

65

183.-Kerisle

OCTAL - Michel Butor

Portfolio Album “OCTAL” - 1972. Folio In linen cover. 48.5x40.5x1.5cm

182.- Locmaria

184.-Ménerbes

Victor Vasarely

Albums (numbered and signed by the Artist)

185.- AĂŻlho

186.-Tecoma

187.-Elche

188.-Garam

189.-Cibira

66

Victor Vasarely

Albums (numbered and signed by the Artist)

Dimensions

Nº Title

Album “VP”

Edition

1972

Published In:

Editions: Denise René / Atelier Arcay, Paris. Dim. Ext. Dim. Image Medium: Serigraphy 190.- Oltar Lila 191.- VP-RB

105 x 62 cm 105 x 62 cm

78.5x42cm 84x42cm

190 190

192.- VP-MV 193.- VP 102

105 x 62 cm 105 x 62 cm

84x42cm 84x42cm

190 190

105 x 62 cm 105 x 62 cm

84x42cm 84x42cm

190 190

105 x 62 cm 105 x 62 cm

84x42.5cm 84x42cm

190 190

194.- VP 108 195.- VP 111 196.- VP 118 197.- VP 119

(1) (2)

Album contains 8 originals plates, 130 examples numbered 1 to 130, another serie of 60 plates numbered 131 to 190 and 15 plates on the artist reserve. Text and the images by Atelier Marquet, París. (1) Versailles Enchères, Estampes, Multiples,Tableaux,Lot.111,28-Apr-2013 (2) Christie`s, Sale 5243, Lot. 402, 6-Jun-2007 Ketterer Kunst, Sale 372 Post War, Lot. 775, 23-Oct-2010, Munich Mentioned on Vasarely III,Edition du Griffon Neuchatel (Switzerland)1974.p.240 Portfolio Album “VP” - 1972. Folio In blue linen cover.

Dry pad marked “DR DENISE RENE EDITEUR” on all sheets

190.- Ollar Lila

191.-VP-RB

192.-VP-MV

Victor Vasarely

193.-VP-102

196.-VP-118

“Orvio”

Albums (numbered and signed by the Artist)

194.-VP-108

195.- VP-111

197.-VP-119

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Bach Vasarely”

Published In:

Edition

1973

Editions: Pierre Belfond,Paris / Atelier Arcay / Compas / Fequet & Baudier / Davoise, B. Duval, Gold&Lebey / Arjomari-Prioux,L.M.C.E.

Medium: Serigraphy

Dim. Ext. Dim. Image

198.- Em-Ce 199.- Sol-ut 200.- Dom-bor 201.- Iz-zo 202.- La-mi 203.- Do-re 204.- Li-la 205.- So-lo 206.- Me-ta 207.- Bo-ra 208.- Di-am 209.- Rey-Tey 210.- Oc-ta

76 x 62 cm 76 x 62 cm 76 x 62 cm 76 x 62 cm 76 x 62 cm 76 x 62 cm 76 x 62 cm 76 x 62 cm 76 x 62 cm 76 x 62 cm 76 x 62 cm 76 x 62 cm 76 x 62 cm

(1)

(2) (2)

51x51cm 48.5x48.5cm 48.5x48.5cm 76x62cm 76x62cm 49x49cm 48.5x48.5cm 51x51cm 53x49cm 55x49cm 49x49cm 49x49cm 50x50cm

XX+200 XX+200 XX+200 XX+200 XX+200 XX+200 XX+200 XX+200 XX+200 XX+200 XX+200 XX+200 XX+200

Naissances Tuz Vega-Mir

Embossed metal 211.- Mar-kab 76 x 62 cm 60x48cm XX+200 Multiples - Two sheets plexisglass serigraphies ensemble 212.- Naissances 76 x 62 x 6.7 cm XX+200 213.- Tuz 57 x 57 x 5.2 cm XX+200 214.- Vega-Mir 50 x 50 x 6.9 cm XX+200 Relief on glass Mentioned on VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. p. 241. (1) Doyle, Sale 06FD06, Lot. 3142, 21-Jun-2006 (2) Serigraph on aluminium foil

198.- EM-CE

201.- IZ-ZO

199.- SOL-UT

202.- LA-MI

200.- DOM-BOR

203.- DO-RE

Victor Vasarely

204.- LI-LA

207.- BO-RA

210.- OC-TA

Albums (numbered and signed by the Artist)

205.-SO-LO

208.- DI-AM

206.- ME-TA

209.- Rey-Tey

211.- Mar-Kab

Victor Vasarely

Albums (numbered and signed by the Artist)

Vasarely`s Museum in Budapest. March 2010

212.- Naissances

213.- Tuz

214.- Vega-Mir

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “XICO”

Published In:

Edition

1973

Editions: Denise René / Atelier Arcay. Medium: Serigraphy 215.- VY-29-A 216.- VY-29-B

(1)

90 x 72 cm 90 x 72 cm

250 250

217.- VY-29-C 218.- VY-29-D

(2)

90 x 72 cm 90 x 72 cm

250 250

219.- VY-29-E 220.- VY-29-F

(3)

90 x 72 cm 90 x 72 cm

250 250

90 x 72 cm 90 x 72 cm

250 250

221.- VY-29-G 222.- VY-29-H

(4)

(1) Bloomsbury Auctions, Lot. 307, Date 5-Nov-2008 (2) Bloomsbury Auctions, Contemporary Prints, Lot. 278, Date 29-Oct-2014 (3) Christie´s,Sale Nº 5243,Lot.486, Date 6-Jun-2007 (4) Christie´s,Sale Nº 5243,Lot.485, Date 6-Jun-2007 Reference: Catalogue Fondation, juillet 1982, p. 90 All sheets on “Vasarely” Vol.I, Herakliedon (Experience in Visual Arts), 2005.

VASARELY

XICO 1973

EDITIONS Atellier Arcay / Denise René

Mentioned on Vasarely III, Edition du Griffon Neuchatel (Switzerland) 1974. p.241 Portfolio Album “XICO” - 1973. Folio In linen cover.

215.- Xico 1 “VY-29A”

219.- Xico 5 “VY-29E”

216.- Xico 2 “VY-29B”

220.- Xico 6 “VY-29F”

217.- Xico 3 “VY-29C”

221.- Xico 7 “VY-29G”

218.- Xico 4 “VY-29D”

222.- Xico 8 “VY-29H”

72

Victor Vasarely Nº Title

Dimensions

Albums (numbered and signed by the Artist) Edition

Album “LAPIDAIRE-2” Published In: 1973 Editions: du Griffon, Neuchâtel (Switzerland) / Atelier Duo d`Art. Genève. Medium: Serigraphy (Box of 8 plates) 223.- Lapidaire-2 A

10.5 x 10.5 cm

150

224.- Lapidaire-2 B

10.5 x 10.5 cm

150

225.- Lapidaire-2 C

10.5 x 10.5 cm

150

226.- Lapidaire-2 D

10.5 x 10.5 cm

150

227.- Lapidaire-2 E

10.5 x 10.5 cm

150

228.- Lapidaire-2 F

10.5 x 10.5 cm

150

229.- Lapidaire-2 G

10.5 x 10.5 cm

150

230.- Lapidaire-2 H

10.5 x 10.5 cm

150

Mentioned on Vasarely III, du Griffon Neuchatel (Switzerland) 1974. p. 241 Mentioned on Vasarely III, du Griffon Neuchatel (Switzerland) 1974. p. 241 Mentioned on Vasarely III, du Griffon Neuchatel (Switzerland) 1974. p. 241 Album “Lapidaire 2” - 1973. Plexiglass Box.

223.- Lapidaire-2 A

225.- Lapidaire-2 C

224.- Lapidaire-2 B

226.- Lapidaire-2 D

Victor Vasarely

Albums (numbered and signed by the Artist)

228.- Lapidaire-2 F

229.- Lapidaire-2 G

227.- Lapidaire-2 E

230.- Lapidaire-2 H

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “ENIGMES”

Edition

Published In:

1974

Editions: Denise René / Atelier Arcay. Dim. Ext Dim. Image Medium: Serigraphy (1)

75 x 75 cm 65x65cm 75 x 75 cm 65x65cm

XX+ 250 XX+ 250

233.- Koska-Mez 234.- Triond

75 x 75 cm 65x65cm 75 x 75 cm 65x65cm

XX+ 250 XX+ 250

235.- Globe 236.- Zett-Goemb (2)

75 x 75 cm 65x65cm 75 x 75 cm 65x65cm

XX+ 250 XX+ 250

237.- Ond-GJ 238.- Ondocto

75 x 75 cm 65x65cm 75 x 75 cm 65.5x65.5

XX+ 250 XX+ 250

231.- Eclipse 232.- Cheyt-MC3

(3)

Dry pad marked "DR DENISE RENE EDITEUR” Entire album numbered 1 to 125, the series of the separates plates 126 to 250 (1) Vasarely Vol. 3, Herakelidon 2006 (2) Christie`s, Sale 5327, Lot. 101, 19-July-2007 (3) Vasarely Vol. 2, Herakelidon 2006 Mentioned on VASARELY IV, du Griffon Neuchatel (Switzerland) 1979. p.202-203.

75

Portfolio album “Enigmes” - 1974. Folio In linen cover.

231.- Eclipse

232.- Cheyt-MC3

233.- Koska-Mez

234.- Triond

Victor Vasarely

236.- Zett-Goemb

235.- Globe

Albums (numbered and signed by the Artist)

237.- Ond-GJ

238.- Ondocto

76

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Album “Résponses à Vasarely”

Published In:1974

Editions et exécution: Studio Bruckmann Kunst (Germany) / Diffusion Lahumière, París Dim. Ext. Dim. Image Medium: Serigraphy 239.- Tuz-2 240.- Sin-Hat-A 241.- Cheyt-Rond 242.- Kapolna 243.- Folkokta 244.- Okta-Pos

(1972) (1) (1972) (1970) (2) (1973) (1973) (1972) (3)

Color Prints Heliogravure (1967-73) 245.- Dia-Ga (1969) 246.- Vonal-Alto 247.- Vaar (1970) 248.- Hat-III (1971) 249.- Bicube-II (1972) 250.- Koska Vall (1973)

61 x 52cm 61 x 52cm 61 x 52cm 61 x 52cm 61 x 52cm 61 x 52cm

61 x 52 cm 61 x 52 cm 61 x 52 cm 61 x 52 cm 61 x 52 cm 61 x 52 cm

41x40cm 40x40cm 40x38cm 40x30cm 40x40cm 40x40cm

340 340 340 340 340 340

340 340 340 340 340 340

Edition of 340 plus FV 1/170 to 170/170. (1) Christie´s, Sale Nº 5327, Lot. 97, Date 19-July-2007 (2) Bloomsbury, Sale 575, Lot.309 , Date 6-July-2006 (3) Bloomsbury, Sale 575, Lot.310 , Date 6-July-2006 Mentioned on Vasarely IV, du Griffon Neuchatel (Switzerland).1979. p. 202. Prologue by Vasarely, 12 pages reproduced in facsimile with letters, poems, comments, inscriptions and “scribblings”

77

239.- Tuz-2

240.- Sin-hat-a

242.- Kapolna

243.- Folkokta

Portfolio album “Résponses à Vasarely” - 1974. Folio In linen cover.

241.- Cheyt-rond

244.- Okta-pos

Victor Vasarely

245.- Dia-ga

248.- Hat-III

Albums (numbered and signed by the Artist)

246.- Vonal Alto

247.- Vaar

249.- Bicube-II

250.- Koska-vall

78

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Cinètique NB”

Edition

Published In:1975

Editions: Denise René / Atelier Arcay, Paris. Medium: Serigraphy Dim. Ext Dim. Int. 251.- Sipontum 252.- Byrom

83 x 83 cm 83 x 83 cm

70.5x63.5 cm 70x59.5 cm

250 250

253.- Gordium (Meandre) 254.- Citra NB

83 x 83 cm 83 x 83 cm

70.5x58.5 cm 70.5x65.5 cm

250 250

255.- Tlinko F 256- Calcis

83 x 83 cm 83 x 83 cm

69x69 cm 71x57.5 cm

250 250

257.- Cintra-Neg 258.- Gizeh II 259.- Biadan

83 x 83 cm 83 x 83 cm 83 x 83 cm

70.5x65.5 cm 70.5x70.5 cm 70x71 cm

250 250 250

Dry pad marked "DENISE RENÉ EDITEUR”. This album was numbered 1 to 125 and 20 exemplares numbered I/XX to XX/XX. Series of the separates plates 126 to 250. Portfolio`s text was printed by the Atelier Silium, Paris

Christie´s, Sale 5327, 19-July-2007:Cintra-Neg,, (Lot. 13), Sipontum,, (Lot. 14), Citra,, (Lot. 15), Gizeh II, ( Lot. 16),Tilonko F, (Lot. 17), Biadan,,(Lot. 18), Gordium,, (Lot. 19), Calcis, (Lot. 20), Syrom,, (Lot. 21). Entire Album is catalogued on: Christie´s, Sale 5327, Lot. 22, 19-Jul-2007 and “Vasarely Vol. I” Herakleidon, Greece, 2005. Mentioned on VASARELY IV,Editions du Griffon Neuchatel (Switzerland) 1979.p.203.

Box Album “Cinetique NB” - 1975, box in linen cover.

251.- Sipontum

Text included on the portfolio.

252.- Byrom

79

253.- Gordium “Meandre”

254.- Citra NB

Victor Vasarely

Albums (numbered and signed by the Artist)

255.- Tlinko F

256.- Calcis

Victor Vasarely at Pecs Museum, Hungary. Left to right, “Tridim Arg” and “Biadan” 1959 Acrylic on Canvas 205x205cm. Tridium HH sculpture on support.

257.- Cintra-Neg

258.- Gizeh-II

259.- Biadan

80

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Gaia”

Edition

Published In:

Editions: Denise René / Atelier Arcay. Dim. Ext. Medium: Serigraphy

1975

Creation:1972-74 Img Size:75x75cm

260.- VB-VB-Rouge (1) 261.- Pokol-AA

83 x 83 cm 83 x 83 cm

XX+ 250 XX+ 250

262.- Zenith 263.- Ond-LZ

83 x 83 cm 83 x 83 cm

XX+ 250 XX+ 250

83 x 83 cm 83 x 83 cm

XX+ 250 XX+ 250

83 x 83 cm 83 x 83 cm

XX+ 250 XX+ 250

264.- Koska-Pint 265.- Dell-Yell 266.- Okta-Cheyt 267.- Dell Surk

(2) (3)

(4)

Dry pad marked “DR DENISE RENE EDITEUR” on all sheets This album was numbered 1 to 125, the series of the separated plates 126 to 250.

(1) Christie´s, Sale Nº 5327, Lot. 96, 19-July-2007 (2) Bukowskis, Lot. 803-471, 3-Jun-2016 (3) Christie´s, Sale Nº 5327, Lot. 94, 19-July-2007 (4) Vaserely Vol. 1, Herakleidon, 2005 Greece Mentioned on VASARELY IV, Editions du Griffon Neuchâtel (Switzerland) 1979. p. 203.

Portfolio album “Gaia” - 1975.

260.- VB-VB-Rouge (VY47A)

261.- Pokol-AA (VY47B)

262.- Zenith (VY47C)

263.- Ond-LZ (VY47D)

Victor Vasarely

Albums (numbered and signed by the Artist)

264.- Koska-Pint (VY47E)

265.- Dell-Yell (VY47F)

266.- Okta-Cheyt (VY47G)

267.- Dell-surk (VY47H)

Victor Vasarely Nº Title

Dimensions

Album “SONORA” Published In: Edition: du Griffon. Neuchâtel (Switzerland) Medium: Serigraphy Dim. Ext. Dim. Image

Albums (numbered and signed by the Artist) Edition

1976

268.- Silver

35.6x28.6cm 25 x 15 cm

200

269.- Do (1)

35.6x28.6cm 25 x 15 cm

200

270.- Re

35.6x28.6cm 25 x 15 cm

200

271.- Mi

35.6x28.6cm 25 x 15 cm

200

“Sonora”

272.- Fa

35.6x28.6cm 25 x 15 cm

200

1976

273.- Sol

35.6x28.6cm 25 x 15 cm

200

274.- La

35.6x28.6cm 25 x 15 cm

200

275.- Si

35.6x28.6cm 25 x 15 cm

200

Set of eigth screenprints in colours on wove paper, each signed in black ink, edition of 200. Printed to the edge of the full sheets. (1) Leslie Hindman Auct. Sale Nº 252,Lot.84,25-Jul-2013 Portfolio Sonora on Christie´s, Sale Nº 9791, Lot. 469, 31-Oct-2003 Portfolio Sonora on Phillips N.Y., Lot. 235, Sale date 21-April-2015

83

VASARELY

Editions du Griffon Neuchâtel (Switzerland)

Portfolio album “Sonora” - 1976. Acrilyc transparent box.

268.- Silver

269.- Do

270.- Re

271.- Mi

Victor Vasarely

Albums (numbered and signed by the Artist)

272.- Fa

273.- Sol

274.- La

275.- Si

84

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Album “Meta” Published In: Editions : Denise René / Atelier Arcay, Paris. Medium: Serigraphy

Dim. Ext

Dim. Int.

1976

276.- Bicubes

(1)

110 x 72 cm

90x45cm

225

277.- Hiouz

(2)

110 x 72 cm

90x47.5cm

225

278.- Kepler

(3)

110 x 72 cm

90x49cm

225

279.- Woo

(4)

110 x 72 cm

90x52cm

225

280.- Dell-Dell

(5)

110 x 72 cm

90x45cm

225

110 x 72 cm

90.5x45.5cm

225

110 x 72 cm

90x47.5cm

225

110 x 72 cm

90x61cm

225

VASARELY

Meta 1976

281.- Tuz-Tuz 282.- Bi-tupa

(6)

283.- Kepler II

Atelier Arcay / Editions Denise René

(1) Christie´s, Sale Nº 9791, Lot. 447, Date 31-Oct-2003 (2) Christie´s, Sale Nº 9791, Lot. 453, Date 31-Oct-2003 (3) “Vasarely Múzeum 1983” with text of Hars Eva. (4) Ketterer Kunst, Sale:404, Lot.112004035, 20-April-2013 (5) Christie´s, Sale Nº 5327, Lot. 109, Date 19-July-2007 (6) Galerie MarkHachen, Lot.598083, 04-Oct-2012 Mentioned on VASARELY IV, Editions du Griffon Neuchatel (Switzerland) 1979. p.203.

276.- Bicubes (VY-48-A)

85

277.- Hiouz (VY-48-B)

Portfolio album “Meta” - 1976. Folio In linen cover.

278.- Kepler (VY-48-C)

Victor Vasarely

279.- Woo (VY-48-D)

282.- Bi-tupa

Albums (numbered and signed by the Artist)

280.- Dell-Dell (VY-48-E)

281.- Tuz-Tuz (VY-48-F)

283.- Kepler II (VY-48-H)

86

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Album “XXième Siècle” Published In: Edition: Société Internationale d`Art du XXe siècle, París / Atelliers Caza, Paris. Medium: Serigraphy 284.- Kilenz 285.- Aix-MC

(1)

286.- Rena 287.- Koss 288.- Teries 289.- Bi-Ka

(2) (3)

290.- Kezdi-All 291.- Sarga-Fon

1977

Dim. Ext. Dim. Image

VASARELY

76x56cm 76x56cm

46x46cm 66x33cm

125 125

76x56cm 76x56cm

46x46cm 46x46cm

125 125

“d`Art XXe”

56x76cm 76x56cm

56x76cm 53x46cm

125 125

1977

76x56cm 76x56cm

46x46cm 46x46cm

125 125 Editions Société Internationale d`Art du XXe siècle, París / Atelier Caza, Parìs

Published by: International Society of Art XXe, París

Set of eigth screenprints in colours on woven paper, each signed in pencil, edition of 1-125, (EA) I-XX, plus HC 10. Total edition 155 (1) Bloomsbury, Sale Nº 35934, Lot. 207, Date 28-June-2012 (2) Vasarely Vol. 3, Herakelidon 2006 (3) Bloomsbury, Sale Nº 35934, Lot. 206, Date 28-June-2012

284.- Kilenz

286.- Rena

87

Portfolio Album “d`Art XXe” - 1977. Folio in linen cover.

285.- Aix-MC

287.- Koss

Victor Vasarely

Albums (numbered and signed by the Artist)

288.- Teries

289.- Bi-Ka

290.- Kezdi-All

291.- Sarga Fon

88

Victor Vasarely Nº Title

Dimensions

Album “VI-VA” Published In: Editions Denise René / Atelier Arcay, Paris.

Albums (numbered and signed by the Artist) Edition

1978

Medium: Serigraphy 292.- Pauk-Arny

97 x 97 cm

250

293.- Torz

(1)

97 x 97 cm

250

294.- Vertche-2

(2)

97 x 97 cm

250

295.- Sinond

97 x 97 cm

250

296.- Einstein

97 x 97 cm

250

297.- Dombokta

97 x 97 cm

250

97 x 97 cm

250

97 x 97 cm

250

(3)

298.- Relat 299.- Harom-NB

VASARELY

VI-VA 1978

Atellier Arcay / Editions Denise René

This album was numbered 1 to 125, the series of the separated plates 126 to 250.

(1) Christie´s, Sale Nº 5049, Lot. 425, Date 25-Oct- 2006 (2) Vasarely Vol. 2, Herakleidon,2006 (3) Christie´s, Sale Nº 5049, Lot. 422, Date 25-Oct- 2006 Mentioned on VASARELY IV, Editions du Griffon Neuchatel (Switzerland) 1974. p. 203.

Portfolio album “VI-VA” - 1978. Folio In linen cover.

89

292.- Pauk-Arny

293.- Torz

294.- Vertch II

295.- Sinond

Victor Vasarely

Albums (numbered and signed by the Artist)

Vasarely honored some leading characters of his time, as scientists, art critics and friends, putting some of his editions the name of these. For example, this editions contains the name of a important German theoretical physicist.

Albert Einstein (Germany: 14 March 1879 - 18 Apr. 1955) German-born theoretical physicist. Einstein's work is also known for its influence on the philosophy of science. He developed the general theory of relativity, one of the two pillars of modern physics (alongside quantum mechanics). Einstein is best known in popular culture for his mass–energy equivalence formula E = mc2 (which has been dubbed "the world's most famous equation"). Received the 1921 Nobel Prize in Physics for his "Services to theoretical physics", in particular his discovery of the law of the photoelectric effect, a pivotal step in the evolution of quantum theory. Einstein thought that Newtonian mechanics was no longer enough to reconcile the laws of classical mechanics with the laws of the electromagnetic field. This led to the development of his special theory of relativity. He realized, however, that the principle of relativity could also be extended to gravitational fields, and with his subsequent theory of gravitation in 1916, he published a paper on general relativity. He continued to deal with problems of statistical mechanics and quantum theory, which led to his explanations of particle theory and the motion of molecules. He also investigated the thermal properties of light which laid the foundation of the photon theory of light.

Einstein

296.- Einstein

Albert Einstein in 1947

297.- Dombokta

298.- Relat

299.- Harom-NB

90

Victor Vasarely

Albums (numbered and signed by the Artist)

Dimensions

Nº Title

Edition

Album “MICROCOSMOS”

Published In:1979 Imp. Zussau-Silium, París

Editions: Nicolas Hélion, París

Medium: Serigraphy

Dim. Ext.

300.- Axo-Gris

(2) (3)

32.5 x 25 cm 30x21 cm

250

301.- Kepler Or

(2)

32.5 x 25 cm 21.5x21.5cm

250

302.- Saphir

(1) (2)

32.5 x 25 cm 23x21cm

250

303.- Garam

32.5 x 25 cm 27x22cm

250

304.- Dell GY

32.5 x 25 cm 21.5x21.5cm

250

305.- Gyem

32.5 x 25 cm 21.5x21.5cm

250

Dim. Image

Six spectacular silkscreen prints, some on black paper, gold, blue and silver background, each signed by Vasarely with justification page and portfolio binder. This album was numbered 1 to 250 and 25 exemplares numbered e.a 1/25 to 25/25, plus 25 exemplares numbered FV 1/25 to 25/25 for Vasarely Foundation. The screens were then destroyed. Published by Investors Graphics Corp. (Theodore J. Robertson, Jr.)

(1) Christie´s, Sale Nº 5327, Lot. 34, Date July 19, 2007 (2) Volumen 3 Herakleidon`06, Greece. (3) FV 1/50 to 50/50 Portfolio album “Microcosmos” - 1979. Folio in blue linen cover.

300.- Axo-Gris

301.- Kepler Or

302.- Saphir

303.- Garam

Victor Vasarely

Albums (numbered and signed by the Artist)

Vasarely honored some leading characters of the history, as scientists, art critics and friends, putting some of his editions the name of these. For example, this editions contains the name of a important German astronomer and mathematician.

Johannes Kepler (Germany: 27 December 1571 - 15 November 1630) Kepler is a key figure in the 17th-century scientific revolution. He is best known for his laws of planetary motion, based on his works Astronomia nova, Harmonices Mundi, and Epitome of Copernican Astronomy. These works also provided one of the foundations for Isaac Newton's theory of universal gravitation. Kepler was a mathematics teacher at a seminary school in Graz, where he became an associate of Prince Hans Ulrich von Eggenberg. Later he became an assistant to the astronomer Tycho Brahe in Prague, and eventually the imperial mathematician to Emperor Rudolf II and his two successors Matthias and Ferdinand II. He also taught mathematics in Linz, and was an adviser to General Wallenstein. Additionally, he did fundamental work in the field of optics, invented an improved version of the refracting telescope (the Keplerian telescope), and was mentioned in the telescopic discoveries of his contemporary Galileo Galilei. He was a corresponding member of the Accademia dei Lincei in Rome.

304.- Dell GY

Kepler lived in an era when there was no clear distinction between astronomy and astrology, but there was a strong division between astronomy (a branch of mathematics within the liberal arts) and physics (a branch of natural philosophy

Kepler Or

Johannes Kepler

305.- Gyem

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Reflets”

Edition

Published In:1979 Text: Maurice Bruzeau

Editions: Nicole Fauche

Medium: Collage

Dim. Ext.

Dim. Image

306.- Sin-Hat

52 x 52 cm

46 x 40cm

150

307.- Majus

52 x 52 cm

48 x 48cm

150

308.- Tomor

52 x 52 cm

46 x 46cm

150

309.- Tridim PC2

52 x 52 cm

45 x 42cm

150

52 x 52 cm

46 x 40cm

150

310.- Dagg

(1)

"Signed in crayon (lower right) and numbered (bottom left)" (1) Collection of Museum of Fine Art Budapest. Invetory N° V266 Set of five collage in colours on cardboard, each signed in crayon, edition of 150 plus 5 copies of H.C. Title page and justification, All with full margins. Book 20x20cm. “Reflets” by Maurice Bruzeau 1978. Portfolio “Reflets” - 1979.Slipcase publishing 55 x 54,5cm

306.- Sin-Hat

309.- Tridim PC2

93

307.- Majus

308.- Tomor

310.- Dagg

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition

Album “Paris-Tokyo” Published In: 1980 Editions:Nanteshi Gallery,Tokyo and Inter-Continental Art Agency, Vancouver (Canada) Imp. Atelier Duval, Paris Medium: Serigraphy

Dim. Ext

311.- Audard

57.5 x 56 cm

52x52cm

FV15+75

312.- Bi-Octans

57.5 x 56 cm

52x52cm

FV15+75

313.- Try Boss

57.5 x 56 cm

52x52cm

FV15+75

314.- Takat

57.5 x 56 cm

52x52cm

FV15+75

315.- Silva

57.5 x 56 cm

52x52cm

FV15+75

316.- Tupa-TU

57.5 x 56 cm

52x52cm

FV15+75

Dim. Image

1980

With dark blue cover and gilt lettered title, the justification page, signed and numbered “FV 11/15” in pencil, each print signed and numbered “FV 11/15” in pencil to margins and some exemplaires HC.

Editions Nanteshi Gallery, Tokyo and Inter-Continental Art Agency, Vancouver (Canada)

Entire Album on: - Christie´s, Sale Nº 9791, Lot. 477, Date 31-Oct-2003 - Heffel´s, 3rd Session auction, Thursday, 25-Oct-2012 - Suteki Arts,Lot.10576 - 10581,Shows online Feb.2013 Portfolio album “París - Tokyo” - 1980. Blue cloth-covered portfolio.

311.- Audard

312.- Bi-Octans

314.- Takat

315.- Silva “Song of Spain”

313.- Try Boss

316.- Tupa-Tu

94

Victor Vasarely Nº Title

Dimensions

Album “HELIOS-1” Editions: Nicolás Helion, París

Albums (numbered and signed by the Artist) Edition

Published In:1981 Imp. Zussau-Silium, París

Medium: Serigraphy

Dim. Ext.

Dim. Image

317.- Bey Bleu

36 x 30 cm

25.4x25.4cm

200

318.- Xia Bleu

36 x 30 cm

25.4x25.4cm

200

319.- Fayr Bleu

36 x 30 cm

25.4x25.4cm

200

320.- Fuggoe Rouge

36 x 30 cm

27.5x27.5cm

200

321.- Ack Noir

36 x 30 cm

25.4x25.4cm

200

322.- Yllus Rouge

36 x 30 cm

25.4x25.4cm

200

VASARELY

HELIOS-1 1981

Editions Nicolas Hélion, París

Edition 1-200 plus FV1-60, Signed Vasarely (lower right). Entire album on Christie´s, sale 5340, Lot. 217, Date 16-Sept-2008. Entire album on Bonhams, sale 18738, Lot. 293, London, 16-Feb-2011 Portfolio album “HELIOS” - 1980. Folio In linen cover.

317.- Bey Bleu

318.- Xia Bleu

319.- Fayr Bleu

320.- Fuggoe Rouge

321.- Ack Noir

322.- Yllus Rouge

95

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “HELIOS-2” Editions: Nicolás Helion, París

Edition

Published In:1981 Imp. Zussau-Silium, París

Medium: Serigraphy

Dim. Ext.

Dim. Image

323.- Bey Blanc

36 x 30 cm

25.4x25.4cm

200

324.- Xia Blanc

36 x 30 cm

25.4x25.4cm

200

325.- Fayr Blanc

36 x 30 cm

25.4x25.4cm

200

VASARELY

HELIOS-2 1981

326.- Fuggoe Blanc

327.- Ack Blanc

(1)

36 x 30 cm

27.5x27.5cm

200

36 x 30 cm

25.4x25.4cm

200 Editions Nicolas Hélion, París

328.- Yllus Blanc

36 x 30 cm

200

25.4x25.4cm

Edition 1-200 plus FV1-60, Signed Vasarely (lower right). Ack Blanc FV 1-50. (1) Cornette de Saint Cyr, Sale Estampes & Multiples, Lot. 264, 7-Dec-2013

323.- Bey Blanc

324.- Xia Blanc

326.- Fuggoe Rouge

327.- Ack Blanc

Portfolio Album “HELIOS” - 1980. Folio In linen cover.

325.- Fayr Blanc

328.- Yllus Blanc

96

Victor Vasarely Nº Title

Dimensions

Albums (numbered and signed by the Artist) Edition

Album “Hommage à Bartók” Pub. in: 1981 Editions and Printed: Helikon, Budapest (Hungary) Medium: Serigraphy 329.- Oeuvre N°1 330.- Oeuvre N°2

70 x 50 cm 70 x 50 cm

FVXXX+100 FVXXX+100

331.- Oeuvre N°3 332.- Oeuvre N°4

(1956)

70 x 50 cm 70 x 50 cm

FVXXX+100 FVXXX+100

333.- Oeuvre N°5 334.- Oeuvre N°6

(1952) (1955)

70 x 50 cm 70 x 50 cm

FVXXX+100 FVXXX+100

335.- Oeuvre N°7 336.- Oeuvre N°8

(1961) (1957)

70 x 50 cm 70 x 50 cm

FVXXX+100 FVXXX+100

337.- Oeuvre N°9 (1952) 338.- Oeuvre N°10

70 x 50 cm 70 x 50 cm

FVXXX+100 FVXXX+100

Homage à Bartók

Helikon, Budapest

Set of ten screenprints in colours on wove paper, each signed in pencil, inscribed “FV” aside from edition of 100. title page and justification, All with full margins. Album dedicated to Béla Bartók`s memory (hungarian composer and pianist) for his birth centenary. Portfolio Album “Hommage à Bartók” - 1981.

97

329.- Oeuvre N° 1

330.- Oeuvre N° 2 “Japet-2”

331.- Oeuvre N° 3 “Pilich-2”

332.- Oeuvre N° 4 “Vonal-R”

Victor Vasarely

Albums (numbered and signed by the Artist)

333.- Oeuvre N° 5 “Lyrae”

334.- Oeuvre N° 6 “Kontra-R”

335.- Oeuvre N° 7 “Pleïonne-3”

336.- Oeuvre N° 8 “Kantara-R”

337.- Oeuvre N° 9 “Grille”

338.- Oeuvre N° 10 “Zilver-2”

98

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Mélodies”

Edition Published in:1982

“5ème anniversaire du Vasarely Center” Editions: Vasarely Center N.Y. / At. Arcay, Paris.

Medium: Serigraphy

FV 1-75+ea I-XXXX=115

60 x 40 cm 60 x 40 cm

150 150

60 x 40 cm 341.- Horn ( 1) 342.- Mandoline (1) (2) (1954) 60 x 40 cm

150 150

343.- Trompette (1) 344.- Cithare

(1958) 60 x 40 cm

150 150

345.- Luth 346.- Flûte

(2) (1 )

(1958) 60 x 40 cm

150 150

347.- Violon

(1)

60 x 40 cm

150

339.- Guitare 340.- Harpe

(2) (1)

60 x 40 cm

60 x 40 cm

Complete set of 9 silkscreen in black and white, with silver and gold, edition of 265

339.- Guitare

1982

(1) Cat. on Leclere auction “Vente aux enchères au profit de la Fondation Vasarely 28-Sept-2011” (2) Some silkscreens have raised in geometric shapes Portfolio Album “Mèlodies” - 1982. Folio In linen cover.

99

340.- Harpe

341.- Horn

342.- Mandoline

343.- Trompette

Victor Vasarely

Albums (numbered and signed by the Artist)

344.- Cithare

345.- Luth

346.- Flรปte

347.- Violon

100

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Vancouver”

Edition Published In:1982

Editions: K.G. Heffel Fine Art Inc. & Intercontinental Art Agency Ltd. Vancouver

Medium: Serigraphy

Dim. Ext.

Dim. Image

348.- Haynal 349.- Letz 350.- Vallas 351.- Terroide

(1) (2) (3) (4)

76 x 76 cm 76 x 76 cm 76 x 76 cm 76 x 76 cm

62x62cm 70x61cm 65x62cm 64x62cm

75 75 75 75

352.- Virgo 353.- Domb-B 354.- Lum 355.- Stridim

(5) (6) (7) (8)

76 x 76 cm 76 x 76 cm 76 x 76 cm 76 x 76 cm

62x62cm 62x62cm 62x62cm 70x60cm

75 75 75 75

Set of eight screenprints in colours on Arches paper, each signed in pencil, numbered 1-75 (there were also 20 H.C.), title page and justification, All with full margins. (1) Christie´s, Sale Nº 5327, Lot. 53, Date 19-July-2007 (2) Maynards, Contemporary Art, Lot. 64, Date 24-Nov-2010 (3) Christie´s, Sale Nº 2215, Lot. 398, Date 27-Oct-2009 (4) Christie´s, Sale Nº 5020, Lot. 308, Date 28-June-2006 (5) Heffel`s January 2004 auction, Date 31-January-2004 (6) Heffel`s January 2004 auction, Date 31-January-2004 (7) Christie´s, Sale Nº 2044, Lot. 645, Date 28-April-2008 (8) Heffel`s January 2004 auction, Date 31-January-2004

1982 EDITIONS K.G. Heffel Fine Art Inc. & Intercontinental Art Agency Ltd. Vancouver

Portfolio Album “Vancouver” - 1982. Contained in an original green linen-covered

101

348.- Haynal

349.- Letz

350.- Vallas

351.- Terroide

Victor Vasarely

Albums (numbered and signed by the Artist)

352.- Domb-B

353.- Lum

354.- Virgo

355.- Stridim

102

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Edition Published In:1982

Album “Vasarely III”

Editions: George Fall/Galerie Lahumière, París Printed: Silium, París Medium: Serigraphy Dim. Ext Dim. Image (1)

40 x 38 cm

28x28cm

250

357.- Goensoel-3 (1)

40 x 38 cm

28x28cm

250

358.- Gyemant-Pal

40 x 38 cm

28x28cm

250

359.- Ceti-MC

40 x 38 cm

28x28cm

250

360.- Hegyez NN

40 x 38 cm

28x28cm

250

361.- Boreal

40 x 38 cm

28x28cm

250

356.- Boglar-2

VASARELY

Vasarely III 1982

Set of six screenprints in colours on Arches, each signed in pencil, numbered 1-250 (there were also Artist Proofs: 1-25 H.C., 1-25 E.A., 1-55 F.V.), title page and justification. All with full margins. Image size: 28 x 28 cm. Overall Size: 40 x 38 cm.

EDITIONS Lahumière, París

(1) Artcurial, Sale Printed and Books, Lot. 200, 3-Dec-2014

Portfolio Album “Vasarely III” - 1982. Contained in an original linen-covered case.

356.- Boglar-2

“Boglar”

358.- Gyemant-Pa

103

“Geymant” l

357.- Goensoel-3

359.- Ceti-MC

“Goensoel”

“Cetic-MC”

Victor Vasarely

360.- Hegyez NN

“Hegyez�

Albums (numbered and signed by the Artist)

361.- Boreal

104

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Louisiana”

Edition

Published In:1983-84

Editions: Börjeson, Malmö (Sweden) / Atelier Sillium, París. Medium: Serigraphy Dim. Ext. 362.- Louisiana 1

79 x 76 cm

275

363.- Louisiana 2

79 x 76 cm

275

364.- Louisiana 3

79 x 76 cm

275

365.- Louisiana 4

79 x 76 cm

275

366.- Louisiana 5

79 x 76 cm

275

367.- Louisiana 6

79 x 76 cm

275

Set of five screenprints in colours on Arches, each signed in pencil, numbered: 275 examplaires 1-275, 35 examplaires H.C. I-XXXV, 15 exemplaires F.V. I-XV and 1 examplaire A.P. “Bon à tier”, title page and justification, signed and numbered on the justification. All with full margins.

Portfolio Album “Lousiana” - 1983. Contained in an original linen-covered case.

362.- Louisiana I

363.- Louisiana II

364.- Louisiana III

365.- Louisiana IV

366.- Louisiana V

367.- Louisiana VI

105

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Moyen Atta”

Edition Published In:1983

Editions: George Fall / Lahumiére, París. Medium: Serigraphy Dim. Ext. Dim. Image 368.- Guigass

58.5 x 54cm

40 x 40 cm

250

369.- Vega Aix

58.5 x 54cm

40 x 40 cm

250

370.- Atta

58.5 x 54cm

40 x 40 cm

250

371.- Koeroek

58.5 x 54cm

40 x 40 cm

250

372.- Heet

58.5 x 54cm

40 x 40 cm

250

VASARELY

Moyen-Atta 1983

Set of five screenprints in colours on Arches, each signed in pencil, numbered 1-250, title page and justification, signed and numbered on the justification. All with full margins.

EDITIONS Fall / Lahumiere, París

Portfolio Album “Moyen-Atta” - 1983. Contained in an original linen-covered case.

368.- Vega Aix

371.- Atta

369.- Heet

370.- Guigass

372.- Koeroek

106

Victor Vasarely Nº Title

Dimensions

Album “Budapest 1” Editions: Fajó Hános Medium: Serigraphy 373.- Olbio 374.- Terek 375.- Orgovan 376.- B-Yantra

Albums (numbered and signed by the Artist)

(1953) (1)(2) (1951) (1)(2) (1955) (1)(2) (1956) (1)(2)

Dim. Ext

Edition Published In:1984-85

Printer: At. Silium, París. Dim. Int

70 x 57 cm 70 x 57 cm 70 x 57 cm 70 x 57 cm

51 x 47 cm 50x46.5cm 54.5x47cm 50.5x47cm

L+90 L+90 L+90 L+90

377.- Flores (1952) (1)(2) 70 x 57 cm 378.- H.Malevitch (1953) (1)(2) 70 x 57 cm 379.- Siris-2 (2) 70 x 57 cm (1958) 380.- Eika-2 (2) 70 x 57 cm (1954)

52.5x47cm 58 x 47 cm 60 x 42 cm 50 x 47 cm

L+90 L+90 L+90 L+90

381.- Kervilahuen BL (1953) 70 x 57 cm 382.- Vega-Tuz-4 (1972) (2) 70 x 57 cm 383.- Dallas (1950) (2) 70 x 57 cm 384.- Bellatix-2 (1957) 70 x 57 cm

51 x 47 cm 47 x 47 cm 60 x 39 cm 53 x 47 cm

L+90 L+90 L+90 L+90

Budapest - 1 1984-85 EDITIONS Fajó Hános/ Sillium, París

Set of twelve screenprints in colours, each signed in pencil,numbered L+1-90 on woven paper. In the original portfolio 72 x 59 x 1,5cm. All with full margins. (1) Van Ham, Sale 306, Lot. 837A, Date 01-02 Dec - 2011 (2) Dreweatts Bloomsbury Auct., Lots. 261-266-267-268-269-270-271-272-273-275 of Modern & Contemporary Prints, 29 Oct. 2014 Portfolio Album “Budapest 1” - 1984-85. Folio in linen.

373.- Olbio

376.- B-Yantra

107

374.- Terek

377.- Flores

375.- Orgovan

378.- Hommage to Malevitch

Victor Vasarely

379.- Siris-Oss-R

380.- Eika-2

383.- Dallas

Albums (numbered and signed by the Artist)

382.- Vega-Tuz-4

381.- Kervilahuen BL

384.- Bellatrix-2

108

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Budapest 2” Editions: Fajó Hános Medium: Serigraphy

Edition Pub. In:

1985

Print: Helikon, Budapest Dim. Ext. Dim. Image

385.- Gyemant-B

(1973)

69 x 50 cm

35x35cm

110

386.- Dell-MC I

(1971)

69 x 50 cm

35x35cm

110

387.- Dell-4

(1972)

69 x 50 cm

35x35cm

110

388.- Kek-Eg II

(1973)

69 x 50 cm

35x35cm

110

389.- Okta-Stri

(1974)

69 x 50 cm

35x35cm

110

390.- Ondokto

(1972)

69 x 50 cm

35x35cm

110

391.- Niok

(1974)

69 x 50 cm

35x35cm

110

392.- Acock

(1973)

69 x 50 cm

35x35cm

110

VASARELY Vega Constallations Budapest 2 1985 EDITIONS Helikon Publishing

Set of eigth screenprints in colours, each signed in pencil, numbered 1-110 plus FV1-30, signed and numbered on the justification. Image Size:35x35cm. All with full margins. Entire Portfolio on Stockholms Auctionsverk, Prints, Stockholm, Lot. 298, 15-Dic-2011 Portfolio Album “Budapest 2” - 1985

385.- Gyemant-B

109

387.- Dell-4

“Zett-4”

386.- Dell MC I

388.- Kek-Eg II

Folio In linen cover.

Victor Vasarely

Albums (numbered and signed by the Artist)

389.- Okta-Stri

390.- Ondokto

391.- Niok “Miook”

392.- Acock

“Ondocto-X”

110

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “11+1” “Historique”

Edition Published In:

1985

Editions: Fall / Lahumiére, París Print: At. Silium, París. Dim. Ext. Dim. Int. Medium: Serigraph Serigraph on color 393.- Izzo 394.- Kedd 395.- Makk-S 396.- Zebra-O

79 x 65 cm 79 x 65 cm 79 x 65 cm 79 x 65 cm

79x65cm 250 64.5x49.5cm FV(1-36)+250 250 52x50cm 250 69.5x44.5cm

397.- Okta-2 398.- Kervilahuen-B1 (1) 399.- Amir 400.- Bhopal

79 x 65 cm 79 x 65 cm 65 x 79 cm 65 x 79 cm

51x51cm 61x50cm 50x64cm 49.5x65.5cm

401.- Uran-Vega 402.- Vonal-Lap 403.- Bella-Neg

79 x 65 cm 50x50cm 79 x 65 cm 50x50cm 79 x 65 cm 54x50cm

Serigraph on Plexiglas 404.- Beta

25 x 24 x 5 cm

396.- Zebra-O

111

“Zebre”

Museimappen

250 250 250 250

1985/86

FV(1-57)+250

250 250 EDITIONS Falaize

250

Eleven screenprints in colours, on Arches paper, with full margins, and two screenprints on Plexiglas presented on a single stand (as issued). Each signed and annotated 'EA XXIV/XXV' in pencil (one of 25 artist's proofs, the edition was 250) (1) Volumen 1 Vasarely, Herakleidon 2005, Greece.

393.- Izzo “Gestalt fel”

VASARELY

Portfolio Album “11+1” - 1985. Blue cloth-covered portfolio box.

394.- Kedd “Hexagone”

395.- Makk-S “Espace”

397.- Okta-2 “Octa-Sarga”

398.- Kervilahuen “Belle Isle”

Victor Vasarely

Albums (numbered and signed by Artist)

399.- Amir “Denfert”

400.- Bhopal

“Cristal”

401.- Uran-Vega “Vran”

404.- Beta

402.- Vonal lap “Vonal”

403.- Bella-Neg “Planetary”

112

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Kunst-Oslo”

Published In:

Edition

1985-86

Editions: Falaize. Medium: Serigraphy

Dim. Ext.

405.- Ter-Ur 3

107 x 74 cm 93x64cm

FV40+295

406.- Kaaba

107 x 74 cm 93x64cm

FV40+295

407.- Enfis

107 x 74 cm 93x64cm

FV40+295

408.- Trivega-2

107 x 74 cm 93x64cm

FV40+295

409.- Oltar-Zoeld

107 x 74 cm 93x64cm

FV40+295

Dim. Image

Kunst - Oslo 1985/86

Set of five screenprints in colours, each signed in pencil, numbered 1-295 (there were also 1-40 F.V.), title page and justification, signed and numbered on the justification. Image size: 95x64cm. Overall size: 107x74cm. All with full margins.

EDITIONS Falaize

Full Portfolio on Stockholms Auctionsverk, Prints, Stockholm, Lot. 298, 15-Dic-2011

Portfolio Album “Kunst-Oslo” - 1985/86

405.- Ter-Ur 3

113

406.- Kaaba

Folio In linen cover.

Victor Vasarely

Albums (numbered and signed by the Artist)

Kunst - Oslo 1985/86

407.- Enfis

408.- Trivega-2

409.- Oltar-Zoeld

114

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Jalons”

Edition

Published In:

1986

Editions: Galerie Lahumiere. Printed: Sillium, París Medium: Serigraph Dim. Ext. Dim. Image Serigraph on color 410.- Tridos 411.- Kaglo-II

(1)

85 x 76 cm 76x65cm 85 x 76 cm 70x66cm

250 250

412.- Diorre 413.- Hyram

(2) (3)

85 x 76 cm 65x65cm 85 x 76 cm 71.5x65cm

250 250

414.- Idom-Stri 415.- Jatek

(4)

85 x 76 cm 66x66cm 85 x 76 cm 66x62.5cm

250 250

38 x 33,2 x 6 cm

250

VASARELY

Museimappen 1985/86

Serigraph on Plexiglas 416.- Venus

(5)

Dry pad marked “GALERIE LAHUMIERÊ EDITION”. Edition 1-250 plus FV1-55, EA25. Signed Vasarely (lower right). (1) Christie´s, Sale Nº 5021, Lot. 92, Date 27-Sept-2006 (2) Bonhams, Sale Nº 17950, Lot. 127, Date 17-March-2010 (3) Bonhams, Sale Nº 17950, Lot. 123A, Date 17-March-2010 (4) Christie´s, Sale Nº 5831, Lot. 320, Date 02-June-2005 (5) Mallet Japan, Sale Nº 90612, Lot. 317, Date 12-June-2009

EDITIONS Falaize

Portfolio Album “JALONS” - 1986

410.- Tridos

411.- Kaglo II

412.- Diorre

413.- Hyram

Folio on purple and black linen, colored.

Victor Vasarely

414.- Idom-Stri

View 1

416.- Venus

Albums (numbered and signed by the Artist)

415.- Jatek

View 2

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Origines” Editions: on request Medium: Litograph

Pub. in:

Dim. Ext

Edition

1986-87

Dim. Image

1986 57 x 76 cm

57x76 cm

200

418.- Etude (1935) (1) 57 x 76 cm perspective

45x48 cm

200

419.- Zoo

(1940) (1) 57 x 76 cm

57x76 cm

200

420.- Anneaux

(1939) (2) 57 x 76 cm

45x48 cm

200

67x48.5 cm

200

44x48 cm

200

417.- Catch III-B

(1945)

VASARELY VASARELY

Museimappen

“1985/86 Origines”

1987 421.- Fille-fleur 422.- Jouets

76 x 57 cm

(1932)

(1) 57 x 76 cm

1987

EDITIONS Falaize

Album contains 6 originals plates, one serie numbered 1 to 200, another serie of XXV plates numbered I to XXV as Artist Proof. Printed on BFK Rives paper. All the plates are signed and numbered by Victor Vasarely on pencil. (1) Dr. Fischer Kunstauktionen, Lot.265, 266 and 267,04-Dec-2014 (2) ADAM`S, Lot. 112, 13-Dec-2005 Jensscholz, Sale 52, Lot. 443, 27-Mar-2015, Images on VASARELY III, Editions du Griffon Neuchatel, (Switzerland) 1974.

417.- Catch III-B

419.- Zoo “Étude de mouvement”

Portfolio Album “Origenes” - 1987. Folio in linen cover.

418.- Etude de Perspective

420.- Anneaux “Etude de Mouvement”

Victor Vasarely

Albums (numbered and signed by the Artist)

Originals Works of Victor Vasarely: Etude en Multicolor-2 1941-60x55cm, Fille Fleur 1932-45 - 56x43cm, Confetti 1940-60x45cm. At center, work by Michele Vasarely. View of the main room of Michele Vasarely´s residence. (Pto Rico). Photo by Pedro Benavides 2014.

422.- Jouets “Étude de mouvement”

421.- Fille-Fleur “Flower girl”

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Figurative 1”

Edition

Published In:

1987

Editions: Galerie Börjesson, Malmö. (Sweden) Printed: At. Silium, París. Medium: Serigraphy Dim. Ext Dim. Image 423.- Zebras on Blue

85 x 58 cm

65 x 54 cm

275

424.- Arlequin

85 x 58 cm

70 x 48 cm

275

85 x 58 cm

73 x 43 cm

275

426.- Flower girl

85 x 58 cm

72 x 46 cm

275

427.- Two Zebras

63 x 75 cm

51 x 65 cm

275

425.- Clown

(1)

Set of five screenprints in colours, each signed in pencil, numbered 1-275 (there were also I-XXXV H.C.),

VASARELY

“Figurative 1” EDITIONS Börjesson, Malmö (Sweden)

(1) Christie´s, Sale 5340, Lot. 87, 16-Sept-2008 Full Portfolio catalogued on Bloomsbury Auctions, Lot. 143, 6-Dec-2011 Portfolio Album “Figurative” - 1987. Folio In linen cover.

423.- Zebras on Blue

426.- Flower girl

119

424.- Arlequin

425.- Clown

427.- Two Zebras

Victor Vasarely Nº Title

Albums (numbered and signed by Artist)

Dimensions

Album “Figurative 2” Editions: Galerie Börjesson, Malmö. Printed: Atellier Silium, París. Medium: Serigraphy Dim. Ext

Edition

Published In:

1987

Dim. Image

428.- Zambo

77 x 64 cm

65 x 54 cm

250

429.- Zebras Bleu

86 x 67 cm

70 x 48 cm

250

430.- Resting Clown

82 x 58 cm

70 x 48 cm

250

431.- Clown with ball

85 x 58 cm

72 x 46 cm

250

432.- Two Zebras

58 x 85 cm

51 x 65 cm

250

VASARELY

“Figurative 2”

Catalogued on folder of his own works. Made it by Victor Vasarely Set of five screenprints in colours, each signed in pencil, numbered 1-275 (there were also I-XXXV H.C.), title page and justification, signed and numbered on the justification. All with full margins.

EDITIONS Galerie Börjesson, Malmö

(1) Catalogued on Christie´s, Sale 5340, Lot. 87, 16-Sept-2008 Full Portfolio is catalogued on Bloomsbury Auctions, Lot. 143, 6-Dec-2011 Portfolio Album “Figurative” - 1987. Folio In linen cover.

428.- Zambo

431.- Clown with Ball

430.- Harlequin II

429.- Zebra Bleu

432.- Playing Zebras

120

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “AZ”

Edition

Published In:

1988

Editions: Foundation Vasarely (Celebrating 80th Vasarely Anniversay) Medium: Serigraphy 433.- Homme en Mouvement

70 x 50 cm

100

434.- Yarda

50 x 70 cm

100

435.- Humain

70 x 50 cm

100

436.- Quilles

50 x 70 cm

100

437.- Etude de Perspective 50 x 70 cm

100

438.- Catch-II

70 x 50 cm

100

439.- Baynok

50 x 70 cm

100

440.- L`Échiquier 2

70 x 50 cm

100

250

EDITIONS Foundation Vasarely

This album celebrates the Vasarely 80th birthday. Eight compositions of the game theme. Signed and numbered by the artist Portfolio Album “AZ” - 1988

121

Folio In linen cover.

433.- Homme en Mouvement

434.- Yarda

435.- Humain

436.- Quilles - Étude de mouvement

Victor Vasarely

437.- Étude de Perspective

439.- Baynok

Albums (numbered and signed by the Artist)

438.- Catch II

440.- L`Échiquier 2

122

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Diam”

Edition Published In:

1988

Editions: Mazo, S.A. / Print: Sillium, París. Text by Otto Hahn Medium: Serigraphy Dim. Ext. Dim. Image 441.- Almath-2 442.- Folkokta

62 x 70 cm 70 x 62 cm

50x50cm 69x59 cm

250 250

443.- Diam-II 444.- Rikka

(1)

70 x 62 cm 70 x 62 cm

59x52cm 250 51.6x50.6cm 250

445.- Sinvilag 446.- Vaar

(2)

70 x 62 cm 70 x 62 cm

56.6x52.4cm 250 58x51.5cm 250

70 x 62 cm 70 x 62 cm

52.3x51.4cm 250 50x50cm 250

62 x 70 cm

60x52.5 cm

447.- Photon-MC 448.- Dirac 449.- Ingau

(3)

250

441.- Almath

Nine serigraph made on woven paper by Arches (without watermark) Original blue cloth-covered portfolio with the artist and author name and title printed. 28½ x 25¼ in. (725 x 640 mm.) (1) Christie´s, Sale Nº 5327, Lot. 64, Date 19-July-2007 (2) Christie´s, Sale Nº 5327, Lot. 69, Date 19-July-2007 (3) Christie´s, Sale Nº 5418, Lot. 332, Date 10-June-2008 Portfolio Album “Diam” - 1988. Folio in board.

442.- Folkokta

443.- Diam

444.- Rikka

445.- Sinvilag

Victor Vasarely

Albums (numbered and signed by the Artist)

446.- Vaar

447.- Photon-MC

448.- Dirac

449.- Ingau

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “ION”

Edition

Published In:

1989

Editions: Falaize. Medium: Serigraphy

Dim. Ext.

Dim. Image

450.- Kriss Bille

47x37.5cm

35.6x28cm

451.- Herim

47x37.5cm

35.6x28cm FV30+250

452.- Tsengue

47x37.5cm

35.6x28cm

250

453.- Broly Neg

47x37.5cm

35.6x28cm

250

454.- Risir

47x37.5cm

35.6x28cm

250

455.- Balaton

47x37.5cm

35.6x28cm

250

456.- Olla II

47x37.5cm

35.6x28cm

250

250

Image size: 35.6 x 28 cm. Paper Size: 47 x 37.5 cm.

Portfolio Album “ION” - 1989

450- Kriss Bille

125

452.- Tsengue

Folio In linen cover.

451.- Herim

453.- Broly Neg

Victor Vasarely

Portfolio Album “ION” - 1989 Front View

455.- Balaton

Albums (numbered and signed by the Artist)

454.- Risir

456.- Olla II

126

Victor Vasarely Nº Title

Dimensions

Albums (numbered and signed by the Artist) Edition

Album “Les Années Cinquante” Published In: 1989 Editions: Pesti Mühely, Budapest. Medium: Serigraph Creation: 1949-1953 457.- The Fifty Years 1 458.- The Fifty Years 2

70 x 57 cm 70 x 57 cm

XXX+100 XXX+100

459.- The Fifty Years 3 (1953) 460.- The Fifty Years 4 (1952)

70 x 57 cm 70 x 57 cm

XXX+100 XXX+100

70 x 57 cm 461.- The Fifty Years 5 462.- The Fifty Years 6 (1949) 70 x 57 cm

XXX+100 XXX+100

463.- The Fifty Years 7 (1953) 464.- The Fifty Years 8 (1952)

70 x 57 cm 70 x 57 cm

XXX+100 XXX+100

465.- The Fifty Years 9 466.- The Fifty Years 10

70 x 57 cm 70 x 57 cm

XXX+100 XXX+100

Portfolio 10 Serigraphies on colors, 1989, on woven, each one signed and numbered 1-100 on pencil with the title page. Published by Presti Mühely, Budapest whitin grey cloth covered porfolio, 698 x 568mm (27 ½ x 22 3/8 in), 712 x 585 mm (28x23in) (Folio). Portfolio Album “Les Annés Cinquante” - 1989. Folio in board. Linen Cover.

457.- The Fifty Years 1

127

459.- The Fifty Years 3 “Zillah-Al”

458.- The Fifty Years 2

460.- The Fifty Years 4 “Uzok III”

Victor Vasarely

Albums (numbered and signed by the Artist)

461.- The Fifty Years 5

462.- The Fifty Years 6 “Camocim”

463.- The Fifty Years 7 “Tolna”

464.- The Fifty Years 8 “Chillán”

465.- The Fifty Years 9

466.- The Fifty Years 10 “Kerr-2”

128

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Variációk” Editions: AZG Austria Zeichen Medium: Serigraph

Edition

Published In:

1989

467.- Bellatrix - Pyr 1964/67 1968 468.- Tridim-Q

68 x 61.5 cm 68 x 61.5 cm

EA20+XX+100 EA20+XX+100

469.- Beryll - 1X 470.- Lapidaire-B

1967 1971

68 x 61.5 cm 68 x 61.5 cm

EA20+XX+100 EA20+XX+100

471.- Lapidaire-C 472.- Lapidaire-K

1971 1971

68 x 61.5 cm 68 x 61.5 cm

EA20+XX+100 EA20+XX+100

473.- Lapidaire-N 474.- Folkokta

1971 1973

68 x 61.5 cm 68 x 61.5 cm

EA20+XX+100 EA20+XX+100

Portfolio 8 Serigraphies on colors, 1989, on woven, each one signed and numbered 1-100 on pencil. (there were also 1-20 E.A. plus 20 in Roman numbering) All leaves with dry stamp “AZG. Austria Character” Full Portfolio catalogued on Van Ham, Germany, Date June-2010 Literature: Vollmer. Note: Victor Vasarely. Visit the Design Academy in Budapest, Teacher: Moholy-Nagy, V. Huszar and S. Bortnik. From 1930 onwards, based in Paris. Member of the group of painters of the Denise René Gallery in Paris. Portfolio Album “Variációk” - 1989. Folio in board.

129

467.- Bellatrix-Pyr

468.- Tridim-Q

469.- Beryll-1X

470.- Lapidaire-B

Victor Vasarely

Albums (numbered and signed by the Artist)

471.- Lapidaire-C

472.- Lapidaire-K

473.- Lapidaire-N

474.- Folkokta

130

Victor Vasarely Nº Title

Albums (numbered and signed by Artist) the Artist)

Dimensions

Album “Donner à Voir” Editions: Mazo, París Medium: Serigraphy

Edition

Published In:

1989

Text by Otto Hahn

475.- Cirke

(1)

28.5 x 22.2 cm

EA12+250

476.- OB-Bleu

(1956)

28.5 x 22.2 cm

EA12+250

28.5 x 22.2 cm

EA12+250

28.5 x 22.2 cm

EA12+250

477.- Sicomar 478.- Bellica

(1947)

Portfolio 4 Serigraphies on colors, 1989, on Arches paper, each one signed and numbered 1-250 on pencil. (there were also 1-12 E.A.) (1) Peter Kiefer, Sale 100, Lot. 1409, 05-May-2017 Entire Album was catalogued on Germann, Sale 9802, Lot. 508,18-Nov-1998 Portfolio Album “Donner à Voir” - 1989.

475.- Cirke

131

476.- OB-Bleu

Victor Vasarely

477.- Sicomar

Albums (numbered and signed by Artist) the Artist)

478.- Bellica “Belle Isle�

132

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Vasarely IV”

Edition Published In:1989

Editions: Vasarely. Publisher: Glahé International KFT & Dr.Gábor Nagy Medium: Serigraphy Dim. Ext Dim. Image V01.- Vasarely-1

66 x 60 cm

48x48cm

70

V02.- Vasarely-2

66 x 60 cm

48x48cm

70

V03.- Vasarely-3

66 x 60 cm

48x48cm

70

V04.- Vasarely-4

66 x 60 cm

48x48cm

70

V05.- Vasarely-5

66 x 60 cm

48x48cm

70

V06.- Vasarely-6

66 x 60 cm

48x48cm

70

V07.- Vasarely-7

66 x 60 cm

48x48cm

70

V08.- Vasarely-8

66 x 60 cm

48x48cm

70

Set of eigth screenprints in colours, each signed in pencil, numbered 1-70 (All with full margins. Image size: 48 x 48 cm. Overall Size: 66 x 60 cm. Portfolio Album “Vasarely IV” - 1989. Contained in an original covered case.

V01.- Vasarely-1

V03.- Vasarely-3

V02.- Vasarely-2

V04.- Vasarely-4

Victor Vasarely

Albums (numbered and signed by the Artist)

V05.- Vasarely-5

V06.- Vasarely-6

V07.- Vasarely-7

V08.- Vasarely-8

Victor Vasarely Nº Title

Albums (numbered and signed by the Artist)

Dimensions

Album “Zebrak”

Edition

Published In:1989

Editions:Vasarely. Publisher:Glahé International KFT & Vasarely Museum Medium: Serigraphy Dim. Ext Dim. Image V09.- Tsikos-G

66 x 60 cm

48x48cm

70

V10.- Kek Zebra-2

66 x 60 cm

48x48cm

70

V11.- Zebres-7

66 x 60 cm

48x48cm

70

V12.- Zebrapar Arg-2

66 x 60 cm

48x48cm

70

Set of four screenprints in colours, each signed in pencil, numbered 1-70 All with full margins. Image size: 48 x 48 cm. Overall Size: 66 x 60 cm. Zisska & Lacher, Sale Modern Art, Lot. 3399 & 3400, 19-Oct-2017

Portfolio Album “Zebrak” - 1989. Contained in an original covered case.

V09.-Tsikos-G

V11.- Zebres-7

V10.- Kek Zebra-2

V12.- Zebrapar Arg-2

Victor Vasarely Denise René

Plates / Planche

(1913-2012)

Denise René or Denise Bleibtreu was a gallerist of French art specialized in kinetic art and OP Art, Denise René had as a rule of life the idea that art had to invent new ways of being. The first gallery opens on February 13, 1944 at 124 Rue La Boétie with the exhibition "Les dessins et graphiques Vasarely compositions." From the beginning, its exhibitions show the testimony of the ardent need for freedom and the desire to experience more later, in the channeling of geometric abstraction and kinetic art after the fusion of art and technology, or new means of communication - these are the hallmarks of identity. His work was defended by the art and technology historian Frank Popper. Denise René organized exhibitions of the greats of modern art such as Max Ernst and Francis Picabia during its first five years of operation. Denise René developed generations of abstract art in Paris to introduce them with historical figures from the Eastern European avant-garde in search of historical background as Marcel Duchamp. In 1955 the exhibition "Le Mouvement" was organized, which helped to popularize kinetic art. Following the work of Nicolas Schöffer, Yacov Agam, Jean Tinguely, Jean Arp, Alexander Calder, Carlos Cruz-Diez, Jesus Rafael Soto, Victor Vasarely, Sophie Taeuber-Arp, Pol Bury, Le Corbusier, Robert Delaunay, Max Bill, Otto Piene and Sonia Delaunay, and many others. In 1957, the first solo exhibition in Paris Piet Mondrian was presented. In addition to Paris, Denise René also had galleries in New York (1971-1981) and Düsseldorf (1969).

Victor Vasarely and Denise René. 1961. Photo courtesy by Michele Vasarely Archive´s

In 2001, the Center "Georges Pompidou" honored her with an exhibition entitled "Denise René, un galerie de l'aventure dans l'art abstrait, 19441978.". Vasarely's most important work for this exhibition was "SORATA T", which was facilitated by the private collection of my father, Mr. Pedro Benavides, from Caracas-Venezuela, who had a close relationship with the gallerist Denise René, who was the homage of the Georges Pompidou Center.

Morela Benavides Otaiza

Denise René o Denise Bleibtreu fue un galerista de arte francesa especializada en el arte cinético y el OP Art, Denise René tenía como norma de vida la idea de que el arte tenía que inventar nuevas formas de ser. La primera galería se abre el 13 de febrero de 1944 en 124 Rue La Boétie con la exposición “Les dessins et graphiques Vasarely compositions." desde el principio, sus exposiciones que muestran el testimonio de la ardiente necesidad de libertad y el deseo de experimentar más tarde, en la canalización de la abstracción geométrica y el arte cinético después de la fusión de arte y tecnología, o nuevos medios de comunicación - son las señas de identidad. Su trabajo fue defendido por el historiador de arte y tecnología Frank Popper.

Gordium 1956

Denise René organizó exposiciones de los grandes del arte moderno como Max Ernst y Francis Picabia durante sus primeros cinco años de operación. Denise René desarrolló generaciones de arte abstracto en París para introducirlos con figuras históricas de la vanguardia de Europa del Este en busca de antecedentes históricos como Marcel Duchamp. En 1955 se organizó la exposición “Le Mouvement”, lo que ayudó a popularizar el arte cinético. Siguiendo el trabajo de Nicolas Schöffer, Yacov Agam, Jean Tinguely, Jean Arp, Alexander Calder, Carlos Cruz-Diez, Jesús Rafael Soto, Victor Vasarely, Sophie Taeuber-Arp, Pol Bury, Le Corbusier, Robert Delaunay, Max Bill, Otto Piene y Sonia Delaunay, y muchos otros. En 1957, se presentó la primera exposición individual en París Piet Mondrian. Además de París, Denise René también tuvo galerías en Nueva York (1971-1981) y Düsseldorf (1969). En 2001, el Centro “Georges Pompidou” la honro con una exposición titulada "Denise René, une galerie de l'aventure dans l'art abstrait. 1944-1978.". La obra más importante de Vasarely para esta exposición fue "SORATA T", que fue facilitado por la colección privada de mi padre, el Sr. Pedro Benavides, de Caracas-Venezuela, que tenía una estrecha relación con la galerista Denise René, quien era el objeto del homenaje del Centro Georges Pompidou.

Morela Benavides Otaiza

133

Mima-Sol - 2 1985

Victor Vasarely

Plates / Planche Plates Index 1949-1971

Pag.

1949-1956...................... 135-138 1957-1963...................... 139-143 1964-1965 ..................... 145-146 1966............................... 147-148 1967 .............................. 149-150 1968 .............................. 151-156 1969 .............................. 157-160 1970 .............................. 161-164 1971 .............................. 165-168

1972-1979

Pag.

1972 .............................. 169-172 1973 .............................. 173-176 1974 .............................. 177-178 1975 .............................. 179-182 1976 .............................. 183-186 1977 .............................. 187-190 1978 .............................. 191-196 1979 .............................. 197-200

1980-1987 Victor Vasarely. 1958.

Photo by Denise Loeb

Pag.

1980 .............................. 201-204 1981 .............................. 205-210 1982 .............................. 211-216 1983 .............................. 217-222 1984 .............................. 223-226 1985 .............................. 227-230 1986 .............................. 231-232 1987 .............................. 233-236

1988-1991

Pag.

1988 .............................. 237-240 1989 .............................. 241-246 1990 .............................. 247-250 1991 ..............................

Other Categories

251

Pag.

Artist`s Collection .......... 253-262 Posters I......................... 263-272 Posters II ....................... 273-274 Advertisement ............... 275-278 Victor Vasarely Attelier`s.

Postal ............................ 279-280

134

Victor Vasarely Nº Title

Plates (numbered and signed by the Artist 1949-1956)

Dimensions Edition / Editor

1949 - 56

Denise René 1949

65 x 50 cm

150

Denise René / At. Arcay, París

480.- Sian (Affiche) 1951

65 x 49 cm

50

Denise René / At. Arcay, París

481.- Houat

25 x 19 cm

On request

Denise René / At. Arcay, París

479.- Chelle (1)

1952

482.- Bangor

43.5x31.5cm

35

Denise René / Mourlot, París, Litho

483.- Kek Zebra

35 x 23 cm

35

Denise René / At. Arcay, París Denise René / At. Arcay, París, Litho

484.- Yellan

(1949)

56.5x45cm

35

485.- Longsor-2

1953

38 x 29cm

100

Denise Renè / Arcay, París

<<Album of 5 plates in colors>> 1953, was the first serie of color. Five artists of Denise René gallery.

486.- Dewasne 486.- Deyrolle 486.- Jacobsen 486.- Mortensen 486.- Vasarely “Menhoor”

33 x 25 cm 33 x 25 cm 33 x 25 cm 33 x 25 cm 33 x 25 cm

487.- Xingu

27.5x21.5cm

100 100 100 100 100 35

Denise René / Desjaubert, París, Litho

In 1955 he organized the exhibition “Le Mouvement,” which popularize the kinetic art, Following work of: Nicolas Schöffer, Yaacov Agam, Jean Tinguely, Jean Arp, Alexander Calder, Carlos Cruz-Diez, Jesús Rafael Soto, Victor Vasarely, Sophie Taeuber-Arp, Pol Bury, Le Corbusier, Robert Delaunay, Max Bill, Otto Piene and Sonia Delaunay, among others. In 1957, he presented the first solo show in Paris Piet Mondrian. Besides Paris, Denise René also had galleries in New York (1971-1978) and Düsseldorf (1969).

55 x 50 cm 55 x 50 cm 55 x 50 cm 55 x 50 cm 55 x 50 cm 55 x 50 cm

200 200 200 200 200 200

D.R. Galerie Der Spiegel, Cologne D.R. Galerie Der Spiegel, Cologne D.R. Galerie Der Spiegel, Cologne D.R. Galerie Der Spiegel, Cologne D.R. Galerie Der Spiegel, Cologne D.R. Galerie Der Spiegel, Cologne

494.- Quami

65 x 50 cm

200

Rewiew <<Aujourd´hui>>, Paris

<<Suite Through the Looking Glass. 1956>> Porfolio Case size: 37.7x25.8cm

23 x 20 cm 23 x 20 cm

100 100

D.R. Galerie Der Spiegel, Cologne D.R. Galerie Der Spiegel, Cologne

Published on catalog of Cologne Gallery Spiegle at the first exhibition of the artist in Germany

497.- Kara-Noor

1956

33 x 25 cm

XXV+75

498.- Gordium

1951

40 x 32 cm

200

His work was championed by the historian of art and technology Frank Popper. Denise René mounted exhibitions of modern art greats such as Max Ernst and Francis Picabia during its first five years of operation. Denise René developed generations of abstract art in Paris introducing them historical figures of the avant-garde of Eastern Europe seeking historical background as Marcel Duchamp.

488.- Horn (1955) 489.- Gotha-2 (1956) 490.- OB (1955) 491.- Mortensen I 492.- Mortensen II 493.- Mortensen III

495.- Zara-1 (1) 1956 496.- Latorca-1 (1) 1953

Denise René o Denise Bleibtreu was a French art dealer specializing in kinetic and Op Art, Denise René had as a rule of life the idea that art had to invent new ways for existing. The first gallery opens on November 10th, 1944 at 124 Rue La Boétie with the exhibition "Les dessins et compositions graphiques Vasarely " from the beginning, its exhibitions showing the testimony of the fierce need for freedom and desire to experience later it channeling in geometric abstraction and kinetic art after merging art and technology, or new media - are the hallmarks.

Denise René / At. Renson, París Denise René / At. Renson, París Denise René / At. Renson, París Denise René / At. Renson, París Denise René / At. Renson, París

<<Album Vasarely-Mortensen,6 plates color>> 1956. Two artists of Denise René gallery. Image:33x25cm

1956

(1913-2012)

Guilde Internationale Serigraphie, Basel

In 2001, the Centre Georges Pompidou honored with an exhibition entitled "Denise René, l´intrépide - une galerie dans l'aventure de l'art abstrait. 1944-1978." The most important work of Vasarely for this exhibition was "SORATA T" which was facilitated by the private collection of my father, Eng. Pedro Benavides, CaracasVenezuela, he had a close relationship with the gallery owner Denise René, who was the object of the tribute of the Georges Pompidou Center.

Aubusson / At. Arcay, París

(1) First knowed Vasarely serigraph. (2) Dr. Andreas Sturies Moderne Kunst & Auktionen, Sale 19-Nov-2016, Lot. 219. Mentioned on VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. Pag. 241

Morela Benavides Otaiza

Tribute to Denise René by Eng. Pedro Benavides on his Res. Pémore. Caracas-Venezuela. c.1994. Photo by Renato Donzelli 479.- Chelle

Victor Vasarely

480.- Sian (Affiche)

482.- Bangor

484.- Yellan

Plates (numbered and signed by the Artist 1949-1956)

481.- Houat

483.- Kek Zebra

485.- Longsor

Victor Vasarely

Jacobsen

486.- Menhoor

Plates (numbered and signed by the Artist 1949-1956)

Dewasne

Deyrolle

Mortensen

Vasarely “Menhoor”

487.- Xingou

Exhibition “Mortensen-Vasarely” poster Denise René Gallery, Paris. December 1956.

Victor Vasarely

494.- Quami

496.- Latorca

Plates (numbered and signed by the Artist 1949-1956)

488.- Horn “Cuerno�

489.- Gotcha-2

490.- OB

491.- Mortensen I

492.- Mortensen II

493.- Mortensen III

495.- Zara-1

497.- Kara-Noor

498.- Gordium

Victor Vasarely Nº Title

Plates (numbered and signed by the Artist 1957-1963)

Dimensions Edition / Editor

1957 - 63

499.- Monastir 500.- Utica

1957 1958

70 x 50 cm 43.5 x 35 cm

501.- Uzok II 502.- Quami-1

1960 1959

64 x 44 cm 200 17.5 x 15.5cm On request

Galerie Der Spiegel, Cologne On request

503.- Hó 504.- Ondho

1959 1961

37.5 x 29 cm 65 x 50 cm

200 200

Galerie Der Spiegel, Cologne Denise René / At. Arcay, París

505.- Zèbres 506.- Rima

1959 1959

66 x 51.5 cm 27 x 23 cm

On request On request

507.- Encelade-1

1961

65 x 50 cm

XXV+75 150

200

Guilde Internationale Serigraphie, Basel Kestner-Gesellschaft, Hanover

D.R. / Galerie La Demeure On request Denise René / At. Arcay, París

<<Portfolio La lune en rodage>> 1961, Works of 56 artist (Arman, Hans Arp, Lucio Fontana, Friedensreich Hundertwasser, Piero Manzoni, Victor Vasarely and others) 508.- Algol 35 x 29 cm 50 Panderma, Basel, Switzerland 509.- Umbriel Bleu 35 x 29 cm 50 Panderma, Basel, Switzerland

510.- Gorgona Nº4 1961

21 x 19.2 cm

511.- Encelade-2

1961

70 x 50 cm

On request

Denise René / At. Arcay, París

512.- Orchidess

1961

36 x 19 cm

On request

On request

513.- Olkia

1961

76 x 56 cm

On request

Denise René / At. Arcay, París

150

Vanista, Zagreb, Yugoslavia 499.- Monastir

<<Album Signe 14>>1961,Vasarely`s piece included: serigraphy on 2 parts. BFK Rives and Rhodoïd; Imre Pan Study 39 x 29 cm EA XXX+150 Denise René / I. Pan, París

514.- Signe 14-Ilava 515.- Umbriel II

1961

33.5 x 30 cm

50

Panderma, Basel, Switzerland

516.- Sian II

1961

65 x 50 cm

50

Galerie Der Spiegel, Cologne

<<Catalogue N° 25 Galerie Der Spiegel>> 1961. Composed of three sheets on relief and one on color 37.7 x 25.8 cm 300 Galerie Der Spiegel/ Domberger 300 Galerie Der Spiegel / Domberger 37.7 x 25.8 cm 300 Galerie Der Spiegel / Domberger 37.7 x 25.8 cm 300 Galerie Der Spiegel / Domberger 37.7 x 25.8 cm

517.- Poprad 518.- Likka 518a.- Bételgeuse II 519.- Cut-Out

<<Album Signe 13>> 1961, Composed by seven engraved original on relief.

520.- Signe 13-ilava 521.- Signe 13-Cassiopée 522.- Signe 13-Yablapour 523.- Signe 13-Quata 524.- Signe 13-Ivia 525.- Signe 13-Kei-ho 526.- Signe 13-Likka-2

38.2 x 28.4 cm 38.2 x 28.4 cm 38.2 x 28.4 cm 38.2 x 28.4 cm 38.2 x 28.4 cm 38.2 x 28.4 cm 38.2 x 28.4 cm

FV25+50 FV18+50 FV25+50 FV25+50 FV25+50 FV25+50 FV25+50

Vasarely Fondation, Gordes/I.Pan, Paris Vasarely Fondation, Gordes/I.Pan, Paris Vasarely Fondation, Gordes/I.Pan, Paris Vasarely Fondation, Gordes/I.Pan, Paris Vasarely Fondation, Gordes/I.Pan, Paris Vasarely Fondation, Gordes/I.Pan, Paris Vasarely Fondation, Gordes/I.Pan, Paris

500.- Utica

Dry pad marked “FONDATION VASARELY GORDES” on left side up

527.- Yapoura

1961

70 x 50 cm

On request

528.- Photographisme 1961

62 x 45 cm

FV120

529.- Olkia-1

1962

28 x 19 cm

On request

On request

530.- Utica Blanc

1962

19 x 14 cm

On request

On request

531.- Ujjain C

1963

38 x 30 cm

200

Galerie Der Spiegel, Cologne

532.- IACA

1963

78 x 56 cm

300

Kestner-Gesellschaft, Hanover

On request Denise René, Paris / Hans Mayer

<< Victor Vasarely - Naissances 1963>> Ilustrated book with 2 original screenprints signed by the artist. Edition 450

533.- Naissances I 534.- Naissances II

30 x 22 cm 30 x 22 cm

535.- Kara-Noor-1 1963

42.5 x 42.5 cm On request

On request

536.- Denfert 1

1963

45.5 x 40.5cm

60

Le Point Cardinal

537.- Denfert 2

1963

45.47 x 40.3cm

60

Le Point Cardinal

538.- Denfert 3

1963

45.47 x 40.3cm

60

Le Point Cardinal

450 450

Galerie Der Spiegel/Domberger Galerie Der Spiegel/Domberger

Mentioned on VASARELY III, Editions du Griffon Neuchâtel (Switzerland) 1974. Pag. 241-242 501.- Uzok II

Victor Vasarely

502.- Quami-1

504.- Ondho

506.- Rima

Plates (numbered and signed by the Artist 1957-1963)

503.- HĂł

505.- Zèbres

507.- Encelade 1961

Victor Vasarely

Plates (numbered and signed by the Artist 1957-1963)

Portfolio La lune en rodage Art collection with unique pieces, prints,photographs and typographical works of 56 artists on different colored boxes mounted, of Hundertwassser, Vasarely,Castellani,Man Ray,Piene,Lucio Fontana, Mack, Arman and Arp. With a cap relief by Giorgio Pomodoro. Mostly signed and partially dated. Two upper corners on thick wove paper, bound in paper-covered boards with a metal design, a band of fabric and the title on front, title on spine, a split along the spine. Overall size: 33 x 35.5 cm x 4.5. Edition of 150. (Ed.). Panderma Edition, Carl Laszlo, Basel

Photography of Man Ray

Gorgona artists group. Gorgona no. 4. 1961 Periodical with screenprinted cover and screenprinted insert Page (each): 8 1/4 x 7 9/16" (21 x 19.2 cm)

Work of Lucio Fontana Work of Victor Vasarely

La lune en rodage, Catalogued on: Sale 6608, Lot. 251, 3-July-2002, Christies, London Sale 593, Lot. 246, 3-Nov-2006, Bloombury, Roma

1

2

508.- Algol “La lune en rodage”

511.- Encelade-2 1961

510.- Gorgona Nº 4

509.- Umbriel Bleu

512.- Orchidess

513.- Olkia

3

Victor Vasarely

514.- Ilava

Plates (numbered and signed by the Artist 1957-1963)

515.- Umbriel

517.- Poprad

518a.- BĂŠtelgeuse (relief)

516.- Sian II (poster before the letter)

518.- Likka-2 (relief)

519.- BĂŠtlegeuse (relief)

Victor Vasarely

Plates (numbered and signed by the Artist 1957-1963) Album Signe 13 - 1961 Composed by seven engraved original on relief. Dry pad marked “FONDATION VASARELY GORDES”

520.- Ilava

524.- Ivia

527.- Yapoura

522.- Yablapour

521.- Cassiopée

525.- Kei-ho

528.- Photographisme

523.- Quata

526.- Likka-2

529.- Olkia-1

Victor Vasarely

Plates (numbered and signed by the Artist 1957-1963)

532.- IACA

530.- Utica Blanc

531.- Ujjain C

533.- Naissances-Stunke 1

534.- Naissances-Stunke 2

535.- Kara Noor-1

536.- Denfert 1

537.- Denfert 2

538.- Denfert 3

Victor Vasarely Nº Title

Plates (numbered and signed by the Artist 1964-1965)

Dimensions Edition / Editor

539.- Metch

1964

70 x 70 cm

540.- Ganimède

1964

80x62 cm FV4+EA20+75

on request

541.- Epsilon

1966

84x63 cm

On request

on request

542.- Lozan

1964

24.5 x 16cm

543.- Zint

1965

70 x 50 cm

100

600 on request

1964 - 65

Galerie Der Spiegel, Cologne

Galerie Der Spiegel, Cologne on request

<<Serie Bétlegeuse>> 1965, Limited Edition. 5 variations. Denise Rene Editeur. Img Size: 52.7x19.5cm

544.- Bétlegeuse Bk

(1) 83 x 60 cm

50

Denise René / At. Arcay, Paris

545.- Bétlegeuse Rd

(1) 83 x 60 cm

50

Denise René / At. Arcay, Paris

546.- Bétlegeuse Bl

(1) 83 x 60 cm

50

Denise René / At. Arcay, Paris

547.- Bétlegeuse Yl

(1) 83 x 60 cm

50

Denise René / At. Arcay, Paris

548.- Bétlegeuse Gr

(1) 83 x 60 cm

50

Denise René / At. Arcay, Paris

V00.- Bétlegeuse Gr/Mv (1) 83 x 60 cm

50

Denise René / At. Arcay, Paris

75

Galerie Der Spiegel, Cologne

549.- Leyre NB

1965

80 x 60 cm

539.- Metch

<<Planches Universitaires>> 1965, Limited Edition Black & White. Printed on special hardboard 2mm thick

550.- Payta

(1955) (1) 58 x 48.5 cm

39

Denise René / At. Arcay, Paris

551.- Altaïr nég.

(1955) (1) 58 x 49 cm

39

Denise René / At. Arcay, Paris

552.- Novae

(1956) (1) 58 x 49 cm

39

Denise René / At. Arcay, Paris

553.- Citra

(1955) (1) 58 x 49 cm

39

Denise René / At. Arcay, Paris

(1) Dry pad marked "DR DENISE RENE EDITEUR” on left side down. Mentioned on VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. Pag. 241, 242

540.- Ganimède

541.- Epsilon

542.- Lozan

543.- Zint

Victor Vasarely

544.- Bétlegeuse Bk

547.- Bétlegeuse Yl

Plates (numbered and signed by the Artist 1964-1965)

545.- Bétlegeuse Rd

548.- Bétlegeuse Gr

549.- Leyre NB

551.- Altaïr-négative

546.- Bétlegeuse Bl

548.- Bétlegeuse Gr/Mv

550.- Payta

552.- Novae

553.- Citra

Victor Vasarely Nº Title

Plates ( numbered and signed by the Artist 1966 )

Dimensions Edition / Editor

1966

554.- Quasar -

(1)

67 x 67 cm

ea11+200

Denise René / At. Arcay, Paris

555.- Quasar +

(1)

67 x 67 cm

150

Denise René / At. Arcay, Paris

556.- Carmi

(1)

67 x 67 cm

ea18+200

Denise René / At. Arcay, Paris

557.- Neuf BF

68 x 68 cm

on request

Denise René / At. Arcay, Paris

558.- Zett RG

70 x 70 cm

120

Denise René / At. Arcay, Paris

559.- Zaphir GB

74 x 62 cm

ea50+275

Denise René / At. Arcay, París

<< Morphèmes >> 1966, Small Album, 6 originals relief engraving.

560.- Morphèmes I 561.- Morphèmes II 562.- Morphèmes III

38 x 28 cm 38 x 28 cm 38 x 28 cm

A.P L+75 A.P L+75 A.P L+75

D.R. / Imre Pan, Paris D.R. / Imre Pan, Paris D.R. / Imre Pan, Paris

563.- Morphèmes IV 564.- Morphèmes V 565.- Morphèmes VI

38 x 28 cm 38 x 28 cm 38 x 28 cm

A.P L+75 A.P L+75 A.P L+75

D.R. / Imre Pan, Paris D.R. / Imre Pan, Paris D.R. / Imre Pan, Paris

554.- Quasar -

Permanent Collection of National Museum of Art, Architecture and Design, Oslo, Norway (1) Dry pad marked "DR DENISE RENE EDITEUR” on left side down. Mentioned on VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. Pag. 241, 242

Critical Fragments Cuts Vasarely: thoughts about the art. “The effects of the whole picture lack of clarity in relation to the difficulties of translating the abstractions of specific language in the current language. To all this must be added the confusion due to the dual role of pittorca evolution.On the one hand the evolution plasticity within the canvas, other diversities of the plastic function, the result of technological advances and Vasarely ad time position: embodied in easel painting, the original is idolatry in order to support still affect constitutive official elite private collections. But initially rose art multiplicable and widely diffusible in a wider society, thus, Vasarely beyond the boundaries of painting, interested in all your plastic problems time and cultivating his artistic vocation.” Denise René (In the exhibition “Vasarely, Oeuvres Cinetiques, 1959)

555.- Quasar +

556.- Carmi

557.- Neuf BF

Victor Vasarely

Plates ( numbered and signed by the Artist 1966 )

558.- Zett RG

Lunch with Denise René (middle) accompanied by Eng. Pedro Benavides (left) and Mr. Cesar Segnini (right) invited by the Gallery Durban Segnini, Caracas

560.- Morphèmes I “Yapura with relief”

561.- Morphèmes II “Keiho”

562.- Morphèmes III “Ivia”

563.- Morphèmes IV “Cassiopée”

559.- Zaphir

564.- Morphèmes V “Quata”

565.- Morphèmes VI “Mizzar Pan”

Victor Vasarely Nº Title

Plates (numbered and signed by the Artist 1967)

Dimensions Edition / Editor

1967

566.- Zaphir (1965)

(1)

74 x 62 cm

XXV+150

D. R., Paris / At. Arcay, Paris

567.- Opale M.C

(1)(2)

60 x 60 cm

300

D. R., Paris / At. Arcay, Paris

568.- Our M.C (1964) (1)

84 x 66.5 cm

300

D. R., Paris / At. Arcay, Paris

569.- Marsan 570.- Marsan II

77.5 x 57.5 cm 31 x 24 cm

50 50

D. R., Paris / At. Arcay, Paris D. R., Paris / At. Arcay, Paris

571.- Unités Plastiques

25 x 65 cm

200

D. R., Paris / At. Arcay, Paris

572.- Naissances 3

38 x 28 cm

150

D. R., Paris / At. Arcay, Paris

573.- Sikra-3 Pan

19 x 14 cm

75

Imre Pan, Paris

574.- Tuz

62 x 50 cm

70

Denise René / Domberger

68 x 68 cm 68 x 68 cm

250 250

575.- Dia-Or CC 576.- Dia-Or CF

(1) (1)

D. R., Paris / At. Arcay, Paris D. R., Paris / At. Arcay, Paris

(1) Dry pad marked "DR DENISE RENE EDITEUR” on left side down. (2) Peter Kiefer, Sale 100, Lot. 5039, 05-May-2017 Mentioned on VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. Pag. 241, 242

566.- Zaphir

Exhibition on Durban Segnini galerie, Caracas. Left to rigth, Sculptor Fernando Mignoni, Mrs. Denise René and Eng. Pedro Benavides.

567.- Opale MC

568.- Our-MC

569.- Marsan

571.- Unités Plastiques

153

570.- Marsan II

572.-Naissances3

573.- Sikra-3 Pan

Victor Vasarely

Plates (numbered and signed by the Artist 1967)

Portfolio “Forms of the color” “Formen der Farbe” - “Formas del color” The first sensational publishing efforts, founded in Bonlanden near Stuttgart in 1967, Edition Domberger was the production and publication of the "forms of color" book that was an extraordinary echo not only among collectors, but also in museums. The list of represented in the portfolio artists from Josef Albers, Max Bill, Allan D'Arcangelo, Robyn Denny, Robert Indiana,Nicholas Krushenick, Leon Polk Smith, Karl Pfahler, William Turnbull, Victor Vasarely. This Portfolio includes 14 prints signed and numbered for 10 different Artists. Size: 62 x 50 cm and edition of 70 examples. Vasarely was the Initiator of the portfolio work, on the occasion of the exhibition at the Württembergischer Kunstverein Galerie "Forms of the Color" with the Dr. Dieter Honisch. (Commissioner of the German Pavilion at the Venice Biennale) The art critic Günther Wirth wrote: "Thus had the edition, if not yet set to a direction on a certain tendency within the contemporary art. From this good start Domberger drew the consequences by, invited artists who were represented in the 'Forms of the color' portfolio to Bonlanden in his workshops, to work for a new book.” 574.- Tuz

Allan D'Arcangelo

Josef Albers

Max Bill

Robyn Denny

Robert Indiana

Leon Polk Smith

Karl Georg Pfahler

Nicholas Krushenick

William Turnbull

575.- Dia Or CC

Size: 62 x 50 cm Image: 43x42.5cm Edition: 70 Ex.

Victor Vasarely “Tuz”

576.- Dia Or CF

154

Victor Vasarely

(numbered and signed by the Artist 1968)

Plates

Nº Title

Dimensions Edition / Editor

577.- Ibadan 1952 (1) (4)

48.5 x 48.5cm FV108+192

D.R./ Hans Mayer,Krefeld,Germany

578.-Idom-3

55 x 40 cm

182

Graphos Verlag / Silium, París

38 x 29 cm

320

D.R./ Hans Mayer,Krefeld,Germany

580.-ÜjjainRagon

50 x 38 cm

114

J.R. Arnaud, París (Suite La Peau des Choses)

581.- Maeght-Tridim

66 x 45 cm

200

D.R. / Maeght Foundation, Spain

582.- Sophia

60x 70 cm

579.-Bora-2

583.-TallerOr

(1)

(1) (12)

67 x 67 cm

584.-ReliefN.B

40 x 33 cm

585.-Tau-Ceti

67 x 67 cm

request FV41+150

10+250 200

1968

Denise René / Atelier Arcay, Paris Denise René / At. Arcay, Paris Cleveland Museum of Art. Pub. Nº 45

International Graphic Arts Society,N.Y.

<<Serie Bora>> Screenprint on wove paper. Image size: 56.5x56.5cm. 67 x 67 cm 67 x 67 cm

FV78+300 XX+300

D.R./ Hans Mayer,Krefeld,Germany D.R./ Hans Mayer,Krefeld,Germany

588.- Bora-C 589.- Bora-D

67 x 67 cm 67 x 67 cm

300 300

D.R./ Hans Mayer,Krefeld,Germany D.R./ Hans Mayer,Krefeld,Germany

590.- Sikra-USA

40 x 33 cm

260

Print Club Cleveland Museum of Art, USA

591.- Ix-BF Neg.

68 x 68 cm

FV62+150

592.- Idom IV

34 x 34 cm

125

586.- Bora-A 587.- Bora-B

593- Zagreb

(3)

(6)

79.5 x 50 cm

FV65+175

Denise Renè / At. Arcay, París London Art Gallery, Detroit, USA D.R./ Hans Mayer,Krefeld,Germany

594.- Tridim HHG (1)

71 x 60 cm

275

D.R. París / Fondation Maeght, Spain

595.- Tridim HHP

(1)

26.5 x 23 cm

150

D.R. París / Fondation Maeght, Spain

596.- Pokol BF

(2) (7)

68 x 68 cm

FV54+250

Denise Renè / At. Arcay, París

597.- Pokol BC

(2) (7)

68 x 68 cm

FV54+250

Denise Renè / At. Arcay, París

598.- Eridan BF

(2) (8)

68 x 68 cm

250

Denise René / At. Arcay, Paris

599.- Eridan BC

(2) (9)

68 x 68 cm

250

Denise René / At. Arcay, Paris

600.- Diago CC

(10)

68 x 68 cm

250

Denise René / At. Arcay, Paris

601.- Diago CF

(11)

68 x 68 cm

250

Denise René / At. Arcay, Paris

602.- Procion A

(2)

67 x 67 cm

FV66+300

D.R./ Hans Mayer,Krefeld,Germany

603.- Procion B

(2) (5)

67 x 67 cm

FV65+300

D.R./ Hans Mayer,Krefeld,Germany

604.- Procion C

(2)

67 x 67 cm

290

D.R./ Hans Mayer,Krefeld,Germany

605.- Procion D

(2)

67 x 67 cm

300

D.R./ Hans Mayer,Krefeld,Germany

606.- Zaphir 2

(1)

68 x 60 cm

175

Denise René / At. Arcay, Paris

70 x 70 cm

400

Westfalischer Kunstverein,Munster

607.- Zett-K-Z

577.- Ibadan

578.- Idom-3

(1) Dry pad marked "DR DENISE RENE EDITEUR” left side down. (2) Dry pad marked "EDITION DOMBERGER STUTTGART”. (3) Schuler Auktionen AG, Sale Bleue Chez, Lot. 6845, 20-Mar-2017 (4) Quittenbaum, “Design & Contemporary Art”, Lot. 447, 18-Jun-2013, Munich (5) Christie`s, Sale PRT-5327, Lot. 30, 19-Jul-2007, London (6) Christie`s, Sale PRT-5327, Lot. 37, 19-Jul-2007, London (7) Skinner, Sale 2637M, Lot. 249, 14-Feb-2013, Massachusetts (8) Leclere, Sale “Profit Fondation Vasarely”, Lot. 22, 28-Sept-2011 (9) Leclere, Sale “Profit Fondation Vasarely”, Lot. 23, 28-Sept-2011 (10) Skinner, Sale 2637M, Lot. 239b, 14-Feb-2013, Massachusetts (11) Skinner, Sale 2637M, Lot. 335b, 14-Feb-2013, Massachusetts (12) Leclere, Sale “Profit Fondation Vasarely”, Lot. 80, 28-Sept-2011 (13) Print Club Cleveland Museum stamp on the reverse. Printed at the Arcay Studio, Paris Mentioned on VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. Pag. 242. 579.- Bora-2

155

Victor Vasarely

Plates

(numbered and signed by the Artist 1968)

Vasarely honored some leading characters of his time, as scientists, art critics and friends, joining some of his editions with text, poems or essays. For example, this suite “La Peau des Choses (The Skin of Things)” contains ten prints, including three etchings, three screenprints and four lithographies in colors, on wove paper, with poems by Michel Ragon. Artists: H-A Bertrand, J.Guitet, ZaoWou-Ki (Agerup187), César, G. Schneider, V. Vasarely (Ujjain Ragon), E. Gilioli, JF Koenig, H. Hartung and P. Soulages.

Michel Ragon (France: 1924) Michel Ragon, born on 24 June 1924 in Marseille, is a French writer, critic of art and architecture, art historian, historian of proletarian literature, historian of anarchism and self-taught libertarian.

580.- Ujjain Ragon

Reads a lot, devours the books in alphabetical order and undertakes lengthy steps to meet poets including the Nantes René Guy-Cadou. He escapes an arrest for acts of resistance, runs away and hides in Vendée. On his return to Nantes, met James Guitet, then a student at the School of Fine Arts and Martin Barré. Through Caliban's reading of Jean Guéhenno, he discovers that literature is not reserved for the bourgeoisie and undertakes a correspondence with Henry Poulaille, a proletarian writer and eminent figure by Grasset.

Michel Ragon Ujjain Ragon

582.- Sophia

581.- Maeght-Tridim

583.- Taller Or

156

Victor Vasarely

584.- Relief N.B

157

“G-FF�

Plates

(numbered and signed by the Artist 1968)

585.- Tau-Ceti

586.-Bora A

587.- Bora B

588.- Bora C

589.- Bora D

Victor Vasarely

590.- Sikra-USA

592.- Idom IV

594.- Tridim HHG

Plates

(numbered and signed by the Artist 1968)

591.- Ix BF Negatif

593.- Zagreb

595.- Tridim HHP

158

Victor Vasarely

159

Plates

(numbered and signed by the Artist 1968)

596.- Pokol BF

597.- Pokol BC

598.- Eridan BF

599.- Eridan BC

600.- Diago CC

601.- Diago CF

Victor Vasarely

602.- Procion A

Plates

(numbered and signed by the Artist 1968)

603.- Procion B

604.- Procion C

605.- Procion D

606.- Zaphir 2

607.- Zett-K-Z

160

Victor Vasarely Nº Title

Plates

Dimensions Edition / Editor

(numbered and signed by the Artist 1969 ) 1969

608.- Dom IV BR

(1)

75 x 56cm

HC30+150

Galerie Edwin Engelberts, Geneva

609.- Dom IV VB

(1)

75 x 56cm

HC30+150

Galerie Edwin Engelberts, Geneva

42 x 42 cm

610.- Opale-2 611.- MC-MC

(4)

32 x 24cm

250 FV54+120

Galerie Gimpel-Hanovre, Zurich Les Artistes Contemporains/I.Pan,París.

Mentioned on VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. Pag. 242.

<<Beta Suite >>

Image Size: 40x40cm / (

) 32x32cm

612.- Beta Blanc Noir 613.- Beta Blanc Rouge

50 x 50 cm 50 x 50 cm

76 76

Denise René, París Denise René, París

614.- Beta Rouge Blanc 615.- Beta Jaune Gris

50 x 50 cm 50 x 50 cm

76 76

Denise René, París Denise René, París

616.- Beta Jaune Bleu 617.- Beta Jaune Rouge

50 x 50 cm 50 x 50 cm

76 76

Denise René, París Denise René, París

618.- Beta Ivoire Vert 619.- Beta Vert Jaune

50 x 50 cm 50 x 50 cm

76 76

Denise René, París Denise René, París

620.- Beta Rouge Bleu 621.- Beta Bleu Rouge

50 x 50 cm 50 x 50 cm

76 76

Denise René, París Denise René, París

622.- Beta Jaune Mauve 623.- Beta Ivoire Noir

50 x 50 cm 50 x 50 cm

76 76

Denise René, París Denise René, París

608.- Dom IV B-R

Published “Vasarely” Vol. 3, Herakleidon Experience in visual arts 2006, Greece.

<<Yvaral Suite (Sirius Pokol)>>

Image Size: 45x43.5cm.

68 x 68 cm 68 x 68 cm 68 x 68 cm

300 300 300

Denise René, París Denise René, París Denise René, París

627.- Yvaral D 628.- Yvaral E 629.- Yvaral F

68 x 68 cm 68 x 68 cm 68 x 68 cm

300 300 300

Denise René, París Denise René, París Denise René, París

630.- Yvaral G 631.- Yvaral H 632.- Yvaral I

68 x 68 cm 68 x 68 cm 68 x 68 cm

300 300 300

Denise René, París Denise René, París Denise René, París

624.- Yvaral A 625.- Yvaral B 626.- Yvaral C

(5)

610.- Opale

Published “Vasarely” Vol. 2, Herakleidon Experience in visual arts 2006, Greece.

68 x 68cm

FV101+250

634.- Linn (1951)

70 x 60cm

XXV+100

635.- Tridim-M

23 x 19cm

EA100+150

636.- Gestalt Bleu (affiche)

72 x 72cm

120

633.- Jindey

(2) (3)

Denise René, París Graphos Verlag / Sillium, París Pierre Belfond, Paris On request

(1) Dry pad "Publisher Edwin Engelberts, Geneva” on left side. (2) Dry pad "FONDATION VASARELY GORDES” on left side down. (3) Leclere, Sale 28-09-2011, Lot 44. 28 Aug 2011. Also mentioned on Vasarely, Cat. Galleria d`arte “La Bussola”, Turin, Italy, 27-March-1971. (4) Christies, Sale 5327, Lot 38. 19 July 2007. (5) Rango Art, Sale 2.12.10, Lot. 43 / Clars Auction Gallery, Sale. 475, Lot. 4391, 7-Mar-2009

611.- MC-MC

609.- Dom IV V-B

Victor Vasarely

Plates

(numbered and signed by the Artist 1969 )

Computer Project “Since then, I had a combinatorial incomparable idea and my cybernetic worries turned in urgent. All my works were created, in fact, in programming, in which the colors, the shades and the forms are codified of the simplest form. I started thinking of constructing a machine in collaboration with a specialist in electronics. A formidable and onerous task. My first contacts with these circles were encouraging, but the cooperation was difficult to obtain and the estimations of time were discouraging. It would have six basic colors: red, blue, green, mauve, yellow and gray. Every color estaria subdivided in 12 tones, which gives us 72 variations of color. On the base of my programmings, we go to power like that, not only all my works return to create, but also, innumerable tones”. Extract of text published in“Vasarely, Volumen 3” Herakleidon.

Victor Vasarely - 1968

In relation with the expressed for the artist, we have found a program developed in Philadelphia, for the " University Go out For Her ", which bases in Vasarely's beginning. The above mentioned programming allows to visualize variations of 4 different important works of the artist (Beta, Boglar, Capella and CTA) as for color and tonality.

612.- Beta Blanc Noir

http://www.lasalle.edu/~blum/jQuery/Vasarely/Vasarely_JQM.htm

613.- Beta Blanc Rouge

614.- Beta Rouge Blanc

615.- Beta Jaune Grey

616.- Beta Jaune Bleu

617.- Beta Jaune-Rouge

618.- Beta Ivory Vert

Victor Vasarely

Plates

(numbered and signed by the Artist 1969 )

Vasarely honored some leading characters of his time, scientists, art critics, friends. In this case, honored his own son with the serie “Sirius Pokol”

Jean-Pierre Vasarely (Yvaral) (French: 25 Jan. 1934 - 2 Aug. 2002) Professionally known as Yvaral, was a French artist working in the fields of Op-Art and kinetic art from 1954 onwards. Son of Victor Vasarely. Yvaral studied graphic art and publicity at the Ecole des Arts Appliqués de Paris between 1950 and 1953. In 1960, Yvaral co-founded the Groupe de Recherche d’Art Visuel (GRAV) with Julio Le Parc, François Morellet, Francisco Sobrino, Horacio Garcia Rossi and Joël Stein, seeking to develop a coherent abstract visual language composed of simple geometric elements.

619.- Beta Vert Jaune

In 1975 he coined the phrase 'Numerical Art' to describe artwork composed (or programmed) according to numerical rules or algorithms. From this time onwards he used computers to digitally process and manipulate images, although the final images were always hand painted. He used this technique to produce several series of portraits starting from instantly recognisable images, such as the face of Marilyn Monroe, and processing them to the point where they become abstract compositions, while the original image remains recognisable.

Jean-Pierre Vasarely “Yvaral” Victor Vasarely Title:“Yvaral” Acrylic on Canvas - 210x200cm Design used for “Yvaral Suite” 620.- Beta Rouge Bleu

621.- Beta Bleu Rouge

622.- Beta Jaune Mauve

623.- Beta Ivory Noir

Victor Vasarely

Plates

(numbered and signed by the Artist 1969 )

624.- Yvaral A

625.- Yvaral B

626.- Yvaral C

627.- Yvaral D

628.- Yvaral E

629.- Yvaral F

Victor Vasarely

Plates

(numbered and signed by the Artist 1969 )

630.- Yvaral G

Victor Vasarely & Jean-Pierre (Yvaral) at his Atelier in Annet-sur-Marne. Works left to rigth, Gewa 1983, Iker 1980 244x244cm, Cheyt-Mez-2 1970 140x140cm & Yvaral 1956 200x210cm.

631.- Yvaral H

632.- Yvaral I

633.- Jindey

Victor Vasarely

634.- Linn

635.- Tridim-M

636.- Gestalt Bleu “Affiche Avant la Lettre�

Plates

(numbered and signed by the Artist 1969 )

Victor Vasarely Nº

Title

Plates

Dimensions Edition / Editor

637.- Vega Wa

58 x 58.5 cm

(numbered and signed by the Artist 1970) 1970

250

Denise René/At. Arcay, París

638.- Vega-Kela

(1) (2) 68 x 68 cm

267

Denise René/At. Arcay, París

639.- Vonal-KSZ

(1)(3)

68 x 68 cm

267

Denise René/At. Arcay, París

640.- Planetary

65 x 49.5 cm

300

Vision Nouvelle, París

641.- Domb B Rouge (4)

75 x 65 cm

eaL+150

Denise René/At. Arcay, París

642.- Domb B Bleu

75 x 65 cm

eaL+150

Denise René/At. Arcay, París

643.- Domb B Jaune

75 x 65 cm

eaL+150

Denise René/At. Arcay, París

644.- Ilile V (Bord bleu)

65 x 50 cm

390

645.- Koeb-V

(1) (5) 89 x 64.5 cm FV93+200

646.- Koeb-MC

68 x 68 cm

FV63+267

Fondation Vasarely Gordes Denise René / At. Acay, París Denise René/At. Arcay, París

647.- Tridim-M

(6)

110 x 70 cm

648.- Tridim-H

(7)

65 x 50 cm

ea105+200

649.- Tridim Argent

45 x 32 cm

180

Progressive German art dealer's Assoc.

650.- Tridim Or

110 x 70 cm FV150+160

F. Bruckmann KG, Munich (Germany) Ass. Socio-Culturelle des Arts Plastiques

150

F. Bruckmann KG, Munich (RFA)

637.- Vega Wa

Société Suisse des Beaux-Arts

651.- Tridim Gordes

(8)

59 x 34 cm

FV164+75

652.- Tridim-BB

(1)

68 x 68 cm

267

Denise René / At. Acay, París

653.- Tridim-SS

50.1 x 27.2 cm

150

Imre Pan, París

654.- Tridim-II

28 x 18 cm

150

I. Pan, París

(1) Dry pad marked "DENISE RENÉ EDITEUR”. (2) Christie`s, Sale 5418, Lot. 331, 10-Jun-2008, London Cambi Casa d'Aste, Sale Contemporary Art, Lot. 139, 28-Nov-2017, Milan (3) Leclere, Sale Profit Fondation Vasarely, Lot. 93, 27/28-Sept-2011, Aix Provence (4) Sotheby`s, Sale N09386, Lot. 19, 22-Jul-2015, New York (5) Chistie`s, Sale 5245, Lot. 834, 22-Nov-2007, London (6) Published for the 1972 Munich Olympies by “Olympia 1972” and F. Bruckmann KG (7) Portfolio of Prints and Drawings 20th Century of the Swiss Art Association. St. Gallen, 1970. Artists: Velerio Adami, Horst Antes, Shusaku Arakawa, Jean Baier, Christo, Robert Cottingham, Alan Davis, Franz Eggenschwiler, Günter Fruhtrunk, Johannes Gachnang, Gottfried Honegger, Rolf Iseli, Jasper Johns, Richard Paul Lohse, Lucebert, Bernhard Luginbühl, Robert Müller, Willy Müller-Brittnau, Peter Phillips, Markus Rätz, Gerhard Richter Gerhard Richter (pictured), Dieter Roth, Hans Schweizer, Pierre Tal Coat, Victor Vasarely, Oscar Wiggli, Paul Wunderlich.

(8) Jean-Marc Delvaux Auctions, Sale “Tableaux & Objects d`Art”, Lot. 38, Paris Mentioned on VASARELY III, Editions du Griffon Neuchâtel (Switzerland) 1974. Pag. 242 .

639.- Planetary

638.- Vega-Kela

640.- Vonal KSZ

Victor Vasarely

641.- Domb B Rouge

643.- Domb B Jaune

645.- Koeb V

Plates

(numbered and signed by the Artist 1970)

642.- Domb B Bleu

644.- Ilile V (Bourd Bleu)

646.- Koeb-MC

Victor Vasarely

Plates

(numbered and signed by the Artist 1970)

Vasarely at his atelier with monumental sculpture Bidim-11 (1969) 135x135x20cm. Most of these works are used as a patterns for plate. Left ot right: Vega-Pal (1969) 200x200cm, Alom 2 1966 250x250cm, Koeb-V (1969) 170x114cm, Pauk-Feu (1969) 180x180.7cm, Boglar I 1966 252x252cm, V.P-113 (1970) 240x120cm, Tridim-H (1969) 198x162.5cm

647.- Tridim M

648.- Tridim-H

Victor Vasarely

Plates

(numbered and signed by the Artist 1970)

Portfolio “Mappenwerke Kunstmarkt Collection 1969-70” Published by the Association of Progressive German Art Dealers, Cologne 1970. Edition with 20 sheets of printed graphics by different artists on different papers, each inserted in typographically designated chemise, a catalog of the exhibition of the same name in the Kunsthalle in Cologne Kunstverein. In brown original cardboard. 450 x 320 mm. The graphics are signed, numbered Ed 1-180, partly dated. The work of: Richard Artschwager, Erwin Bechtold, Gernot Bubenik, Erich Buchholz, Lourdes Castro, Corneille, Hanne Darboven, Karlheinz Denning, Angel Duarte, Ernst Fuchs (Weis 148 IIIc), Gotthard Graubner, Karl Horst Hödicke, Jörg Immendorff, Donald Judd, Friedrich Meckseper (Cramer 120), Uli Pohl, Bernard Schultze (Heuer 125), Konrad Schulz, Victor Vasarely, Stefan Wewerka, Tadellose specimen.

650.- Tridim Or

Tridim Argent

651.- Tridim Gordes

649.- Tridim Argent

652.- Tridim-BB “Minviel”

653.- Tridim SS

654.- Tridim-II

Victor Vasarely Nº

Title

Dimensions

Plates (numbered and signed by the Artist 1971 ) Edition

Editor

1971

On request

655.-Gyemant33

99 x 70 cm

on request

656.-Vega-Boglar

52 x 50 cm

500

Papillard,Château de Vascoeuil / At. Arcay

657.-Ond-JG

(1)

68 x 68 cm

267

Denise René / At. Arcay, París

658.-Vega-Fel-RV

(1)

78 x 68 cm

267

Denise René/At. Arcay, París

30 x 22 cm

650

Galerie Der Spiegel, Cologne (Germany)

22 x 30 cm

650

Galerie Der Spiegel, Cologne (Germany)

661.- Oltar

84.5 x 50 cm

150

Mourlot, París (Litho)

662.- Kalota Koln

70.2 x 50.2cm FV53+165

Dumont Verlag, Cologne (Germany)

663.- Etude Verte

30 x 22.5 cm

Litho

664.- Lapidaire-A

65 x 50 cm

280

665.- Sikra-2

60 x 56 cm

85

Denise René / At. Arcay, París / Litho

666.- Kalota

36 x 34 cm

80

on request

667.- Gestalt-Sin

68 x 48 cm

75

AIAP, UNESCO / Stamperia 2RC, Rome

78 x 68 cm

267

Denise René/At. Arcay, París

669.- Bellatrix Bleu

86 x 80 cm

500

At. Hans Mayer, Düsseldrof

670.- Tridim-JJ

32 x 25 cm

On request

671.- Tridim-A

78 x 68 cm

fv100+150

78 x 62 cm

200

Denise René / Ateliers Réunis, París

673.- Tridim-C

27 x 21 cm

325

Denise René, París

674.- Oervegn-2

65 x 50 cm

130

Université de Genève / At. Arcay

675.- Attika Tours

78 x 68 cm

180

At. Arcay, París

659.- Mizzar Neg. 660.- Naissances 1

(3)

668.- Vega-Lum Arg

(1)

(1)

672.- Vega RTL

on request

Ars Felix, Basel (Switzerland)

655.- Geymant 33

On request Galerie Der Spiegel, Cologne.

(1) Dry pad marked "DENISE RENÉ EDITEUR”. (3) Christie`s Sale 5327, Lot. 25, 19-Jul-2007 Mentioned on VASARELY III, Editions du Griffon Neuchatel (Swiss) 1974. Pag. 242.

656.- Vega-Boglar

657.- Ond-JG

171

658.- Vega Fel V.R.

Victor Vasarely Victor Vasarely

Plates (numbered and signed by the Artist 1971 ) Naissances

Galerie Der Spiegel

Book includes 2 seperate Hand Signed Black & White Serigraphs by Vasarely.They are each Hand Signed in pencil by the artist "Vasarely" at the lower right margin, as well as hand numbered in pencil at the lower left margin 1 to 650 examples. Also includes 37 line-etchings on transparent paper after drawings by Vasarely. 3rd edition originally made in 1963 and printed in 1971 by H.P Haas Stuttgart.

661.- Oltar

662.- Kalota Koln

659.- Mizar Neg.

660.- Naissances 1

663.- Etude Verte

172

Victor Vasarely

664.- Lapidaire A

173

Plates (numbered and signed by the Artist 1971 )

665.- Sikra-2

“Diamond�

666.- Kalota

667.- Gestalt-Sin

668.- Vega-Lum Argent

669.- Bellatrix Bleu

Victor Vasarely

Plates (numbered and signed by the Artist 1971 )

670.- Tridim-JJ

671.- Tridim-A

672.- Vega RTL

673.- Tridim-C

674.- Oerveng-2

675.- Attika Tours

174

Victor Vasarely

Plates (numbered and signed by the Artist 1972 )

Nº 676.- Olympic Munich (2)

100 x 78 cm

200

F. Bruckmann, K.G. Munich

677.- Olympia Munich (3)

100 x 78 cm

200

F. Bruckmann, K.G. Munich

678.- Olympia Munich-2

100 x 78 cm

200

F. Bruckmann, K.G. Munich

250

Atelier Arcay / Denise René, París

679.- Affiche Lettre-Izzo Rouge 81 x 81 cm

<<Album of 10 plates 1972>>, 90 albums and XXV artist proof (Burri, Calder, Chilida, Pasmore, Afro, Capogrossi, Max Bill, Santomaso, Tapies, Vasarely (Presenza grafica - 1972)).

680.- Vega Bleu I

95 x 95 cm

90

Ateliers 2 RC Rome

681.- Vega Bleu II

95 x 95 cm

90

Ateliers 2 RC Rome

682.- Labda

75 x 75 cm

180

683.- Tavoll Rouge

(1)(4) 73 x 73 cm

CC+190

Denise René, París

684.- Tavoll Vert

(1)

73 x 73 cm CLXXX+190

Denise René, París

685.- Marc-CF

78 x 78 cm

370

F. Bruckmann, K.G. Munich

686.- Marc-CC

78 x 78 cm

370

F. Bruckmann, K.G. Munich

32.5 x 25 cm

800

Fernand Mourlot / Leon Amiel, N.Y.

687.- Beryll

(5)

Galerie Bischofberger, Zurich, Swiss

688.- Dombor Kek

52 x 52 cm

on request

689.- Affiche Lettre-Hat Leg

85 x 77 cm

200

690.- Tupa-2

63 x 56.5 cm FV90+120

Atelier Arcay / F. Hazan, París

691.- Trilla

32 x 25 cm

on request

on request

692.- Xelles

32 x 25 cm

on request

on request

Victor Vasarely with a piece for Olympics of Munich. Courtesy of the archives of Michelle Vasarely.

on request Denise René, París

(1) Dry pad marked "DENISE RENÉ EDITEUR”. (2) NOSBÜSCH & STUCKE, Sale Arts Graphiques, Lot. 1427, 11-Nov-2017. Portfolio Olympic Games Munich 1972, with 21 colored offset prints.With the posters of Chillida, Vasarely, Hartung, Albers, Laurence, Wunderlich, Adami, Alt, Marini, Poliakoff, Ante, Kokoschka, Dorazio, Lapique, Lenica, etc. (3) Published for the Munich´s Olympics.1972 by F. Bruckmann, K.G. (4) Christies, Sale 5327, Lot 48. 19 July 2007 (5) Sothebys, Sale Print & Multiples Online, Lot. 34, 31-Mar-2017, New York Mentioned on VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. Pag. 242 676.- Olympic Munich

677.- Olympia Munich “Force et Nature”

678.- Olympia Munich-2 “Ciel et Soleil”

679.- Izzo Rouge “Affiche Avant la Lettre”

Victor Vasarely

Plates (numbered and signed by the Artist 1972 )

Portfolio “Presenza Grafica” - “Graphic presence” “Presencia Gráfica” The list of represented in the portfolio artists from Antoni Tapies, Max Bill, Alexander Calder, Afro, Alberto Burri, Eduardo Chillida, Giuseppe Capogrossi, Giuseppe Santomaso, Victor Pasmore, Victor Vasarely. This Portfolio includes 10 prints signed and numbered for 10 different Artists. Size: 95 x 95 cm and edition of 90 examples plus XXV artists proof. All the plates in etching and aquatint on zinc plate cm. 4-color printing paper Fabriano Rosaspina Blindstamp “2RC - Rome”. Printing Edition 2RC Rome

680.- Vega Bleu I

Afro

Max Bill

Alexander Calder

Victor Pasmore

Alberto Burri

Giuseppe Santomaso

681.- Vega Bleu II Eduardo Chillida

Antoni Tapies

Giuseppe Capogrossi

Size: 95 x 95 cm Edition: 90 Ex XXV artists proof Presenza Grafica A

“Vega Bleu”

682.- Labda

Victor Vasarely

Plates (numbered and signed by the Artist 1972 )

683.- Tavoll Rouge

Vasarely, at his studio. Annet sur Marne, 1967. On wall, Orion Or 1964, 210x200cm, Collage. Exhibited on Hall of France (Denise RenĂŠ Galery) on 8th Bienal of Sao Paolo, Sept-Nov 1965

685.- Marc CF

684.- Tavoll Vert

686.- Marc CC

Victor Vasarely

Plates (numbered and signed by the Artist 1972 )

Portfolio “Souvenirs et Portraits d'Artistes” The complete portfolio comprising 25 lithographs printed in colors, 1972, four signed, each titled on the verso, Edition of 800, on Arches wove paper, published by Mourlot, Paris, text by Fequet et Baudier, with an introduction by Jacques Prévert, contained within a cloth-covered clamshell box. This portfolio contains the following images: Maurice Brianchon, L'Arlequin - André Masson, Le départ André Baudin, Feuilles évadées - Apel. les Fenosa, Tramontane Maurice Estève, Alalito - Paul Guiramand, Intérieur Henri Matisse, Étude pour le livre "La Religieuse Portugaise” Kostia Terechkovitch, Cavalier tunisien Georges Braque, Profil de femme (M. 25) André Derain, Buste de femme (1950) Pablo Picasso, Le seigneur et la dame (M. 322), signed in pencil Paul Jenkins, Composition pour Eric Joan Miró, Jaille du calcaire, signed in black crayon Jean Cocteau, Manuscrit, signed in pencil André Minaux, La femme et l'oiseau Jacques Villon, Portrait d'une jeune fille Marc Chagall, Bouquet pour Fernand, signed in pencil Alberto Giacometti, Fleurs - Bernard Buffet, Les ombelles Paul Wunderlich, Torso sur une pierre bleue Paul Delvaux, Confidences - Victor Vasarely, Beryll Alfred Manessier, La tache rouge - Graham Sutherland, Hybrid Charles Lapicque, Le chant des oiseaux

688.- Dombor Kek

Beryll 689.- Hat Leg “Affiche Avant la Lettre”

687.- Beryll

690.- Tupa-2

691.- Trilla

692.- Xelles

Victor Vasarely Nº Title

Plates (numbered and signed by the Artist 1973)

Dimensions Edition / Editor

1973

65 x 65 cm

ea7+250

Denise René /At. Arcay, Paris

694.- Axo-Pal

75 x 75 cm

FV58+250

Denise René /At. Arcay, Paris

695.- Quasar-Or

60 x 56 cm

300

696.- Manipur

42 x 35 cm

FV75+125

Denoël, París

697.- Majus

42 x 35 cm

FV75+125

Denoël, París

698.- Gyemant A

42 x 35 cm

FV75+125

Denoël, París

699.- Gyemant

59 x 57 cm

250

700.- Geymant ond

76 x 56 cm

FV90+115

701.- Illile (Bordure verte)

65 x 50 cm

320

Foundation Vasarely Gordes

65 x 48 cm

200

Georges Fall, París / At. Arcay

703.- Feny 2

75 x 56 cm

90

704.- Vega Tuz-Or

76 x 61 cm

ea114+100

705.- Vega-Tuz-Ortf

37 x 30 cm

114

Ateliers Gold & Lebey

706.- Gyuru-Mi

75 x 70 cm

250

F. Bruckmann, Munich

707.- Globe Folklore Planet.

24 x 24 cm

200

F. Bruckmann, Munich / Litho

708.- Fel-Gomb

72 x 66 cm

375

Merian, Krefeld

709.- Sorbonne

80 x 71.5cm

710.- Hold

54 x 50 cm

HC

du Griffon, Neuchatel

711.- Beryll-2

40 x 40 cm

800

Georges Falls, París

693.- Axo Metal

702.- Ond-All

(1)

(1968)

(2)

FV60+275

Ateliers Sigle-Tonal

Galerie Der Speigel, Cologne On request

Kestner Gesellschaft, Hannover Borjesson, Malmo / At. Arcay

Rect. l'Académie Universités,Paris

(1) Serigraph on aluminum, signed and numbered (2) Kiefer Buch Und Kunstauktionen, Sale Antiques #98, Lot. 7146, 15-Oct-2016

Back side of Axo Metal

Mentioned on VASARELY III, Editions du Griffon Neuchatel (Swiss) 1974. Pag. 242-243 693.- Axo Metal

694.- Axo-Pal

695.- Quasar-Or

Victor Vasarely

Plates (numbered and signed by the Artist 1973)

Jean-Louis Ferrier - Interviews with Victor Vasarely. (Paris) Editions DenoĂŤl, (1973). Slipcase black nylon decorated with a kinetic metal printing resuming the "V" Vasarely also taken as an emblem of the Vasarely Foundation. Edition of 200 ex. on Arches paper accompanied by 3 serigraphs (Full size: 42x35cm) signed and justified by the artist and the book with the interviews Entitled "Manipur" (drawn on metal. Image size: 22x20cm), "Majus" (Image size: 24x21cm) and "Gyemant-A"(Image size: 21x21cm), 125 placed on the market. The original of these interviews appeared in 1969 in Belfond. JOINT Printing kinetics of plastic embossed lozenge: 31 x 52 cm + bevelled edges (H. 4 cm), Unsigned (very edges of the screen printing rubbed by Parl locations). Designed to be hung.

701.- Gyemant

696.- Manipur

697.- Majus

702.- Geymant ond Jean-Louis Ferrier. Professor at the School of the Decorative arts, Doctor of philosophy, Art critic 698.- Geymant A

699.- Illile (Bourde Verte)

700.- Onda-All

703.- Feny 2

Victor Vasarely

Plates (numbered and signed by the Artist 1973)

Portfolio “Hommage aux Prix Nobel” - 1973-74 Portfolio of 33 sheets: a color woodcut, etchings (14), partly colored, lithographs (6), except for one colored, one color lithograph, one collage and one roll, colors (8) With the imprint, published by Galerie Börjeson, Malmö / Sweden. All signed (one verso) and mostly dated. All numbered, partly titled. One with the stamp 'Signature de l'Artiste'. On different papers (partly with watermark). 76 x 56 cm (29.9 x 22 in), sheet size. Included are works by artists: Rodolfo Abularach, Yacoov Agam, Karel Appel, Arman, Hans Bellmer, Le Brocquy, Corneille, Erró, Kaare Espolin-Johnson, Alecos Fassianos, Ernst Fuchs, Masuo Ikeda, Sven Jonson, Kimmi Kaivanto, Jiri Kolár, Jorge Martins, Roberto Matta, Friedrich Meckseper, Joan Miró (Mourlot 1094), Richard Mortensen, Ernst Neizvestny, Sidney Nolan, Eduardo Paolozzi, Julio Le Parc, Arnaldo Pomodoro, Krishna Reddy, James Rosenquist , Dieter Roth (Dobke 1970/75), Cecil Skotnes, Smith, Victor Vasarely, Vladimir Velickovic, Zao Wou-Ki (Ågerup 248). In original paper envelope in original wooden box. Completed. - Various Artists. 4 Leaves: Figurative compositions. 1983. Color gradations (3) and a color lithograph. Partially hardcover, signed (3), dated (2) and title (3)

704.- Vega-Tuz-Or

Joan Miró

Arman

Julio Le Parc

Corneille

Cecil Skotnes

Dieter Roth

705.- Vega-Tuz-ORTF Edouardo Paolozzi

Zao Wou Ki

Vladimir Velickovic

Victor Vasarely “Vega-Tuz-Or”

706.- Gyuru-Mi

Victor Vasarely

Plates (numbered and signed by the Artist 1973)

707.- Globe Folklore Planetary

708.- Fel-Gomb

709.- Sorbonne

710.- Hold

711.- Beryll-2

Victor Vasarely

Plates

( numbered and signed by the Artist 1974 )

Nº Title

Dimensions Edition / Editor

712.- Okta Cubes

80 x 80 cm

250

Denise René /At. Sigle-Tonal

713.- Okta-Rouge

80 x 80 cm

hcXX+250

Denise René /At. Arcay, Paris

714.- Sonora

57 x 75cm

715.- Okta Vert

80 x 80 cm

hcXX+250

Denise René /At. Arcay, Paris

716.- Okta-Arg

80 x 80 cm

hcXX+250

Denise René /At. Arcay, Paris

717.- V Pint

63 x 49 cm

175

67 x 67 cm

200

719.- Koska-Vall

83 x 70 cm

190

du Griffon Neuchatel, Switzerland

720.- Stri Arct

74 x 70 cm

300

George Falls, / At. Arcay, París

721.- Axo-Bidim (2)

50 x 42 cm

267

Denise René /At. Arcay, Paris

(3)

79 x 60 cm

120

Centre Culturel Univ. Geneva/Arcay

50 x 65 cm

250

Transworld Art Corp. N.Y. / At. Sordes

718.- Reech

722.- Bull 723.- Kezdi Domb

(1)

ea20+FV75+180

1974

Centre Cultural Chateau Vascoeuil

Coleccionistas, Mexico/At. Arcay, Parìs Euro-Art,Vienne / Domberger,Stuttgart

712.- Okta Cubes “Octal-Cube”

(1) Dry pad marked "PRINTED BY DOMGERGER, STUTTGART””. (with embossing) (2) Auktionshuset Kolonn, Lot. 21610, 19-Jul-2012 (3) Museum Budapest. Mentioned on VASARELY IV, Editions du Griffon Neuchatel (Swiss) 1979

Critical Fragments Cuts Vasarely: reflections about the art. “...in his ongoing exploration of all the domains of painting - infinite world - Vasarely advances breaking new ground and then follow one of them, closely clinging to a form of art he had discovered; and when he arrived in order and anyone can believe that he has met his truth and continue in that direction, will become the victim of a closed circle, the obstacle he faces again and engages in a new way, clearly distinct from the previously traced ... Guillermo Meneses (“El Farol” Magazine. Caracas, 1958) 713.- Okta-Rouge

714.- Sonora

183

715.- Okta Vert

Victor Vasarely

716.- Okta-Arg (Dere-C)

719.- Koska Vall

721.- Axo-Bidim

Plates

717.- V Pint

( numbered and signed by the Artist 1974 )

718.- Reech

720.- Stri Arct

722..- Bull

184

Victor Vasarely Nº Title

Plates

Dimensions Edition / Editor

(numbered and signed by the Artist 1975) 1975

103 x 54 cm

250

Verlag F. Bruckmann KG, Munich

725.- Pilla

80 x 57 cm

150

Georges Falls, París

726.- Bivega

115 x 79 cm

250

Denise Rene / At. Arcay, París

727.- Aix Bleu

76 x 61.5 cm eaIV+250

724.- Vp-Cheyt

(1)

Verlag F. Bruckmann KG, Munich

<<Etoffe-1 by Jacques Roubaud “Album Roubaud” 1975, 4 plates>> Image Size: 30x30cm.Printed in BFK 260gr

44.5 x 42 cm

225

GK Fribourg, Switzerland

729.- Hexa-Fra

44.5 x 42 cm

225

GK Fribourg, Switzerland

730.- Niolc-C

44.5 x 42 cm

225

GK Fribourg, Switzerland

731.- Koska-Sin

44.5 x 42 cm

225

GK Fribourg, Switzerland

728.- Del-Kelet

(2)

Inserted on Poems book, Etoffe-1.Edition 125 ex. 1 to 125. 70 ex. 1 to 70 reserved for Foundation Vasarely (FV). 25 ex. numbered HC I to HC XXV. 5 ex. numbered EA I to EA V. All signed and numbered by the author

732.- Bi-Hexa

76 x 56 cm

250

733.- Striond

76 x 76 cm FV15+L+267

Graphos Verlag, A.G.

734.- Stri-Arct-2

74 x 70 cm

300

Georges Fall, París

735.- Sarghai

60 x 53 cm

FV15+80

Georges Fell, París 724.- VP-Cheyt 75 “Aix-Luxe”

Nicola Fauche, París

736.- Rell

(3)

72.2x67cm ea15+FV35+150

F. V. , Aix en Provence

737.- Pengo-II

(4)

65 x 50 cm

250

Mourlot, París

738.- Aguia

(1955)

62 x 45 cm

150

Georges Falls, París

739.- Erebus

(5)

75 x 47 cm

250

Denise Rene / At. Arcay, París

250

Dumont Verlag, Cologne

<<Embossing plate. Edition 1 to 165, ea 1 to 50 and Fv35>>

740.- Cephei

70.2x50.2cm

741.- V

80 x 65 cm On request

on request

(1) Bloomsbury, Contemporary Print, Lot. 111, 27-Jun-2013 (2) Stockholms Stadsauktion, Lot. 154660, 30-10-2012, Sweden (3) Christies, Sale 5327, Lot 127. 19 July 2007. London (4) Ader Nardmann, Sale Tableaux Modernes, Lot 65. 13 Nov 2009. Paris (5) Dry pad marked "DENISE RENÉ EDITEUR” Mentioned on VASARELY IV, Editions du Griffon Neuchatel (Swiss) 1979 725.- Pilla

726.- Bi-Vega

727.- Aix Bleu

Victor Vasarely

Plates (numbered and signed by the Artist 1975)

Vasarely honored some leading characters of his time, as scientists, art critics and friends, joining some of his editions with text, poems or essays. For example, this “Suite Roubaud” contains four serigraphs and some poems of a important French Poet.

Jacques Roubaud (France: 1932) Jacques Roubaud is a professor of poetry at the European Graduate School in Saas-Fee, Switzerland,[1] and he was a professor of Mathematics at University of Paris X. He is a retired Poetry professor from EHESS and a member of the Oulipo group, he has also published poetry, plays, novels, and translated English poetry and books into French such as Lewis Carroll's The Hunting of the Snark. French poet and novelist Raymond Queneau had Roubaud's first book, a collection of mathematically structured sonnets, published by Éditions Gallimard, and then invited Roubaud to join the Oulipo as the organization's first new member outside the founders.

728.- Del-Kelet

Etoffe, poems accompanying four seripgraphes of Vasarely, Editions GK Geneva 1975.

Jacques Roubaud Box Elder V. Vasarely - Jacques Roubaud

729.- Hexa-Fra

730.- Niolc-C

731.- Koska-Sin

Victor Vasarely

Plates (numbered and signed by the Artist 1975)

732.- Bi-Hexa

733.- Striond

734.- Stri-Arct-2

735.- Sarghai

736.- Rell

737.- Pengo II

Victor Vasarely

738.- Aguia

740.- Cephei

Plates (numbered and signed by the Artist 1975)

739.- Erebus

741.- Affiche Aix Bruckmman

Victor Vasarely

Plates (numbered and signed by the Artist 1976)

Nº Title

Dimensions Edition / Editor

1976

742.- Deurveng

48 x 28.5 cm

500

On request

743.- Vp-Gris

85 x 55 cm

150

Georges Falls, París

744.- Naissances 1

19 x 14 cm

150

Georges Falls, París

745.- Laika DR-2

22 x 18 cm

on request

746.- Axo-Charga 747.- Axo-Charga-2

86 x 67 cm 86 x 67 cm

150 150

Georges Falls, París Georges Falls, París

748.- Majus-Nai

62 x 45 cm

150

Georges Falls, París

749.- Etude Linéaire-2

78 x 57 cm

100

N. Fauche/ A. Mourlot,(París)

Denise Rene, París

750.- Korna-Pos

(2)

71.8 x 52.8 cm

150

Georges Falls, París

751.- Tuz Bruc

(1)

67 x 41 cm

550

Bruckmann, Munich

752.- Sauzon II

30.5x23.5cm on request

On request

753.- Zaira Pos-Neg

67 x 52 cm

200

On request

754.- Pleionee II

66 x 44 cm

150

Georges Falls, París

755.- Zebres 1 756.- Zebres 2 757.- Zebres 3

50 x 50 cm 50 x 50 cm 50 x 50 cm

200 200 200

Foundation Vasarely Foundation Vasarely Foundation Vasarely

758.- Zebres 4 759.- Zebres 5 760.- Zebres 6

50 x 50 cm 50 x 50 cm 50 x 50 cm

200 200 200

Foundation Vasarely Foundation Vasarely Foundation Vasarely

761.- Zebres

50 x 43 cm

120

Galerie Börjeson, Malmö

76 x 56 cm

100

N. Fauche/ A. Mourlot,(París)

763.- Zute

70 x 54 cm

on request

St. Bruckmann,Munich,FRG

764.- Peregue

76 x 56 cm

FV75+100

Atelier Arcay, París

765.- Hat Leg (Fond Blanc) 766.- Hat Leg 2 (Fond Bleu)

86 x 67 cm 86 x 67 cm

762.- Fille-Fleur-2

(3)

FV70+150 FV70+150

189

743.- VP Gris

744.- Naissances 1

745.- Laika DR

Georges Falls, París Georges Falls, París

(1) Vasarely Múzeum, Pécs. Also included on Suite of 11 artist of the years 1972-1982. Bruckmann, Munich (2) Engraved etching (Acquaforte). Image Size: 37.9 x 35.4cm. Farsetti arte, Sale Grafica Arte Contemporanea, Lot.158, 2-Dec-2011. Milan. (3) Permanent collection of Centre Pompidou, Inventory Nº: AM 1977-240. Mentioned on VASARELY IV, Editions du Griffon Neuchatel (Switzerland) 1979

746.- Axo-Charga

742.- Deurveng

747.- Axo-Charga-2

748.- Majus Nai

749.- Etude Lineáire-2 “Bagnards”

Victor Vasarely

Plates (numbered and signed by the Artist 1976)

Mappenwerke “Large compilation of 11 artist calendars 1972-82” Published by Bruckmann, Munich 1972. Compilation of 11 artist calendars from 1972 to 1982. With 13 original graphics (including cover page, mainly serigraphs) of different artists. Each on paper with inserted calendar pages. Each 58.5 x 41 cm, the calendar dimensions 67 x 41 cm each. The work of: Karl Friedrich Dahmen, Otto Herbert Hajek, Norbert Kricke, Jan Lenica, Heinz Trökes, Herbert Schneider, Georg Karl Pfahler, Thomas Lenk, Imre Kocsis, Ben Muthofer, Johannes Schreiter, Valerio Adami, Jo Adolf Nyfeler, Peter Bradtke , Carl Georg Schmidt, Fritz Ruoff, Tho Braun, Horst Rave, Otmar Alt, Lothar Quinte, Joachim Palm, Jürgen Peters, Konrad Schulz, Ferdinand Kriwet, Jean Michel Folon, Jacques Soisson, Max Bill, Karl Korab, HAP Grieshaber, Gunter Fruhtrunk, Marko Spalatin, Horst Antes, Alexander Calder, Victor Vasarely, Peter Ackermann, Otto Piene, Bruno Bruni, Patrick Dupré, Joan Miro, Friedrich Meckseper, Paul Wunderlich, Rudolf Hausner, Karel Appel, Peter Nagel, Marino Marini, Jean Dewasne, Per Arnoldi, Maurice Minuzzi, Emerson Woelff, Ernst Fuchs, Werner Berges, Thomas McKnight, Walter Heckmann, Alan Sundberg, Mac Zimmermann, Joshua Reichert, Alfred Cohen, Siegward Sprotte, Guiseppe Santomaso.

750.- Korna-Pos

Tuz Bruc

751.- Tuz Bruc

752.- Sauzon II

753.- Zaira Pos-Neg

754.- Pleione II

190

Victor Vasarely

755.- Zebre 1

757.- Zebres 3

759.- Zebras 5

191

Plates (numbered and signed by the Artist 1976)

756.- Zebres 2

758.- Zebras 4

760.- Zebres 6

Victor Vasarely

761.- Zebres

763.- Zute

765.- Hat-Leg (Fond Blanc)

Plates (numbered and signed by the Artist 1976)

762.- Fille-Fleur-2

764.- Peregue

766.- Hat-Leg-2 (Fond Bleu)

192

Victor Vasarely

Plates (numbered and signed by the Artist 1977)

Nº Title

Dimensions Edition / Editor

767.- Huit-Quatre (4)

75 x 70 cm

275

Georges Fall, París

768.- Matyo-Vall Bl. (1) (4)

75 x 70 cm

XXV+250

Georges Fall, París

1977

769.- Siris-Kek

(3)

55 x 44 cm

162

Graphos Verlag AG/At.r Arcay, París

770.- Ellen

(4)

75 x 70 cm

250

Georges Fall, París

771.- Multi CF “Pantheon”

32 x 23.5cm

L+110

Bruckmann Pantheon, Munich, FRG

772.- Procion-3

(4)

75 x 70 cm

275

Georges Fall, París

773.- KST

(2) (4)

80 x 70 cm

XXX+250

Georges Fall, París

774.- CTA-102

23 x 29 cm

100

Pan Kastler / At. Silium, París

775.- Arlequin 1

75 x 51 cm

143

(Litho) Graphos Verlag AG/At. Arcay, París

776.- Santorin

(3)

55 x 44 cm

162

777.- Billog

(3)

55 x 44 cm

LII+110

778.- Phila Bleu

(4)

36 x 27 cm

200

Foundation Vasarely/At. Silium, París

36 x 27 cm

200

Foundation Vasarely/At. Silium, París

779.- Phila Rouge (4) (5)

Graphos Verlag AG/At. Silium, París

780.- Homok

(4)

75 x 70 cm

XXV+250

Georges Fall, París

781.- G-Linn

(3)

65 x 50 cm

XXV+100

Graphos Verlag A.G./At. Arcay, París

782.- Koskokta

(4)

79 x 70 cm

250

Georges Fall, París

783.- Sinfel

(4)

110 x 65 cm

250

At. Silium, París

110 x 66 cm

XXV+250

At. Arcay, París

75 x 70 cm

FV35+215

Georges Fall, París

786.- Les Tigres

53 x 74 cm

XVI+120

787.- Torony-2

55 x 40 cm

162

788.- Idom MC

55 x 44 cm

FV33+162

789.- Idom

40 x 28 cm

on request

784.- Bi-Rhombs ED (4)

785.- Bi-Okta-B

“8-4”

Nicole Fauche / At. Mourlot, París (Litho) On request Graphos Verlag AG/At. Silium, París on request

(1) Bloomsbury, Sale 35860, Lot. 140, 06-Dec-2011 (2) Christie`s, Sale 5327, Lot. 95, 19-July-2007 (3) Cat. Weisloch 1986, pag. 120,121,122,126 (4) Mentioned on VASARELY IV, Editions du Griffon Neuchatel (Switzerland) 1979. Pag. 204 (5) Kâ-Mondo, Sale Illustres Modernes, Lot. 339, 17-Nov-2017, Paris

769.- Siris-Kek

767.- Huit-Quatre

768.- Matyo-Vall Bleu

770.- Ellen

Victor Vasarely

Plates (numbered and signed by the Artist 1977)

772.- Procion-3

773.- KST

771.- Multi CF “Pantheon”

774.- CTA-102-A

Victor Vasarely

775.- Arlequin-1

Plates (numbered and signed by the Artist 1977)

776.- Santorin

778.- Phila Bleu

779.- Phila Rouge

781.- G-Linn

777.- Billog

780.- Homok

782.- Koskokta

Victor Vasarely

783.- Sinfel

Plates (numbered and signed by the Artist 1977)

784.- Bi-Rhombs ED

786.- Les tigres

788.- Idom MC

785.- Bi Okta B

787.- Torony-2

789.- Idom

Victor Vasarely Nº Title

Plates (numbered and signed by the Artist 1978)

Dimensions Edition / Editor

1978

790.- Peer-Rouge

(1)

110 x 71 cm

XXV+250

Georges Fall/At. Sillium, París

791.- Kerek-II

(2)

106 x 65 cm

XXV+250

Georges Fall/At. Sillium, París

110 x 65 cm

250

Georges Fall/At. Sillium, París

109 x 65 cm

225

Georges Fall/At. Sillium, París

794.- Oetka

75 x 70 cm

275

Denise Rene / At. Arcay, París

795.- Kas-Kas

85 x 76 cm

275

Georges Fall, París

796.- Tettey E2

88 x 76 cm

250

Vasarely Center, NY/At. Arcay

70 x 70 cm

100

D.R,Paris/H. Meyer,Düsseldorf

71 x 92 cm

XXV+275

792.- Vegokta 793.- Pava

797.- Bekwa V

(3)

(4)

798.- Cardan

Helión / At. Sillium-Zussau

799.- Fem

(5)

80 x 70 cm

FV25+250

Helión / At. Arcay, París

800.- Otto

(6)

35 x 30 cm

110

Editions J. Duculot, S. A

801.- Orvar

(5)

92 x 70 cm

XXV+250

Helión / At.Arcay, París

98 x 70 cm

XXV+250

Helión / At. Arcay, París

81 x 71 cm

FV70+175

Hélion / At. Sillium, París

81 x 71 cm

FV75+200

du Griffon, Neuchatel Swiss

76 x 54 cm

200

806.- Quivar NA

90 x 78 cm

FV25+175

du Griffon, Neuchatel Swiss

807.- Teke-2

87 x 78 cm

FV50+250

Vasarely Center, NY/At. Arcay

125

Vasarely Center, NY/At. Arcay

802.- Ta Ma Fa 803.- Byss

(7)

804.- Sirt MC 805.- Pelda B

808.- Vega-Bleu

(5)

(5)

65.3 x 65.3cm

791.- Kerek-II

Aubusson, At. Arcay, París (Litho)

809.- Bi-Ga

96 x 75 cm

FV85+115

810.- Babel-3

91 x 71 cm

XXVI+250

811.- Kezdi-Ga

75 x 70 cm

FV25+250

812.- Pylla

35 x 27 cm

315

Hans Meyer / At. Arcay

813.- Tewe

80 x 72 cm

250

Georges Fall, París

814.- Yak

76 x 60 cm

125

Helión / At. Sillium, París

815.- Neptun 3 Or

62 x 49 cm

FP7+ 400

Vasarely Center, NY/At. Arcay

816.- Neptun 3 Ar

30 x 26 cm

FP7+ 400

Vasarely Center, NY/At. Arcay

817.- Terz Liten (Small)

30 x 24 cm

280

Börjeson, Malmö, Sweden

Aubusson, At. Arcay, París Helión, París At. Silium, París

818.- Terz Stor (Big)

(8)

64 x 56 cm

LX+300

Börjeson, Malmö, Sweden

819.- Malom Liten (Small)

(9)

30 x 24 cm

FV40+200

Börjeson, Malmö, Sweden

90 x 76 cm

360

Börjeson, Malmö, Sweden

820.- Malom Stor (Big)

790.- Peer Rouge

792.- Vegokta

Mentioned on VASARELY IV, Editions du Griffon Neuchatel (Switzerland) 1979, Pag. 204 (1) Leslie Hindman Aucitoneers, Sale 226, Lot. 493, 18-Dec-2012 (2) Drewatts & Bloomsbury, Sale Modern & Contemporary prints, Lot. 279, 27-Mar-2014 (3) Larsen Art Auction, Lot. 0165, 26-Oct-2013 (4) Piasa, Sale 10, Lot 195, 23-Oct-2009 (5) Catalogued on Vasarely Vol. I Herakleidon, 2005/2006, Greece. (6) Jeschke Van Vliet Actions Berlin, Lot. 624, 18-Jan-2013 (7) Skinner, Sale 2870B, Lot.600, 5-Dec-2015 (8) Christie`s, Sale 5340, Lot.91, 16-Sept-2008 - Bonhams, Sale (9) Bonhams, Sale 21599, Lot.302, 04-Jun-2014

794.- Oetka

793.- Pava

Victor Vasarely

Plates (numbered and signed by the Artist 1978)

Eng. Pedro Benavides, in his residence “Pémore”, Caracas, sitting on a “Divano `62” by Mario Ceroli, left side “Terz A2 `78”, right side a collection of books about the work of Vasarely. Mounted on the wall, left to right side: “Vega Bleu”, “Yak”, “Kezdi-Ga”, “Fem” and “Kas-Kas”. Around the room, you can appreciate several album`s covers like “NB Cinetique `75”, “Kassak-Vasarely `61”, “Octal `72” and the album “11+1 `85” in front of the picture.

795.- Kas-Kas

796.- Tetty E2

797.- Bekwa V

Victor Vasarely

Plates (numbered and signed by the Artist 1978)

Vasarely honored some leading characters of his time, as scientists, art critics and friends, putting some of his editions the name of these. This editions contains the name of a important french art critic

Otto Hahn (Austrian, 6 Dec. 1928 - 19 Mar. 1996) Otto Hahn was an art critic and essayist French. Stateless, born to parents of Hungarian origin, he arrived in France in 1937. He obtained French nationality in 1975. He began studying literature and philosophy and art history at the Ecole du Louvre. By 1960, he worked as a literary critic first, art second, to the journal Modern Times. Starting in 1965, he went to the United States on behalf of the gallery Ileana Sonnabend, principal representative of American art in Paris in the early 1960s. From 1963 to 1991 he was responsible for the arts pages of the magazine L'Express. From 1969 to 1972 he hosted with Francoise Esselier magazine VH 101. Early on, he became an ardent advocate of Pop art, new realism, the libre figuration.

798.- Cardan

Otto Hahn also wrote in the columns of the following magazines: Art International Art Press, Fine Arts Magazine, Knowledge Arts, Arts Magazine, Art + -O4. Collage included on book “The Imaginary Museum Vasarely�. by Victor Vasarely & Otto Hahn. Ed. Duculot, 1978, Paris. Multi-colored Collage on black cardboard. Numbered and signed twice by Vasarely.

Otto

Otto Hahn 799.- Fem

800.- Otto

801.- Orvar

802.- Ta Ma Fa

Victor Vasarely

Plates (numbered and signed by the Artist 1978)

803.- Byss

804.- Sirt MC

805.- Pelda B

806.- Quivar NA

807.- Teke-2

808.- Vega Bleu

Victor Vasarely

809.- Bi-Ga

Plates (numbered and signed by the Artist 1978)

810.- Babel-3

811.- Kezdi-Ga

812.- Pylla

813.- Tewe

814.- Yak

Victor Vasarely

815.- Neptune 3 (fond or)

817.- Terz Liten (Small)

819.- Malom Liten (Small)

Plates (numbered and signed by the Artist 1978)

816.- Neptune 3 (fond argent)

818.- Terz Stor (Big)

820.- Malom Stor (Big)

Victor Vasarely Nº Title 821.- Hang 822.- Uran II

Plates (numbered and signed by the Artist 1979 )

Dimensions Edition / Editor (1) (2)

82 x 76 cm 82 x 76cm

ea25+250 FV32+315

On request On request (image size: 62x62cm) On request (image size: 52x45cm) Fondation Vasarely

823.- Bi-Sanction 824.- Dorado

75 x 55 cm 70 x 50cm

825.- Dauve 826.- VP-Sell

78 x 75cm ea15+FV50+200 115 x 70.5cm Fv25+250

Unesco, At. Arcay, París Cat.Vente porfit FV, 7-Mar-09

82 x 76 cm 70 x 60 cm

FV50+225 FV125+125

Georges Fall / At. Arcay, París Daniel Vial Congress Medical

89 x 48 cm 79 x 79 cm

250 500

827.- Planeta 828.- Sees

(3) (4)

829.- Nadir 830.- Ter Ur

202

1979

FV60+225

FV50+250 FV60+306

831.- Makk-S 832.- Semiha

(5)

68.5x68.5cm 100 x 70 cm

833.- Vercht 834.- Zur-3

(4)

82 x 78 cm 29.5 x 22cm

275 160

120 x 79 cm 82 x 76cm

LXXV+275

Cat. Vol. 1 Vasarely Herakleidon ´05 At. Arcay, París BLD ltd Levine, NY / At. Arcay Vasarely Center, NYC On request On request

315

Denise René, At. Arcay On request

82 x 78cm 39 x 31 cm

275 500

On request (image size: 65x65cm) On request

839.- Quadrature 840.- Nebulus-2

85 x 85 cm 82 x 78cm

FV75+275

841.- Door 842.- Taire

120 x 79 cm 78 x 43 cm

843.- Delocta 844.- Chiclau

78 x 78cm FV50+L+250 108 x 65cm 275

On request On request

835.- Vilag 836.- Omega V

(4)

837.- Ferde-2 838.- Coelum

(6)

EA8+350 340 FV25+250

On request On request On request Foundation Vasarely, París

845.- Tridim May 846.- Okta-Or

(7)

69 x 39cm 75 x 75 cm

250 250

Georges Fall, París Denise René, Paris

847.- Sinpo 848.- Nora Dell

(7)(8)

82 x 82 cm EA50+275 87.8 x 78 cm 250

On request Denise René, Paris

(1) Ketterer Kunst, Sale 349, Lot. 1045, 29-Apr-2009 (2) Christie`s, Sale 5327, Lot. 86, 19-Jul-2007 (3) Aix Enchères Art, Sale Vente Vasarely, Lot. 79, 28-Sep-2011 (4) Mentioned on Wiesloch 1986 (5) Skinner, Sale 2422, Lot. 273, 12-Sep-2008 (6) Cornette de Saint Cyr, Lot. 384, 20-Jun-2011 (7) "Denise Rene Editeur" stamp (8) Christie`s, Sale 2481, Lot. 770, 9-Nov-2011

823.- Bi-Sancton

203

821.- Hang

824.- Dorado

822.- Uran II

825.- Dauve

Victor Vasarely

Plates (numbered and signed by the Artist 1979 )

827.- Planeta

828.- Sees

829.- Nadir

830.- Ter-Ur

831.- Makk-S

832.- Semiha

833.- Vercht

834.- Zur-3

826.- VP-Sell

204

Victor Vasarely

835.- Vilag

837.- Ferde-2

Plates (numbered and signed by the Artist 1979 )

836.- Omega V

838.- Coelum

840.- Nebulus-2 839.- Quadrature

205

Victor Vasarely

Plates (numbered and signed by the Artist 1979 )

842.- Taire

841.- Door

844.- Chiclau

845.- Tridim May

847.- Sinpo

843.- Delocta

846.- Okta-Or

848.- Nora Dell

206

Victor Vasarely

Plates (numbered and signed by the Artist 1980 )

Nº Title

Dimensions Edition / Editor

849.- Thez 850.- Thez II

92 x 78 cm 70 x 58 cm

340 250

At. Arcay, París At. Arcay, París

60.5 x 60.5cm 32 x 28 cm

190 550

Vasarely Center / Prent 190 Vasarely Center

851.- ARG-VIT 852.- OR-VIT

(1) (2)

1980

853.- Mi-Ta-I 854.- Mi-Ta-II

102x52 cm 102x52 cm

XXV+150 XXV+150

Galerie Lahumière, París Galerie Lahumière, París

855.- Battor

106 x 60 cm

XXV+250

Georges Fall, París

856.- Kaldor

86 x 76 cm

FV80+170

Galerie Börjeson, Malmo

857.- Tri-Dagg

76 x 64 cm

FV100+200

858.- Viva

61 x 61 cm

ea85+ 275

on request

859.- Tetcie

88 x 66 cm

400

on request

860.- Fondau

119 x 80 cm

Fv75+ 275

on request

861.- Jerusalem

65 x 50 cm

135

on request

862.- Hegyez 862A.- Hegyez BL

63 x 56,5cm FV100+200 63 x 56,5cm 190

Published by Prent 190 Published by Prent 190

863.- Be-Cheyt

71.1 x 66 cm

on request

864.- Vancouver

(3)

79 x 120cm

250 L+250

Georges Fall, París

849.- Thez

Vancouver Academy of Music

<<Hommage to Vasarely II 1980>>, 4 plates, Ed. 250 + HC 1-10. Ed. Martin Lawrence. Signed & numbered. Img, Size: 43.2x38.2cm (4)

53.3x48.3cm FV50+250

M.L / Atelier Arcay, París

866.- Xanor

53.3x48.3cm FV50+250

M.L / Atelier Arcay, París

867.- Letz (on Silver)

53.3x48.3cm FV50+250

M.L / Atelier Arcay, París

868.- Etore

53.3x48.3cm FV50+250

M.L / Atelier Arcay, París

865.- Pixis

(1) Dry pad marked "VASARELY CENTER, N.Y.”. (2) Artcurial, Sale 2354, Lot. 29, 25-June-2013 (3) In 1977, Victor Vasarely created the large work "Mural du Canada" for the Vancouver Academy of Music. The mural measures 8'11" x 26' 8" (2.72 x 8.12 meters). When approached to assist the Academy in fund-raising, Vasarely agreed to create this print in an edition of 250, signed and numbered by the artist. Image size 44x100cm (4) Christie`s, Sale 5327, Lot. 89, 19-July-2007 850.- Thez II

851.- ARG-VIT

852.- OR-VIT

Victor Vasarely

853.- Mi-Ta-I

856.- Kaldor

858.- Viva

Plates (numbered and signed by the Artist 1980 )

855.- Battor

854.- Mi-Ta-II

857.- Tri-Dagg

859.- Tetcie

Victor Vasarely

Plates (numbered and signed by the Artist 1980 )

860.- Fondau

861.- Jerusalem

862.- Hegyez

862B.- Hegyez BL

864.- Vancouver

863.- Be-Cheyt

Victor Vasarely

865.- Pixis

867.-Letz (on Silver)

Plates (numbered and signed by the Artist 1980 )

866.- Xanor

868.-Etore

Victor Vasarely

Plates (numbered and signed by the Artist 1981 )

Nº Title

Dimensions Edition / Editor

869.- Hetta

75 x 55 cm

202

Graphos Verlag A.G./ Silium, Paris

870.- Lang

80 x 72 cm

300

on request (on silver woven paper)

871.- Tokyo (Fond Blanc) 872.- Tokyo (Fond Argent)

67.7x64.7 cm 67.7x64.7 cm

150 150

on request on request

873.- Vega Ver

77 x 67 cm

ea35+150

874.- Ive

30 x 26 cm

350

875.- Niels Bohr

83 x 76 cm

FV30+250

(5)

1981

Domberger GmbH, Germany on request Cat. Christies, Sale 5327, Lot. 99

<<Cat. on Vasarely Vol I Herakleidon 2005>>

876.- Deimos 877.- Volans 879.- Callisto

on request on request on request

44 x 38 cm 44 x 38 cm 44 x 38 cm

350 350 350

878.- Feny

82 x 76 cm

90

880.- Los Angeles

90 x 75 cm

FV65+185

Helion, / Sillium, Paris

881.- Darda

90 x 75 cm

CL+120

Helion, / Sillium, Paris

75 x 55 cm

ea24+L+90

883.- Mertan

90 x 75 cm

380

884.- Dagg 2

79 x 64 cm

FV100+250

Contemporary Art Masters, NY, At. Arcay

75 x 55 cm

ea24+L+90

Graphos Verlag A.G./ Silium, Paris

75 x 55 cm 74 x 55 cm

90 L+90

Graphos Verlag A.G./ Silium, Paris Graphos Verlag A.G./ Silium, Paris Vasarely Center N.Y, Silium, París

(3)

Domberger Verlag, Stuttgart

869.- Hetta

882.- Sancton

885.- Parmenide

(1) (5)

(1)

886.- Ara 887.- Corona

Graphos Verlag A.G./ Silium, Paris On request

888.- Trivega

(2)

85 x 77 cm

FV120+250

889.- Tri-axo

(1975)

98 x 90 cm

ea50+250

890.- Pictor

(4)

62 x 62 cm

250

Galerie Rosenbaum

891.- Sann

80 x 72 cm

300

on request

892.- Cell Kat

82 x 74 cm

ea50+350

On request

893.- Koer Hat

82 x 76 cm

300

On request

(1) Christie`s, Sale 5866, Lot. 158, 1-July-2009 (2) (also Trivega) Christie`s, Sale 5866, Lot. 158, 1-July-2009 (3) Wiesloch Catalog 1986, Pag. 133. Back side of the Catalogue (4) Vasarely Vol. 2, Herakleidon 2006 Cat. Weisloch 1986, Pag. 205 (5) Jeschke - Van Vliet, Sale 61, Lot. 462, 19-Nov-2009, Berlin

871.- Tokyo (Fond Blanc)

211

on request

870.- Lang

872.- Tokyo (Fond Argent)

Victor Vasarely

Plates (numbered and signed by the Artist 1981 )

Exhibition in France, at left Victor Vasarely and two attendants. Rigth, Madame Claude Pompidou, wife of George Pompidou, XIX President of French Republic (1969-74).

873.- Vega Ver

874.- Ive

212

Victor Vasarely

Plates (numbered and signed by Artist 1981 )

Vasarely honored some leading characters of his time, as scientists, art critics and friends, putting some of his editions the name of these. For example, this editions contains the name of a important Danish physicist.

Niels Henrik David Bohr (Danish: 7 Oct. 1885 - 18 Nov. 1962) Danish physicist who made foundational contributions to understanding atomic structure and quantum theory, for which he received the Nobel Prize in Physics in 1922. Bohr was also a philosopher and a promoter for scientific research. After Denmark was occupied by the Germans, Bohr helped refugees from Nazism. He had a famous meeting with Heisenberg, who had become the head of the German nuclear energy project. He joined the British Tube Alloys, nuclear weapons project, and was part of the British mission to the Manhattan Project. After the war, Bohr was part of international cooperation on nuclear energy.

876.- Deimos

He was involved with the CERN and the Research Establishment Risø of the Danish Atomic Energy Commission, and became the first chairman of the Nordic Institute for Theoretical Physics in 1957.

Niels Bohr in 1922

877.- Volans 875.- Niels Bohr

878.- Callisto

213

879.- Feny

Victor Vasarely

880.- Los Angeles

882.- Sancton (Fond Or)

884.- Dagg 2

Plates (numbered and signed by Artist 1981 )

881.- Darda

883.- Mertan

885- Parmenide

214

Victor Vasarely

886.- Ara

888.- Trivega

215

Plates (numbered and signed by Artist 1981 )

887.- Corona

889.- Tri-Axo

Victor Vasarely

890.- Pictor

892.- Cell Kat

Plates (numbered and signed by Artist 1981 )

891.- Sann

893.- Koer Hat

216

Victor Vasarely

Plates (numbered and signed by the Artist 1982 )

Nº Title

Dimensions Edition / Editor

894.- Door-MC (1) 895.- Kardoe (2) 896.- Kabba III

119 x 60cm FV65+325 112 x 67.4cm FV65+325 103 x 48 cm 380

Vasarely Center N.Y / Imp. Silium Vasarely Center N.Y / Imp. Silium Vasarely Center N.Y / Imp. Silium

897.- Zebres-7 Bleu 898.- Zebres-7 Vert 899.- Zebres-7 Rouge 900.- Zebres-7 Or 901.- Zebres-7 Argent

68 x 52 cm 68 x 52 cm 68 x 52 cm 68 x 52 cm 68 x 52 cm

Denise Rene / At. Arcay, París Denise Rene / At. Arcay, París Denise Rene / At. Arcay, París Denise Rene / At. Arcay, París Denise Rene / At. Arcay, París

902.- Etude Lumiere 2 (1936) 903.- Etude en Jaune (1940) 904.- Syllabe 905.- Hegeyz NY 906.- Folkokta 907.- Fille Fleur 3 (F. Arg) 908.- Fille Fleur 4 (F. Blanc) 909.- Zeng 910.- Jongleur (1982) 911.- Jongleur-2 (1982)

45 x 43 cm 240 58 x 52 cm XXXIV+300 37 x 33.5 cm 300 40 x 38 cm FV166+190 80 x 60 cm 250 77 x 50 cm 375 77 x 50 cm 375 79 x 76 cm FV44+306 77 x 50cm 300 77 x 50cm 300

Vasarely / (Litho) Vasarely / (Litho) On request Published by Prent 190 George Falls, París / Litho Borjesson, Malmo/At. Sillium Borjesson, Malmo/At. Sillium Vasarely Center N.Y / Imp. Zussau Borjesson, Malmo Borjesson, Malmo

912.- London 913.- Pandelak (F. Vert) 914.- Pandelak (F. Rouge) 915.- Mexico 916.- Kekk 917.- Kekk Relief 918.- Pok Italie 2 919.- Phobos 920.- Phobos II Relief 921.- Try Boss II 922.- Caycan 923.- Zombor 924.- Bull X

76 x 80 cm 79 x 58 cm 79 x 58 cm 71 x 71cm 68 x 57 cm 68 x 57 cm 68 x 68 cm 68 x 57 cm 68 x 57 cm 90 x 78 cm 75 x 59 cm 75 x 59 cm 78 x 76 cm

On request On request On request On request Martin Lawrence, N.Y. Martin Lawrence, N.Y. F. Squatriti, Milan, Italy. Martin Lawrence, N.Y. Martin Lawrence, N.Y. Graphos Verlag / Sillium / Zussau Galerie Lahumiere Galerie Lahumiere Vasarely Centre / Zussau-Silium

XX+75 XX+75 XX+75 XX+75 XX+75

250 on request on request CL+250

325 On request ap25+125 On request On request

375 150 150 FV140+250

1982

894.- Door-MC

895.- Kardoe

<< Suite Nobel, 8 plates, Serigraph, 1982>>

925.- Nobel-1 Or 926.- Nobel-2 Arg 927.- Nobel-3 928.- Nobel-4 (3) 929.- Nobel-5 (4) 930.- Nobel-6 (3) 931.- Nobel-7 (3) 932.- Nobel-8

(1975) (1980) (1980) (1977) (1978) (1973) (1971) (1971)

80 x 78 cm 80 x 76 cm 80 x 76 cm 78 x 75 cm 80 x 76 cm 80 x 76 cm 80 x 76 cm 80 x 76 cm

FV201+250 FV201+250

Borjësson, Malmo, Sweeden Borjësson, Malmo, Sweeden 250 Borjësson, Malmo, Sweeden FV51+250 Borjësson, Malmo, Sweeden FV25+250 Borjësson, Malmo, Sweeden FV51+250 Borjësson, Malmo, Sweeden FV51+250 Borjësson, Malmo, Sweeden. FV51+250 Borjësson, Malmo, Sweeden Nobel-1 Or also named “Rosenthal-1”, Nobel-2 Argent also named “Rosenthal-2”

933.- Cosca 934.- Cosca II “VP100” 935.- For-Pauk 936.- Eridan 73

68 x 61 cm 71 x 68.5cm 68 x 68 cm 68 x 68 cm

(1) Christie`s, Sale 5327, Lot. 62, 19-July-2007 (2) Christie`s, Sale 5327, Lot. 110, 19-July-2007 (3) Wiesloch Catalog 1986, Pag. 137

898.- Zebres-7 Vert

425 FV65+325

FV25+125 AP25+125

on request on request F. Squatriti, Milan, Italy. on request

896.-Kabba III

897.- Zebres-7 Bleu Clair

(4) 1st edition cr. 1978 (30x24cm ed. 200) 2nd edition cr. 1979 (64x56.5cm ed. 300) 3rd edition cr. 1983 (79.5x75x7cm ed. 275)

899.- Zebres-7 Rouge

900.- Zebres-7 Or

901.- Zebres-7 Argent

Victor Vasarely

Plates (numbered and signed by the Artist 1982 )

902.- Etude de Lumiere

Victor Vasarely at his Atelier, Annet-sur-Marne. Behind, Daymon, 286.4x238cm, 1982

904.-Syllabe “Sylla-6�

905.- Hegeyz NY

903.- Etude en Jaune

906.- Folkokta

Victor Vasarely

907.- Fille Fleur (Fond Argent)

910.- Jongleur “Juggler”

913.- Panderlak (Fond vert)

Plates (numbered and signed by the Artist 1982 )

908.- Fille Fleur (Fond Blanc)

911.- Jongleur-2

“Juggler-2”

914.- Panderlak (Fond Rouge)

909.- Zeng

912.- London

915.- Mexico

Victor Vasarely

Plates (numbered and signed by the Artist 1982 )

916.- Kek

917.- Kekk Relief

919.- Phobos

920.- Phobos II Relief

922.- Caycan

923.- Zombor

918.- Pok Italie 2

921.- Try Boss II

924.- Bull X

Victor Vasarely

Plates (numbered and signed by the Artist 1982 )

Vasarely honored some leading characters of his time, as scientists, artists, art critics and friends, joining some of his editions with text, poems or essays. For example, “Hommage to Picasso” contained on Suite Nobel of Serigraphs, 1982 Edited by Börjesson, Malmo.

Pablo Picasso (Spain 1881 - France 1973) Pablo Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces. Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the Fauvist work of the slightly older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art

925.- Nobel-1 Rosenthal-1”

Exceptionally prolific throughout the course of his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments, and became one of the bestknown figures in 20th-century art

Pablo Picasso in 1962 “Homage to Picasso” Volumen 5 926.- Nobel-2 Argent “Rosenthal-2”

927.- Nobel-3 “Terz”

928.- Nobel-4 “Basel”

929.- Nobel-5 “Cheyt-Ond-2”

Victor Vasarely

930.- Nobel-6 “Homage to Picasso”

933.- Cosca

Plates (numbered and signed by the Artist 1982 )

931.- Nobel-7 “Pecs”

932.- Nobel-8 “Cheyt-Ond-3”

934.- Cosca II “VP 100”

935.- For-Pauk 936.- Eridan 73

Victor Vasarely Nº

Title

Plates (numbered and signed by the Artist 1983 )

Dimensions Edition / Editor 120 x 80cm

937.- Tecture II

300

New York Center / Arcay

250

1983

82.5 x 76cm 76 x 48cm

FV37+150

Georges Fall / Lahumiere, París Georges Fall / Lahumiere, París

940.- Harpis 941.- Eika

74 x 45cm 76 x 56cm

FV37+150 L+150

Georges Fall / Lahumiere, París Georges Fall / Lahumiere, París

942.- Heisenberg (1) 943.- Villag-4

65 x 60 cm 81 x 75 cm

ea25+L+125 XL+290

944.- Meta Galaxie (3) 945.- Gewa (2)

62 x 58cm 99 x 95 cm

220 250

Graphos Verlag, A.G. / Silium, París Georges Fall / Lahumiere, París

946.- Vilag II 947.- Baak

82 x 76 cm 78 x 95 cm

290 FV50+250

Mentioned Cat. Wiesloch 1986, p.205 Vasarely Center / Imp. Zussau

948.- Andromede (3) 949.- Fresko-2 (1)

62 x 58cm 55 x 76 cm

L+125 FV37+150

Graphos Verlag, A.G. / Silium, París Georges Fall / Lahumiere, París

950.- Kub Tuz

60 x 60cm

300

On request

951.- Lador

30 x 30 cm

400

New York Center / At. Arcay

952.- Pylla-2

63.5 x 56.5cm LXV+250

953.- Sirius-II Or (3) 1983 954.- Sirius-II Arg

65.5 x 61cm 64.5 x 61 cm

955.- Elbrouz 956.- Tsiga

938.- Fir-Ka 939.- Terek-2

(1)

Graphos Verlag A.G./ Silium, Paris Georges Fall / Zussau, París

937.- Tecture II Hans Meyer / At. Arcay, París

L+125 L+125

Graphos Verlag / Sillium / Zussau

76 x 55 cm 82 x 76 cm

XXV+150 ea40+250

Georges Fall / Lahumiere, París Georges Fall/Silium-Zussau, París

957.- Tigres (Fond Blanc) 958.- Tigres (Fond Argent)

on request on request

eaXXI eaXXI

959.- Echecs Bleus 960.- Echecs Rouge 961.- Autoportrait

45 x 40 cm 45 x 40 cm 100 x 73cm

(1)

Graphos Verlag / At. Sillium, París

Litho Litho

150 150 300

Bale, George Fall - Expo Art Basel 1983 Bale, George Fall - Expo Art Basel 1983 Litho. Image Size. 82.5x62cm

(5) 962.- Skier 85 x 62 cm 963.- E.T. (Fond Noir) (1939) 76 x 54 cm 964.- E.T. (Fond Argent) (1939) 76 x 54 cm

300 500 500

Gallery Borjesson, Malmo On request On request

56 x 63 cm 80 x 60cm

200 250

Graphos Verlag A.G./ Silium, Paris Litho Gallery Borjesson, Malmo

965.- Zebre A 966.- Zebra Zambo

(1) Dry pad marked "GALERIE LAHUMIERE EDITION” on left side down. (2) Christie`s, Sale 4903, Lot. 262, 19-April-2012 (3) Catalogue Weisloch, 1986, pag. 129, 132, 137 (4) Cornette de Saint Cyr, Estampes & Multiples, Lot. 225, 22-Mar-2017, Paris (5) XIV Olympic Winter Games Sarajevo 1984, Yugoslavia

939.- Terek-2

940.- Harpis

938.- Firka

941.- Eika

Victor Vasarely

Plates (numbered and signed by the Artist 1983 )

Vasarely honored some leading characters of his time, as scientists, art critics and friends, putting some of his editions the name of these. For example, this editions contains the name of a important German physicist.

Werner Karl Heisenberg (German, 5 Dec. 1901 - 1 Feb. 1976) German theoretical physicist and one of the key pioneers of quantum mechanics. He published his work in 1925 in a breakthrough paper. In the subsequent series of papers with Max Born and Pascual Jordan, during the same year, this matrix formulation of quantum mechanics was substantially elaborated. In 1927 he published his uncertainty principle, upon which he built his philosophy and for which he is best known. Heisenberg was awarded the Nobel Prize in Physics for 1932 "for the creation of quantum mechanics". 943.- Villag-4

He also made important contributions to the theories of the hydrodynamics of turbulent flows, the atomic nucleus, ferromagnetism, cosmic rays, and subatomic particles, and he was instrumental in planning the first West German nuclear reactor at Karlsruhe, together with a research reactor in Munich, in 1957. Considerable controversy surrounds his work on atomic research during World War II.

Heisenberg in 1933

944.- Meta Galaxie

942.- Heisenberg

945.- Gewa

946.- Vilag II

Victor Vasarely

947.- Baak

949.- Fresko-2

951.- Lador

Plates (numbered and signed by the Artist 1983 )

948.- Andromeda

950.- Kub Tuz

952.- Pylla-2

Victor Vasarely

953.- Sirius II Or

955.- Elbrouz

957.- Tigres (Fond Blanc)

Plates (numbered and signed by the Artist 1983 )

954.- Sirius (Fond Argent)

956.- Tsiga

958.- Tigres (Fond Argent)

Victor Vasarely

959.- Echecs Bleus

961.- Autoportrait

963.- E.T (Fond Noir)

Plates (numbered and signed by the Artist 1983 )

960.- Echecs Rouge

962.- Skieur “Downhill Skier�

964.- E.T. (Fond Argent)

Victor Vasarely

Plates (numbered and signed by the Artist 1983 )

Jean-Pierre Vasarely (Yvaral) son of Vasarely and Victor Vasarely.

965.- Zebres A

966.- Zebra Zambo

Victor Vasarely Nº Title 967.- Firaxo

Plates (numbered and signed by the Artist 1984 )

Dimensions Edition / Editor (1)

968.- Ter Ur NB

1984

80 x 80cm

330

Georges Falls / At. Arcay, París

60 x 58 cm

500

Imp. Zussau, Paris

<<Suite Constructif II>>

969.- Hokaido 970.- Utika-3 971.- Yllam-2

76.5 x 57 cm FV26+250 76.5 x 57 cm 250 76.5 x 57 cm 250

George Falls/Galerie Lahumiere George Falls/Galerie Lahumiere George Falls/Galerie Lahumiere

972.- Penta Dell Arg 973.- Penta Dell Or 974.- Penta Dell

58 x 55 cm 58 x 55 cm 58 x 55 cm

110 110 110

on request on request on request

975.- Boulouss

79 x 79 cm

380

on request

976.- Novega

80 x 80 cm

330

on request

977.- Mely

80 x 80 cm

ea50+250

978.- Aries

58 x 55 cm

330

on request

979.- Struck

79 x 80 cm

330

on request

Image size: 60x60cm

967.- Firaxo

<<Serie Ter Ur 1984>>, Lithograph, signed and numbered, Image size: 22x20cm

980.- Ter Ur A 981.- Ter Ur B 982.- Ter Ur C 983.- Ter Ur D

(2) (3) (4) (5)

34 x 28 cm 34 x 28 cm 34 x 28 cm 34 x 28 cm

Georges Falls/ At. Arcay, París Georges Falls / At. Arcay, París Georges Falls / At. Arcay, París Georges Falls / At. Arcay, París

75 75 75 75

<<Serie Zebra 1984>>, Original Color Litography. Cat. Wiesloch 1986, pag.116-117-118

984.- Zebra 1 985.- Zebra 2 986.- Zebra 3

Graphos Verlag A.G./Silium,Paris Graphos Verlag A.G./Silium,Paris Graphos Verlag A.G./Silium,Paris

59 x 52 cm 61 x 47 cm 62 x 78 cm

L+75+125 L+75+125 L+75+125

987.- Abad

80 x 80 cm

330

on request

988.- Boytar

80 x 80 cm

330

on request

989.- VP-III

79 x 76 cm

on request

on request

(6) (6) (6)

(1) Christie`s, Sale 5021, Lot. 94, 27-Sept-2006 (2) Stadsauktion Sundsvall, Sale Art-Graphic, Lot. 416621, 20-May-2016 Includes on Set “Constructif II” (3) Stadsauktion Sundsvall, Sale Art-Graphic, Lot. 416632, 20-May-2016 (4) Stadsauktion Sundsvall, Sale Art-Graphic, Lot. 416630, 10-May-2016 (5) Stadsauktion Sundsvall, Sale Art-Graphic, Lot. 416633, 10-May-2016

(6) Serie Zebra were made on 3 different types of paper: - Arches Edition 125 - Rives Edition. 75 - Museum Edition L

968- Ter-Ur NB

969.- Hokaido

229

970.- Utica-3

971.- Yllam-2

Victor Vasarely

972.- Penta Dell Arg

974.- Penta Dell

976.- Novega

Plates (numbered and signed by the Artist 1984 )

973.- Penta Dell Or

975.- Boulouss

977.- Mely

230

Victor Vasarely

978.- Aries

980.- Ter Ur A

982.- Ter Ur C

231

Plates (numbered and signed by the Artist 1984 )

979.- Struck

981.- Ter Ur B

983.- Ter Ur D

Victor Vasarely

Plates (numbered and signed by the Artist 1984 )

984.- Zebres 1

985.- Zebres 2

986.- Zebres 3

988.- Boytar

987.- Abad

989.- VP-III

232

Victor Vasarely Nº Title 990.- Mima sol 2

Plates (numbered and signed by the Artist 1985 )

Dimensions Edition / Editor (1)

60.5 x 60.5cm

175

1985

on request

991.- Athmos

79 x 79 cm

FV50+330

992.- Tridim Gris

76 x 56 cm

250

on request

993.- Vega Tuz 4

70 x 57 cm

140

on request

Park West Gallery / At. Arcay

<<Serie Titan 1985>>, Original Etching embossing. Image size: 40.5x40.5cm. Ed. hc15+fv50+300 60 x 56cm 365 Foundation Vasarely / Arcay, París 60 x 56cm 365 Foundation Vasarely / Arcay, París 60 x 56cm 365 Foundation Vasarely / Arcay, París

994.- Titan A 995.- Titan B 996.- Titan C

997.- Hommage to Bach

64 x 62 cm

FV60+XXX+250

998.- Katzag

80 x 70 cm

FV30+250

999.- Stri-Dio-2

35.5 x 32.5cm XXV+300

At. Silium, París 1981

1000.- Plural / U.N. (2)

27.9 x 21.6cm

Fondation Vasarely / Litho

1001.- Hokaido-2

23.5 x 20.5cm on request

on request

(3)

77 x 57cm

250

George Falls / G. Lahumiere, París

1003.- Santorin-3 (3)

77 x 57cm

250

Galerie Börjeson, Malmö

1004.- Yllot-2

76 x 56cm

170

on request

1005.- Hir

31.45 x 24.5cm

250

on request

1006.- Superpositions

90 x 63cm

ea

Printer Sillium, París / Litho

1007.- Zebre Bleu

79 x 65cm

97

on request

1008.- Zebre Rouge

79 x 65cm

97

on request

1002.- Kerr-2

1000

Pierre Belfond, París George Falls / Lahumiere, París

990.- Mima-Sol - 2

<<Serie Euclide 1985>>, Original Etching embossing. Image size: 32.5x25cm. Ed. ea25+L+100 “Euclide” 45 x 36 cm 175 Graphos Verlag A.G./ Silium, Paris “Barcel” 45 x 36 cm 175 Graphos Verlag A.G./ Silium, Paris “Anole” 45 x 36 cm 175 Graphos Verlag A.G./ Silium, Paris “Abra” 45 x 36 cm 175 Graphos Verlag A.G./ Silium, Paris “Celona” 45 x 36 cm 175 Graphos Verlag A.G./ Silium, Paris

1009.- Euclides I 1010.- Euclides II 1011.- Euclides III 1012.- Euclides IV 1013.- Euclides V

Published on Vasarely Vol. I Herakleidon 2005, Greece. Cat. Wiesloch 1986, pag. 138-139-140-141-142

1014.- Kerhon

76 x 56 cm

170

on request

1015.- Samos

76 x 56 cm

150

Croix Rouge, Geneva

(1) Millon & Associés, Sale Tableaux Modernes, Lot. 127, 28-March-2008 (2) Serigraph for United Nations on 1985 (3) Includes on Set “Constructif II”

992.- Tridim Gris

991.- Athmos “Bi-Dagg”

993.- Vega Tuz 4

Victor Vasarely

994.- Titan A

997.- Hommage to Bach “Kock”

1000.- Plural United

Plates (numbered and signed by the Artist 1985 )

995.- Titan B

998.- Katzag

996.- Titan C

999.- Stri-Dio-2

Fragment of print documentation of “Plural” by United Nations

Victor Vasarely

Plates (numbered and signed by the Artist 1985 )

1001.- Hokaido-2

1002.- Kerr-2

1004.- Yllot-2

1005.- Hir

1007.- Zebre Bleu

1003.- Santorin-3 “Santorin-A�

1006.- Superpositions

1008.- Zebre Rouge

Victor Vasarely

1009.- Euclide

1012.- Abra

1014.- Kerhon

Plates (numbered and signed by the Artist 1985 )

1010.- Barcel

1011.- Anole

1013.- Celona

1015.- Samos

Victor Vasarely Nº

Title

1016.- Lava

Plates ( numbered and signed by the Artist 1986 )

Dimensions Edition / Editor (1)

65 x 65 cm

175

1986

on request

<<Étoile Sélestes>> Not reproduced in Weisloch Catalog 1986

1017.- Voeroech 1018.- Esthaynal 1019.- Tsillag

(2)

LXX+210

50 x 45cm 50 x 45cm 50 x 45cm

80+200 LXX+210

Graphos Verlag Vaduz / Silium, Paris Graphos Verlag Vaduz / Silium, Paris Graphos Verlag Vaduz / Silium, Paris

Color Lithograpies. Image size: 35x35cm

1020.- Axomett 1021.- Felhoe 1022.- Stella 1023.- Radau 1024.- Molnar Okta 1025.- Sembe 1026.- Clown

(3) (4)

56 x 44 cm 65 x 65cm 62 x 59 cm

ea50+380 ea50+380

375

Park West Gallery / At. Arcay Park West Gallery / At. Arcay on request

56 x 44 cm 56 x 44 cm 56 x 44cm 85 x 55 cm

380 380 FV50+300 360

Park West Gallery / At. Arcay Park West Gallery / At. Arcay Park West Gallery / At. Arcay on request

(1) Christies, Sale 5327, Lot. 118, 19-Jul-2007 (2) Germann, International Prints, Lot. 963, 21-Nov-2017

1017.- Voeroech

1019.- Tsillag

(3) Christies, Sale 5327, Lot. 67, 19-Jul-2007 (4) Christies, Sale 5327, Lot. 66, 19-Jul-2007

1016.- Lava

1018.- Esthaynal

1020.- Axomett

Victor Vasarely

1021.- Felhoe

1023.- Radau

1025.- Sembe

Plates ( numbered and signed by the Artist 1986 )

1022.- Stella

1024.- Molnar Okta

1026.- Clown

Victor Vasarely Nº

Title

Plates ( numbered and signed by the Artist 1987 )

Dimensions Edition / Editor

1987

109 x 107cm FV15+300

Circle Art Gallery/American Atelier

1028.- Conjoction

67 x 61 cm

On request

Litho

1029.- Paura

85 x 80 cm

300

78 x 76 cm

FV30+300

(1)

1027.- Dyevat

(1)

1030.- Zuska

Silium Atelier, Paris Circle Art Gallery/Silium, Paris

<<Serie Zebrapar>> Signed and numbered in pencil on woven paper.

1031.- Zebrapar Arg 1032.- Zebrapar Orange 1033.- Zebrapar Blanc

50 x 45 cm 50 x 45 cm 50 x 45 cm

200 200 200

Börjeson, Malmö Sweden Börjeson, Malmö Sweden Börjeson, Malmö Sweden

<<Serie Zebras>> Signed and numbered in pencil on woven paper. 1034.- Zebras 1 100 (1) 81 x 82 cm 1035.- Zebras 2 100 (1) 81 x 82 cm

Circle Art Gallery/Silium, Paris Circle Art Gallery/Silium, Paris

1036.- Zebras 3 1037.- Zebras 4

(1) (1)

81 x 82 cm 81 x 82 cm

100 100

Circle Art Gallery/Silium, Paris Circle Art Gallery/Silium, Paris

1038.- Togonne

(1)

89 x 65 cm

356

Circle Art Gallery/Imp. Zussau

84 x 72 cm

356

Circle Art Gallery

1039.- Tridos-S

1027.- Dyevat

<<Serie Golfer>> Signed and numbered in pencil on woven paper. Image Size: 34x25cm 1040.- Golfer Pink 46 x 37 cm 200 Börjeson, Malmö Sweden 1041.- Golfer Yellow 46 x 37 cm 200 Börjeson, Malmö Sweden 1042.- Golfer Blue 46 x 37 cm 200 Börjeson, Malmö Sweden <<Serie Tennis>> Signed and numbered in pencil on woven paper. Image Size: 34x25cm 1043.- Tennis Pink 46 x 37 cm 300 Börjeson, Malmö Sweden 1044.- Tennis Green 46 x 37 cm 300 Börjeson, Malmö Sweden 1045.- Tennis Yellow 46 x 37 cm 300 Börjeson, Malmö Sweden

96.5 x 72.4 cm

1046.- Centaurus

68 x 54 cm

EA8+272

(1) 95 x 60 cm

150

Circle Art Gallery

1048.- Vega-Kocka-Arg (1) 95 x 60 cm

150

Circle Art Gallery

1049.- Ionau

80 x 100 cm

300

Pulled at brand X, N.Y.

1050.- Sikra F

53.5 x 38 cm

150

George Falls/Imp. Arcay, Paris

1047.- Vega-Kocka-Or

200

Börjeson, Malmö Sweden

V13.- Pole Vault

Graphos Verlag A.G

(1) Mentioned on Victor Vasarely A Retrospective Exhibition selections of 50 Years of Artistic Achievement. 1940`s to Present, Circle Gallery, 1990.

1029.- Paura

1028.- Conjoction

1030.- Zuska

Victor Vasarely

1031.- Zebrapar Argent

1034.- Zebras 1

Plates ( numbered and signed by the Artist 1987 )

1032.- Zebrapar Orange

1033.- Zebrapar Blanc

1035.- Zebras 2

1038.- Togonne

1036.- Zebras 3

1037.- Zebras 4 1039.- Tridos-S

Victor Vasarely

Plates ( numbered and signed by the Artist 1987 )

1040.- Golfer Pink (Golfeur Rose)

1041.- Golfer Yellow (Golfeur Jaune)

1042.- Golfer Blue (Golfeur Bleu)

1043.- Tennis Pink

1044.- Tennis Yellow

1045.- Tennis Green

Victor Vasarely

V13.- Pole Vault (Voรปte de Perche)

1047.- Vega-Kocka-Or

1049.- Ionau

Plates ( numbered and signed by the Artist 1987 )

1046.- Centaurus

1048.- Vega-Kocka-Arg

1050.- Sikra F

Victor Vasarely Nº

Title

Plates ( numbered and signed by the Artist 1988 )

Dimensions Edition / Editor

1988

ea50+200

on request

(1) 78 x 76 cm

XXV+250

on request

1053.- Lahumiere

on request

150

George Falls / Lahumiere, París

1054.- Olla

80 x 70cm

ea80+250

George Falls / Lahumiere, París

1055.- Sette

74 x 67cm

30+250

George Falls / Lahumiere, París

1056.- Sinkoeb (f. Noir)

63.5 x 53 cm ea80+250

George Falls / Lahumiere, París

1057.- Sinkoeb (f. Grey)

63.5 x 53 cm ea80+250

George Falls / Lahumiere, París

1058.- Constellation

65 x 65cm LXX+ea80+250

George Falls / Lahumiere, París

1059.- Zebres Metal (S/G)

91 x 78cm

100

Börjeson, Malmö Sweden

1060.- Matt

80.5 x 76cm

250

Circle Gallery / At. Silium Paris

1061.- Torony

100 x 66cm

356

Circle Gallery / At. Silium, Paris

1062.- Axo-77

100 x 58cm

356

Circle Gallery / At. Silium, Paris

1063.- Biome

(2) 71.5 x 54cm

FV30

on request

1064.- Trophee-Lancome (3) 72.2 x 55cm

FV15

on request

81 x 76.5cm

1051.- Terur Unesco 1052.- Holm

74.5 x 68.5cm

1065.- Ollo 1066.- Ingui-Niel 1067.- Hexa 5

(4) 61 x 76cm

250 ea30+220

74.9 x 99.7cm ea11+600

1051.- Terur Unesco

George Falls / Lahumiere, París on request Portfolio Olymp., Seoul/Korea 1988

<20th C. Grand Masters Victor Vasarely 1988> Not all the pieces has signed and numbered

1068.- Cingsha 1069.- Olbio II

27.3 x 20.3cm 27.3 x 20.3cm

175 175

Galerie Lahumiere, París Galerie Lahumiere, París

1070.- Sikkaso 1071.- Terreur

27.3 x 20.3cm 27.3 x 20.3cm

175 175

Galerie Lahumiere, París Galerie Lahumiere, París

These 4 serigraphs accompany the deluxe illustrated book "The Fifties" published by Editor Lahumiere, Paris (1988) with introduction and text by Werner Spies to celebrate the artist's 80th birthday that year. (1) Bukowski, Lot. 443-184, 04-Aug-2013, Sweden (2) Christie`s, Sale 5327, Lot. 72, 19-July-2007, London (3) Christie`s, Sale 5327, Lot. 73, 19-July-2007, London (4) Ader Nordmann, Sale Arts Graphiques, Lot. 165, 01-Oct-2013, Paris 1052.- Holm

1053.- Lahumiere

1054.- Olla

Victor Vasarely

1055.- Sette

1057.- Sinkoeb (Fond Grey)

1059.- Zebres Metal “Zebror�

Plates ( numbered and signed by the Artist 1988 )

1056.- Sinkoeb (Fond Noir)

1058.- Constellation (Phoenix Constallation)

1060.- Matt

Victor Vasarely

1061.- Torony

1063.- Biome

1065.- Ollo

Plates ( numbered and signed by the Artist 1988 )

1062.- Axo-77

1064.- Trophee - Lancome

1066.- Ngui-Niel

Victor Vasarely

Plates ( numbered and signed by the Artist 1988 )

Artist: Victor Vasarely Title: Hexa 5 Year: 1988 Paper Size: 36x24 in. or 91x61cm Original printed for the actual Seoul Olympiad by Lloyd Shin, who was responsible for finding artists to create the images

1067.- Hexa 5

1068.- Cingsha

1070.- Sikkaso

1069.- Olbio II

1071.- Terreur

Victor Vasarely Nยบ

Title

Plates ( numbered and signed by the Artist 1989 )

Dimensions Edition / Editor

1989

116 x 72 cm

60

Edition Limited

1073.- Kabba-II

102 x 64 cm

250

Edition Limited

1074.- Vorosh Or

On request

On request

On request

1075.- Vorosh Arg

On request

On request

On request

1076.- Zilver (1)

83 x 76 cm

300

Circle Art Gallery/Silium, Paris

1077.- Fenyes

20 x 20 cm

175

Circle Art Gallery/Silium, Paris

1078.- Japet BW/Bleu

62 x 57 cm

250

On request

1079.- Okta Folklore D

69x49cm

1080.- Dorlak 1081.- YKA

1072.- Hilouz-2

(2)

On request

On request

78 x 76 cm

350

On request

62 x 54 cm

FV30+L+99

Graphos Verlag Vaduz / Zussau-Silium

1082.- Ilile C

(1)

76 x 76 cm

EA50+300

Circle Art Gallery/Silium, Paris

1083.- Dyss

(1)

80 x 76 cm

FV30+300

Circle Art Gallery/Silium, Paris

1084.- Pontos

20 x 20 cm

175

Circle Art Gallery/Silium, Paris

1085.- Oslop

61 x 53.8 cm

1086.- Try

69 x 49 cm

1087.- Sziget

49.5 x 35.5cm

1088.- Etude Profonde

On request

1089.- Paula

L+99

1072.- Hilouz-2

Graphos Verlag Vaduz / Silium, Paris

On request

On request

100

On request

On request

On request

80 x 70 cm

250

On request

1090.- Lapidaire-J

68 x 48 cm

100

On request

1091.- Metagalaxie

80 x 70 cm

250

Fall/Lahumiere/Silium Atelier, Paris

1092.- Kallion

98 x 67 cm

On request

1093.- Kwartz

76 x 52 cm

Fv51+40

1094.- Eridan-PV

37.5 x 29 cm

(4)

200

On request Sudwestfuunk.RFA / Imp. Zussau Galerie Der Spiegel, Cologne

<Serie Tsikos 1989> with collaboration of Frank Gallo. Printed on Cast paper (cotton fiber paper)

1095.- Tsikos-A

102 x 85 cm EA23+150

Circle Art Gallery/Silium, Paris

1096.- Tsikos-B

102 x 85 cm EA23+150

Circle Art Gallery/Silium, Paris

1097.- Tsikos-C

102 x 85 cm EA23+150

Circle Art Gallery/Silium, Paris

1098.- Tsikos-D

102 x 85 cm EA23+150

Circle Art Gallery/Silium, Paris

1099.- Tsikos-E

102 x 85 cm EA23+150

Circle Art Gallery/Silium, Paris

1074.- Vorosh Or

<Diptych> by Circle Fine Art Corporation, Chicago & New York. Embossed with Circle Fine Art logo

102 x 102cm

1100.- Zett

356

Circle Fine Art Corporation

Ed.300 + ap20 + hc4 + Fv30

80 x 132 cm

300

Circle Fine Art/Silium, Paris

69 x 49 cm

100

Serigraphie. Img size: 34.5x34.5cm

1103.- Etude de perspective-2 49 x 69 cm

On request

1101.- Xonau-2

(1)

1102.- Okta-Folklore

On request

1104.- Ondho-PV

37.5 x 29 cm

200

Galerie Der Spiegel, Cologne

1105.- Tridim-SS-2 (3)

49 x 68 cm

100

Certified Vasarely Museum, Budapest

(1) Published on Victor Vasarely A Retrospective Exhibition selections of 50 Years of Artistic Achievement. 1940`s to Present, Circle Gallery, 1990. (2) Christies, Sale 5327, Lot 114. 19 July 2007. (3) Ketterer Kunst, Sale 281, June 04-2003 (4) ArtCurial, Sale 2354, Lot. 7, 3-Aug-2013 1075.- Vorosh Arg

1073.- Kabba-II

Victor Vasarely

Plates ( numbered and signed by the Artist 1989 )

1076.- Zilver

1077- Fenyes

1078.- Japet BW/Blue

1079.- Okta Folklore D

1080.- Dorlak

1081.- YKA

Victor Vasarely

Plates ( numbered and signed by the Artist 1989 )

1082.- Ilile C 1990

1083.- Dyss

1084.- Pontos

1085.- Oslop

1086.- Try

1087.- Sziget

Victor Vasarely

1088.- Etude Profonde

1090.- Lapidaire-J

1092.- Kallion

Plates ( numbered and signed by the Artist 1989 )

1089.- Paula

1091.- Metagalaxie

1093.- Kwartz

Victor Vasarely

1094.- Eridan-PV

1096.- Tsikos-B

1098.- Tsikos-D

Plates ( numbered and signed by the Artist 1989 )

1095.- Tsikos-A

1097.- Tsikos-C

1099.- Tsikos-E

Victor Vasarely

Plates ( numbered and signed by the Artist 1989 )

1100.- Zett ( Diptych )

1101.- Xonau-2 ( Diptych )

1102.- Okta-Folklore

1103.- Etude de perspective-2

1104.- Ondho-PV

1105.- Tridim-SS-2 “Les Perspective”

Victor Vasarely Nº

Title

Plates ( numbered and signed by the Artist 1990 )

Dimensions Edition / Editor

1990

<Set Leopard> with collaboration of Frank Gallo. Embossed with Circle Fine Art logo & Frank Gallo

1106.- Leopard-1

(2)

78.7 x 99 cm

100

Circle Art Gallery

1107.- Leopard-2

(2)

78.7 x 99 cm

100

Circle Art Gallery

1108.- Leopard-3

(2)

78.7 x 99 cm

100

Circle Art Gallery

1109.- Leopard-4

(2)

78.7 x 99 cm

100

Circle Art Gallery

91.4 x 45.7 cm

200

Circle Art Gallery

1110.- Ustoek 1111.- Attika

(1)

104 x 76 cm

300

Circle Art Gallery

1112.- Oeroek A

(1)

29 x 16 cm

200

Circle Art Gallery

1113.- Oeroek B

(1)

29 x 16 cm

100

Circle Art Gallery

1114.- Test Tarka

(1)

75 x 65 cm

300

Circle Art Gallery

70 x 50 cm

FV60

Circle Art Gallery

1115.- Kaglo III 1116.- Ilile D

(1)

76 x 76 cm

EA50+300

Circle Art Gallery

1117.- Oetvoes

(1) (3)

81 x 76 cm

300

Circle Art Gallery

1118.- Vega-Cor

(1)

82 x 76 cm

FV35+300

Circle Art Gallery

79 x 76 cm

300

Circle Art Gallery

1119.- Rivotril

<Set Sinlag> with collaboration of Frank Gallo. Embossed with Circle Fine Art logo & Frank Gallo

1120.- Sinlag-1

(2)

76.5 x 77.3 cm

120

Circle Art Gallery

1121.- Sinlag-2

(2)

76.5 x 77.3 cm

120

Circle Art Gallery

1122.- Sinlag-3

(2)

76.5 x 77.3 cm

120

Circle Art Gallery

1123.- Sinlag-4

(2)

76.5 x 77.3 cm

120

Circle Art Gallery

1124.- Sinlag-5

(2)

76.5 x 77.3 cm

120

Circle Art Gallery

1125.- Remek

(1)

11.4 x 11.4 cm

175

Circle Art Gallery

(1) Mentioned on Victor Vasarely “A Retrospective Exhibition selections of 50 Years of Artistic Achievement”. 1940`s to Present, Circle Gallery, 1990. (2) Marked by Frank Gallo “Gallo” drystamp (3) Doyle, Sale 08DD02, Lot. 1016, 08-Oct-2008

Circle Fine Art In 1990, Vasarely attended the openings of two major retrospective exhibitions at Circle Gallery-Soho, New York, and Circle Gallery, Chicago. In 1990, the artist again visited the United States for the openings of significant retrospective exhibitions at Circle Gallery, Beverly Hills, San Diego, San Francisco and New York. “Leopard” (also with the cooperation of Frank Gallo) is a serie of Vasarely’s rarer subjects and in this colour combination even more so. Vasarely’s work has been incredibly influenced by the cognition that “pure form and pure colour can signify the world”, a thought that changed his whole manner of painting. The animal is painted in clear lines and only few colours, but his grace and power are left untouched by this reduction. The power of the composition make it easy to see why Vasarely is known as the founder of the Op-Art Movement whose visual concept is taken from the ideas of the German Bauhaus and the Russian Constructivism. “Sinlag” is a serie of works of seven colors variations of cast paper relief multiples. Vasarely`s editions in cast paper were a collaboration between Victor Vasarely and the renown sculptor and hand-made paper master Frank Gallo. They were created using the traditional techniques of western papermaking combined with new and innovative modern applications of color. Very fine pigmented pulps were developed specifically for each edition.

En 1990, Vasarely a assisté aux ouvertures de deux grandes expositions rétrospectives au Circle Gallery-Soho, New York, et Circle Gallery, Chicago. En 1990, l'artiste a visité de nouveau les États-Unis pour les ouvertures d'expositions rétrospectives importantes à la Circle Gallery, Beverly Hills, San Diego, San Francisco et New York. “Leau" (également avec la collaboration de Frank Gallo) est une série de sujets plus rares de Vasarely et cette combinaison de couleurs encore plus. Le travail de Vasarely a été incroyablement influencé par la connaissance que «la forme pure et la couleur pure peuvent signifier le monde», une pensée qui a changé toute sa manière de peindre. L'animal est peint en lignes claires et seulement peu de couleurs, mais sa grâce et la puissance sont laissé intact par cette réduction. La puissance de la composition, il est facile de voir pourquoi Vasarely est connu comme le fondateur de l'Op-Art Mouvement dont le concept visuel est pris dans les idées du German Bauhaus et le Russian Constructivism. “Sinlag" est une série d'œuvres de sept variations de couleurs de casting multiples de secours de papier. Vasarely`s éditions en papier couché étaient une collaboration entre Victor Vasarely et le sculpteur de renommée et le maître de papier à la main Frank Gallo. Ils ont été créés en utilisant les techniques traditionnelles de fabrication du papier ouest combinés avec de nouveaux et innovateurs applications modernes de couleur. Très fines pâtes pigmentaires ont été développés spécifiquement pour chaque édition.

Details of Stamp of Frank Gallo

1106.- Leopard-1 “Leau-1”

253

1107.- Leopard-2 “Leau-2”

Victor Vasarely

1108.- Leopard-3 “Leau-3”

1110.- Ustoek

1112.- Oeroek A

Plates ( numbered and signed by the Artist 1990 )

1109.- Leopard-4 “Leau-4”

1111.- Attika

1113.- Oeroek B

254

Victor Vasarely

1114.- Test Tarka

255

Plates ( numbered and signed by the Artist 1990 )

1115.- Kaglo III

1116.- Ilile D

1117.- Oetvoes

1118.- Vega-Cor

1119.- Rivotril

Victor Vasarely

Plates ( numbered and signed by the Artist 1990 )

1120.- Sinlag-1

1121.- Sinlag-2

1122.- Sinlag-3

1123.- Sinlag-4

1124.- Sinlag-5

1125.- Remek

256

Victor Vasarely Nº

Title

1126.- Lator

Plates ( numbered and signed by the Artist 1991 )

Dimensions Edition / Editor (1)

102 x 99 cm

1991

300

Circle Art Gallery/Silium, Paris

1127.- Biga 1

40 x 40 cm

EA20+100

Circle Art Gallery/Silium, Paris

1128.- Biga 2

40 x 40 cm

EA20+100

Circle Art Gallery/Silium, Paris

1129.- Biga 3

40 x 40 cm

EA20+100

Circle Art Gallery/Silium, Paris

1130.- Tsiga 1

40 x 40 cm

EA20+100

Circle Art Gallery/Silium, Paris

1131.- Tsiga 2

40 x 40 cm

EA20+100

Circle Art Gallery/Silium, Paris

1132.- Tsiga 3

40 x 40 cm

EA20+100

Circle Art Gallery/Silium, Paris

Signed in pencil and numbered on hand by the artist at his studio in Anette Sur Marne, France, To the 1 to 100 (20 artist´s proofs annotated “EA” and numbered, also exist). Created by Silium Atelier,París, France. This is a serie of six editions produced from the same screens. Each edition, with different color combinations, is a numbered edition of 100, plus proofs. Three editions are titled “Biga” and are predominately yellow/orange. Three editions are titled “Tsiga” and are predominately Lilac. 1126.- Lator (1) Mentioned on Victor Vasarely A Retrospective Exhibition selections of 50 Years of Artistic Achievement. 1940`s to Present, Circle Gallery.

1127.- Biga I

1128.- Biga II

1129.- Biga III

1130.- Tsiga I

1131.- Tsiga II

1132.- Tsiga III

257

Vasarely, at his Atelier. Arcueil, 1948

Victor Vasarely Nº

Title

Artist`s Collection I (signed by Vasarely)

Dimensions Edition / Editor

1133.- Kass MC ea10+FV55+250 (1) (1970) 90 x 84cm 70 x 70 cm LXIX+FV48+150 1134.- CTA-102-C-Or 1135.- Zett KSZ XL+FV77+150 (2) 1965 68 x 68 cm 37 x 25 cm 200 1136.- Chillan 38 x 28 cm 1137.- Kantara On request (100) 1138.- IliLe NB 1965 70 x 50 cm 1139.- Eridan NB 1966 80x50 cm On request 42 x 35 cm 1140.- Kiruana On request 500 1141.- Teke (1956-60) 30 x 21.5 cm 150 1142.- Japet BW 1989 38 x 28 cm 1143.- Japet B/Y FV30+150 1989 38 x 28 cm 300 1144.- Manhattan 1979 90 x 79cm 70x50cm 1145.- Mundiali 90 ea+XX 180 1146.- Kaba 1979 40 x 30cm 1147.- Vega Sakk-2 1965 54.5 x 54.5 On request 60x49.5cm 1148.- Tecoma ea25 11 x 10 cm 1149.- Kandahar-2 Silur On request 38 x 30cm 1150.- Mènerbes II On request 1151.- Eridan Rouge (3) 1956-64 28 x 28 cm FV26 79 x 76cm 300 1152.- Mokus 71 x 55 cm 1153.- Vonal G On request 74 x 62 cm XXV+FV92+150 1154.- Zaphir 69 x 49 cm 230 1155.- Noorum 60.5 x 53 cm 165 1156.- Carnegie 100 1157.- Quadrature X (blanc) 79 x 79 cm 100 1158.- Quadrature X (jaune) 79 x 79 cm 100 1159.- Quadrature X (violet) 79 x 79 cm 70 x 59 cm 1160.- Eridan Arg On request 29.5 x 50 cm 250 1161.- Tri-Axo II 90 x 75 cm 270 1162.- Los Angeles Arg 45x40cm 375 1162.- Sancton 63 x 58cm 300 1164.- UJ Villag 81.2 x 68.5 cm 300 1165.- Tridos II 60 x 45 cm 200 1166.- Monaco On request 1167.- Akos G On request 69 x 50cm 1168.- Jenge FV30 75x75cm 75 1169.- Domb-A 38.5x93 cm 1170.- Cassiopée III On request 33 x 28 cm 1171.- Ibadan-2 On request 61 x 107 1172.- Kiu-Siu I (4) 1972 Limited 65 x 62cm 125 1173.- Kiu Siu II 38 x 30 cm 1174.- Kiu-Siu MC FV38+200 65 x 50cm 1175.- Kiu Siu Bleu FV28+150 66 x 41cm 150 1176.- Fomspiel 47 x 30 cm 100 1177.- Beryll-2 On request 1178.- Axos II On request 70 x 70 cm 150 1179.- CTA-102-C 25 x 24.5cm 1180.- CTA-Pan ea30+100 21.5 x 12.5 cm 150 1181.- Tihagn 50 x 50 cm 250 1182.- Fekete Sarga 64 x 64 cm 1183.- Sikra Z On request 18.5x18cm 90 1184.- Sir Ris Green 78 x 69 cm 1185.- Lapidaire-1 On request 29 x 20.5cm 1186.- Sofia On request 200 1187.- Affiche avant la lettre 79 45 x 33cm 200 1188.- Affiche avant la lettre 61 70 x 60cm 60 x 40 cm 1189.- Cythare ea+FV75 41 x 41cm 1190.- QV-II ea25+100 41 x 41cm 1191.- QV-V ea25+100 59 x 59 cm 250 1192.- Kezdi-Blue 200 1193.- Parmenide II (Silver) 62 x 52 cm 48 x 39 cm 1194.- Marsan-3 XC 66 x 47 cm 1195.- Mimas XX 78 x 76 cm 300 1196.- Bull X-2 On request 1197.- Oltatlo On request 70 x 60 cm 150 1198.- Vega-EG 72 x 62cm 250 1199.- Koska MC-A 58.5 x 58.5 cm 1200.- Lynt (5) On request On request 1201.- Diorre Gris On request 66.5 x 66.5cm 1202.- Planetary Folklore On request

Vasarely Center,NY / Silium,París Denise René / At. Arcay, París Denise René / At. Arcay, París D.R./Galerie Der Spiegel, Cologne On request Depot of Genova On request On request D.R./Galerie Der Spiegel, Cologne On request On request Nicolas Helión / At, Arcay, París On request On request Edition Kröller Müller On request On request On request Fondation Vasarely Gordes On request On request Denise René / At. Arcay. París Denise René / At. Arcay. París On request Denise René / At. Arcay. París Denise René / At. Arcay. París Denise René / At. Arcay. París On request On request Helion, / Sillium, Paris

1133.- Kass MC “Rhythm”

Martín Blinder,California/At.Arcay,París

On request On request On request On request On request On request On request On request New York Graphic Society LTD. Der Spiegel,Cologne/Domberger,Stuttgart

Galerie Der Spiegel, Cologne On request On request On request On request Denise René, París / At. Arcay Mme Pan-Kastler / At.Silium,París Fata Morgana / At. Arcay On request On request Denise René, París / At. Arcay On request On request

1134.- CTA-102-C-Or

Fondation Vasarely,Aix/At.Silium,Paris

Le Point Cardinal On request On request On request On request On request On request On request Vasarely Centre / Zussau-Silium On request George Falls, París Fondation Vasarely Published by Prent 190 On request On request

(1) Serigraph on heavy woven paper, Cornell University Collection, New York. (2) Leclere, Sale Fondation Vasarely, Lot. 98, 28-Sept-2011, Aix-en-Provence. (3) Leclere, Sale Fondation Vasarely, Lot. 24, 28-Sept-20111, Aix-en-Provence. (4) Philadelphia Museum Collection, Cat. 9978, Printed in United States. (5) Bubb Kuyper Auctions, Sale Estampes, Lot. 4380, 23-Nov-2017, Netherlands.

1135.- Zett KSZ (bleu)

Victor Vasarely

Artist`s Collection I (signed by Vasarely)

Victor Vasarely with some serigraphs mounted on wall,left to rigth: Majus 1973, Geymant-A 1973, Marsan 1967, Kallion 1989, Kass MC cr.1970.

1136.- Chillan

1137.- Kantara

1139.- Eridan NB

1140.- Kiruana “Kiruna”

This poster was printed from Tridim May serigraph to make the of the “Expo 79 - Art Basel 10 '79” which is celebrated on Basel which is among the most important cultural centres of Switzerland.

1138.- ILiLe-NB

1141.- Teke

Victor Vasarely

1142.- Japet BW

1145.- Mundiali 90

1148.- Tecoma

Artist`s Collection I (signed by Vasarely)

1143.- Japet B/Y

1146- Kaba

1149.- Kandahar-2 Silur

1144.- Manhattan

1147.- Vega Sakk-2

1150.- MĂŠnerbes II

Victor Vasarely

1151.- Eridan Rouge

1154.- Zaphir

1157.- Quadrature (f. jaune)

Artist`s Collection I (signed by Vasarely)

1152.- Mokus

1155.- Noorum

1158.- Quadrature (f. blanc)

1153.- Vonal G

1156.- Carnegie

1159.- Quadrature (f.violet)

Victor Vasarely

Artist`s Collection I (signed by Vasarely)

1160.- Eridan Arg

1161.- Tri-Axo II

1162.- Los Angeles (Fond Argent)

1163.- Sancton

1164.- UJ Villag

1165.- Tridos II

1166.- Monaco

1167.- Akos G

1168.- Jenge

Victor Vasarely

1169.- Domb-A

Artist`s Collection I (signed by Vasarely)

1170.- CassiopĂŠe III

1171.- Ibadan-2

1174.- Kiu-Siu MC

1175.- Kiu Siu Bleu

1172.- Kiu-Siu I

1173.- Kiu Siu II

Victor Vasarely

1176.- Fomspiel

Artist`s Collection I (signed by Vasarely)

1177.- Beryll-2

1178.- Axos II

1179.- CTA-102-C

1180.- CTA-Pan

1181.- Tihagn

1182.- Fekete Sarga

Victor Vasarely

Artist`s Collection I (signed by Vasarely)

1183.- Sikra Z

1184.- Sir Ris Green

1185.- Lapidaire-1 “Affiche Avant la Lettre�

1186.- Sofia

1187.- Affiche avant la lettre 79

1188.- Le Point Cardinal

1189.- Cythare

Victor Vasarely

1190.- QV-II

1193.- Parmenide II (Silver)

1195.- Mimas 2

Artist`s Collection I (signed by Vasarely)

1191.- QV-V

1192.- Kezdi-Blue

1194.- Marsan-3

1196.- Bull X-2

Victor Vasarely

1197.- Oltatlo

Artist`s Collection I (signed by Vasarely)

1198.- Vega-EG

1200.- Lynt 1199.- Koska MC

1201.- Diorre Gris

1202.- Planetary Folklore

Victor Vasarely Nº

Title

Artist`s Collection II (signed by Vasarely)

Dimensions Edition / Editor

1203.- Etude en Bleu

(1940) (1)

59.5x55cm

FV69+135

On request (Litho)

1204.- Étude Linéaire (1935)

56 x 76cm

140

Nicolas Fauche, París (Litho)

1205.- Multizebres

76x56cm

250

On request

1206.- Zèbre Collection

15x20cm

175

On request

1207.- Zèbre

47.5x47cm

90

On request

1208.- Vascoeuil

43.5 x 32.5cm

On request

On request

1209.- Basse-Cour

48 x 50cm

204

Vasarely Center,N.Y. /Silium,París

1210.- Echecs Gray

45 x 40 cm

150

Bale, George Fall

1211.- Cooling Tower

52 x 33 cm

On request

1212.- Kapouch

62 x 40 cm

100

Galerie Börjesson, Malmö

1213.- Foot

62 x 40 cm

100

Galerie Börjesson, Malmö

(1) Kâ-Mondo, Sale Illustrés Modernes, Lot. 303, 17-Nov-2017, Paris.

1204.- Etude Linéaire

1206.- Zebra Collection

On request

1203.- Etude Bleu (Litho)

1205.- Multizebres

1207.- Zebra

Victor Vasarely

1208.- Vascoeuil

1210.- Echecs Gray

1212.- Kapouch

Artist`s Collection II (signed by Vasarely)

1209.- Basse-cour “Farmyard” (Etude de mouvement)

1211.- Cooling Tower

1213.- Foot

Victor Vasarely Nº

Title

(1929-1986)

Dimensions Year / Editor

1213.- Athenaeum Almanachja 17.4 x 11.4cm 1214.- Athenaeum Almanachja 18.5 x 12.6cm 1215.- La Tetine Alpha 39 x 30 cm 1216.- Artin Mitin (gouche) 59.7 x 40 cm 1217.- Domeny La Lorraine 99 x 60 cm 1218.- Hungarian indep. mov. On request 1219.- Some aspects of painting 1220.- Air France 99 x 61cm 1221.- Tapisserie Aubusson 1222.- Elements Plast. Cinet. 1223.- Galerie Denise Rene 1224.- Les Editions D. René 53 x 38 cm 1225.- Musee Arts Decoratif 79 x 58 cm 1226.- Le Point Cardinale On request 1227.- Planetarische Folk. 76 x 52 cm 1228.- G. Der Spiegel Koln 78 x 74cm 1229.- Sidney Janis 72 x 56cm 1230.- Galerie Wilbrand 66 x 45 cm 1231.- Gallery Denise René 74 x 62 cm 1232.- Gallerie Aktuell Vasarely 100 x 50 cm 1233.- G. Wilbrand Münster 80 x 65 cm 1234.- Arny 86 x 60 cm 1235.- Tokyo Biennale 74 x 51 cm 1236.- Galerie Esslingen 77 x 94 cm 1237.- London Art Gallery 90 x 50 cm 1238.- Vasarely-Hayler 63.5x45.7cm 1239.- Keple Gestalt 84 x 59 cm 1240.- L´Art Vivant 1965-1968 71.5 x 40cm 1241.- Journée des Intellecuels 59 x 38 cm 1242.- Tridem K 68.5 x 56 cm 1243.- Planet. Folk.-Spielobjekt 90 x 66 cm 1244.- Kiallitas, Mücsarnok 82 x 59 cm 1245.- Gallery Möllenhoff 72 x 51 cm 1246.- Pittsburgh International 84 x 61cm 1247.- Vision Nouvelle 61 x 41 cm 1248.- Galerie Commeter 119 x 42 cm 1249.- G. Denise René 94 x 63.5cm 1250.- Vasarely 2 decades 96 x 60 cm 1251.- Munich 1972 101 x 63.5 cm 1252.- Duo Exhibition 96 x 65 cm 1253.- Galerie Pudelko 70 x 50 cm 1254.- Vasarely Multiples 85 x 56 cm 1255.- Gallerie Christoph Dürr 85 x 59 cm 1256.- Hommage a Vasarely 60 x 42 cm 1257.- Histoire Uni. París 70 x 50cm 1258.- Vasarely Farbwelt 82.5 x 58 cm 1259.- Galerie Denise René 55 x 38 cm 1260.- Affiche Sandor Petofi 1261.- Gallery Moos 53 x 40 cm 1262.- Affiche Aix en Prov. 62 x 45 cm 1263.- The Tel Aviv Museum 68 x 49 cm 1264.- Galerie Denise René 60 x 42 cm 1265.- Vasarely Muzeum 81 x 57 cm 1266.- Fondation Vasarely II 45 x 33 cm 1267.- Art 88 ´77 Basel 96.5 x 63.5cm 1268.- V. Vasarely 84 x 59 cm 1269.- Vasarely Musee Postal 1270.- Art 9 ´78 Basel 95 x 67 cm 1271.- Junior Galerie Goslar 84 x 59.5cm 1272.- Major Exhibition Vasarely 79 x 61 cm 1273.- NB22 Caope 71.2 x 59 cm 1274.- Victor Vasarely 75 x 60 cm 1275.- Galerie Holtmann 84 x 60 cm 1276.- Malmö Konsthall Hall 100 x 70 cm 1277.- Pécsi Vasarely Múzeum 84 x 55 cm 1278.- Okta Expo Art Basel 95 x 63.5 cm 1279.- Echecs fond Bleu 63.5 x 39 cm 1280.- Echecs fond Rouge 63.5 x 39 cm 1281.- Musee Didactique 60 x 34 cm 1282.- Winter Games Sarajevo 92 x 61 cm 1283.- Artcurial `84 42 x 30 cm 1284.- Vega 222 49.5x49.5cm 1285.- Then and Now 75 x 57 cm 1286.- VP-III Galerie Börjeson 88 x 70 cm 1287.- Nobel-3 Galerie Börjeson 88 x 70 cm 1288.- Nobel-5 Galerie Börjeson 88 x 70 cm 1289.- Nobel-6 Galerie Börjeson 88 x 70 cm 1290.- Velta-2 Galerie Börjeson 88 x 70 cm 1291.- Louisana-6 Galerie Börjeson 88 x 70 cm 1292.- Vasarely Exhibition 62 x 42 cm 1293.- Tapisseries Recents 83 x 65 cm 1294.- La Maison Lithographie 76 x 59 cm

271

Posters I 1929 1930 1932 1938 1938 1946 1949 c.1950 1952 1955 1959 1961 1963 1964 1965 1966 1966 1966 1966 1966 1967 1967 1967 1967 1968 1968 1968 1968 1968 1968 1969 1969 1969 1970 1970 1970 1971 1971 1972 1972 1972 1972 1972 1972 1973 1973 1973 1973 1975 1976 1976 1976 1976 1976 1977 1977 1977 1978 1978 1978 1979 1979 1980 1980 1981 1982 1983 1983 1984 1984 1984 1985 1985 1985 1985 1985 1985 1985 1985 1985 1967 1986

Budapest, Athenaeum Budapest, Athenaeum Photomontage and gouache maquette Victor Vasarely/ Advertising Graphics Color Poster signed / Printed in France Document Hungarian Independence, Paris Galerie Denise René, París Printer by Percerval, París Galerie Denise René, Jun-Jul 1952 Galerie Denise Rene Nov-Dec 1955 Galerie Denise Rene Nov-Dec 1959 Galerie Denise René, 1961 Museum of Decorative Arts On request Alecto London, Printed HMSO, May 1965 Galerie Der Spiegel Koln Sidney Janis Gallery, New York Galerie Wilbrand, Germany Galerie Denise René, Jun-Jul 1961 Peter Mergert SWB / Albin Uldry Bern Galerie Wilbrand Münster Kirchstrasse Tokyo Biennale 1987 Galerie Esslingen, Sept-Oct-Nov 1967 London Arts Gallery Poster Author: Arthur Boden Josef Albers Museum Fondation Maeght, Saint Paul, Apr-Jun 1968 I.C.S. London Galerie Thomas, Germany Kiallitas, Mücsarnok, Budapest Gallery Möllenhoff Koln, Nov-Dec 1969 Museum of Art, Carnegie Institute Kanta et Iboya occasion Galerie Commeter, Hamburg Galerie Denise René Jun-Jul Galerie Denise René, París Poster for Munich Olympics 1972 Galerie Denise René / Sidney Janis Galerie Pudelko, Sept-Oct 1972 Galerie Denise René, París Galerie Christoph Dürr Chateau de Rochechouart en Limousin Bauhaus Studio Bruckmann, Munchen Galerie Denise Rene, Nov 1973 Affiche Aniversary born Sàndor Petofi Gallery Moos, Toronto Fondation Vasarely Tel Aviv Museum Galerie Denise Rene, Mar. 1976 Pecs, Kaptalan Fondation Vasarely, Aix en Provence HMK Fine Arts Inc Kultur Forum / Institut Français Maison de la Poste et de la Philatelie George Fall / Sillium, París on request Nahan Galleries, New Orleans Poster Haddad`s Fine Art, Anaheim Domberger Siebdruck, Stuttgart / Signed Malmo Konsthal Exhibition Hall, Sweden Vasarely Museum / Renowned Zebra Expo Art 13 Basel 1982 Expo Art 14 Basel 1983 Expo Art 14 Basel 1983 Chateau de Gordes Poster for Sarajevo Olympics Winter 1984 München-Düsseldorf , Oct-Dec 1984 Gene Mako Galleries, USA / Signed Exhibition Poster Circle Gallery Galerie Börjeson, Malmö, Sweden Galerie Börjeson, Malmö, Sweden Galerie Börjeson, Malmö, Sweden Galerie Börjeson, Malmö, Sweden Galerie Börjeson, Malmö, Sweden Galerie Börjeson, Malmö, Sweden Artco-France / P.S.C. Musee des Arts Decoratifs La Maison Lithographie, Apr-May 1986

1213.- Athenaeum Almanachja 1930

1214.- Athenaeum Almanachja 1931

1215.- La Tetine Alpha

Victor Vasarely

1216.- Artin Mitin

1219.- Some aspects of this painting

1222.- Les Elements de la Plastique Cinétique

Posters I

1217.- Domeny La Lorraine

1220.- Air France Amérique du Sud

1223.- Denise Rene Galerie Nov-Dec 1959

(1929-1986)

1218.- Hungarian independence Movement in París

1221.- Tapisseries D`Aubusson

1224.- Les Editions Denise René

272

Victor Vasarely

1225.- Musee des Arts Decoratif

1226.- Le Point Cardinal

1229.- Vasarely Sidney

273

Posters I

(1929-1986)

Opening Vasarely exhibition, June-July 1966. Ms. Denise Rene on front.

1227.- Planetarische Folklore

1230.- Galerie Wilbrand

1228.- Galerie Der Spiegel Koln

1231.- Galerie Denise RenĂŠ `66

Victor Vasarely

1232.- Galerie Aktuell 1966

1235.- Tokyo Biennale

1238.- Vasarely - Hayler

Posters I

1233.- Galerie Wilbrand MĂźnster

1236.- Galerie Esslingen 1967

1239.- Keple Gestalt

(1929-1986)

1234.- Arny

1237.- London Art Gallery

1240.- L´Art Vivant

274

Victor Vasarely

1241.- Journee des intellectuels

1244.- Kiallitas, Mücsarnok, Budapest

1247.- Vision Nouvelle Kanta et Iboya

275

Posters I

1242.- Tridem K

1245.- Galerie Möllenhoff

1248.- Galerie Commeter

(1929-1986)

1243.- Planetarishche Folklore-Spielobjekt

1246.- 1970` Pittsburgh International

1249.- Galerie Denise René

Victor Vasarely

1250.- Vasarely 2 Decades originals graphics

1253.- Galerie Pudelko

1256.- Hommage to Vasarely

Posters I

1251.- Olympische Spiele München 1972

1254.- Vasarely Multiples

1257.- Histoire de L`Université de Paris

(1929-1986)

1252.- Duo Exhibition

1255.- Galerie Christoph Dürr

1258.- Vasarely Farbwelt Folklore Planetaire

276

Victor Vasarely

1259.- Galerie Denise René ´73

1262.- Affiche Aix en Provence

1265.- Vasarely Muzeum

277

Posters I

1260.- Affiche Sándor Petofi

1263.- Tel Aviv Museum

1266.- Fondation Vasarely II

(1929-1986)

1261.- Gallery Moos

1264.- Galerie Denise René `76

1267.- Art 8 `77 Basel

Victor Vasarely

1268.- Kultur Forum

Posters I

1269.- Musee Postal

1271.- Junior Galerie Goslar

1272.- Nahan Galleries

1274.- Victor Vasarely Exhibition

1275.- Galerie Holtmann

(1929-1986)

1270.- Art 9 ´78 Basel

1273.- NB22 Caope

1276.- MalmĂś Konsthall `80

278

Victor Vasarely

1277.- Pécsi Vasarely Múzeum

1280.- Expo Art 14 Basel 83

1283.- Artcurial München & Düsseldorf `84

279

Posters I

1278.- Expo Art 13 Basel 82

1281.- Musee Didactique Vasarely

1284.- Vega 222

(1929-1986)

1279.- Expo Art 14 Basel 83

1282.- XIV Olympic Winter Games, Sarajevo

1285.- Then and Now

Victor Vasarely

Posters I

1286.- VP-III Galerie Börjeson

1287.- Nobel-3 Galerie Börjeson

1289.- Nobel-6 Galerie Börjeson

1290.- Nobel-5 Galerie Börjeson

1292.- Vasarely Exhibition

1293.- Vasarely Tapisseries Recentes

(1929-1986)

1288.- Velta-2 Galerie Börjeson

1291.- Nobel-6 Galerie Börjeson

1294.- La Maison de la Lithographie

280

Victor Vasarely Nº

Title

Posters II

Dimensions Year / Editor 59 x 42 cm 61 x 91 cm

1987 1988

Siebdruck, Ratisbona, Germany Poster for Seoul Olympics 1988

1297.- Artcurial `88 42 x 30 cm 1298.- Golf 19º Trophee Lancome 71 x 49 cm

1988 1988

München, Feb-Apr 1988 Galeries Lafayette

1299.- Art Jonction Inter. 1300.- G. Pictual Monte Carlo

78 x 75cm 60 x 60 cm

1989 1997

Poster Galerie Leiris / Imp. GS Monaco

1301.- Pop-Up Op-Art 30 x 21 cm 1302.- Modern Masters Gallery 86 x 56 cm

2014

Phillipe UG Modern Master Gallery, Los Angeles

1303.- Zebres 1304.- Rupertinum Salzburg

1987 1995

Galerie Börjesson, Malmö Vasarely-Museum Budapest

1305.- Zebres (Blanc) 1305b.- Zebres (Noir)

1996 1996

Galerie Pascal Lainé / Gordes Galerie Pascal Lainé / Gordes

1306.- Permanence 1307.- Permanence

1997 1999

Galerie Pascal Lainé / Gordes Galerie Pascal Lainé / Gordes

1308.- Manipur (Blanc) 1309.- Manipur (Noir) 1310.- Collection B&W / Colors 60 x 40 cm

2003 2003 2004

Galerie Pascal Lainé Galerie Pascal Lainé Tappiserie Aubusson / Chateau Felletin

1295.- Kunstkabinett 1296.- Hexa 5

55 x 69 cm 84 x 60 cm

1296.- Hexa 5 (Seoul Olimpiad)

1299.- Art Jonction International

281

(1987-2004)

1297.- Artcurial München ´88

1300.- Galerie Pictural Monte Carlo

1295.- Kunstkabinett

1298.- Golf 19º Trophee Lancome

1301.- Pop-Up Op-Art

Victor Vasarely

1302.- Modern Masters Gallery

1305.- Zebre Blanc

1308.- Galerie Pascal Laine 2003 Blanc

Posters II (1929-2004)

1303.-Vasarely Bรถrjeson Mars 7-April 30 1987

1305b.- Zebre Black

1306.-Permanence I

1309.-Galerie Pascal Laine 2003 Noir

1304.-Museum Budapest

1307.- Permanence II

1310.- Collection B&W and Colors

282

Victor Vasarely

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Nº Title

Dimensions Year / Editor

1311.- World House Galleries

30 x 22 cm

1961

World House Gallery, New York

1312.- Vasarely Center Le Chat 14 x 10 cm

1983

Vasarely Center, New York

1313.- Original Print Collector`s 15 x 13 cm

1978

Original Print Collector`s Group, LTD

1314.- Clemens-Sels Museum 29 x 11 cm

1964

Druckgraphik Clemens-Sels Museum

1315.- Lumley Cazalet, LTD

14 x 11 cm

1971

Lumlye Cazalet, LTD, London

1316.- Arras Gallery LTD

30 x 22.8 cm

1970

Arras Gallery LTD, New York

1317.- Multiples and Originals 30 x 22 cm

1969

The Pollock Gallery, Toronto

1318.- Trois Anges LTD

30 x 22 cm

1969

Trois Anges LTD, New York

1319.- Kennedy Graphics I 1320.- Kennedy Graphics II

30 x 22 cm 33 x 25 cm

1971 1972

Kennedy Graphics, New York Kennedy Graphics, New York

1321.- Denise Rene Gallery `71 15 x 21 cm

1971

Denise Rene Gallery, París

1322.- Nabis Fine Art “Bach”

30 x 22 cm

1973

Nabis Fine Art, New York / Bach portfolio

1323.- Cecile Gallery

28.5 x 22 cm

1978

Cecile Gallery, New York

1324.- Hilton Fine Arts LTD

28 x 20 cm

1979

Hilton Fine Arts LTD, New York

1325.- Associated American Art. 13 x 11 cm

1997

Associated American Artists, New York

1326.- Contemporary Art Masters I 29 x 21 cm 1327.- Contemporary Art Masters II 29 x 21 cm

1980 1980

Contemporary Art Masters, New York Contemporary Art Masters, New York

1328.- Peterson Fine Art I 1329.- Peterson Fine Art II

14 x 10 cm 14 x 10 cm

1978 1975

Peterson Fine Art, Minneapolis/Toronto/Scottsdale Peterson Fine Art, Minneapolis/Toronto/Scottsdale

1330.- American Desing LTD

28 x 20 cm

1981

American Design LTD, Denver

1331.- Mark Hachem Gallery

13 x 11 cm

2007

Mark Hachem Gallery, Paris & NewYork

1332.- Holsten Gallery

28 x 21 cm

1985

Holsten Gallery, Florida

1333.- YMS LTD

14 x 10 cm

1983

YMS LTD, Illinois

1334.- International Fine Art

28.5 x 21 cm

1977

International Fine Art LTD, Florida

1335.- Denise Rene Gallery `64 15 x 22 cm 1336.- Denise Rene Gallery `66 15 x 22 cm 30 x 22 cm 1337.- Denise Rene `72

1964 1966 1971

Denise Rene Gallery, París Denise Rene Gallery, París Denise Rene, París

1338.- Vasarely Center

14 x 21 cm

1979

Vasarely Center, New York

1339.- Arras Gallery II

29 x 11 cm

1971

Arras Gallery, New York

1340.- Nahan Gallery

27 x 10 cm

1978

Nahan Gallery, Louisiana

1341.- Naples Museum of Art

27 x 10 cm

2005

Naples Museum of Art, Florida

1342.- Robinson Graphics

15 x 21 cm

1972

Robinsin Graphics Olympic Art, Houston

1313.- Original Print Collectors Group, LTD

283

1314.- Druckgraphik Clemens-Sels Museum

1315.- Lumley Cazalet, LTD

1311.- World House Galleries

1312.- Vasarely Center

1316.- Arras Gallery LTD

Victor Vasarely

1317.- The Pollock Gallery “Multiples and Originals”

1320.- Kennedy Graphics Olympic Art II

1323.- Cecile Gallery

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1318.- Trois Anges, LTD

1321.- Denise Rene Editions

1324.- Hilton Fine Arts LTD

1319.- Kennedy Graphics Olympic Art I

1322.- Nabis Fine Art

1325.- Associated American Artists

284

Victor Vasarely

1326.- Contemporary Art Masters

1329.- Peterson Fine Art II

1332.- Holsten Galleries

285

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1327.- Contemporary Art Masters II

1328.- Peterson Fine Art I

1330.- American Desing LTD

1331.- Mark Hachem Gallery

1333.- YMS LTD

1334.- International Fine Art LTD

Victor Vasarely

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1336.- Denise Rene Gallery 1966

1335.- Denise Rene Gallery 1964

1338.- Vasarely Center

1337.- Denise Rene Gallery `71

1339.- Arras Gallery

1340.- Nahan Gallery

1341.- Naples Museum of Art

1342.- Robinson Graphics Olympic Art

286

Victor Vasarely Nº

Title

Postal

Dimensions Year / Editor

<< Postage Stamp >> 1970-77

Postage Stamp of France

1344.- Post Stamp Vega-Sakk 4 x 3 cm

1979

Postage Stamp of Hungary

4 x 3 cm

1970

Postage Stamp of Romania

1346.- Post Stamp Unit. Nations 4 x 3 cm

1986

Postage Stamp of Germany

1347.- Post Stamp Relat. Publiq. 4 x 3 cm

1980

Postage Stamp of France

<< Premier Jour Oeuvre Original de Vasarely >> 12 x 21 cm 1348.- Postcard A 12 x 21 cm 1349.- Postcard B 12 x 21 cm 1350.- Postcard C 12 x 21 cm 1351.- Postcard D

1977 1977 1977 1977

Postcard Postcard Postcard Postcard

1352.- Postcard “Cheyt-G”

21 x 12 cm

1987

Postcard Signed by Vasarely. Piece of 1970

1353.- Postcard “Monaco”

21 x 12 cm

1982

Foundation Vasarely

1354.- Postcard “Relat. Pub.” 21 x 12 cm

1980

Edition: 33.800 exemp. 20.300 offset-13.500 on paper

1977

Master Fine Arts

1985

40th Anniversary of United Nations

1343.- Post Stamp Tetcye

1345.- Post Stamp UNESCO

4 x 3 cm

<< Postcards >>

1355.- Postcard “Sinfel”

18 x 8 cm

1356.- Postcard “40th Ann. UN” 15.8 x 10cm

1344.- Postage stamp Vega-Sakk

1346.- Postage stamp “United Nations”

287

1343.- Postage stamp Tetcye “Hommage to Hexagone”

1345.- Postage stamp UNESCO Education Year Romania

1347.- Postage stamp “Relations Publiques”

Victor Vasarely

Postal

1348.- Postcard A “Premier Jour Oeuvre Originale de Vasarely”

1349.- Postcard B “Premier Jour Oeuvre Originale de Vasarely”

1350.- Postcard C “Premier Jour Oeuvre Originale de Vasarely”

1351.- Postcard D “Premier Jour Oeuvre Originale de Vasarely” 1352.- Postcard “Cheyt-G”

1353.- Postcard “Monaco”

1354.- Postcard “Relations Publiques”

1355.- Postcard “Sinfel”

1356.- Postcard “40th Anniversary of Untied Nations””

288

Victor Vasarely

Ilimited editions du Griffon

Portfolio << Ilimited Editions >>

Éditions Ilimited du Griffon

The art of Victor Vasarely, "Father of Op-Art", is so singular, so new that the artist has created a name defining it: "KINETIC PLASTIC". This term sums up everything: the creation of plastic beauty, more dynamic representation of the Movement makes "dance forms, and the work as a whole" ...

L’art de Victor Vasarely, "Pape de l’Op-Art", est si singulier, si neuf, que l’artiste a créé un nom le définissant :« LA PLASTIQUE CINÉTIQUE ». Ce terme résume tout : la création de beautés plastiques, plus la représentation du Mouvement dynamique qui fait « danser les formes, et l’œuvre dans son ensemble »...

Know the most famous pieces of Vasarely, discovering the totality of his work, watching the fine details, the creations & many innovations, we suddenly understands the insane variety of creativity, the sophistication of its aesthetic views, mathematical madness & graphic increased to its highest ...

Connaître les pièces les plus connues de Vasarely, Découvrant la globalité de son œuvre, observant les détails fins, les créations & innovations multiples, l’on comprend soudain la variété insensée de sa créativité, la sophistication de ses vues esthétiques, la folie mathématique & graphique portée à son plus haut degré...

The art of this unique painter, he has revolutionized the painting of his time and created a specific school (Op-Art), has undoubtedly the depth, strength, universality to remain on time.

L’art de ce peintre unique, s’il a révolutionné la peinture de son époque et engendré une école spécifique (l’Op-Art), a sans conteste la profondeur, la force, l’universalité pour demeurer sur le temps.

Invented by Karl Klietsch in 1875, gravure or rotogravure printing is a process particularly adapted to print in multiple (even photographic) when a high quality reproduction is required.

Inventée par Karl Klietsch en 1875, l'héliogravure, ou rotogravure, est un procédé d'impression particulièrement adapté aux tirages en multiples (même photographiques) dès qu’une haute qualité de reproduction est exigée.

The gravure printing is also known for his loyalty in color rendition; an essential virtue in relation to the work of Vasarely.

L'héliogravure est aussi reconnue pour sa fidélité dans le rendu des couleurs ; une vertu essentielle s’agissant de l’œuvre de Vasarely.

The principle of intaglio printing is identical to that of the intaglio artisan method of intaglio: the metal strip dips are filled with inks, the plate surface is then wiped, the ink remaining in the depressions being finally finely & precisely deposited on the paper. The result (sharpness & color depth, smoothness of the draw, artistic aspect) has nothing to do with a simple poster.

Le principe de l'impression en héliogravure est identique à celui de la gravure en creux du procédé artisanal de la tailledouce : les creux de la planche de métal sont emplis d'encres, la surface de la planche est ensuite essuyée, l'encre restant dans les creux étant enfin finement & précisément déposée sur le papier. Le résultat (vivacité & profondeur des couleurs, velouté du tirage, aspect artistique) n’a strictement rien à voir avec un simple poster.

Du Griffon edited several portfolios with this technology, beginning with five portfolios corresponding to the principal divisions of the book Volume 2. The first four series contain ten plates each one, in separated plates and the fifth one that contains eight. Also there exist the series "Universal Structures " and "Graphismes" which consist of 3 portfolios of 8 plates each one and finally the series "Progressions" divided in 3 portfolios, containing 8 plates each one, in separated plates.

du Griffon a édité quelques portefeuilles avec cette technique, en commençant avec cinq portefeuilles correspondants aux divisions principales du livre Volume 2. Les quatre premières séries contiennent dix plaques chacune, dans des feuilles libres et le cinquième qui contient huit. Il existent aussi les séries les "Structures Universelles" et "Graphismes" lesquelles se composent de 3 portefeuilles de 8 plaques chacune et finalement la série "des Progressions" divisée en 3 portefeuilles, en contenant 8 plaques chacun, dans des feuilles libres.

Similarly, another technique du Griffon management, the offset in the Black and White series, 5 portfolio of 10 plates each one in single sheets of 36x29cm.

Également, du Griffon a manié d'autre technique, l'Offset dans la série Blanc et Noir, compris dans 5 portefeuilles de 10 plaques chacun, dans des feuilles libres, de 36x29cm

Victor Vasarely

Portfolio << Ilimited Editions >>

Pag

Folklore Planetary Folklore Planetaire

CTA-102

....................................

....................................

283

285

Homage of the Hexagon ........................... Hommage a L´Hexagone

287

Vonal

....................................

289

Vega

....................................

291

Progressions 1-2-3 .................................... 293-298 Progressions 1-2-3 Structures Universelles du damier ...... Structures Universelles Hexagone ...... Structures Universelles Octogone ......

301 303

Corpuscular Corpusculaires

...................................

308

Ents and Ghosts Etres ou Fantómes

....................................

309

Ondulated Ondulatoires

....................................

310

Linears Lineaires

...................................

311

Crossed Croisées

....................................

312

Graphisme 1-2-3 Cinetiques

305

.................................... 313-318 ....................................

319

Victor Vasarely Nº

Title

Dimensions

Portfolio “Planetary Folklore”

Portfolio << Unlimited Editions >> Edition Pub. In: 1971

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure

Dim. Ext

1357.- Alom 1358.- Majus

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1359.- Arcturus 2 1360.- Planetary 4

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1361.- Planetary 5 1362.- Planetary 6

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1363.- Planetary 7 1364.- Planetary 8

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1365.- Planetary 9 1366.- Boglar

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

Supervised by Vasarely. du Griffon, historical editor of the artist Set of eigth heliogravure in colours paper 280gr. Tirage 1972

291

1357.- Alom

1358.- Majus

1359.- Arcturus 2

1360.- Planetary Folklore 4

Victor Vasarely

Portfolio << Unlimited Editions >>

1361.- Planetary Folklore 5

1362.- Planetary Folklore 6

1363.- Planetary Folklore 7

1364.-Planetary Folklore 8

1365.- Planetary Folklore 9

1366.- Boglar

292

Victor Vasarely Nº

Title

Dimensions

Portfolio “CTA-102”

Portfolio << Unlimited Editions >> Edition Published In: 1971

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure

Dim. Ext

1367.- CTA-101 1368.- CTA-102

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1369.- Goyo-EZ 1370.- CTA-105-OR

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1371.- CTA-106 1372.- Goyo-SZ

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1373.- DIA-SP-F1 1374.- TUZ-2

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1375.- CTA-102-9 1376.- CTA-102-10

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

Supervised by Vasarely. du Griffon, historical editor of the artist Set of eigth heliogravure in colours paper 280gr. Tirage 1972

1367.- CTA-101

1368.- CTA-102

1369.- Goyo-EZ

1370.- CTA-105-OR

Victor Vasarely

1371.- CTA-106

Portfolio << Unlimited Editions >>

1372.- Goyo-SZ

1373.- DIA-SP-F1

1374.- TUZ-2

1375.- CTA-102-9

1376.- CTA-102-10

“Illik”

Victor Vasarely Nº

Title

Dimensions

Portfolio “Homage to Hexagon”

Portfolio << Unlimited Editions >> Edition Pub.: 1971

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure

Dim. Ext

1377.- Axo 22 1378.- Tridim G

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1379.- Tridim-P 1380.- Tridim BB-2

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1381.- Gestalt MC 1382.- Homage Hexagon 6

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1383.- Deuton RB 1384.- Gestalt Bleu

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1385.- Axo-77-2 1386.- Tridim-J

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

Supervised by Vasarely. du Griffon, historical editor of the artist Set of eigth heliogravure in colours paper 280gr. Tirage 1972

295

1377.- Axo 22

1378.- Tridim G “Tridim May-2”

1379.- Tridim-P

1380.- Tridim BB-2

Victor Vasarely

1381.- Gestalt MC

Portfolio << Unlimited Editions >>

1382.- Hommage to hexagon 6

1383.- Deuton RB

1384.- Gestalt Bleu

1385.- Axo-77-2

1386.- Tridim-J

296

Victor Vasarely Nº

Title

Portfolio << Unlimited Editions >>

Dimensions

Portfolio “Vonal”

Edition

Published In: 1971

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure

Dim. Ext

1387.- Vonal-Lila 1388.- Vonal 4

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1389.- Rhombus 1390.- Rhombus C

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1391.- Beta 1392.- Ber C

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1393.- Pauk 1394.- Oervegn-2

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

1395.- Illile-III 1396.- Vonal-Feng

27 x 27 cm 27 x 27 cm

Ilimited Ilimited

Supervised by Vasarely. du Griffon, historical editor of the artist Set of eigth heliogravure in colours paper 280gr. Tirage 1972

1387.- Test-2

1389.- Rhombus

297

1388.- Vonal-4

1390.- Rhombus C

Victor Vasarely

Portfolio << Unlimited Editions >>

1391..- Beta

1392.- Ber C

1393.- Pauk

1394.- Oervgn-2

1395.- Illile-III

1396.- Vonal-Feng

298

Victor Vasarely Nº

Title

Portfolio << Unlimited Editions >>

Dimensions

Edition

Published In: 1971

Portfolio “Vega” Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure

Dim. Ext

1366.- Vega-Noir-Wa23-Ond 27 x 27 cm

Ilimited

1367.- Vega-Tek

27 x 27 cm

Ilimited

1368.- Vega-JG

27 x 27 cm

Ilimited

1369.- Vega-201 Candre

27 x 27 cm

Ilimited

1370.- Vega-Pal Candre

27 x 27 cm

Ilimited

1371.- Ond-2

27 x 27 cm

Ilimited

1372.- Ond-J

27 x 27 cm

Ilimited

1373.- Vega-Kett

27 x 27 cm

Ilimited

Supervised by Vasarely. du Griffon, historical editor of the artist Set of eigth heliogravure in colours paper 280gr. Tirage 1972

1366.- Vega-Noir-Wa23-Ond

1367.- Vega-Tek

“Vega-Noir,Vega-Wa-2,Vega-Wa-3, Ond-Fire”

1368.- Vega-JG

1369.- Vega-201 Candre

Victor Vasarely

Portfolio << Unlimited Editions >>

1370.- Vega-Pa Candre

1371.- Ond-2

1372.- Ong-J

1373.- Vega-Kett

Victor Vasarely Nº

Title

Dimensions

Portfolio “Progression-1”

Portfolio << Unlimited Editions >> Edition Published In: 1972

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure

Dim. Ext

1405.- Vega-Pal-B

41 x 41 cm

Ilimited

1406.- Quasar-Paal-2

41 x 41 cm

Ilimited

1407.- Test-2

41 x 41 cm

Ilimited

1408.- Koska-Quemer

41 x 41 cm

Ilimited

1409.- Babel-3

41 x 41 cm

Ilimited

1410.- Quasar-Zett

41 x 41 cm

Ilimited

1411.- Hat-B

41 x 41 cm

Ilimited

1412.- Cheyt-MC-4

41 x 41 cm

Ilimited

Supervised by Vasarely. du Griffon, historical editor of the artist Set of eigth heliogravure in colours paper 280gr. Tirage 1972

1405.- Vega-Pal-B

1407.- Test-2

301

1406.- Quasar-Paal-2

1408.- Koska-Quemer

Victor Vasarely

1409.- Babel-3

1411.- Hat-B

Portfolio << Unlimited Editions >>

1410.- Quasar-Zett

1412.- Cheyt-MC-4

302

Victor Vasarely Nº

Title

Portfolio << Unlimited Editions >>

Dimensions

Portfolio “Progression-2”

Edition

Published In: 1973

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure

Dim. Ext

1413.- Rhombus

41 x 41 cm

Ilimited

1414.- Hat Vi

41 x 41 cm

Ilimited

1415.- Tuz

41 x 41 cm

Ilimited

1416.- Hold K

41 x 41 cm

Ilimited

1417.- Paul Harny

41 x 41 cm

Ilimited

1418.- Vaar

41 x 41 cm

Ilimited

1419.- Tridim C

41 x 41 cm

Ilimited

1420.- Vonal Feng

41 x 41 cm

Ilimited

Supervised by Vasarely. du Griffon,historical editor of the artist Set of eigth heliogravure in colours paper 280gr. Tirage 1973

1413.- Rhombus

1415.- Tuz

303

1414.- Hat Vi

1416.- Hold K

Victor Vasarely

Portfolio << Unlimited Editions >>

1417.- Paul Harny

1418.- Vaar

1419.- Tridim C

1420.- Vonal Feng

304

Victor Vasarely Nº

Title

Portfolio << Unlimited Editions >>

Dimensions

Portfolio “Progression 3”

Edition

Published In: 1974

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure in colours paper 280gr. 1390.- Hat Leg

60 x 60 cm

Ilimited

1391.- Planetary

60 x 60 cm

Ilimited

1392.- Vega-Zett-2

60 x 60 cm

Ilimited

1393.- Vega-Bi-Arct

60 x 60 cm

Ilimited

1394.- Quasar-2

60 x 60 cm

Ilimited

1395.- Feny

60 x 60 cm

Ilimited

1396.- Kezdi-Vega

60 x 60 cm

Ilimited

1397.- Dell-3

60 x 60 cm

Ilimited

Supervised by Vasarely. du Griffon,historical editor of the artist Catalogued in “Vasarely III”, du Griffon, 1974. Pags. 83-99-107-111-158-163-169-193

1390.- Hat-leg

1392.- Vega-Zett-2

305

1391.- Planetary

1393.- Vega-Bi-Arct

Victor Vasarely

1394.- Quasar-2

1396.- Kub-Stri

Portfolio << Unlimited Editions >>

1395.- Koska-Rev

1397.- Tupa-3

306

Victor Vasarely Nยบ

Title

Dimensions

Illusions

Portfolio << Unlimited Editions >> Edition Published in: 1974

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure in colours paper 280grs/m2 1429.- Torony

81 x 44 cm

Ilimited

1430.- Vp-Host

81 x 44 cm

Ilimited

1431.- Vp-RB

81 x 44 cm

Ilimited

1432.- Axo-77

81 x 44 cm

Ilimited

Supervised by Vasarely. du Griffon,historical editor of the artist

1429.- Torony

1430.- VP-Host

1431.- VP-RB

1432.- Axo-77

Victor Vasarely

Portfolio << Unlimited Editions >>

Suite Illusions

Victor Vasarely Nยบ

Title

Portfolio << Unlimited Editions >> Dimensions

Structures Universelles du Damier

Edition Pub. in: 1975

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure 1433.- Feny

27 x 27 cm

Ilimited

1434.- Kek-EG-2

27 x 27 cm

Ilimited

1435.- Koska-Var

27 x 27 cm

Ilimited

1436.- Reyley

27 x 27 cm

Ilimited

1437.- Dell-2

27 x 27 cm

Ilimited

1438.- Kezdi-Vega

27 x 27 cm

Ilimited

1439.- Vega-Zett-2

27 x 27 cm

Ilimited

1440.- VP-108 and 118

27 x 27 cm

Ilimited

Supervised by Vasarely. du Griffon, historical editor of the artist Set of eigth heliogravure in colours paper 280gr. Tirage 1975

1433.- Feny

1435.- Koska-Kar

309

1434.- Koska-EG-2

1436.- Rey-Ley

Victor Vasarely

Portfolio << Unlimited Editions >>

1437.- Dell-2

1438.- Kezdi-Vega

1439.- Vega-Zett-2

1440.-VP-108 and 118

310

Victor Vasarely Nº

Title

Portfolio << Unlimited Editions >> Dimensions

Edition

Structures Universelles de l´Hexagone

Pub. In: 1975

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure in colours paper 280gr. 1441.- Tupa-2

27 x 27 cm

Ilimited

1442.- Tegla-Hat

27 x 27 cm

Ilimited

1443.- Cheyt-Stri-Ton

27 x 27 cm

Ilimited

1444.- Axo-New-York

27 x 27 cm

Ilimited

1445.- Tupa-3

27 x 27 cm

Ilimited

1446.- Cheyt-MC

27 x 27 cm

Ilimited

1447.- Cheyt-Ond

27 x 27 cm

Ilimited

1448.- Bidim

27 x 27 cm

Ilimited

Supervised by Vasarely. du Griffon,historical editor of the artist

1441.- Tupa-2

1443.- Cheyt-Stri-Ton

311

1442.- Tegla-Hat

1444.- Axo-New-York

Victor Vasarely

Portfolio << Unlimited Editions >>

1445.- Tupa-3

1446.- Cheyt-MC

1447.- Cheyt-Ond

1448.- Bidim

312

Victor Vasarely NÂş

Title

Portfolio << Unlimited Editions >> Dimensions

Edition

Structures Universelles de l´Octogone

Pub. In: 1975

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure 1449.- Ondocto-Re

27 x 27 cm

Ilimited

1450.- Okta-Stri

27 x 27 cm

Ilimited

1451.- Planetary

27 x 27 cm

Ilimited

1452.- Okta-Pos

27 x 27 cm

Ilimited

1453.- Boreal

27 x 27 cm

Ilimited

1454.- Reech

27 x 27 cm

Ilimited

1455.- Ondocto-X

27 x 27 cm

Ilimited

1456.- Folkokta

27 x 27 cm

Ilimited

Supervised by Vasarely. du Griffon,historical editor of the artist

313

1449.- Ondocto-Re

1450.- Okta-Stri

1451.- Planetary

1452.- Okta-Pos

Victor Vasarely

Portfolio << Unlimited Editions >>

1453.- Boreal

1454.- Reech

1455.- Ondocto-X

1456.- Folkokta

314

Victor Vasarely Nº

Title

Portfolio << Unlimited Editions >>

Dimensions

Plates Black & White

Edition

Published in: 1973

Editions: du Griffon, Neuchatel, Swiss

Editions Du Griffon Neuchâtel

Medium: Offset black and white on paper 280grs/m2.

<< Corpusculaires >> 1457.- Vega 1458.- Eridan-III 1459.- Tlinko 1460.- Cassiopee 1461.- Helion 1462.- Binovae 1463.- Centauri-XXII 1464.- Bellatrix 1465.- Canopus 1466.- Mimas

36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm

Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited

<< Etres eu Fantomes >> 1467.- Lethe 1468.- Dorog 1469.- Erebus 1470.- Kandahar 1471.- Ontil 1472.- Bukk 1473.- Donan 1474.- Uzok 1475.- Imbituba 1476.- Yablapour

36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm

Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited

36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm

Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited

36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm

Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited

36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm 36 x 29 cm

Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited Ilimited

<< Ondulatoires >> 1477.- Manipur 1478.- Sir-Ris 1479.- Naissances-I 1480.- Naissances-II 1481.- Naissances-III 1482.- Ebi-Noor 1483.- Gordium 1484.- Markab 1485.- Ilile II 1486.- Naissance

<< Lineaires >> 1487.- Iaca 1488.- Zeta 1489.- Yablapour-II 1490.- Leyre-II 1491.- Tilla 1492.- Calcis 1493.- Altair 1494.- Afa 1495.- Ilava 1496.- Anadyr

Victor Vasarely, c.1973.

WHITE and BLACK - Vasarely - París 1973 Collection of 5 portfolios, 10 planches/portfolios Size: 36 x 29 cm

<< Croisées >> 1497.- TY-Neu 1498.- Torke-UY 1499.- Citra 1500.- Ixion-II 1501.- Aguia-II 1502.- Vah-Neg 1503.- Ymphi 1504.- Nethe 1505.- Japet 1506.- Jerusa

Supervised by Vasarely. du Griffon,historical editor of the artist

315

Corpusculaire

ISBN : 978-2-88006-014-5

Etres ou fantômes

ISBN : 978-2-88006-016-9

Ondulatoires

ISBN : 978-2-88006-018-3

Linéaires

ISBN : 978-2-88006-017-6

Croisées

ISBN : 978-2-88006-015-2

Victor Vasarely

Portfolio << Unlimited Editions >>

1457.- Vega

1458.- Eridan-III

1459.- Tlinko

1460.- Cassiopee

1461.- Helion

1462.- Binovae

1463.- Centauri-XXII

1464.- Bellatrix

1465.- Canopus

1466.- Mimas

316

Victor Vasarely

1467.- Lethe

1469.- Erebus

Plates << Ilimited Editions >>

1468.- Dorog

1470.- Kandahar

1471.- Ontil

317

1472.- Bukk

1473.- Donan

1474.- Uzok

1475.- Imbituba

1476.- Yablapour

Victor Vasarely

Plates << Ilimited Editions >>

1477.- Manipur

1478.- Sir-Ris

1479.- Naissances-1

1480.- Naissances-II

1481.- Naissances-III

1482.- Ebi-Noor

1483.- Gordium

1484.- Markab

1485.- Ilile II

1486.- Naissance

318

Victor Vasarely

Plates << Ilimited Editions >>

1487.- IACA

1488.- Zeta

1489.- Yablapour-II

1490.- Leyre-II

1491.- Tilla

319

1492.- Calcis

1493.- Altair

1494.- Afa

1495.- Ilava

1496.- Anadyr

Victor Vasarely

Plates << Ilimited Editions >>

1497.- TY-Neu

1498.- Torke-Uy

1499.- Citra

1500.- Ixion-II

1501.- Aguia-II

1502.- Vah-Neg

1503.- Ymphi

1504.- Nethe

1505.- Japet

1506.- Jerusa

320

Victor Vasarely Nº

Title

Portfolio << Unlimited Editions >> Dimensions

Graphismes-1

Edition

Pub. In: 1977

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure 1507.- E. de Mouv.-Basse-Cour (1939)

29.5 x 27 cm

Ilimited

1508.- Etude de Matiére-1 et 4

(1938)

29.5 x 27 cm

Ilimited

1509.- Etude de Matiére-2 et 3

(1939)

29.5 x 27 cm

Ilimited

1510.- E. de Mouv.-Péche

(1939)

29.5 x 27 cm

Ilimited

1511.- E. en Bleu.- Verte

(1929)

29.5 x 27 cm

Ilimited

1512.- Etude de Perspective

(1935)

29.5 x 27 cm

Ilimited

1513.- Etude Homme mouv.

(1940)

29.5 x 27 cm

Ilimited

1514.- E. de Lumiére-2

(1936) (1939) (1936)

29.5 x 27 cm

Ilimited

E. de Mouv.-Quilles

Incandescence Etude de Lumiére

Mentioned on “VASARELY III”, Ed. du Griffon Neuchatel (Switzerland) 1974, Pag.45-55

321

1507.- Etude de Mouvement - Basse Cour

1508.- Etude de Matiére 1 et 4

1509.- Etude de Matiére 2 et 3

1510.- Etude de mouvement - Quilles - Péche

Victor Vasarely

Portfolio << Unlimited Editions >>

1511.- Etude Bleu - Vert

Residence Pémore, Caracas, living “Vasarely”. Works to left “Halph” 1974 50x50cm Nº 2806, “Étude de Matiére-1” 1938 33x31cm. Mario Bellini Floor Lamp “Chiara”, 1964

1513.- Etude Homme en mouvement

1512.- Etude de Perspective

1514.- Etude de Lumiere 2Incendescence-Lumiere

322

Victor Vasarely Nº

Title

Portfolio << Unlimited Editions >> Dimensions

Graphismes-2

Edition

Pub. In: 1977

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure 1515.- Filie-Fleur

(1932-45) 29.5 x 27 cm

Ilimited

1516.- Etude Multicolore

(1940)

29.5 x 27 cm

Ilimited

1517.- Filie-Fleur-2

(1936)

29.5 x 27 cm

Ilimited

1518.- Etude en Jaune

(1940)

29.5 x 27 cm

Ilimited

1519.- Etude en Bleu

(1930)

29.5 x 27 cm

Ilimited

1520.- Etude en Rouge

(1940)

29.5 x 27 cm

Ilimited

1521.- Etude en Vert

(1939)

29.5 x 27 cm

Ilimited

1522.- Arlequin et Arlequin 2

(1935)

29.5 x 27 cm

Ilimited

Supervised by Vasarely. du Griffon,historical editor of the artist

323

1515.- Filie Fleur

1516.- Etude Multicolor “Confetti”

1517.- Filie Fleur 2

1518.- Etude en Jaune

Victor Vasarely

1519.- Etude en Bleu

1521.- Etude en Vert

Portfolio << Unlimited Editions >>

1520.- Etude en Rouge

1522.- Arlequin et Arlequin 2

324

Victor Vasarely Nº

Title

Portfolio << Unlimited Editions >> Dimensions

Graphismes-3

Edition

Pub. In: 1977

Editions: du Griffon, Neuchatel, Swiss

Medium: Heliogravure 1523.- Catch-2

(1945)

29.5 x 27 cm

Ilimited

1524.- Catch-III-A

(1945)

29.5 x 27 cm

Ilimited

1525.- Catch-III-B

(1945)

29.5 x 27 cm

Ilimited

1526.- Amor-II-A

(1945)

29.5 x 27 cm

Ilimited

1527.- Etude Linéaire

(1935)

29.5 x 27 cm

Ilimited

1528.- Tigres

(1938)

29.5 x 27 cm

Ilimited

1529.- Cube-Axo

(1935-55) 29.5 x 27 cm

Ilimited

1530.- Etude Axonométrique-1 (1937)

29.5 x 27 cm

Ilimited

Etude Axonométrique-2 (1939) Supervised by Vasarely. du Griffon,historical editor of the artist

325

1523.- Catch 2

1524.- Catch III-A

1525.- Catch III-B

1526.- Amor II-A

Victor Vasarely

Portfolio << Unlimited Editions >>

1527.- Tigres

1528.- Cube-Axo

1529.- Etude Linéaire

1530.- Etude Axonométrique 1 et 2

326

Victor Vasarely Nยบ

Title

Cinetiques

Portfolio << Unlimited Editions >> Dimensions

Edition

Pub. In: 1973

Editions: du Griffon, Neuchatel, Swiss

Medium: Cardboard and Transparency film 1531.- Cinetiques 1

29.5 x 23.5cm

Ilimited

1532.- Cinetiques 2

29.5 x 23.5cm

Ilimited

1533.- Cinetiques 3