Catalogue Raisonee Vol 2

FRONT COVER: Vasarely`s Hall, Res. Pémore. Caracas - Venezuela Left to rigth: Planetary Folklore 2 R/B 1971, Planetary Folklore 2 Y/G 1971 Gestalt Vorder 1975, Gestalt JPM Nº 941 1969, Orion Noir Neg. 1970 Erebus (Rosenthal) 1982, Kezdi 1990, Stèle 1988 Eng. Pedro Benavide´s Collection.

BACK COVER GUARD: Victor Vasarely at his Atelier, Annet-sur-Marne BACK COVER: Victor Vasarely Photo courtesy of Michele Vasarely archive´s PAGE 3: Autoportrait - Victor Vasarely, 1934 Pastel on paper, 56x36cm 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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Photo by P.B. Oct 2014

Main hall Michele Vasarely`s Res. Puerto Rico. Left to rigth: Ms. Carolina. 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.

Catalogue raisonné des éditions - Préface – version 3 (4 février 2015)

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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.

Catalogue raisonné des éditions - Projet de préface – version 3 (4 février 2015)

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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.

Catalogue raisonné des éditions - Projet de préface – version 3 (4 février 2015)

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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 Atelier. Annet-sur-Marne. c.1986

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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.

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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.

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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

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 raisonnĂŠ.

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.â&#x20AC;?

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 raisonnĂŠ 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)

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. â&#x20AC;&#x153; 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 eliteâ&#x20AC;Ś" 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.

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

Multiples Index

«Multiples» sont aujourd'hui devenus une réalité. Ils prennent la forme de reliefs «Original» de Tableux et de Porcalain, d'objets cinétiques, de sculptures en métal et en plexiglas, de BASF Luran, de verre et de cristal et de tapisseries, qui ont toutes une capacité caractéristique à être non pas des spécimens uniques, Quatre, huit, trente, cinquante, centaines ou mille. L'artiste contemporain a réussi à sauvegarder la qualité en quantité, en quantité, permettant ainsi à chacun d'acquérir des œuvres de mérite réel à des prix abordables. Vasarely a commencé à faire des multiples en 1964 avec du Griffon Neuchâtel (Suisse) et Rosenthal Studio Line.

“Multiples” have today become a reality. They take the form of “Original” Tableux and Porcalain reliefs, kinetic objects, metal and Plexiglas sculptures, BASF Luran, Glass & Crystal objects and tapestries, all of which have a characteristic ability to be displayed not as unique specimens, but in editions of four, eight, thirty, fifty, hundreds or a thousands. The contemporary artist has managed to safeguard quality in quantity, in quantity, thereby enabling everyone to acquire works of real merit at affordable prices. Vasarely began to do multiples in 1964 with du Griffon Neuchatel (Switzerland) and Rosenthal Studio Line.

Si la conservation du mot résidait précédemment dans l'excellence des matériaux, leur perfection technique et la maîtrise de la main, aujourd'hui, elle se trouve dans la conscience de la possibilité de la recréation, de la multiplication et de l'expansion. L'artisan disparaîtra ainsi que le mythe de l'art unique: le travail diffusible triomphe grâce à et à travers la machine. Je rêve d'un art social.

L'art est l'aspect plastique de la communauté. À l'intérieur de la ville du futur, la «fonction poétique» se développera en formes industriellement multipliables et donc diffusibles à une échelle généreuse. La décision fondamentale en faveur de l'intégration de l'œuvre d'art dans la communauté justifie immédiatement l'adoption de procédures de diffusion. Cette décision de base implique un «don».

If the conservation of word previously resided in the excellence of materials, their technical perfection, and the mastery of the hand, today it lies in an awareness of the possibility of re-creation, multiplication, and expansion.

And so the craftsman will disappear, as will the myth of the unique piece of art: the diffusible work triumph thanks to and through the machine. I dream of a social art. Art is the plastic aspect of the community. Inside the city of the future, the “poetic function” will develop into forms that are industrially multipliable and thus diffusible on a generous scale. The basic decision in favor of integrating the work of art into the community immediately justifies the adoption of diffusion procedures. That basic decision implies a “gift”.

Mais pourquoi comparer? On ne compare pas un multiple (reliefs, objets, sculptures et tapisseries) à un original. Ce sont deux choses différentes. L'artiste signe cette ou cette re-création. J'ai dit que c'est ce qui compte. (1953).

Ce qui se passe en ce moment est une véritable transformation phénoménale de l'art. Nous devons commencer à former l'œil dans la plasticité à un âge très précoce; Nous devons laisser une empreinte sur le terrain émotif des âmes encore intactes; Nous devons sculpter le concept de vérité dans des souvenirs encore sans tache.

Dix mille, vingt mille œuvres authentiques ou d'art, leur présence éloquente remplissant les salles d'enfants, circulant parmi les jeunes - cela est faisable, cela se produira. Je reste «anti-élitiste» et méprisant des discussions interminables avec des adversaires «cultivés». (1956). Dans l'évolution de la plasticité, la notion de figuratif-particulier s'est transformée en abstraite-essentielle. La technique a évolué du manuel à l'industrie; Langue, de l'universel à l'universel; La morale, de l'égocentrique à la communauté.

L'art plastique - images stationnaires ou mobiles reproduites par des techniques de diffusion - nous a valu le Musée Sans Mur. Seules les œuvres dotées d'une grande force d'information résisteront victorieusement à la dépréciation causée par la transposition mécanique.

Ce prototype-démarreur est l'œuvre entière, conçue de manière à être, au moment où elle se matérialise, pas une, mais cent. Sa valeur ne réside pas dans la rareté de l'objet, mais dans la rareté de la qualité qu'il représente.

Ce n'est pas nécessairement l'original que nous avons à posséder, mais une de ses formes recréées, capable de nous donner sa beauté par l'intuition ou la raison (selon que nous soyons naturellement réceptifs ou éduqués grâce à des circonstances favorables).

23

But why compare? One doesn't compare a multiple (reliefs, objects, sculptures and tapestries) with a original. They are two different things. The artist signs this or that re-creation. I said that's what counts. (1953).

What is taking place right now is a truly phenomenal transformation of art. We must begin training the eye in plasticity at a very early age; we must leave an imprint on the emotive terrain of souls still intact; we must carve the concept of truth into memories still unblemished. Ten thousand, twenty thousand genuine works or art, their eloquent presence filling the rooms of children, circulating among the young – this is feasible, this shall come about. I remain “anti-elitist” and scorn interminable discussions with “cultured” adversaries. (1956).

In the evolution of plasticity, the notion of figurativeparticular has been transformed into abstract-essential.

Technique has evolved from manual to industrial; language, from personal to universal; morality, from egocentric to communal.

Plastic art-stationary or mobile images reproduced through dissemination techniques – won us the Museum Without Wall. Only works endowed with great informative strength shall victoriously withstand depreciation caused by mechanical transposition.

This starter-prototype is the entire work, devised in such a way as to be, the moment it becomes materialized, not one, but one hundred. Its value will lie not in the rarity of the object, but in the rarity of the quality it represents. It is not necessarily the original that we have to possess, but one of its re-created forms, capable of giving us its beauty through intuition or reason (depending on whether we are just naturally receptive or educated thanks to favorable circumstances).

Victor Vasarely

Multiples Index Pag.

Tableaux-Metal

25-28

Metal Sculpture 1

29-34

Metal Sculpture 2

35-36

Metal Sculpture 3

37-38

Kinetic Objets 1

39-44

Tableaux Plastique 1 Tableaux Plastique 2

45-46 47-53

Tableaux Plastique 3

54

Tableaux Plastique 4

55-57

Transparences 1

58-66

Transparences 2

67-68

Sculpture on Plexiglass

69-74

Metal AnodisĂŠ

75

Tower Sculptures 1

77-78

Tower Sculptures 2

79

Wood Sculpture 1

80-82

Wood Sculpture 2

83-88

Tableaux Relief 1

89-92

Tableaux Relief 2

93-98

Tableaux Relief 3

99

Kinetic Objects 2

100-101

Kinetic Objects 3

102-103

Kinetic Objects 4

104-109

Porcelain Releief 1

113

Porcelain Releief 2 Porcelain Objects 1 Porcelain Objects 2 Porcelain Objects 3 Porcelain Objects 4 Porcelain Objects 5 Porcelain Objects 6 Porcelain Objects 7 Porcelain Objects 8 Porcelain Objects 9

114 115-118 120-126 127-132 133--134 135-136 137-138 139-140 141-142 143-144

Glass & Crystal Objects Tapestries 1 Tapestries 2 Tapestries 3 Tapestries 4 Tapestries 5 Watches Remarkable Works Monumental Outdoor Monumental Indoor Indoor Integration FV

145-148 149-154 155-158 159-162 163-165 166-167 168-172 173-186 187-200 201-207 209-216

24

Victor Vasarely Nº

Title

Dimensions

Tableux Metal 1964-65 Image

Edition

MULTIPLES “Tableaux-Metal” Pub. in: 1964-65 Editions: du Griffon, Neuchátel (Switzerland) / Denise René, Paris Medium: Anodized Metal on wood 1572.- Hiloën-2-Or. (1956) 48.5 x 45.5 x 1.9cm 1573.- Hiloën-2-Arg. (1956) 48.5 x 45.5 x 1.9cm

37x34.3cm 37x34.3cm

17 17

48.5 x 38.5 x 1.9cm

37x25.2cm

17

(1955) 48.5 x 45.2 x 1.9cm 1575.- Nethe-Arg. (1955) 48.5 x 45.2 x 1.9cm 1576.- Nethe (-) 1577.- Nethe (+) Or. (1955) 48.5 x 45.2 x 1.9cm

37x34cm 37x34cm 37x34cm

17 17 17

1578.- Yvaral (+) 1579.- Yvaral ( - ) 1580.- Yvaral- Or.

48.5 x 45.5 x 1.9cm 48.5 x 45.5 x 1.9cm 48.5 x 45.5 x 1.9cm

37x34.5cm 37x34.5cm 37x34.5cm

17 17 17

1581.- Bora-2 (+) 1582.- Bora-2 (- ) 1583.- Bora-2 (- ) Or.

48.5 x 44.5 x 1.9cm 48.5 x 44.5 x 1.9cm 48.5 x 44.5 x 1.9cm

37x32.5cm 37x32.5cm 37x32.5cm

17 17 17

1584.- Ilile-V Or. 1585.- Ilile- Arg.

48.5 x 44.5 x 1.9cm 48.5 x 44.5 x 1.9cm

37x34.3cm 37x34.3cm

17 17

1574.- Likka

(1) (1956)

Denise René (París) / du Griffon Neuchatel (Switzerland)

Victor Vasarely on his studio with some works.

1586.- Zeta

(2) (1955)

48.5 x 43.2 x 1.9cm

37x32.5cm

17

1587.- Epsilon + 1588.- Epsilon

(3) (1960) (1960)

48.5 x 38.5 x 1.9cm 48.5 x 38.5 x 1.9cm

37x27cm 37x27cm

17 17

(1955)

48.5 x 45.0 x 1.9cm

36x33cm

17

35.6 x 66.0 x 1.9cm

34x65cm

25

1589.- Ilile-NB

“Tableux-Metal” is engraved on metal anodized with gray painted wooden stand. Under the edition of Denise Rene, Victor Vasarely began to execute his multiples projects, launching its first serie, with du Griffon Neuchatel (Switzerland) in 1964. In that same year, he worked with Rosenthal Studio-Line, (where he made reliefs on porcelain), Both series are limited editions.

<< Editions 1965 >> cr. 1959 1590.- Quadrature 1591.- Quadrature +

(4)

36.2 x 33.4 x 1.9cm

35x32cm

25

1592.- Quadrature -

(4)(5)

48.5 x 45.5 x 1.9cm

37x34cm

25

1593.- Bellatrix-1

(4)

38.8 x 31.8 x 1.9cm

37x30cm

15

(1) Piasa, Lot. 77, 9-Oct-2007, Italy (2) Tajan, Sale 9387, Lot. 379, 26-Oct-2009, Paris (3) Millon Cornette de Saint Cyr, Art Comtemporary, Lot.298, 29-Oct-2009, Paris (4) Catalogue “Page Gallery - Vasarely 1965”. Pag.13 and Pag.9 (5) Pays de Fayence Enchéres & Estimations,Sale Art Contemporain,Lot.95,24-10-09 Mentioned on VASARELY III,Editions du Griffon Neuchatel (Switzerland)1974.Pag.242.

1572.- Hiloën-2-Or

All the pieces have “VASARELY” stamp and number on metal plate located on the back side.

1573.- Hiloën-2-Argent

Victor Vasarely

Tableux Metal 1964-65

1574.- Likka

1575.- Nethe-Argent

1576.- Nethe (-)

Pémore`s master room detail. Left to rigth: Vasarely: “Naissances 1” and “Mizzar”, Vasarely`s Tableaux. Quadratur 2, Hiloen 15/17, Zeta 13/17, Nethe 16/17.

1577.- Nethe + Or

Victor Vasarely

1578.- Yvaral +

Tableux Metal 1964-65

1579.- Yvaral -

1580.- Yvaral-Or

1581.- Bora-2 +

1582.- Bora-2 -

1583.- Bora-2-Or.

1584.-Ilile-V-Or

1585.-Ilile-Argent

1586.-Zeta

Victor Vasarely

1587.- Epsilon +

1590.- Quadrature

1592.- Quadrature -

Tableux Metal 1964-65

1588.- Epsilon -

1589.- Ilile-NB

1591.- Quadrature +

1593.-Bellatrix

Victor Vasarely Nº

Title

MULTIPLES - Metal - Sculpture

Dimensions

MULTIPLES “Metal Sculptures 1”

Edition Published in: 1966-67

Editions: Denise René, Paris Medium: Screenprint on Aluminum / Plywood

1594.- Ablac A

1967

30.2 x 30.2 x 18.1 cm

8

1595.- Ablac B

1967 (1)

30.2 x 30.2 x 18.1 cm

8

1596.- Koeb

1967

30 x 18 x 18 cm

4

1597.- Koeb Arg.

1967

30 x 18 x 18 cm

6

1598.- Koeb 2 Arg. 1967

18 x 18 x 18 cm

6

1599.- Koeb NB

40 x 30 x 30 cm

4

1967 (2)

1600.- Diadal 1601.- Diadal 2

(3)

20.3 x 41.2 x 20.3 cm

25

20.3 x 20.3 x 20.3 cm

25

1602.- Kroa NB

1966

42.2 x 42.2 x 42.2cm

10

1603.- Kroa 1

1966

30.2 x 30.2 x 30.2cm

10

1604.- Kroa Arg.

1966

30.2 x 30.2 x 30.2cm

10

1605.- Kroa B

1967

18 x 18 x 18 cm

1606.- Kroa 2

1966

30.2 x 30.2 x 30.2cm

10

1607.- Kroa Bk

1966

30.2 x 30.2 x 30.2cm

10

1608.- Kroa 2 Arg. 1966 (4) 30.2 x 30.2 x 30.2cm

10

ea4+6

18 x 18 x 18 cm

6

1610.- Ur 2

18 x 18 x 18 cm

6

1611.- Ur 3

18 x 18 x 18 cm

6

1609.- Ur

(5)

1612.- Sir-Ris (+)

1967

17.1 x 17.1 x 17.1cm

30

1613.- Sir-Ris (-)

1967

17.1 x 17.1 x 17.1cm

30

1614.- Pyr Dak

1967 (6)

55 x 55 x 35 cm

3

55 x 55 x 35 cm

3

62 x 62 x 11.3 cm

3

55 x 55 x 35 cm 55 x 55 x 35 cm 55 x 55 x 35 cm

3 3 3

1615.- Relief Units 1616.- Cassioppe 1617.- Pyr-1 1618.- Pyr-2 1619.- Pyr-3

1965 (7) (8)

1594.- Ablac A

1595.- Ablac B

(1) Heritage Auctions, Sale 5205, Lot. 67057, 31-Mar-2015 (2) Permanent collection of Musée Vouland, Avignon, France (3) Christie´s, Sale 2418, Lot. 80, 2-Mar-2011 (4) Christie´s, Sale 2418, Lot. 82, 2-Mar-2011 (5) Tajan Auction, Lot. 137, Sale 29-Nov-2004 (6) Dimensions without the base (7) Published on The Seibu Museum of Art, 1981, pg. 112. Fig. 94 (8) Published on The Seibu Museum of Art, 1981. pg. 119. Fig. 102 Mentioned on VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. Pag. 243.

All the pieces have signed “VASARELY” and numbered.

1596.- Koeb

Victor Vasarely

MULTIPLES - Metal - Sculpture

1597- Koeb (Arg)

Victor Vasarely, with some works of Metal Sculptures.

Serie of aluminium cubes. Vasarely's creativity explodes in this magnificent metal cube as black forms assume a 3-dimensional life on this 2-dimensional surface on Sir Ris (Positive-Negative) Cube´s 1967.

He worked on anothers cubes in same medium on 1970. Combining elements of optics, form, illumination, and reflection, Vasarely creates a visually stunning sculptural cube that instantly engages the viewer.

This cubes encourages the viewer to move around the sculpture and is best displayed slightly below eye level, on a surface that allows the viewer to view it from all sides as well as from above.

These images often relay the impression of slight fluctuating motion, toying with the viewer's visual perception. This aluminum cubes with silkscreens was published by Denise RenĂŠ 1599.- Koeb NB

1600.- Diadal

1601.- Diadal 2

Victor Vasarely

MULTIPLES - Metal - Sculpture

1603.- Kroa 1

1602.- Kroa NB

1604.- Kroa Arg.

1607.- Kroa 2 Bk

1605- Kroa B

1606.- Kroa 2

1608.- Kroa 2 Arg.

Victor Vasarely

MULTIPLES - Metal - Sculpture

1609.- Ur

Victor Vasarely, at his atelier, with two metal sculpture, Kroa 1 and Ur 3.

1610.- Ur-2

1612.- Sir Ris Positif.

1611.- Ur-3

1613.- Sir Ris Negatif

Victor Vasarely

MULTIPLES - Metal - Sculpture

Vasarely receives Mrs. Claude Pompidou at Gordes Museum, opened in the castle of Gordes, Vaucluse. July 1970. (Photo by Francois Pages)

1614.- Pyr-Dak

1615.- Relief Units

1616.- Cassioppe

Victor Vasarely

MULTIPLES - Metal - Sculpture

Vasarely`s Atelier, Annet-sur-Marne, France.

1617.- Pyr-1

1618.- Pyr-2

1619.- Pyr-3

Victor Vasarely Nº

Title

MULTIPLES - Metal - Sculpture

Dimensions

MULTIPLES “Metal Sculptures 2”

Edition Pub. in: 1968-70

Editions: Denise René, Paris Medium: Aluminium anodized installation

1620.- Beta Positif 1621.- Beta Negatif

17.5 x 17.5 x 17.5 cm 17.5 x 17.5 x 17.5 cm

100 100

1968 1968

1622.- Gamma Positif 1623.- Gamma Negatif

17.5 x 17.5 x 17.5 cm 17.5 x 17.5 x 17.5 cm

100 100

1968 1968

1624.- Vega Lum Positif 1625.- Vega Lum Negatif

17.5 x 17.5 x 17.5 cm 17.5 x 17.5 x 17.5 cm

150 150

1970 1970

1626.- Vega Cox Positif 1627.- Vega Cox Negatif

17.5 x 17.5 x 17.5 cm 17.5 x 17.5 x 17.5 cm

150 150

1973 1973

1628.- Vega 4 Positif 1629.- Vega 4 Negatif

17.5 x 17.5 x 17.5 cm 17.5 x 17.5 x 17.5 cm

150 150

1970 1970

50.0 x 50.0 x 50.0 cm

75

1969

1631.- Kroa Bleu

30.0 x 30.0 x 30.0 cm

200

1970

1632.- Kroa A

50.0 x 50.0 x 50.0 cm

75

1970

1633.- Kroa B

50.0 x 50.0 x 50.0 cm

75

1970

1630.- Kroa MC

(1)

(1) Christie´s, Sale 5244, Lot. 422, 18-Jul-2007 Mentioned on VASARELY III, Editions du Griffon Neuchâtel (Switzerland) 1974. Pag. 242.

All the pieces have signed “VASARELY” and numbered.

1620.- Beta Positif

1623.- Gamma Negatif

35

1621.- Beta Négatif

1624.- Vega Lum Positif

Victor Vasarely Museum Hall, Hungry, Metal cubes.

1622.- Gamma Positif

1625.- Vega Lum Negatif

Victor Vasarely

MULTIPLES - Metal - Sculpture

1626.- Vega Cox Positif

Museum Victor Vasarely, Pecs, Hungary. Kroa MC Sculpture

1627.- Vega Cox Negatif

1628.- Vega 4 Positif

1629.- Vega 4 Negatif

1630.- Kroa MC

1631.- Kroa Bleu

1632.- Kroa A

1633.- Kroa B

36

Victor Vasarely Nº

Title

Dimensions

MULTIPLES “Metal Sculptures 3”

MULTIPLES - Metal - Sculpture Edition Pub. in: 1965-74

Editions: Denise René, Paris Medium: Anodized Aluminium / Enamelled Metal

Sculptures on Anodized Aluminium: 42 x 42 x 42 cm 1634.- Kroa M 17.5 x 17.5 x 17.5 cm 1635.- Rey-Tey Sculptures on Enamelled Metal: (1) 45.5 x 32.0 x 15.0 cm 1636.- Meta 1637.- Quadratur (5) (1959) 100 x 100 x 6 cm

Limited Ed. 1967 150 1970 100

1974

25

1965

Executed in Sommer's metal studio.

(2) 1638.- Tridim 1 (3) 1639.- Tridim 2 (4) 1640.- Tridim 3 1641.- Tridim EY 1642.- Tridim VR

87.0 x 26.5 x 4.0 cm 75.5 x 17.0 x 4.0 cm 76.0 x 34.0 x 4.0 cm 210.0 x 38.0 cm 210.0 x 55.0 cm

1643.- Bidim 11 1644.- Bidim 22

135 x 135 x 20cm 215 x 64 x 7 cm

Limited Ed. Limited Ed. Limited Ed. Unique Unique

1974 1974 1974 1969 1969

Unique Unique

1969 1969

Drout Auctions, Sale 4: (1) Lot. 246, (2) Lot. 229, (3) Lot. 230, (4) Lot. 231, Oct-2012 (5) Germann Auktionen, Lot. 153, 6-Jun-2016, Switzerland.

1633.- Kroa M

1634.- Rey-Tey

1638.- Tridim 1

37

1636.- Meta

1639.- Tridim 2

1637.- Quadratur

1640.- Tridim 3

Victor Vasarely

MULTIPLES - Metal - Sculpture

Galerie Denise René, París.1970. Left to right: “Tridim E” 1968 220x140cm, “Tridim EY” 1969, “Tridim F” 1968 260x140cm, “Tridim VR” 1969, “Izzo 22” 1969 231x200cm, “Axo-2” 1969 180x180cm.

Side A

1641.- Tridim EY

1642.- Tridim VR

Side B

1643.- Bidim 11

38

Victor Vasarely Nº

Title

MULTIPLES - Kinetic

Dimensions

Edition

MULTIPLES “Kinetic Objects 1”

Published in: 1962-88

Editions: Denise René, Paris / Circle Fine Art Medium: Different matterials

Decor: Victor Vasarely

1645.- Mora 1962

(2)

H. 58cm Dia. 24.8

25

<<Circle Fine Art Editions>> 1988 1646.- Aix (1) H.170 x W. 30 cm 100 1647.- Aura Alpha Clock 32 x 23 x 9.5cm ea50+500 1648.- Aura Beta Clock 32 x 23 x 9.5cm ea50+500 1649.- Parosh Clock 14 x 15 x 15cm (single clockwork) 500 1650.- Ideu Clock 14 x 15 x 18cm (dual clockwork) 500 1651.- Pendulo Clock

56 x 56 x 3 cm

Limited Ed.

1652.- 3D Object

59.5 x 21 x 7.5cm

Limited Ed.

<<Mini-sculptures SOBOR>> 1985. Decor V. Vasarely. Bruno Allart Editor.

1653.- Sobor Bleu 2.5 x 10 x 10 cm ea12+36 1654.- Sobor Vert 2.5 x 10 x 10 cm ea12+36 1655.- Sobor Bk 2.5 x 10 x 10 cm ea12+36 1656.- Sobor Jaune 2.5 x 10 x 10 cm ea12+36 1657.- Sobor Rouge 2.5 x 10 x 10 cm ea12+36 1658.- Sobor MC 2.5 x 10 x 10 cm ea12+36 Six series of 36 and ea.12 for a total of 48 each serie.Solid gold 18K. cut a hand estamped.

<<Serie Lighter Vasarely>> 1987. DUPONT Brand 1659.- Lighter Tilla 4.4 x 3.5 x 1.3 cm 1660.- Lighter Ond 4.4 x 3.5 x 1.3 cm

Vasarely at his Atelier. Left to right: “Aix “,“Alpha Clock”,“Hexa 2”,“3D Object”.

Limited Ed. Limited Ed.

1661.- Gold Watch Vasarely

Approx. Dia. 3.8x19.7cm

Limited Ed.

1662.- Világitó Zebra Bk 1663.- Világitó Zebra W

14 x 17 cm 14 x 17 cm

Limited Ed. Limited Ed.

(1) Editions Circle Fine Art. First editions of Art of Use, monumental acrylic sculpture / Grandfather size clock.

(2) Exhibited on Gallery Denise René Rive Gauche “L`oeuvre multipliable de Vasarely” jun-sept. 1966. Catalogued Dorotheum, Auct.27-02-2014. Lot.187.Viena,Austria.

1645.- Mora

39

1646.- Aix

Victor Vasarely

MULTIPLES - Kinetic

Front View

1649.- Parosh clock

Side View

View 1

View 2 Back View 1647.- Alpha clock

1650.- Ideu Clock

40

Victor Vasarely

A large plate 70x70cm, slightly convex in white perspex, allowing the mechanism to be housed with smoothness on the back, leaving two large needles rotate on a kinetic circles pattern offset, with the bulging embossed. Signed lower right.

1651.- Pendule Clock Kinetic

41

MULTIPLES - Kinetic

Invite (object) of the Galerie Denise 1970.

Invitation card can be folded questions and loose.

Silkscreen Acrylic and on paper.

Size opened: approx 59,5 cm x 21 cm x 7.5 cm .

Collapsed: approx. 30 x 21cm.

1652.- 3D Object

Victor Vasarely

MULTIPLES - Kinetic

FIRST JEWEL VASARELY By dazzling Research formes and colors, Vasarely estuary stopped creating optical games, "polychrome harmoniew ° spaces, oil the eyes glaze happily in the intrigues of green and pure blue, round and carré ... he has never hidden his ambition to transform the entire universtout a kaleidoscopic foisonnement, and the walls of the largest universities, museums, nudéaires same plants, have offered á him for that it metamorphoses. Or void today Vasarely examines a nouvelle dimension: cene an object that fits in the hand, made to please the eye and skin contact should ... II himself same: it is a paradox. And it is a great event THE "SOBOR" DE VASARELY. The pre-Mieres "Colones" Vasarely amounted space their shimmering volumes on several meters high. Sobor are the miniaturized version traitée this time of solid gold and enamel large fire. This is the culmination of years of DNQ developed meticulous, refined-ments of progressive shape and colorful variations ... á patient work carried out in close symbiosis with his closest collaborator, became his éditeur and his friend Bruno Allart.

Vasarely Sobor of the reserved Forward-Premiére World only to holders of American Express France, privilége exclusive reflecting exceptional rencontre between Directory and one of the largest pools of Contemporary Art, if not the greatest.

EXCLUSIVE NUMBERED SIGNED Seventeen Grammel pure gold, numbered and signed exemplaires percent; each Sobor is a exdusive ceuvre of art, the same way as a column 'boya or that one of the "Homage á the Hexagon" which appear in major museums ... And every intemational Sobor is a gem, á is like no other. The Sobor have no bail. The gold pendant Cham indépendante who transforms himself into a hollow inserre savamment made to not break the untté sculpture. Remove Charne: the Sobor retrouve purity of art object, prét a be exposed in its case, or as iI please á amateur, according to his own collections.

SIGNATURE UNIQUE AND PRECIOUS Experience fkonde: jewelers who worked under the supervision of inventer have their own techniques, afín each Sobor atteigne the perfection of form and color in solid gold 18K is cut a hand estampé beveled assemblé, before being contólé and poimonné by Garantie of Paris. Then the very fine enamel powder is deposited on: the expected relief. Facet by facet, four times the curing is carried out with extreme care. After a last polishing, a last check, the Sobor is worthy of signing Vasarely. Only then is numbered and signed, direct gravure, a the shop ... Then it is deposited on the velvet of his individual case, accompanied by sacarte authenticity, also numbered and signed by hand Master of Victor Vasarely.

42

Victor Vasarely

MULTIPLES - Kinetic

1653 to 1658.- Mini-sculptures SOBOR 1985, Left to rigth, SOBOR Blue, SOBOR MC, SOBOR green, SOBOR black, SOBOR Yellow and SOBOR red

1659.- Lighter Tilla

43

1660.- Lighter Ond

Victor Vasarely

MULTIPLES - Kinetic

1661.- Gold Watch Vasarely

1662.- Vilรกgitรณ Zebra Bk

1663.- Vilรกgitรณ Zebra W

44

Victor Vasarely

MULTIPLES - BASF Luran 1969 - 1971

Victor Vasarely Planetary Folklore Participations No. 1 Multiples BASF Luran

45

Participations No. 1, issued in 1969-1970, has had an incredible success throughout the world with amateurs in all walks of life, in schools, hospitals and museums.

Participations n ° 1, publié en 1969-1970, a eu un succès incroyable à travers le monde avec des amateurs de tous les horizons de la vie, dans les écoles, les hôpitaux et les musées.

The edition has been limited to 3000 copies, each copy signed and numbered on the back by the artist. Contained in a metal box is an original work by the artist, 50x50cm (20x20 inch), composed of 100 plastic unities of 5x5cm, each held in place by easily-movable magnets. In the inbox bottom are 95 additionals unities.

There are 19 colors in all, and possibilities are unlimited.

L'édition est limitée à 3000 exemplaires, chaque copie signée et numérotée sur le dos par l'artiste. Contenu dans une boîte métallique est une œuvre originale de l'artiste, 50x50cm (20x20 pouces), composée de 100 unités en plastique de 5x5cm, chacune détenues par des aimants facilement mobiles. Dans le fond de la boîte de réception sont 95 Additionals unités. Il ya 19 couleurs en tout, et les possibilités sont illimitées.

Victor Vasarely Nº

Title

MULTIPLES - BASF Luran 1969 - 1971 Dimensions

Edition

MULTIPLES “Multiples-Plastique iron box” Pub.

in: 1969-71 Editions: William Wise (France) PYRA A.G. Zumikon (Switzerland)

Medium: Polystyrene BASF Luran-S

1664.- Planetary Folklore I 51.5x51.5x1.5 cm 3000 (Participations nº 1). In collaboration with Denise René

1969

Multiple, Mixed media sculpture, 390 plastic magnetic pieces, metal box, and instructions with three offers for the artist. Zurich, Editions Pyra 1969 Signed on the back in metal box In original cardboard packaging. Seestrasse 126 8700 KUSNACHT Zurich, SWISS .

Catalogued on Victor Vasarely, Magdalena Holzhey, TASCHEN, Pag. 8. Vasarely in this one multiple presents the fruit of 35 years of plastic investigations in the domain of form / color. With these 195 joined (composed by 390 elements) can create compositions ilimitate of proper invention or one of three offers for the artist.

1665.- Planetary Folklore II 60.4x60.4x2 cm 500 (Participations nº 2). In collaboration with Denise René

1971

Set of 120 colored plastic magnetic elements. Box of cardboard: signed multiple, with a program coded sheets and other layers of programming has to oneself, a clamp, and a suction cup used to manipulate the units of vinyl. Signed on the back in metal box In original cardboard packaging. Additional 75 artist`s proof.

MULTIPLES “Tableaux-Plastique 1” Medium: Polystyrene BASF Luran-S

Published in: Edition: PYRA A.G., Zumikon (Switzerland)

1971 Details of the package of the work Planetary Folklore I

Multiple. BASF Luran on aluminum (The Kanta Series) 1666.- Planetary Folklore 2 P/G 1667.- Planetary Participations 1668.- Planetary Folklore 2 + Y/G 1669.- Planetary Folklore 2 - Y/G 1670.- Planetary Folklore 2 R/B 1671.- Planetary Folklore 2 B/G

60,5 x 60,5 cm 60,5 x 60,5 cm 60,5 x 60,5 cm 60,5 x 60,5 cm 60,5 x 60,5 cm 60,5 x 60,5 cm

500 500 500 500 500 500

1971 1971 1971 1971 1971 1971

All the pieces have signed and numbered by the artist on sticker at the back side.

On front of the piece, down at the rigth, signed on oil.

Note: Planetary Folklore 2 + YG and - Y/G (75 pieces were reserved for the artist.)

Editions William Wise, Lacoste, (Vaucluse, France). Editions PYRA A.G, Zumikon, (Switzerland) in collaboration with Denise Rene - Multiple Paris.

1665.- Planetary Folklore 2

1664.- Planetary Folklore

Planetary Folklore I (one possible variant)

1666.- Planetary Participations Nº 2

1667.- Planetary Participations

Detail of pieces in the box

1668.- Planetary Folklore 2 + G/Y

1669.- Planetary Folklore 2 - Y/G

1670.- Planetary Folklore 2 R/B

1671.- Planetary Folklore 2 B/G

46

Victor Vasarely Nº

Title

MULTIPLES - BASF Luran Dimensions Edition

MULTIPLES “Tableaux-Plastique 2” Pub. in: Medium: Editions: PYRA A.G., Zumikon (Switzerland) Collage BASF polystyrene color blocks in polyester resin

1970-74

Multiple. BASF Luran on aluminum (Kanta Series) 1672.- Orion Noir Neg. 1673.- Orion Noir Pos. 1674.- Orion Blanc Neg. 1675.- Orion Blanc Pos. 1676.- Orion Multicolor

(3)

105 x 100 cm 105 x 100 cm 105 x 100 cm 105 x 100 cm 105 x 100 cm

30 30 I+30 30 100

1970 1970 1970 1970 1970

1677.- Alom Green-Blue (1) (4) 1678.- Alom Blue-Blue 1679.- Alom I Red-Grey 1680.- Alom I Yellow-Yellow (1) (2) 1681.- Alom Red-Grey 1682.- Alom Red-Blue (1)

95,5 x 95,5 cm 95,5 x 95,5 cm 95,5 x 95,5 cm 95,5 x 95,5 cm 95,5 x 95,5 cm 95,5 x 95,5 cm

4 4 4 8 4 4

1971 1971 1974 1971 1973 1974

1683.- Zett W 1684.- Zett I Red-Grey (1) 1685.- Zett I Violet Monocolor (1) (2) 1686.- Zett Green-Yellow (1) 1687.- Zett Blue-Green (1) (1) 1688.- Zett Blue-Red 1689.- Zett Grey Monocolor (1) (2) 1690.- Zett I Green Monocolor (1) 1691.- Zett Green-Violet 1692.- Zett I Blue Monocolor (1) (2) 1693.- Zett Grey-Blue 1694.- Zett I Yellow Monocolor(2) 1695.- Zett I Grey-Blue 1696.- Zett I Yellow-Grey (1) 1697.- Zett I Green-Violet 1698.- Zett I Green-Yellow

70 x 70 cm FV1-19 105 x 100 cm 4 100 x 100 cm 8 105 x 100 cm 4 4 105 x 100 cm 105 x 100 cm 4 105 x 100 cm 8 100 x 100 cm 8 105 x 100 cm 4 100 x 100 cm 8 100 x 100 cm 4 100 x 100 cm 8 105 x 100 cm 4 105 x 100 cm 4 100 x 100 cm 4 100 x 105 cm 4

1970 1971 1971 1971 1971 1971 1971 1971 1971 1971 1974 1971 1971 1971 1974 1971

1699.- Zoeld Blue-Green (1) (2) 1700.- Zoeld Violet-Green (1) (2) 1701.- Zoeld Blue-Red (1) (2) 1702.- Zoeld Red-Green (1) (2) 1703.- Zoeld Violet-Yellow (1) (2) 1704.- Zoeld I Yellow-Yellow 1705.- Zoeld Red-Grey 1706.- Zoeld I Blue-Red

100 x 100 cm 105 x 100 cm 100 x 100 cm 100 x 100 cm 100 x 100 cm 100 x 100 cm 100 x 100 cm 100 x 100 cm

8 8 8 8 8 8 8 4

1971 1971 1971 1971 1971 1971 1972 1971

1707.- Eg. 1-2 Yellow-Grey Pos. 1708.- Eg. 1-2 Yellow-Grey Neg. 1709.- Eg. 1-2 Blue-Green 1710.- Eg. 1-2 Blue-Yellow

100 x 100 cm 100 x 100 cm 100 x 100 cm 100 x 100 cm

4 4 4 4

1973 1973 1973 1973

(1) VASARELY “KANTA” Arte Levi, Milano, 1971.

(2) Vasarely Veranneman Gallery , Bruselles, 1971 (3) Christie`s, Sale 1555, Lot. 420, 28/29-Sept-2005. (4) Christie`s, Sale 5866, Lot. 161, 1-July-2009 (4) Sotheby`s, Sale 9411, Lot. 336, 23-Nov-2015 Published on VASARELY III, Editions du Griffon Neuchatel (Switzerland) 1974. Pag. 244.

All the pieces are signed and numbered by the artist. Sticker on reverse.

On front of the piece, down at the rigth, signed on oil.

1673.- Orion Noir Pos.

47

1674.- Orion Blanc Pos.

Photo by P.B. 2012

Eng. Pedro Benavides, on his residence Pémore, on the living “Vasarely” in Caracas.

Works on the wall left to rigth, Soto “Ambivalencia`88”, Cruz-Diez “Physichromie Nº973`78”, Vasarely: “Orion Noir`70”, “Majus`71”.

1672.- Orion Noir Neg.

1675.- Orion Blanc Neg.

1676.- Orion Multicolor

Victor Vasarely

MULTIPLES - BASF Luran

1677.- Alom Green-Blue

Vasarely at his studio working on design of Tableaux Plastique

1678.- Alom Blue/Blue

1679.- Alom I Red/Grey

1680.- Alom I Yellow/Yellow

48

Victor Vasarely

49

MULTIPLES - BASF Luran

1681.- Alom Red/Grey

1682.- Alom Red/Blue

1683.- Zett W

1684.- Zett I Red/Grey

1685.- Zett I Violet “Monocolor”

1686.- Zett Green/Yellow

Victor Vasarely

1687.- Zett Blue/Green

MULTIPLES - BASF Luran

1688.- Zett Blue/Red

1689.- Zett Grey “Monocolor”

1690.- Zett I Green “Monocolor”

1691.- Zett Green/Violet

1692.- Zett I Blue “Monocolor”

50

Victor Vasarely

1693.- Zett Grey/Blue

51

MULTIPLES - BASF Luran

1694.- Zett I Yellow “Monocolor”

1695.- Zett I Grey/Blue

1696.- Zett Yellow-Grey

1697.- Zett I Green-Violet

1698.- Zett I Green-Yellow

Victor Vasarely

1699.- Zoeld Blue/Green

MULTIPLES - BASF Luran

1700.- Zoeld Violet-Green

1701.- Zoeld Red/Blue

1702.- Zoeld Red-Green

1703.- Zoeld Violet/Yellow

1704.- Zoeld Yellow-Yellow

52

Victor Vasarely

1705.- Zoeld Red-Grey

1707.- Eg. 1-2 Yellow-Grey Pos.

1709.- EG-1-2 Yellow-Blue

53

MULTIPLES - BASF Luran

1706.- Zoeld I Blue/Red

1708.- Eg. 1-2 Yellow-Grey Neg.

1710.- EG-1-2 Blue-Green

Victor Vasarely Nº

Title

MULTIPLES - BASF Luran Dimensions Edition

MULTIPLES “Tableaux-Plastique 3” Pub. in: Medium: Editions: PYRA A.G., Zurich Collage BASF polystyrene color blocks inlaid in polyester resin

1971-73

1711.- Majus A (Relief small circles) (1)

105 x 100 cm

30

1971

1712.- Majus B (Relief small squares)

105 x 100 cm

30

1973

1713.- Majus C (Relief small squares/circles) 105 x 100 cm

30

1973

1714.- Sende

(2)

100 x 100 cm

8

1972

1715.- Arcturus

(3)

100 x 100 cm

8

1971

(1) Phillips, Sale NY030012, Lot. 7, 25-Jan-2012 (2) Fischer, Sale November 26.2015 Art.1-171, Lot. 112, 26-Nov-2015 (3) Ketterer Kunst, Sale 378, Lot. 343, 07-May-2011 1711.- Majus A

1712.- Majus B

1713.- Majus C

1714.- Sende

1715.- Arcturus

54

Victor Vasarely Nº

Title

MULTIPLES - BASF Luran Dimensions Edition

MULTIPLES “Tableaux-Plastique 4” Pub. in: Medium: Editions: PYRA A.G., Zurich Collage BASF polystyrene color blocks inlaid in polyester resin

1972-75

95,5 x 95,5 cm

4

1975

1717.- Alom Gray-Yellow

95,5 x 95,5 cm

4

1975

1718.- Zett Green-Violet

100 x 100 cm

4

1975

1719.- Zett I Yellow-Green

100 x 100 cm

4

1975

1720.- Zett Red-Blue

100 x 100 cm

4

1974

1716.- Alom Violet-Yellow

(1)

1721.- Zoeld Blue-Yellow

(2)

100 x 100 cm

8

1975

1722.- Zoeld I Violet-Violet

(3)

100 x 100 cm

8

1975

1723.- Zoeld I Red-Blue

100 x 100 cm

4

1975

1724.- Zoeld Red-Green

100 x 100 cm

8

1975

96 x 96 cm

8

1974

96 x 96 cm

8

1974

1716.- Alom Violet-Yellow

1725.- Kontoesh

(6)

1726.- Gestalt Violet 1727.-Gestalt Blue

(4)

96 x 96 cm

8

1973

1728.- Hexa

(5)

105 x 100 cm

8

1975

96 x 96 cm

8

1972

1729.- Torony

All the pieces are signed and numbered by the artist. Sticker on reverse.

On front of the piece, down at the rigth, signed on oil.

(1) Phillips, Sale NY030012, Lot. 6, 25-Jan-2012 (2) Christies, Sale 9227, Lot. 191, 27-Feb-1992 (3) Bonhams, Sale 17097, Lot. 341, 11-May-2009 (4) Drouot Richelieu, Sale 7, Lot. 9, 1-Apr-2009 (5) Fischer, Sale November 26.2015 Art.1-171, Lot. 111, 26-Nov-2015 (6) Sotheby`s, Sale N09411, Lot. 336, 23-24 Nov 2015, New York 1717.- Alom Gray-Yellow

1718.- Zett Green-Violet

55

1719.- Zett I Yellow-Green

Victor Vasarely

1720.- Zett Red-Blue

MULTIPLES - BASF Luran

1721.- Zoeld Yellow-Blue

1722.- Zoeld I Violet/Violet

1723.- Zoeld Red-Blue

1724.- Zoeld Red-Green

1725.- Kontoesh

56

Victor Vasarely

57

MULTIPLES - BASF Luran

1726.- Gestalt Violet

1727.- Gestalt Bleu

1728.- Hexa

1729.- Torony

Victor Vasarely

MULTIPLES -

Transparences

Vasarely on his Atelier with some profunde kinetics works in different materials: Plexiglass, wood or anodized aluminium.

58

Victor Vasarely

MULTIPLES -

Transparences

If for a long time his preferences ran to black and white, and frequently still fix upon them, is not precisely because in the absolute of luminous contrasts Vasarely discovers a sign of power which he cannot reject?

However, beginning with photographism of very large dimensions, Vaserely simultaneously began his exploration into space and the plane.

As early as 1952, in Sipontum, with its vivid geometrical cutouts and its alternating, dislocated black and white bands, he heralded the approaching creation of large elements in aluminium strips and the future metallic object-structures (Positive-Negative 1954, for UCV, Caracas, Quadrature 1960).

With Sorata T, a triptych in engraved glass blocks, permitting a glimpse of the effects of crisscrossing grids, he initiated the series which was to begin in earnest the following year with experiments with the superpositions of collages on tracing paper or on rhodoid (a plastic material) called Transparency.

Helios Rd/Gn,Collection Vasarely Museum,Budapest

Then came the fisrt studies for deep kinetic works (eg, Bi-Form, Ixion,Torke), consisting of a series of glass or plexiglass screens one on top of the other, which were to be created in 1954, and which were to give birth several years later to multiples in either cylindrical form (Mora, c.1956 and later, in multiples with editions of Denise Rene, Paris in 1962) or, especially, in the form of a box holding several impressions visible by transparencies co-produced with Editions du Griffon and Denise René like Omega-26, Tlinko in 1965.

Later on 1967, a serie on plexiglass: Ibadan, Keet, Riu-Kiu, Helios, Novae, Tsillag, etc. and in 1969 for the Album “Descartes a Vasarely” the work “Oeuvre Profunde” under the edition of Esselier, París.

As Vasarely explained to Jean-Louis Ferrier: Transparence XIII

“In tracing a very simple network on a sheet of plexiglass, and in coupling it with another network traced on another sheet, I quite quickly realized that i was building a space which no longer owed anything to Euclidean perspective, or to axonometric perspective, or to any other kind of perspective here, i was combining two spaces, and the transparency permitted me to inscribe the plane in real space and to translate real space into a plane. The very conditions of illusionism had been radically changed".

In addition, the simple fact that the gaze had to travel among these three real or virtual dimensions, that it was able to register a certain distance covered which was in itself unlimited, suffices to procure not only a sensations of duration which thus leads to the notion of a fourth dimension, but also a kind of dissatisfaction, a vivid need for eternal recommencement which by that very fact gives rise to a feeling of the infinite.

Extract “Vasarely” by Gaston Diehl

Yablapour

Victor Vasarely

MULTIPLES -

Transparences

Si pendant longtemps ses préférences couru en noir et blanc, et souvent encore fixer sur eux, ne sont pas précisément parce que dans l'absolu de lumineux contraste Vasarely découvre un signe de pouvoir dont il ne peut pas rejeter? Toutefois, en commençant par photographism de très grandes dimensions, Vasarely a commencé simultanément son exploration dans l'espace et le plan.

Dès 1952, dans Sipontum, avec ses découpes géométriques vives et son alternative, disloqué bandes noires et blanches, il annonçait la création prochaine de grands éléments de bandes d'aluminium et les métalliques futurs objetsstructures (positif-négatif 1954 pour UCV, Caracas, Quadrature 1960).

Avec Sorata T, un triptyque dans des blocs de verre gravé, permettant un aperçu des effets de réseaux sillonnent, il a lancé la série qui devait commencer pour de bon l'année suivante avec des expériences avec les superpositions de collages sur papier calque ou sur rhodoïd (un plastique matériau) appelée transparence.

1730.- Omega 25 Noir

Puis vinrent les premières études pour les travaux cinétiques profondes (par exemple, Bi-Form, Ixion, Torke), constitué d'une série d'écrans en verre ou en plexiglas au-dessus d'une autre, qui était créé en 1954, et qui devaient donner naissance quelques années plus tard à des multiples en soit de forme cylindrique (Mora, c.1956 et plus tard, dans les multiples éditions avec de Denise René, Paris en 1962) ou, surtout, sous la forme d'une boîte contenant plusieurs impressions visibles par transparents co-produit avec les Editions du Griffon et Denise René, comme l'oméga-26, Tlinko en 1965.

Plus tard 1967, une série sur plexiglas: Ibadan, Keet, Riu-Kiu, Helios, Novae, Tsillag, etc., et en 1969 pour l'album "Descartes un Vasarely" le travail "Oeuvre profunde" sous l'édition de Esselier, Paris.

1731.- Omega 25 Orange

Comme Vasarely expliqué Jean-Louis Ferrier: "En traçant une très simple réseau sur une feuille de plexiglas, et en le couplant avec un autre réseau tracé sur une autre feuille, je suis assez vite rendu compte que je construisais un espace qui n'a plus rien dû à la perspective euclidienne, ou axonométriques perspective, ou à tout autre type de perspective ici, je me combinant deux espaces, et la transparence m'a permis d'inscrire le plan dans l'espace réel et l'espace réel de traduire dans un plan. Les conditions mêmes de l'illusionnisme avaient été radicalement changé ".

En outre, le simple fait que le regard a dû voyager entre ces trois dimensions réelles ou virtuelles, qu'il était en mesure d'enregistrer une certaine distance parcourue qui était en luimême illimitée, suffit de se procurer non seulement une des sensations de durée qui conduit ainsi à la notion d'une quatrième dimension, mais aussi une sorte d'insatisfaction, un besoin vif pour éternel recommencement qui par le fait même donne lieu à un sentiment de l'infini.

Extraire "Vasarely" par Gaston Diehl

1732.- Omega 25 Blanc

Victor Vasarely Nº

Title

Dimensions

MULTIPLES -

Transparences

Edition

MULTIPLES “Transparences 1”

Published in: 1964-79 Editors: Denise Renè, Paris du Griffon, Neuchâtel, Switzerland

Medium: Screenprint on Plexiglass

<<Serie Omega-25>> 1965 Editor: Victor Vasarely.

40 x 40x 10 cm 40 x 40x 10 cm 40 x 40x 10 cm 40 x 40x 10 cm

(4) (4) (4) (4)

1734.- Omega-26 Pos.(1) 1965 40 x 40x 10 cm 1735.- Omega-26 Neg. 1965 40 x 40x 10 cm

(4) (4)

70 x 62x 12 cm 70 x 62x 12 cm 70 x 62x 12 cm

(4) (4) (4)

1730.- Omega-25 Noir 1731.- Omega-25 Orang 1732.- Omega-25 Blanc 1733.- Omega-25 Rogue

1736.- Tlinko J/R (2) 1737.- Tlinko R/B (3) 1738.- Tlinko Noir

1964 1964 1964

1739.- Tau-Ceti NB 1955-65 70 x 70 x 10 cm 1740.- Tau-Ceti Blanc 1955-65 70 x 70 x 10 cm 1741.- Tau-Ceti J-N 1964 40.5 x 40.5 x 10 cm

4 4 4

1742.- Keet-H (4)

1967

30 x 30 x 5 cm

34

1743.- Ibadan Gr/Bk

1968

30 x 30 x 5 cm

100

1744.- Helg-GR

1965

35 x 32 x 5 cm

100

1745.- Helios Noir (4) 1746.- Helios Vert 1747.- Helios R/Vert (3) 1748.- Helios R/Noir

1967 1967 1967 1967

30 x 30 x 5 cm 30 x 30 x 5 cm 30 x 30 x 5 cm 30 x 30 x 5 cm

34 34 34 34

1749.- Valur 1750.- Carmi NB

1968 1966

30 x 30 x 5 cm 70 x 70 x 10 cm

100 4

1967 1955-65

30 x 30 x 5 cm 70 x 70 x 10 cm

34 4

30 x 30 x 5 cm 30 x 30 x 5 cm

34 34

1751.- Novae (3) 1752.- Tlinko F NB 1753.- Tsillag Yl/Pl 1754.- Riu-Kiu (4)

1967 1967

<<Serie Transparences I-XV>> Editor: Victor Vasarely. Overall Size: 40x33cm Image Size 1755.- Transparence I (5) 24 x 18 x 5 cm cr.`53

1756.- Transparence II 1757.- Transparence III 1758.- Transparence IV 1759.- Transparence V

27 x 21 x 5 cm (5) 28 x 33 x 5 cm cr.`53 27 x 18 x 5 cm 28 x 23 x 5 cm

10 10 10 10 10

26 x 20 x 5 cm 1760.- Transparence VI 26 x 22 x 5 cm 1761.- Transparence VII 1762.- Transparence VIII (5) 25 x 20 x 5 cm cr.`53 “Mindanao I” 1763.- Transparence IX (5) 28 x 21 x 5 cm cr.`53 22 x 14 x 5 cm 1764.- Transparence X

10 10 10 10 10

28 x 21 x 5 cm 1765.- Transparence XI 1766.- Transparence XII (6) 24 x 18 x 5 cm cr.`52 (Belle Isle period) 1767.- Transparence XIII (6) 29 x 23 x 5 cm cr.`55 (Bk/Wh line period) 20 x 18 x 5 cm 1768.- Transparence XIV 21 x 18 x 5 cm 1769.- Transparence XV

10 10 10 10 10

1733.- Omega 25 Rouge

1734.- Omega 26 Pos.

Planned edition of 10. Due to certain problems on the Artist Atelier some of these transparences came to be unique pieces. ( ) Not confirmed by the editor (1) Vasarely Magdalena Holzhey, Taschen 2005, Pag.47 (2) VASARELY I, Editions du Griffon Neuchatel (Switzerland) 1965 Pag.108.

(3) Represented on Vasarely Museum, Budapest (4) Mentioned on VASARELY III, Editions du Griffon Neuchatel (Switzerland)1974. Pag.243.

Mentioned on “Victor Vasarely-I. Maestris del Novecento”, G.C. Sansoni, Editore Nueva S.p.A, Firense, 1980, Pag. 89, Editions of 34, of which 8 are artist proofs (5) Vasarely Klett-Cotta, 1986, Pag. 130-131-132-133.

(6) Vasarely Colection of Museum Fine Arts Budapest. Inventory number V-268 All the pieces are signed “VASARELY” and numbered on sticker on side 1735.- Omega 26 Neg.

61

Victor Vasarely

MULTIPLES -

Transparences

Victor Vasarely at his atelier. Works left to right: Vonal-Ket 1972, Alpha Clock, Torony BL (biface metal 84x25cm),Omega-26 Neg, Transparence IX, arrangement of Serie Tlinko, Valur, Tsillag, Helios Bk, Omega-26 Pos., Zebra, Arpad (Tower on wood) view of upper side, Transparence XIII, Ter-G2 (wood 1969), Diamond Sculpture (Structure changeante), Work of Jean-Pierre Vasarely (Yvaral), Sir-Ris Cubes (Pos.&Neg.), Naissances, Kroa I 1966, Keet-H 1967,“Mora” 1962 plexiglass cilinder.

1736.- Tlinko Yl/Rd

1739.- Tau-Ceti NB

1737- Tlinko Bl/Rd

1740.- Tau-Ceti Blanc

1738.- Tlinko Bk

1741.- Tau-Ceti Jaune-Noir

62

Victor Vasarely

1742.- Keet H

MULTIPLES -

1743.- Ibadan Gr/Bk

Lateral view

1746.- Helios Rd/Gn

Lateral view

63

1744.- Helg-GR

Front View

1745.- Helios Noir

1747.- Helios G-N

Transparences

Front View

1748.- Helios Bk/Rd

Victor Vasarely

MULTIPLES -

Front View

Lateral view

1749.- Valur

1750.- Carmi NB

Front view

Back view

1751.- Novae

1752.- Tlinko F NB

Front view

1753.- Tsillag Yl/Pl

Transparences

Back view

1754.- Riu Kiu

64

Victor Vasarely

MULTIPLES -

Transparences

1755.- Transparence I “Terrur 1”

1756.- Transparence II

1757.- Transparence III “Sipontium 3”

1758.- Transparence IV “Morphemes 4”

1759.- Transparence V

1760.- Transparence VI “Orinoco 6”

Lateral view

1761.- Transparence VII “Yapoura 7”

65

Front View

1762.- Transparence VIII “Orinoco 8”

Victor Vasarely

MULTIPLES -

Lateral view

Front View

1763.- Transparence IX “ILava 9”

1764.- Transparence X “Erebus 10”

1766.- Transparence XII “Terrur 12”

1765.- Transparence XI “ILava 11”

Lateral view

1768.- Transparence XIV “Yablapour 14”

Transparences

1767.- Transparence XIII

Front View

1769.- Transparence XV “Yablapour 15”

66

Victor Vasarely Nº

Title

MULTIPLES Dimensions

MULTIPLES “Transparences 2” Medium: Screenprint on Plexiglass box

Edition

Published in: 1990 Editior: Pesti Mühely, Budapest.

45 x 40 x 6.3 cm

MV10+20

1771.- Pleïone-2

45 x 40 x 6.3 cm

MV10+20

1772.- Novae-2 (1954-1955) (2)

44 x 41 x 6 cm MV10+20 Silkscreen blue & black on 2 plexiglass plates

1773.- Tlinko-2 (1954-1955)

50 x 44 x 6.3 cm

MV10+20

1774.- Yablapour

46x 42 x 6 cm

MV10+20

51 x 42 x 6 cm

MV10+20

1770.- Encelade-2

1775.- Flaari

(1955)

(1)

Transparences

All pieces signed and numbered by Vasarely.

Edition of 20 (+ 10 specimens MV1 - MV10 for the Vasarely Museum, Budapest) (1) Stockholms Auktionsverk, Lot. 847, 25/26-Oct-2011 (2) Dorotheum Auction House, Sale 29.04, Lot. 154, 06-May-2015

Vasarely´s Muzeum in Budapest, which bring his support to realize transparence`s series <<Edition by Pesti Mûhely>>

Front View

Lateral view

Back view

Front View

Lateral view

Back view

1770.- Encelade-2

1771.- Pleïonne-2

67

Victor Vasarely

MULTIPLES -

Transparences 15 November 2007 – 27 January 2008 Many years of co-operation between Janus Pannonius Museum in Pécs Hungary and Olomouc Museum of Modern Art, have culminated in this remarkable curatorial event.

The Olomouc Museum of Modern Art presented a representative selection of the work of the world renowned artist,Victor Vasarely, who significantly contributed to the development of post-war art and is considered one of the pioneers of Op-Art. They have succeeded in borrowing a collection of more than eighty works of art for the Olomouc public: paintings, graphic works, sculptures, tapestries and multiples.

The exhibition was the first profile presentation of Vasarely’s work in the Czech Lands after the year 1989.

Exhibition Victor Vasarely in the Vaulted Hall of the Olomouc Museum of Modern Art in Czech Republic. Photo by Lumír Čuřík

Front View 1772.- Novae-2

1773.- Tlinko-2

Front View 1774.- Yablapour

1775.- Flaari

68

Victor Vasarely Nº

Title

MULTIPLES -

Dimensions

MULTIPLES “Sculpture on Plexiglass” Edition: Different Editors Medium: Plexiglass / Acrylic / Paper

Published in:

Edition 1968-90

Signed and Numbered by the Artist

1776.- Oeuvre Profonde`69 (1)

40 x 46 x 5 cm

138

1777.- Beta `85

30.0 x 30.0 x 5.0 cm

250

45.7 x 45.7 x 7.0 cm

200 250

(4)

1778.- Beta II `85

Sculpture on Plexiglass

1779.- Venus `86

(6)

38 x 33.2 x 6 cm

1780.- Zint `81

(10)

60.9 x 48.2 x 7.5 cm

XX+120

57.2 x 45.7 x 5.7 cm

100

View 2

1781.- Zebras

<<Editions du Griffon, Swiss. 1971>> Plastique on 23 colors. Image Size: 32x52cm 44.1 x 64.1 x 3.5 cm

300

1783.- Procion `68

31.7 x 17.5 x 17.5 cm

100

1784.- Ibadan Cinetique

40 x 40 cm (Dia. 28cm)

100

1782.- Gestalt Sin

(7)

1785.- Metamor II

(7)

30.6 x 22.6 x 4.6 cm

1786.- Naissances `73

(3)

76 x 62 x 6.7 cm

XX+200

1787.- Tuz `70

(2)

57 x 57 x 5.2 cm

25

View 1 1776.- Oeuvre Profonde

Limited Edition

<<Paper on plexiglass sculpture, contains 4 works of Vasarely with unpublished covers, 1988. Signed and numbered on the plexiglass. Edition 1500 plus 30 copies numbered from I to XXX. Allows 6 cover combinations>>

26 x 30 x 5.5 cm

1788.- Hexagon

1500

<<All dimenssions with acrylic base included>> Cubes on Acrylic 1789.- Moire Wave (9) 21.1 x 12.1 x 12.1 cm

300

1790.- Moire Wave Color (5)(9) 19 x 10.0 x 10.0 cm

200

1791.- Oltar Zoelo

(5)(9) 19

x 10.2 x 10.2 cm

300

1792.- Cube aux Zèbre

(9)

19 x 10.2 x 10.2 cm

200

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

1793.- Kupla `89

(9)

65.0 x 20.0 x 20.0 cm

200

1794.- Zébres `88

(9)

66.0 x 12.0 x 12.0 cm

200

1795.- Holld `88

(9)

62.5 x 15.0 x 15.0 cm

200

1796.- Tihany `88

(9)

60.0x 20.0 x 20.0 cm

200

1797.- Tihany II `90

(9)

62.5 x 12.5 x 12.5 cm

200

1777.- Beta

<<Editions The Hilliard Collection,Munich.1979>> Plexiglass & silkscreen on plexiglass 1798.- Echiquier `79 1799.- Vega 3

(8)

41.5 x 71.5 x 71.5 cm 45 x 45 x 1.5 cm

1500 Limited Edition

(1) Part of album “Descartes-Vasarely” 1969, Esselier, Paris.

(2) Cornette de San Cyr, Stamped & Multiples, Lot. 434, 25-Oct-1991 (3) Part of album “Bach Vasarely” 1973, Pierre Belfond, Paris.

(4) Part of album “11+1” 1985. Editions George Falls/ Galerie Lahumiere, Paris (5) Swann Auction Galleries, Sale 2250, Lot. 374, 9-Jun-2011 & Sale 2024, Lot. 234, 19-Nov-2004 (6) Part of album “Jalons” 1986 Editions Börjeson, Malmö, (Sweden) (7) Tajan, Sale 7717, Lot. 136, 01-Feb-2007 (8) “Echiquier” alson named “Sakk-Jatek” (Chess game). The Hilliard Collection, Munich (9) Editions Circle Gallery (10) Helion-Robertson, New York (USA), printed by Silium, Paris.

1778.- Beta II

Victor Vasarely

MULTIPLES -

Sculpture on Plexiglass

Photo by P.B. 2011

Eng. Pedro Benavides, at Residence Pémore, Caracas, on living “Vasarely”. Works, left to right Vasarely: “Halph`74 Nº 2806”, Éstude Matiére`38, “Stele`88”, “Holld`88”, “TridimBM`70”, “Moire Wave Color”, Jesus Soto “Ambivalencia`88”, Carlos Cruz-Diez “Phisichrome Nº 973 `78”, Vasarely: “Metamor II”, “Gestalt`69 Nº 941”, Nicolás Schöffer “Kronos`74”, Vasarely: “Tlinko-To`56”, “Beta”, “Oeuvre Profonde`69”.

1779.- Venus

1780.- Zint (Linienspiel)

1781.- Zebras

Victor Vasarely

MULTIPLES -

Sculpture on Plexiglass

1783.- Procion

Label on back side

1784.- Ibadan Cinetique

1782.- Gestalt-Sin

1785.- Metamor II

1786.- Naissances

1787.- Tuz

Victor Vasarely

MULTIPLES -

1789.Moire Wave

1790.Moire Wave Color

1791.Oltar Zoelo

1792.Cube aux Zebres

1788.- Hexagon

Sculpture on Plexiglass

Victor Vasarely

MULTIPLES -

Sculpture on Plexiglass

1793.- Kupla

Vasarely on his atelier at Annet-sur-Marne, 1992 - Photo by W. Osterheld

1794.- ZĂŠbres

1795.- Holld

1796.- Tihany

1797.- Tihany II 1990

Victor Vasarely

MULTIPLES -

Echiquier Vega 3

Details of certificate and programming colors

Details of piece form

1798.- Echiquier 1975

Detail A

Detail of sign

1799.- Vega 3

Sculpture on Plexiglass

Victor Vasarely Nº

Title

Metal Anodise 1967-73 Dimensions

Edition

MULTIPLES “Metal Anodisé” Published in:1967-73 Editions: Denise René, Paris / du Griffon, Nuechátel (Switzerland) Medium: Aluminium Anodisé / Serigraph on metal Editions: Denise René - Hans Mayer, Krefeld, Germany

1800.- Axo Metal 1801.- Vega 4

(1)

90 x 61 x 0.4 cm

257

52 x 52 x 1.5 cm Limited Ed. (2) Black, die-cut adhesive film on metal gold foil on PVC panel.

1973 1970

Editions: Galerie Hans Mayer, Esslingen, Germany

1802.- Unités-Plural 1

(3)

68x113.5x0.4cm

XL+160

1967

Limited

1973

Serigraph on Aliminium. Signed and numbered

1803.- Concentric Circles

100 x 100 cm

(1) Represented on the Collections of Vasarely Muzeum, Pecs.

(2) Auctionata, Lot. 33, under Item number 79306-1 (3) Ketterer Kunst, Sale 321, Lot. 162, July-7-2007

Back side of Axo Metal 1800.- Axo Metal

1802.- Unités-Plural 1

1803.- Concentric Cirles

75

1801.- Vega 4

Victor Vasarely

MULTIPLES - Tower Scupltures

Vasarely Iboya Series

Victor Vasarely with serie Iboya. Left to right: NB31, NB41, MC1, MC103, NB63, NBC35, MC12, NBC21, NB42, Nb1, behind at left, Kanta Series: Orion Noir Negat. 1970.

The Serie Iboya was development on the 1970, on different dimensions.

La Série Iboya était sur le développement 1970, sur les différentes dimensions.

Iboya, the hungarian word for forest violet, is Vasarely`s title of the pillar sculptures, 24 in all, which are in black and white, black, white and color and in multicolor, in 5 basics form including height: a square, a cross and a square within a square, Little Iboya Series: 85x15x15cm (34x6x6”) in square, L shape or cross, the two latter 65x10x10cm (26x4x4”) in square and L shape. All signed and numbered in edition of 50 copies.

Iboya, le mot hongrois pour la forêt violette, est le titre Vasarely`s des sculptures de pilier, 24 au total, qui sont en noir et blanc, noir, blanc et couleur et multicolore, en 5 bases forme, y compris la hauteur: un carré, un croix et un carré dans un carré, Little Iboya Série: 85x15x15cm (34x6x6 ") sur la place, en forme de L ou de croix, les deux derniers 65x10x10cm (26x4x4") en forme carrée et l. Tous signé et numéroté en édition de 50 exemplaires.

In addition, there are several editions of 8, named Grand Iboya Series, of 165x15x15cm (66x6x6 inch) and 185x30x30 (74x12x12 inch).

En outre, il existe plusieurs éditions de 8, nommé Grand-Iboya série, de 165x15x15cm (66x6x6 pouces) et 185x30x30 (74x12x12 pouces).

Victor Vasarely Nº

Title

MULTIPLES - Tower Scupltures

Dimensions

Edition

MULTIPLES “Plastic Sculptures 1”

Published in: 1970 Edition: Pyra AG, Zumikon/ZH (Switzerland) D.R, Multiples (Paris)

Medium: Acrylic on wood (collage on wood)

Little Iboya Series: 1804.- Iboya NB1

85.0 x 15.2 x 15.2 cm

50

1805.- Iboya NB12

85.0 x 15.2 x 15.2 cm

50

1806.- Iboya NB19

85.0 x 15.2 x 15.2 cm

50

1807.- Iboya NB21

65.0 x 10.0 x 10.0 cm

50

1808.- Iboya NB31

85.0 x 15.2 x 15.2 cm

50

65.0 x 10.0 x 10.0 cm

50

1810.- Iboya NB42

65.0 x 10.0 x 10.0 cm

50

1811.- Iboya NBC1

85.0 x 15.2 x 15.2 cm

50

1809.- Iboya NB41

(1)

1812.- Iboya NBC11

(2)

85.0 x 15.2 x 15.2 cm

50

1813.- Iboya NBC21

(3)

85.0 x 15.2 x 15.2 cm

50

1814.- Iboya NBC32

(4)

65.0 x 10.0 x 10.0 cm

50

1815.- Iboya NBC35

(5)

65.0 x 10.0 x 10.0 cm

50

1816.- Iboya NBC36

65.0 x 10.0 x 10.0 cm

50

1817.- Iboya NBC43

65.0 x 10.0 x 10.0 cm

50

85.0 x 15.2 x 15.2 cm 85.0 x 15.2 x 15.2 cm 85.0 x 15.2 x 15.2 cm 65.0 x 10.0 x 10.0 cm

50 50 50 50

65.0 x 10.0 x 10.0 cm 85.0 x 15.2 x 15.2 cm 85.0 x 15.2 x 15.2 cm 85.0 x 15.2 x 15.2 cm

50 50 50 50

1818.- Iboya MC1 1819.- Iboya MC12 1820.- Iboya MC21 1821.- Iboya MC31 1822.- Iboya MC46 1823.- Iboya MC103 1824.- Iboya MC116 1825.- Iboya MC124

(6) (7) (8) (9) (10)

Vasarely et Yvaral á Annet-sur-Marne, 1992. Photo by W. Osterheld Work left to right: Tsengue (1960) and NB41 Iboya Series 1970

All the pieces have signed and numbered by the artist on front side.

(1) Koller Auctions, Paintings, Sculptures, Lot. 442, 27-May-2011, Zurich, Switzerland (2) Koller Auctions, Prints, Multiples, Lot. 3715, 05-Dec-2015, Zurich, Switzerland (3) Van Ham Auctions, Sale 216, Lot. 584, 25-May-2002, Germany (4) Massol FVV, Sale Art Contemporary, Sculpture, Lot. 143, 18-Jun-2014, Paris (5) Artcurial, Sale Art Contemporary II, Lot. 620, 4-Apr-2007, Paris (6) Christie`s, Sale. 2309, Lot. 439, 26/27-Apr-2010, New York (7) Artcurial, Sale Art Abstract & Contemporary, Lot. 737, 14-Feb-2007, Paris (8) Matsart Auctioneer, Sale 15, Lot. 50, 9-Mar-2016, Tel-Aviv (9) Artcurial, Sale Art Abstract & Contemporary, Lot. 121, 22-Mar-2010 (10) Fischer Auctions AG, Sale A424, Lot. 110, 26-Nov-2015, Luzern, Switzerland

15

1806.- NB19

10

10

1807.- NB21

10

15

1808.- NB31

15

1805.- Nb12

1804.- NB1

1809.- NB41

10

1810.- NB42

Victor Vasarely

MULTIPLES - Tower Scupltures

15

1813.- NBC21

10

10

1816.- NBC36

10

1820.- MC21

1819.- MC12

15

1823.- Mc103

10

1815.- NBC35

15

15

10

1822.- MC46

10

1814.- NBC32

1818.- MC1

1817.- NBC43

1821.- MC31

15

15

1812.- NBC11

1811.- NBC1

15

15

1824.- MC116

15

1825.- MC124

Victor Vasarely Nº

Title

MULTIPLES - Tower Scupltures

Dimensions

Edition

MULTIPLES “Plastic Sculptures 2”

Published in: 1970-74 Edition: Pyra AG, Zumikon/ZH (Switzerland)

Medium: Polystyrene Luran-s (collage on wood)

Grand Iboya Series: 1970: 1826.- Iboya NB63

(1)

185.0 x 30.0 x 30.0 cm

8

1827.- Iboya NB212

(1)

165.1 x 15.2 x 15.2 cm

8

185.0 x 30.0 x 30.0 cm

8

175.1 x 20.0 x 20.0 cm

8

165.1 x 15.2 x 15.2 cm

8

165.1 x 15.2 x 15.2 cm

1/8

1971-1974: 1828.- Iboya MC166 1829.- Iboya MC174

(2)

1830.- Iboya MC212 1831.- Iboya NBC71

(3)

All the pieces have signed “VASARELY” on side.

(1) Catalogued “Vasarely Galerie Veranneman - Bruxelles” 1971. Pags. 51,49 (2) Catalogued Sotheby`s Sale N08896, Lot 331, 2-Nov-2012 /

30

Wright AH Sale Living Contemporary, Lot 102, 25-April-2013

15

1826.- NB63

(3) Catalogued Sotheby`s Sale N08525, Lot 105, 10-March-2009.

1827.- NB212

According to Ms. Michèle Vasarely, the edition was never made of these large-scale tower sculptures thus making this a unique, original work.

20 1828.- MC166

Side A

Side B

Side A

15 1829.- MC174

15 1830.- MC212

Side B

15 1831.- NBC71

Victor Vasarely Nº

Title

Multiples & Unique Works

Dimensions

Edition

Multiples & Spatial Works “Wood Scuplture 1” 1963-87 Medium: Acrylic wood sculpture

Edition: Vasarely / Circle Fine Art

350 x 30 x 30 cm 350 x 30 x 30 cm

Unique work Unique work

240 x 20 x 20 cm 1834.- Colonne-DF 1963 240 x 20 x 20 cm 1835.- Colonne-EF 1963 1836.- Colonne-FF 1963 (1) 240 x 20 x 20 cm

Unique work Unique work Unique work

240 x 20 x 20 cm

Unique work

1832.- Keiho-Co 1833.- Carre-Co

1837.- Moros

1963 1963

1964

240 x 20 x 20 cm Unique work 1967 240 x 30 x 30 cm Unique work 1967 Published in VASARELY Prestel-Verlog, Munchen, 1992. Nº 44 and N° 45

1838.- Kiral 1839.- Arpad

1840.- Colonne MC 1967

170 x 30 x 30 cm

Unique work

<< Circle Fine Art Corporation, Chicago & New York City >> ea4+40 1841.- Colonne-1 1987 (2) 180.3 x 30.5 x 30.5 cm Created in honor of Vasarely's 80th Birthday.

190.3 x 30.5 x 30.5 cm 1987 On both works, the edition were 100 but not completed.

1842.- Talia

30

1843.- Bidim MC

1968/69

170 x 100 x 20 cm

Unique work

1844.- Ter-A 1845.- Ter-B 1846.- Ter-D

1968/69 1968/69 1968/69

234 x 130 x 26 cm 250 x 150 x 20 cm 238 x 177 x 30 cm

Unique work Unique work Unique work

1847.- VP

1972 (3) 137 x 99 x 25.4 cm

Unique work

All the pieces have signed “VASARELY” on side.

Base is not included on the dimensions. Metal black base thickness approx. 2cm (1) Hampel Fine Art Auctions, “Modern Art. Carl Laszlo Collection”, Lot. 1223, Apr. 8-2016.

(2) Christie´s: Sale 7487, Lot.361, Oct. 16-2007 / Sale 5837, Lot. 303, Apr. 30-2009 (3) Artcurial, Art Contemporary, Lot. 28, Oct. 28-2006

30

30 1832.- Keiho-Co

1833.- Carre-Co

Vasarely at his Atelier with Column-DF

20 1834.- Colonne DF

20 1835.- Colonne EF

20 1836.- Colonne FF

Victor Vasarely

Multiples & Unique Works

Sidney Janis Gallery, New York.1968

20 1837.- Moros

1838.- Kiral

30

30

20 1839.- Arpad

1840.- Colonne MC

30 1841.- Colonne-1

Victor Vasarely

Multiples & Unique Works

1843.- Bidim MC

Galerie Denise René, París.1970. Exhibited, Bidim-MC and Ter-A

View A

View B

30

1842.- Talia

1844.- Ter-A

1847.- VP

Victor Vasarely Nº

Title

Dimensions

MULTIPLES - Wood Sculpture Edition

Multiples & Spatial Works “Wood Scuplture 2” 1968-90 Editions: Galerie Denise René, París. / Circle Fine Art Corp.

Medium: Polychrome Sculpture, acrylic on wood Made / Edition 1848.- Bidim 1849.- Bidim C 1850.- Bidim-T

29.9 x 14.6 x 5.7 cm (1) 52 x 25 x 6 cm (1) (1) (2) 87 x 26 x 5.1 cm

1851.- Ter A-1 1852.- Ter A-2 1853.- Ter B-1 1856.- Ter G 1857.- Ter L-1 1854.- Ter F2

(3)

V13.- Bidim-G 1855.- Ter G2 V14.- Tridim-G-F2 V15.- Tridim-G

45.1 x 24.8 x 5.1 cm 53 x 28 x 5.1 cm 50 x 30 x 4 cm 30 x 24 x 6 cm 38.1 x 20.32 x 6.35 cm 15 x 8.5 x 2.5 cm

(11)

aprox. H.150cm w/o base 15 x 12 x 3 cm aprox. H.150cm w/o base aprox. H.150cm w/o base

1 /30 1 /30 1 /30 100 100 100 100 100 100 Unique 100 Unique Unique

1968 1968-69 1969 1969 1969 1969 1969 1969 1969 1969-71 1969 1969-71 1969-71

1858.- Sku

45.1 x 24.8 x 5.1 cm

200

1970

1859.- Figure 8

68.3 x 33.7 x 6 cm

175

1970

1860.- Tridim BM

42 x 23.4 x 5.1 cm

50

1970

1861.- Hexa 2

54.9 x 31.1 x 5.1cm

100

1970

1862.- Kroa C

34 x 34 x 34 cm

(100)

1970

(4)

30.0 x 24 x 6 cm

100

1972

1864.- Gestalt Vorder (4)

42 x 40 x 5.1 cm

100

1975

1865.- Axo

43.2 x 23.6 x 5.1 cm

100

1978

1866.- Moulin

68.3 x 34 x 7.5 cm

44 /75

1978

100 100 100

1980 1985 1985

116 /175 175 127 /175

1987 1988 1988

100

1988

54.6 x 31 x 5.1 cm

125

1988

(6) 45.7 x 40 x 5.1 cm

100

1988

40 x 39.4 x 5.1 cm

100

1989

(6) 69.8 x 34.9 x 5.7 cm

175

1990

(8) (9) (6) 66.4 x 64.1 x 8.3 cm

153 /175

1990

90 /175

1990

175

1990

175

1990

Victor Vasarely with Michele Vasarely, on background at left, sculpture on plexiglass “Holld” 1988, at rigth, sculpture on wood, “Kezdi” 1990.

Photo courtesy by Michèle Vasarely´s Archives

1863.- Tridium HH

1867.- Gestalt-MC 1868.- Gestalt-P 1869.- Gestalt-P MC

(6) 42.2 x 39.4 x 5.1 cm

38 x 24.1 x 5.1 cm 38 x 24.1 x 5.1 cm

(5) (6) 69.8 x 34.9 x 10.2 cm 1870.- Axo 99 (9) (6) 61.9 x 45.7 x 7.3 cm 1871.- Torony II 1872.- Kettes Vorder (7) (6) 68.6 x 39.4 x 5.4 cm

1873.- Stèle 1874.- Axo-AB 1875.- Sancton 1876.- Felhoe 1877.- Bi-Octa T 1878.- Kezdi 1879.- Tsillag 1880.- Malom 1881.- Eksin

(7) (9) 30.8 x 19.7 x 5.1 cm

(6) 61.0 x 53 x 8 cm (10) (6) 67.5 x 55 x 10 cm (6) 70 x 35 x 8 cm

1848.- Bidim

(1) Prototype for edition of 30 (never made it). Unique Work.

(2) Sidney Janis Gallery, “Duo exhibition recent works”, New York, Apr-1972 (3) Heritage Auctions, Sale 5014, Lot. 73125, Dec-1-2008 (4) Collection Museum of Fine Art Budapest.

(5) Published on Victor Vasarely Kunstforum Wein der Bank Austria 1992. p. 244 (6) Edited by Circle Fine Art (7) Christie`s Sale 1990,Lot.505, April-29/30-`08 / Phillip´s,Sale Editions, Lot. 282, 26Oct2016 (8) Doyle, Lot. 768, May-5-2012 (9) Vasarely used in several works, for example: Kiral, Arpad, Kezdi, Stele, Torony II, Tridim BM, a iron plate painted in black as stand for piece`s stability.

(10) Christie`s, Sale 2463, Lot. 203, 8-Jun-2000, Amsterdam (11) Christie`s, Sale 5486, Lot. 63, 12-Dec-2007, Paris. Editions du Griffon.

1849.- Bidim C

1851.- Ter A-1

Victor Vasarely

MULTIPLES - Wood Sculpture

“Collectables Geometrics” on Antonio Ascaso Art Galery, November 2010 - Febraury 2011. Photo courtesy by Ascaso Gallery.

Side A

Side B

Side A

1852.- Ter A-2

1853.- Ter B

1856.- Ter-G

1857.- Ter-L

Side B

Victor Vasarely

MULTIPLES - Wood Sculpture

Expo Château de Gordes: “L’alphabet Plastique de Victor Vasarely”. 12 june 2016

1854.- Ter F2

V14.- Tridim-G-F2

V13.- Bidim-G

V15.- Tridim-G

1855.- Ter G2

1858.- Sku

Victor Vasarely

MULTIPLES - Wood Sculpture

Side 1

Side 2 1860.- Tridim BM

1859.- Figure 8

1863.- Tridium HH

1862.- Kroa C “Croix”

1861.- Hexa 2

Side 2

Side 1 1864.- Gestalt Vorder

1865.- Axo

Side 1

Side 2

Victor Vasarely

MULTIPLES - Wood Sculpture

Side 1

Side 2 Vasarely and Michele Vasarely with Gestal MC. 1994

1866.- Moulin

Side 2

Side 1

Side 2

Side 1 1868.- Gestalt-P

1867.- Gestalt MC

Side 1 1869.- Gestalt-P MC

Side 1

Side 2 1870.- Axo 99

Side 2

Victor Vasarely

MULTIPLES - Wood Sculpture

1871.- Torony II Vasarely living room in Residence Pémore, Caracas.

Side 1

Side 2

Side 1

Photo by P.B. 2015

Side 2 1873.- Stéle

1872.- Kettes Vorder

Side 2

Side 1 1874.- Axo AB

Side 2

Side 1 1875.- Sancton

Victor Vasarely

MULTIPLES - Wood Sculpture

Side 1

Side 2

Side 1

Side 2

1877.- Bi-Octa T

1876.- Felhoe

Side 2

Side 1 1878.- Kezdi

1879.- Tsillag

Side 2

Side 1 1880.- Malom

Side 1 1881.- Eksin

Side 2

Victor Vasarely Denise René

MULTIPLES - Tableaux Relief

(1913-2012)

Vasarely Multiples Editions Denise René París Suite of 11 polychrome wood reliefs executed under the artist`s direction. There are two versions of each relief (one positive, the other negative) except nº 10 and nº 11 reliefs which exist only in the positive version. Each reliefs is numbered and signed by the artist in sticker on back side Edition: 50 of each Size: (1a, 1b) to (5a, 5b): 38 x 36 x 4cm (15x14.2x1.6 inches) (6a, 6b) to 11a : 36 x 36 x 4cm (14.2x14.2x1.6 inches) 1b Zaphir Negative

Signature on sticker back side. Benavide`s Collection 2a Granat Positive

3a Turkiz Positive

4a Salgo Positive

Victor Vasarely

MULTIPLES - Tableaux Relief

Denise René (1913-2012) Denise René (1913-2012)

Vasarely Multiples Editions Denise René París Suite de 11 reliefs polychromes en bois exécutés sous la direction d'artiste. Il existe deux versions de chaque relief (une positive, l'autre négative) sauf nº 10 et nº 11 reliefs qui existent uniquement dans la version positive. Chaque relief est numérotée et signé par l'artiste à l'endos de l'autocollant Edition: 50 de chaque Taille: (1a, 1b) au (5a, 5b): 38 x 36 x 4 cm (15x14.2x1.6 inches) (6a, 6b) au 11a: 36 x 36 x 4 cm (14.2x14.2x1.6 inches) 5b Sellem Negative

6a Beryll Positive

8a Topaze Noir Positive

7a Topaze Blanc Positive

9a Caribe Positive

Victor Vasarely Nº

Title

MULTIPLES - Tableaux Relief Dimensions

Edition

MULTIPLES “Tableaux-Relief 1” Editions: Denise René

Published in: Medium: Relief on polychrome wood

1882.- Zaphir positive 1883.- Zaphir negative 1884.- Granat positive 1885.- Granat negative 1886.- Turkiz positive 1887.- Turkiz negative 1888.- Salgo positive 1889.- Salgo negative 1890.- Sellem positive 1891.- Sellem negative

(1)

1892.- Beryl positive (2) 1893.- Beryl negative (2) 1894.- Topaze Blanc positive 1895.- Topaze Blanc negative 1896.- Topaze Noir positive 1897.- Topaze Noir negative 1898.- Caribe positive (3) 1899.- Caribe negative (3) 1900.- Dyok positive 1901.- Eclipse positive

1967

38 x 36 x 4 cm 38 x 36 x 4 cm 38 x 36 x 4 cm 38 x 36 x 4 cm 38 x 36 x 4 cm 38 x 36 x 4 cm 38 x 36 x 4 cm 38 x 36 x 4 cm 38 x 36 x 4 cm 38 x 36 x 4 cm

1a 1b 2a 2b 3a 3b 4a 4b 5a 5b

50 50 50 50 50 50 50 50 50 50

36 x 36 x 4 cm 36 x 36 x 4 cm 36 x 36 x 4 cm 36 x 36 x 4 cm 36 x 36 x 4 cm 36 x 36 x 4 cm 36 x 36 x 4 cm 36 x 36 x 4 cm 36 x 36 x 4 cm 36 x 36 x 4 cm

6a 6b 7a 7b 8a 8b 9a 9b 10a 11a

50 50 50 50 50 50 50 50 50 50

1882.- Zaphir Positive 1a

1883.- Zaphir Negative 1b

(1) Stockholms Auktionsverk, 19-09-2012, Lot 2272 (2) Sotheby`s Sale Nº 08523, 10-03-2009, N.Y. (3) Christie`s prints and multiples, South Kensington, 19-07-2007 Mentioned on VASARELY III, Editions du Griffon Neuchâtel (Switzerland) 1974. Pag. 243-244.

All the pieces are signed and numbered by the artist on a sticker on reverse.

1884.- Granat Positive 2a

1885.- Granat Negative 2b

1886.- Turkiz Positive 3a

1887.- Turkiz Negative 3b

1888.- Salgo Positive 4a

1889.- Salgo Negative 4b

1890.- Sellem Positive 5a

1891.- Sellem Negative 5b

1892.- Beryl Positive 6a

1893.- Beryl Negative 6b

1894.- Topaze Blanc Positive 7a

1895.- Topaze Blanc Negative 7b

1896.- Topaze Noir Positive 8a

1897.- Topaze Noir Negative 8b

91

Victor Vasarely

MULTIPLES - Tableaux Relief

Exposition “Vasarely Multiples”, Galerie Denise René Rive Gauche, Nov. 1967. Main exhibition based on Tableaux Reliefs. In this exposition was showed two monumentals towers created in honor of Victor Vasarely's 60th Birthday named: “Kiral” 1967 in B/W, 240x30x30cm and “Arpad” 1967 in colors, 240x20x20cm

1898.- Caribe Positive 9a

1899.- Caribe Negative 9b

1900.- Dyok Positive 10a

1901.- Eclipse Positive 11a

Exhibition of tableaux reliefs, Vasarely Museum, Gordes, France.

Rep. on Vasarely IV, du Griffon, Switzeland 1979, p. 292

92

Victor Vasarely Nº

Title

Unique Works - Relief Dimensions

Edition

Unique Work “Tableux-Relief 2”

Pub.: 1953-69 Medium: Relief polychrome wood

Editions: Denise Renè / Vasarely

1902.- Hommage á Malevitch

(1) 1953

35 x 33.5 x 3.5 cm

Unique

Composite marble

<< Oil on cuts panels >> 1951-55

48.7 x 59 x 4 cm

Unique

1904.- Uzok-IEF

(2) 1952-55

65.5 x 44 x 4 cm

Unique

1905.- Alphar

(3) 1957

102 x 54 x 5 cm

Unique

1903.- Lemnos-LEF

Tempera and reliefs on panel

1906.- Maamor

(4) 1958

46.5 x 33 x 4 cm

Unique

Mixed and cardboard reliefs on cardboard

1907.- Mimas

(5) 1958

92.7 x 50.8 x 5 cm

Unique

Oil and wood construction on board

1908.- Likka-2

(6) 1956-59

93 x 61 x 5 cm

Unique

Oil on panel << Tempera & wood relief on board >> (7) 1957-60

1909.- Likkah

1910.- Elipse-4

(8) 1958-60

56.4 x 38 x 4 cm

Unique

37 x 35 x 4.5 cm

Unique

Didicated to Carl Laszlo on reverse

1911.- Bettelgeuse II

(9) 1960

112 x 80 x 5 cm

Unique

1912.- Cassiopée

(10) 1957-60

84 x 60 x 5 cm

Unique

Vasarely at Studio. Annet Sur Marne in 70`s.

Reliefs on picture: Relief White (1969) and Song (1970)

Oil and reliff on panel

1913.- Eridan

(11) 1960

55 x 46 x 5 cm

Unique

Tempera on panel main square in relief

1914.- Procion-R

(12) 1959-62

102.5 x 66 x 5 cm

Unique

Tempera and relief on panel

1915.- Folklore

(13) 1963

110 x 110 x 20 cm

Unique

Acrylic on wood relief

1916.- Cephei-R

(14) 1963

98 x 61 x 5 cm

Unique

Tempera and relief on wood panel << Tempera on relief panel >>

1917.- Relief Binare (15) 1964

70 x 70 x 5 cm

Unique

1918.- E-Rouge-Vert (16)1964

75 x 75 x 5 cm

Unique

1919.- F-Vert-Bleu

(17)1964

60 x 60 x 5 cm

Unique

1920.- G Noir-Blanc (18)1964

75 x 75 x 5 cm

Unique

1921.- Multicolor-1

75 x 75 x 5 cm

Unique

93.5 x 61 x 5 cm 75 x 75 x 5 cm

Unique Unique

1964-67 1964-67

75 x 75 x 5 cm 75 x 75 x 5 cm

Unique Unique

1926.- Noir-Vert-Bleu (21)1964-67 1926b.- Relief White (15)1969

75 x 75 x 5 cm 75 x 75 x 5 cm

Unique Unique

(19)1964

<< Relief & tempera on wood panel >> (20)1959-65 (16)1964-67

1922.- Likka-b-pos 1923.- A-A Bleu

1924.- Multicolor-2 1925.- N-Violet-Yellow

(1) Christie`s,Sale 3057,Lot.0151,3-Nov-2015, Amsterdam (2) Artcurial, Sale 2261, Lot. 67, 26-March-2013, Paris (3) Cornete Saint Cyr,Contemp. Art,Lot.43, 29-Jun-2004 (4) Artcurial, Sale 01386, Lot. 164, 7-July-2008, Paris (5) Christie`s, Sale 9759, Lot. 228, 11-Dec-2003 (6) Chistie`s, Sale 4022, Lot. 32, 4-Jun-2015 (7) Chistie`s, Sale 5539, Lot. 243, 28-Jun-2012

1902.- Hommage to Malevitch

(8) Sotheby`s, Sale L16021, Lot. 140, 11-Feb-2016, London (9) Sotheby`s, Sale L11021, Lot. 112, 16-Feb-2011, London (10) Perrin-Royère-Lajeunesse,Sale Cont.Lot.11,14-Dec-2014 (11) Artcurial,“Tableaux XIXe & XX Sculp”,Lot.164,21-Aug-2004 (12) Sotheby`s, Sale PF1315, Lot. 172, 4-Dec-2013.

(13) Christie`s, Sale 7861, Lot. 258, 1-July-2010.

(14) Dorotheum, Sale Contemporary, Lot. 1414, 11-Nov-2012

(15) Vasarely Erfinder Der OP-Art, 1998, Verlag, Pg. 172, 173 (16) Vasarely Erfinder Der OP-Art, 1998, Verlag, Pg. 175 (17) Christie`s, Sale 6886, Lot. 130, 5-Feb-2004 (18) Sotheby`s, Sale N0587, Lot. 127, 5-May-1987 (19) Artcurial, Contemp. Art, Lot. 268, 8-Jun-2004.

(20) Grisebach, Sale 220, Lot. 717, 29-Nov-2013.

(21) Germann, Sale Sculp-Mult, Lot. 76, 23-Nov-2015

Victor Vasarely

Unique Works - Relief

Cologne exhibition opening in the sixties: Vasarely (middle), the art critiques: Werner Spies (right) and Weiland Schmied (left)

1903.- Lemnos LEF

1904.- Uzok-IEF

Victor Vasarely

1905.- Alphar

1907.- Mimas

1909.- Likkah

Unique Works - Relief

1906.- Maamor

1908.- Likka-2

1910.- Elipse 4

Victor Vasarely

Unique Works - Relief

1911.- Bettlegeuse II

1912.- Cassiopee

1913.- Eridan

1914.- Procion-R

View 1 1915.-Folklore

View 2

Victor Vasarely

Unique Works - Relief

1916.- Cephei-R

1917.- Relief Binare

1918.- E-Vert-Rouge

1919.- F-Vert-Bleu

1920.- G Noir-Blanc

1921.- Multicolor-1

Victor Vasarely

1922.- Likka-b-pos

1924.- Multicolor-2

1926.- Noir-Vert-Bleu

Unique Works - Relief

1923.- A-A Bleu

1925.- N-Violet-Yellow

1926b.- Relief White

Victor Vasarely Nº

Title

MULTIPLES - Tableaux Relief Dimensions

Multiples “Tableux-Relief 3” Editions: Denise Renè / du Griffon,Neuchatel

Edition

Published on: 1970 Medium: Relief polychrome wood

Relief on board, Editions du Griffon 1970: 1927.- Eridan

(1)

37.5 x 37.5 x 1.8 cm

55

1928.- Song

(2)

37.5 x 37.5 x 1.8 cm

55

1929.- Cassiopée 2 (3)

37.5 x 37.5 x 1.8 cm

55

1930.- Bellatrix

37.5 x 37.5 x 1.8 cm

55

(4)

Mentioned on VASARELY III, Editions du Griffon Neuchätel (Switzerland) 1974. Pag. 244.

All the pieces have signed and numbered by the artist on sticker at the back side.

(1) Cornette de Saint Cyr, Sale 1 & 7, Lot. 295, 29-June-2009, Paris (2) Van Ham, Sale 300, Lot. 945, 31-May-2011, Cologne, Germany (3) Fischer Auktionen, Sale 120-112, Lot. 192, 25-Nov-2010, Germany (4) Cornette de Saint Cyr, Sale 1 & 7, Lot. 807, 26-March-2007, Paris

Kunsthalle, Köln, 11 Jul - 19 Sept. 1971. On picture left to right: Werner Spies, Yvaral (son of Vasarely), Victor Vasarely and the director of the Kunsthalle, Dr. Leppien. Premier of the monographie by Werner Spies, signed the first copies.

1927.- Eridan

1928.- Song

1929.- Cassiopée

1930.- Bellatrix

Victor Vasarely Nº

Title

MULTIPLES - Kinetic Objects Dimensions

Multiples “Kinetic Objects 2” Editions: Pyra AG / du Griffon,Neuchatel

Edition

Published on: 1970-85 Medium: Plexiglass / Glass / Metal

Editions du Griffon: 1931.- Beta

(1)

34 x 28 x 4 cm

L

1932.- Gamma N-1

(2)

34 x 28 x 4 cm

L

1933.- Genova

(3)

34 x 28 x 4 cm

L

1934.- SBP-1

(4)

34 x 28 x 4 cm

L

1935.- SBP-2

(4)

34 x 28 x 4 cm

L

Editions Circle Fine Art: 1936.- Jolie

250

(5) 1985

Bracelet Earrings

4 x 15.9 cm 2.3 x 1.8 cm

Editions Pyra AG: 1937.- Tridim-I

55.8 x 15.2 x 7.6 cm

8

Editions Eames & Panton: 1938.- RCA Clock Radio

14 x 28 x 14 cm

Limited

(1) Cornette de Saint Cyr, Sale 1 & 7, Lot. 295, 29-June-2009 (2) Van Ham, Sale 300, Lot. 945, 31-May-2011 (3) Fischer Auktionen, Sale 120-112, Lot. 192, 25-Nov-2010 (4) Cornette de Saint Cyr, Sale 1 & 7, Lot. 807, 26-March-2007 (5) Christie`s, Sale 9698, Lot. 170, 6-Mar-2001, Los Angeles

Marcel Joray on his office. For his books, Marcel Joray received the International Award for Art books in Jerusalem for his work about Vasarely in 1971. Left, Plexiglass sculpture Tridim-I.

Victor Vasarely Suite “Cinetiques” 5 double plates (2 in each frame-1 Plastic sheet and 1 paper sheet Combined make one Picture) in Floating Glass Frame Edition du Griffon Neuchatel 1973 Size of sheets 29 x 24 cm Floating Glass Frame size: 34 x 28 x 4 cm Handsigned in Silver Pen

1931.- Beta

1932.- Gamma Neg-1

1933.- Genova

1934.- SBP-1 (Structures Binares Permutables)

1935.- SBP-2 (Structures Binares Permutables)

Back side detail

100

Victor Vasarely

MULTIPLES - Kinetic Objects

Sterling silver bracelet and matching earrings decorated with mathematical precision in black and mother of pearl enamel to create a design with the same moving and optical illusions found in the rest of his art.

Circle of Fine Art, 113/250, Bracelet: 4 x 15.9 cm / Earrings: 2.3 x 1.8 cm The only jewels that Vasarely produced were the editions produced by the Circle of Fine Art in the mid 1980s although they were never completed as the firm went bankrupt.

Published Martine Newby-Haspeslagh, â&#x20AC;&#x153;Sculpture to Wearâ&#x20AC;?, London, 2010, p. 53

101

1936.-Jolie

1937.- Tridim-I

1938.-RCA Clock Radio

Mod Retro Eames Panton Era RCA AM Clock Radio Featuring a Clock Face Designed By

Victor Vasarely Nº

Title

MULTIPLES - Kinetic Objects Dimensions

Edition

Multiples “Kinetic Objects 3”

Pub. on: 1969-1978 Medium: Lacquered wood / Plastic / Metal

Editions: Passion Estampes

Editions Renault. Decor: Victor Vasarely 1939.- Reanult 12 Gordini 1973

Scale 1/18

Limited

The Renault 12 TR Automatic combines the exterior of the TL (with a chrome side strip extra) and the integral seats of the TS. All 12 "74" displayed the diamond Vasarely at the front and a logo in black plastic on the back.

1940.- Renault 30TS

1978

Scale 1/18

10

Editions Citrôen: desing form: Robert Opron / Decor: Victor Vasarely 1941.- Citroen CX

1976

Scale 1/5

Limited

The Industrial Creation Centre from June 6 to June 13, 1977, in the center lobby Pompidou presents: “Twenty one brand of car models decorated by contemporary artists”: Renault 5 by Arman; Citroën CX by Vasarely; Peugeot 604 and Ferrari 512 by Agam; Rolls Royce by Mathieu; Fiat by Pomodoro; BMW by Calder; Bentley Julio Park ....among others

<< Serie VEGA MC >> 1969 1942.- VEGA-MC S1 1943.- VEGA-MC S2 1944.- VEGA-MC S3 1945.- VEGA-MC S4

(1)

Silk Scarf 88.9 x 88.9 cm 88.9 x 88.9 cm

150 150

88.9 x 88.9 cm 88.9 x 88.9 cm

150 150

Neiman Marcus commissioned Victor Vasarely to create a special edition silk scarf, of which only 150 signed and numbered by artist were made.

It was silkscreened an crafted by hand in Switzerland.

This scarf was offered in the 1969 Neiman Marcus Christmas catalog. The same design was later used on cover of Neiman Marcus Christmas catalog 1972.

V13.- Molnar-2

135 x 138 cm

Limited

Silk and cashmere shawl, Edition Vasarely Foundation Company Ratti, France

(1) Heritage Auctions, Sale 5205, Lot. 67053, 31-March-2015 (2) Van Ham, Sale 300, Lot. 945, 31-May-2011 (3) Fischer Auktionen, Sale 120-112, Lot. 192, 25-Nov-2010 (4) Cornette de Saint Cyr, Sale 1 & 7, Lot. 807, 26-March-2007 (5) Cornette de Saint Cyr, Estampes & Multiples, Lot. 238, 15-Dec-2017, Paris.

1939.- Renault 12 Gordini Break

1940.- Renault 30 TS

photography: S. Joest

Robert Opron & Victor Vasarely`s artwork on the Citroën CX, 1976.

Robert Opron, is a french automotive designer, from 1960 to late 80s In 1999 he was nominated for the prize "Car designer of the Century".

1941.- Citroen CX

Victor Vasarely

MULTIPLES - Kinetic Objects

1942.- VEGA MC S1

1943.- VEGA MC S2

1944.- VEGA MC S3

1945.- VEGA MC S4

Sign details

V13.- Molnar-2

Victor Vasarely Nº

MULTIPLES - Kinetic Objects Dimensions

Title

Edition

Multiples “Kinetic Objects 4”

Pub. on: 1973-2013 Medium: Lacquered wood / Plastic / Metal

Editions: Passion Estampes

<< Silk Scarf >> Art Foulard & du Griffon, Neuchatel/Ed. Anglaise 90 x 90 cm 1946.- Uran III 90 x 90 cm 1947.- Rhythm-S

Ilimited Ilimited

<< Hexagonal decorative panel >> 1983 98.5 x 113.5 x 5 cm 97.5 x 112.5 x 4.5 cm

1948.- Hexagone RYB 1949.- Hexagone RGB

Limited Limited

Polychrome Enamel on Ceramic. Signature inlaid in ceramic

1950.- Unesco Medal

1984 Dia. 42.5 x 3 mm 120 Front side: Vasarely:"The Enlightened Emperor" was originally the emblem of the UNESCO World Heritage Year 1970. Keeping the coin at a right angle causes a face to appear.

Backside: Vasarely: "LECEK”, Facade of the Kecel Education Center

1951.- Lecek Remember

1985

Dia. 42.5 x 3 mm

Limited

Editions: Commune de Gordes (Seine-et-Marne) et de Gordes (Vaucluse) 1985 Dia. 64 mm Limited

1952.- Autoportrait Medal

Editions Passion Estampes <<Lacquered Box>>: Decor by Vasarely 1953.- Box-Zebras 1954.- Box-VP Cheyt

20 x 15 x 9 cm 20 x 15 x 9 cm

Ilimited Ilimited

Passion Estampes is dedicated to Victor Vasarely selecting the ideas of his works for gifts.

Working with the largest publishers as well as creators selected for their products of impeccable quality craftsmen. (Copyright pending)

Editions Réunion des musées nationaux - Grand Palais. Decor: Victor Vasarely and others.

6 x 6 cm Ø 3,8 cm Limited 1955.- Dynamo exhibition 5 Magnets Set Magnets published on the occasion of the exhibition Dynamo, Un siècle de lumière et de mouvement dans l'art 1913-2013, Grand Palais, Paris, 10th april - 22nd july 2013. (Victor Vasarely: Vega-Bas 1967, Bora II 1964. Richard Paul Lohse, Julio Le Parc and Marina Apolloni) (Copyright pending)

1946.- Uran III

<< Black Lacquered Wood with Digital Print >>: Decor by Vasarely 1956.- Tray-Zebras 1957.- Tray-VP Cheyt

2 x 30.5 x 38 cm 2 x 30.5 x 38 cm

Unlimited Unlimited

Designed in collaboration with the artist's estate, this beautifully crafted lacquered tray features a black and red optical design by Victor Vasarely. (Copyright pending)

Editions Metalgraf di Lecco. Decor by Victor Vasarely 12 x 12 cm (Lot of five) 1958.- Racs-2 Tray in two colors (Black&White and Black&Blue)

1200

Women's Vasarely pattern Leather Handbag. Decor by Victor Vasarely 17 x 28.5 cm Limited 1959.- FENDI bag 45 x 33 x 13 cm Limited 1960.- CCBHGY bag Large 1961.- CCBHGY bag Medium 40 x 29 x 9 cm Limited (Copyright pending)

1962.- CCBHGY Clutch

20.5 x 11.5 x 3 cm

Limited

<< Acrylic Cubes Sculpture >> Signed and numbered ( dimensions base included ) 19 x 10.2 x 10.2 cm FV20 1963.- Cube aux Zèbre 2 19 x 10.2 x 10.2 cm FV20 1964.- Oltar Zoelo 2 << Lucite Cubes Sculpture >> Unsigned and unnumbered ( dimensions base included ) 19 x 10.2 x 10.2 cm Limited 1965.- Rosenthal Grun Cube 19 x 10.2 x 10.2 cm Limited 1966.- Siris Cube Two shades green, two shades red, one purple & one blue make up colors of the six sides.

1967.- Chessboard

70 x 70 cm

1500

1968.- CTA-58

100 x 100 cm

9

42 x 42cm

Limited

Dia. 29cm

200

1969.- Racs-4 1970.- Zèbres-2

(1)

(1) Exhibited on Gallerie Kellermann, Düsseldorf, Germany.

Victor Vasarely Scarf in silk, d.90x90 cm.

Partly transparent prints for different effects.

1947.- Rhtyhm-S

104

Victor Vasarely

MULTIPLES - Kinetic Objects

1948.- Hexagone RYB

Museum Louis Vouland exhibition, bottom, Sculpture in glass “Tridim Q”.

Top of the table “Hexagone RYB”. Avignon, France.

1949.- Hexagone RGB

Material: Bronze. Diametre: 64 mm. Weight: 138 gr.

1950.- Unesco Medal / The Enlightened Emperor Medal

105

1951.- Lecek Remember Medal

1952.- Autoportrait Medal

Victor Vasarely

MULTIPLES - Kinetic Objects

Victor Vasarely Vega-Bas

Victor Vasarely Bora II

1953.- Box Zebras

1956.- Tray Zebras

Richard Paul Lohse 30 vertikale systematische....

Julio Le Parc Surface Couleur

Marina Apolloni Dinamica Circolare

1954.- Box VP-Cheyt

1955.- Dynamo Magnets 5 Set

1957.- Tray VP-Cheyt

106

Victor Vasarely

MULTIPLES - Kinetic Objects

1959.- Fendi Bag

Bottom view

1958.- Racs-2 Tray

107

1960.- CCBHGY bag Large 1961.- CCBHGY bag Medium

1962.- CCBHGY Clutch

Victor Vasarely

MULTIPLES - Kinetic Objects

View 1

View 1

View 2

View 2

1963.- Cube aux Zèbre 2

1964.- Oltar Zoelo 2

View 1

View 1

View 2

1965.- Rosenthal Grun Cube

View 2

1966.- Siris Cube

108

Victor Vasarely

MULTIPLES - Kinetic Objects

1967.- Chessboard

1968.- CTA-58

1969.- Racks-4

1970.- Zebres-2

109

Victor Vasarely

MULTIPLES - Porcelain-Relief

Serie Porcelain Reliefs Vasarelyâ&#x20AC;&#x2122;s skill in creating a sense of the three-dimensional through the use of visual effects is apparent in these works with a combination of recessed and protruding geometrical shapes.

The feeling of volume and spaces is highlighted in a superb manner by making the entire porcelain in stunning bold colors. The use of circles, squares, diamonds and triangles transform these basic shapes into an intricate pattern.

The total effect of this play on color and shapes is visually stunning and impressive in the amount of thought and skills put into the arrangement of design elements.

Relief Form 1010 / Decor 5112 49 Tiles

Relief Form 1010 / Decor 5112 49 Tiles

Relief 5112

Vasarely`s Porcelain Reliefs, PĂŠmore`s main room bathroom.

Glazed porcelain tile multiple, 1970 signed and numbered 41/100 ink on Rosenthal label affixed verso, fabricated by Rosenthal, Germany. Aluminum frame.

Overall: 70.5x70.5x6cm (27 3/4x27 3/4x2 3/8 in.)

Victor Vasarely

MULTIPLES - Porcelain-Relief

For more than two decades now Vasarely has been classed as one of the leading artists of our time. The status and significance of his work remain unsurpassed, not only because Vasarely developed his art consistently and realistically, but also because he became more and more convinced that his work provided a stimulus for men. Vasarely recognizes the possibility of transmitting harmony and contentment to people through his art.

For him, art expresses a feeling of well-being and happiness.

This effect is most apparent in his recent works, which include the multiple series of the Rosenthal Porcelain Reliefs.

The series of 13 different variations presented here is based on the principie, laid down by him in 1955, of the identity of two concepts, namely, on the sculptural unity of shape and colour. The square is considered to be the »background« and the nucleus rising from it the »shape«. This square allows the maxi - mum number of combinations, from which Vasarely chose 13 quite special variations for the Rosenthal Porcelain Reliefs.

Relief Form 1009 / Decor 5108 25 Tiles

In addition, one of the advantages of porcelain production is that each individual piece differs very slightly from the next, thus affording it quite unique qualities in such a series.

Each piece carries the signature of Vasarely as well as the reference number and indicates the quantity produced of this limited range.

Extracted from: Rosenthal Vasarely brochure Reihe 2009 Relief Form 1009 / Decor 5110 25 Tiles

Relief Form 1008 / Decor 5104 16 Tiles

Relief Form 1008 / Decor 5105 16 Tiles

Victor Vasarely

MULTIPLES - Porcelain-Relief

Depuis plus de vingt ans, Vasarely compte parmi les grands artistes de notre époque. La valeur et la portée de son oeuvre sont aujourd'hui universellement reconnues. Car il l'a conçue non seulement, á l'instar de certains, dans un esprit logique et accessible, mais aussi, et de plus en plus dans une optique stimulante. II y voit une possibilité d'accord harmonieux et d'equilibre avec l'homme.

L'art est pour lui une source de joie et de bien-étre.

C'est ce qui se dégage tout particuliérement de ses récents travaux, notamment des ébauches de Reliefs en porcelaine de Rosenthal.

La série de 13 variantes différentes présentée ici s'inspire dans sa conception du principe, déjá énoncé par Vasarely en 1955, de I'identité du double concept »unité plastique des formes et des couleurs«.

Relief Form 1009 / Decor 5109 25 Tiles

L'élément quadratique est ici considéré comme un »arriére-plan«, le noyau qui s'en détache devenant la »forme« proprement dite. II en découle un maximum de combinaisons possibles. Vasarely a choisi pour la série de porcelaines Rosenthal 13 constellations bien définies. Le procédé de fabrication appliqué á la porcelaine présente un gros avantage: aucune oeuvre n'est totalement semblable. Chaque réalisation a sa propre originalité et constitue une piéce unique au sein de la série.

Chaque exemplaire, numéroté avec mention du tirage, porte l'autographe de Vasarely.

Extrait de: Rosenthal Vasarely brochure Reihe 2009

Relief Form 1009 / Decor 5111 25 Tiles

Relief Form 1008 / Decor 5106 16 Tiles

Relief Form 1008 / Decor 5107 16 Tiles

Victor Vasarely Nº

Title

MULTIPLES - Porcelain-Relief Dimensions

MULTIPLES “Porcelain-Relief 1” Editions: Rosenthal Studio Linie Medium: Porcelain relief

1971.- Laika White Laika Black/White 1972.- NB11 White 1973.- NB11 Black/White 1974.- NB22 Caope 1975.- Relief 5112

1964 1964 1964 1964 1964 1970

Edition

Published in:

1964 / 70

Form/Dekor

47 x 38 x 3.5 cm 50 47 x 38 x 3.5 cm 50 61 x 45 x 3.5 cm 50 61 x 45 x 3.5 cm 50 198 x 198 x 9 cm 50 71 x 71 x 6 cm 1010/5112 100

NB22 Caope was created in 1964, this hand painted and glazed porcelain relief in black and white is hands-signed by Victor Vasarely on the reverse.

Published on Kunst & Design Rosenthal Limited Art Edition Catalog.

Printer on Germany. Section “The craftsmen of rosenthal-relief series”.

1971.- Laika Black&White

1972.- NB11 White

Victor Vasarely was one of the most important representatives of "OP-Art”. He created pieces of art almost scientifically using a relatively small number of geometrical forms, and making use of the potential provided by optic illusions from colour, form and perspective.

Vasarely had been working for Rosenthal since 1964.

He created several reliefs for the limited art edition, e.g. »Laika White«, »Laika Black&White«, »NB 11 White«, »NB 11 Black&White« and »NB 22 Caope« (50 pieces each) or the »Relief« (100 pieces).

1973.- NB11 Bk/W

Mrs. Carla Mavarez-Benavides at residence Pémore (Caracas), in the living room named “Vasarely”, she´s wearing an Escada dress, which give the illusion of movement, as in Vasarely paintings.. A lot of designers and famous clothing names are using OP-ART designs.

Works by Vasarely, left to right: “Mima-Sol-2`83” P1122, (Acrylic on canvas) “Tridim-Crystal`68”, (Tempera on Mazonite) 1974.- NB22 Caope

Vasarely did this work with own technique in the late `50`s and used balance of colors and forms. His monumental work is stunning in both size and design.

Vasarely wanted to overlap circles and squares in order to create a visually engaging piece with a strong sense of color contrast that further highlights the geometric abstraction.

Multiples: “Alom Blue-Vert`71”, “Orion Noir`70”, “NB22 Caope`64” “Majus`71”, “Laika Black/White `64” “Unite Plastique VI `71” 1975.- Relief

113

Victor Vasarely Nº

Title

MULTIPLES - Porcelain-Relief

Dimensions

Edition

MULTIPLES “Porcelain-Relief 2” Editions: Rosenthal Studio Linie Medium: Porcelain relief with aluminium frame

Published in: 1971-72 Form/Dekor

1976.- Porcelain Relief 1977.- Porcelain Relief 1978.- Porcelain Relief 1979.- Porcelain Relief 1980.- Porcelain Relief

100 101 102 103 112

30.5 x 30.5 x 5 cm 30.5 x 30.5 x 5 cm 30.5 x 30.5 x 5 cm 30.5 x 30.5 x 5 cm 30.5 x 30.5 x 5 cm

1007/5100 1007/5101 1007/5102 1007/5103 1007/5112

100 100 100 100 100

1981.- Porcelain Relief 1982.- Porcelain Relief 1983.- Porcelain Relief 1984.- Porcelain Relief

104 105 106 107

40.5 x 40.5 40.5 x 40.5 40.5 x 40.5 40.5 x 40.5

1008/5104 1008/5105 1008/5106 1008/5107

75 75 75 75

1985.- Porcelain Relief 1986.- Porcelain Relief 1987.- Porcelain Relief 1988.- Porcelain Relief

108 109 110 111

51 x 51 51 x 51 51 x 51 51 x 51

1009/5108 1009/5109 1009/5110 1009/5111

50 50 50 50

x 5 cm x 5 cm x 5 cm x 5 cm

x 6 cm x 6 cm x 6 cm x 6 cm

Victor Vasarely executed a serie of Composition Carrée Relief on 1971 working with Rosenthal Studio-Line, making the serie of 13 variations presented on 3 groups.

First group, five variations of 30x30x5cm, second group a variation of four in 40x40x5cm and the third group, 4 variations of 50x50x5cm not incluiding the size of frame, which is in aluminium over a support of MDF with screws of stainless steel, which one have a function to mantain the group in a stable frame.

All the works has been hand signed by the artist in ink on a label affixed to the reverse. Published by Rosenthal and numbered from the edition in ink on a label affixed to the reverse.

Published on Imagen de una idea: Rosenthal Studio Linie, Editions Rosenthal Aktiengesselschaft, inde-departmental sales promotion agency. Printed in Germany, 1079/5 spanish A. Pag. 46-47 Published on Kunst & Design Rosenthal Limited Art Edition Catalog. Printed on Germany.

Section “The craftsmen of rosenthal-relief series”.

All pieces include stickers on back side, with original signature by Vasarely, Rosenthal Stamp and unit number

1976.- Porcelain Relief 100

1981.- Porcelain Relief 104

1985.- Porcelain Relief 108

1977.- Porcelain Relief 101

1978.- Porcelain Relief 102

1982.- Porcelain Relief 105

1986.- Porcelain Relief 109

1979.- Porcelain Relief 103

1983.- Porcelain Relief 106

1987.- Porcelain Relief 110

1980.- Porcelain Relief 112

1984.- Porcelain Relief 107

1988.- Porcelain Relief 111

114

Victor Vasarely Nº

Title

MULTIPLES - Porcelain Dimensions

Edition

Published: 1970-78 MULTIPLES “Porcelain Objects 1” Editions: Rosenthal Studio Linie / Fabrique Céramique Zsolnay Medium: Porcelain Design Decor: Victor Vasarely

Porcelain Objects. Desing form: Rosenthal Creative Center: 1989.- Floor vase

1978 (1)

H. 43.5cm, Dia. 17cm

200

1990.- Rosenthal Vase

1970

H. 25cm Dia. 12cm

300

1991.- “Markab” Vase

H. 25cm Dia. 12 cm

200

1992a.- Porcelain Vase 1 1972 1992b.- Porcelain Vase 2 1972 (2)

H. approx. 15.6cm H.14cm Dia.7cm Mod. 2824

Limited Limited

1993.- Zebra couple

1977 (3)

35 x 31.5 x 2.5cm

3000

1994.- Live and let live

1978 (4)

Dia. 26 cm Tick. 2.5cm

5000

1995.- Rosenthal 77

1977 (5)

50x50x2cm Img.(30x30cm)

1000

1996.- Porcelain Motive 7

11.5 x 16.5 x 0.3cm

Limited

1997.- Tea Set

Several Sizes

Limited

1998.- Rosenthal Desk Accesory

H. 7.62cm

Limited

Porcelain Objects. Desing form: Ambrogio Pozzi: On request

1999.- Op-Art Vase 1977

Limited

(1) Christie`s, Sale 5244, Lot. 421, July-18-2007 (2) Form design by Emilio Pucci, decoration desing by Victor Vasarely.

(3) Condecored with Rosenthal “Plate of the Year” 1977.

Sold in Kastern, CUTS+2, Lot. 980, July-06-2013 (4) Re-edited in 1978. Porcelain of Rosenthal Studio-Linie, Germany, At back side, Seal of Rosenthal, signed and numbered, edition of 5.000 examples.

(5) Silkscreen printing on substrata ceramic elements separated, adhered to a panel.

Floor Vase Mod. 2801/44 1978 Victor Vasarely. From the late 1940s he is one of the essential developer and representatives of OP Art. Vasarely constructed works of art quasi scientific with relative few geometric forms and availed the possibilities of optical delusion by colours, forms or perspectively means. Vasarely development many decor for several forms of porcelain objects with cooperation of group creative Rosenthal.

Sign Detail

View A 1989.- Floor Vase 1978

115

View B

View C

View D

Bottom view

Victor Vasarely

MULTIPLES - Porcelain

Front View

View B

Front View

Sign and numbered by the Artist on base.

Details of the Editions under it View B 1990.- Vase Limited Ed. Rosenthal

Front view 1992a.- Rosenthal Porcelain Vase 1

1991.- Markab Vase

View A

Front view

View A

1992b.- Rosenthal Porcelain Vase 2

116

Victor Vasarely

Details of original box. 44x44x12cm 1993.- Zebra couple / Zebrapaar

117

MULTIPLES - Porcelain

Details of sign and numbered

Details of sign and numbered

Details of original box. 27x27x3.5cm

1994.- Live and let live, be loved and loving “Artist Plates Nº 13”

Victor Vasarely

MULTIPLES - Porcelain

Bottom rigth sign detail.

Front view

Back side view. Signed

1995.- Rosenthal 77

Inbox detail

1996.- Porcelain Rosenthal Motive 7 â&#x20AC;&#x153;Post cardâ&#x20AC;?

Bottom detail

1997.- Tea Set

1998.- Pencil holder

1999.- Op-Art Vase 1977

118

Victor Vasarely

MULTIPLES - Porcelain

Artistic service for collection "Manipur” Decorated with Manipur, born dynamic images -different for each piece of service- converging parallel lines. It is a typical breakdown of joining the Vasarely Op-Art effects with decorative.

Shape “Duo” Ambrogio Pozzi think this way using only two geometric elements: cylinder and hemisphere. Despite this severe construction, "Duo" is light and winged. "Duo" is stackable and can be stored without difficulty within a small dresser. “Duo" has been awarded the gold medal of the President of Italy - is the highest Reconnaissance can achieve a porcelain form.

Victor Vasarely

MULTIPLES - Porcelain

Service artistique de collection "Manipur" Décoré de Manipur, né images dynamiques -Different pour chaque pièce de lignes parallèles convergentes Service-. Il ya une rupture typique de joindre les effets Vasarely Op-Art avec décoratif.

Shape "Duo" Ambrogio Pozzi pensent de cette façon en utilisant seulement deux éléments géométriques: cylindres et l'hémisphère. Malgré cette construction grave, "Duo" est léger et ailé. "Duo" est empilable et peut être stocké sans difficulté au sein d'une petite commode. «Duo» a été décerné la médaille d'or du Président de l'Italie - est la plus haute reconnaissance peut obtenir une sorte de porcelaine.

Victor Vasarely Nº

Title

MULTIPLES - Porcelain Dimensions

MULTIPLES “Porcelain-Objects 2” Editions: Rosenthal Studio Linie Medium: Porcelain with gold decor

Edition

Published:1978/90

Design Decor: Victor Vasarely

Serie Manipur design Form: Ambrogio Pozzi (Italy 1931) 2000.- Vase Manipur

22.5 x 8.5 cm

100

2001.- Crock. Coffee 6 p. (23pz)

Several Sizes

Limited

2002.- Coffee Cup

1978

7xDia.7(w/grip 9.8)cm

Limited

2003.- Coffee Pot #30755

1978

H.7.5cmxDia.21cm

Limited

2004.- Milk Pot

1978

8 x Dia.8 cm

Limited

2005.- Sugar Pot

1978

5 x Dia.5 cm

Limited

2006.- Coffee cup saucer

1978

Dia.13.3 cm

Limited

2007.- Crockery Set 12 p. (41pz)

Several Sizes

Limited

2008.- Hot Water Pot

1978

H.8.5cmxDia.18cm

Limited

2009.- Large Plate

1978

Dia. 22cm

Limited

2010.- Cake Plate

1978

Dia. 31cm

Limited

2011.- Soup Plate

1978

Dia.22cmx3.5cm

Limited

2012.- Tea set 4 person

1978

Several Sizes

Limited

2013.- Tea pot

1978

H. 16.5

Limited

2014.- Butter plate

1978

18 x 15 cm

Limited

2015.- Tea Cup

1978

5xDia.8.5 (w/grip 11)cm

Limited

2016.- Tea Cup saucer

1978

Dia.15cm

Limited

2017.- Soup Set 6p. (23pz)

1978

Several Sizes

Limited

2018.- Service Oval Plate

1978

28 x 18 cm

Limited

2019.- Large Tureen

1978

21 x 20.8 cm

Limited

2020.- Soup Bowl

1978

H.8.5xDia.18cm

Limited

2021.- Tureen with lid

1978

H. 20.8xDia.21cm

Limited

2022.- Sauceboat

1978

H.5.3xDia.10(w/grip 6)cm

Limited

2023.- Dinner plate

1978

Diam. 19.5cm

Limited

2024.- Fish Oval Plate

1978

32.5 x 22 cm

Limited

2025.- Meat Oval Plate

1979/80

37.5 x 25 cm

Limited

2026.- Salt-Pepper Shakers 1978

H.:5.5cm

Limited

2027.- Breadbasket

1978

30.5x18.5x5cm

Limited

2028.- Butter dish with lid

1978

18x14.8x6cm

Limited

2029.- Manipur Op Art Vase 1987

H.8.25xDia.4.5cm

Limited

2030.- Egg Cup

H.6 x Dia.5 cm

Limited

16 x 11.5 cm

Limited

During the early 1970s, Vasarely created the outstanding graphic decor "Manipur" for the Rosenthal Studio-Linie, Distinctive Op Art gold decor with the Vasarely typical graphic effects, forms was designed by Elsa Fischer-Treyden: “Manipur Motive Vase” on black with a bronze metallic design form 13512/30, that show linear compositions and spacial illusions and by Italian designer Ambrogio Pozzi: Vase Manipur, Crockery 6 persons 21 Pieces (6 dishes, 6 minor dishes, 6 cups, 1 Coffee Jar and milk and sugar pots, 4.2Kgs weight), Karte.

This design is in museum collections including the British Museum and Victoria and Albert. From the V&A: At the International Ceramics Competition, held in 1978, at Faenza, Italy, the form Duo (#1270) was awarded the Gold Medal of the President of the Italian Republic. Manipur (#30755) coffee pot and cover in white porcelain, on Duo form by Ambrogio Pozzi with a printed design by Victor Vasarely, made by Rosenthal AG, Selb, ca. 1978.

Ambrogio Pozzi (1931-2012).

After completing his scientific high school diploma, he studied ceramics courses at the Istituto d’Arte di Faenza, following in the footsteps of his father, the founder of Ceramica Pozzi.

In 1980, after the closure of the family company, he continued to design for other firms: for Rosenthal (1968-86) the series of crystal vase studies; the Italica enamelled steel pan set (Zojirushi, 1983); the silver Jazz collection (Padova Argenti, 1983),as well as plastic objects for Fratelli Guzzini, such as the Amanda series (1980) and the Happy Day methacrylate colouring system or lamps such as Tania, Tea and Plana (1981-82) for Guzzini.

Ambrogio Pozzi

1978

2031.- Karte Motiv 7 (Artistic Card)

Bottom view.

Label Serie Manipur

All pieces have a description of Designer, Decorator, Signs and Editions and the Seal of Rosenthal Studio-Line.

2000.- Vase “Manipur”

Victor Vasarely

MULTIPLES - Porcelain

Photo by PB. Nov 2015

2001.- Crockery Coffee Set 6 persons

2002.- Coffee Cup

2003.- Coffee Pot (#30755)

2005.- Sugar pot

Bottom view. Label Serie Manipur

2004.- Milk pot

2006.- Coffee Saucer

Victor Vasarely

MULTIPLES - Porcelain Crockery Service for 12 persons Rosenthal Duo Manipur Rosenthal Duo Manipur Form: Duo No.: 1270 form Draft Form: Ambrogio Pozzi Decor: Manipur No.: 307 551 Decor Design decor: Victor Vasarely Production end of 1990 Artist-collection service Rosenthal studio-line Germany inventory: 1 coffee pot Height with lid approx 21.1 cm Height without cover 16,8cm Width max.ca. 21cm Stand Ring 7,5 cm 2 Sugar Bowl Height with lid 8 cm Height without lid about 5 cm Diameter approx 8,8 cm Stand ring about 6 cm 2 Milk pot Height ca. 8 cm Width max. about 11.5 cm Stand Ring 4,4 cm 12 coffee cups 2 pieces cup Height 7 cm. Diameter about 7 cm Stand ring about 4.5cm Saucer Diameter about 13.3 cm 12 dessert plates Diameter about 19.5 cm 2 Cake plates Diameter about 31cm

2007.- Crockery Set 12 persons

Detail Coffee pot (#30755)

2010.- Cake Plate

2008.- Hot Water pot

2009.- Large Plate

2011.- Soup Plate, Deep Plate

Victor Vasarely

MULTIPLES - Porcelain

2012.- Tea set 4 persons

2013.- Tea pot

Bottom detail Tea pot

2014.- Butter plate

2015.- Tea cup

Bottom detail tea cup

2016. Tea cup saucer

Victor Vasarely

MULTIPLES - Porcelain

2017.- Soup Set 6 persons (23 pieces)

2019.- Large Tureen

2018.- Service Platter

2020.- Soup bowl

2021.- Tureen with lid

Bottom view. Label Serie Manipur

2022.- Sauceboat

2023.- Dinner Plate

Victor Vasarely

2024.- Fish Platter

MULTIPLES - Porcelain

Fish Platter back side

Bottom detail Tea pot 2025.- Meat Platter 2026.- Salt & Pepper shaker

2027.- Breadbasket

2028.- Butter dish with lid

Detail bottom side

Detail Signature

2029.- Manipur Op Art Vase

2030.- Egg Cup

2031.- Karte Motiv 7

Victor Vasarely Nº

Title

MULTIPLES - Porcelain Dimensions

MULTIPLES “Porcelain-Objects 3” Editions: Rosenthal Germany Medium: Porcelain relief

Edition Published: 1970`s

Design Decor: Victor Vasarely

Serie Carat, design form: Tapio Wirkkala (Finland 1915-1985) 2032.- Coffee Service 6p.

Several sizes

Limited

2033.- Coffee cup

H. 10,3 x 8cm, Plate Dia. 20cm

Limited

2034.- Sugar Pot

H. 8.3cm, Dia. 10.5 cm

Limited

2035.- Cake Plate

Plate Dia. 33cm

Limited

Early in the 1970`s, Vasarely worked togheter with Rosenthal Germany on the projects graphic pattern for “Carat” set, The distinctive Op Art gold decor with the Vasarely typical graphic effect.

“Carat” serie is made with the white of the porcelain and the golden stamped forms.

Tapio Wirkkala (1915-1985) was a Finnish sculptor and academician who was known in Finland and internationally as a versatile designer whose works alternated naturally between glass, plywood, plastic, wood and ceramic.

Awards:

2036.- Tea Service 6p.

Several sizes

Limited

2037.- Tea cup

H. 7 x Dia. 9.8 cm

Limited

2038.- Coffee pot

H. 21,5cm

Limited

2039.- Cups Plate

H. 13.5cm

Limited

2040.- Dinner Plate

Dia. 25.2 cm

Limited

2041.- Serving Platter

H. 2.8cm / D. 32.5x24.2cm

Limited

2042.- Cake Serving Plate

Plate Dia. 20cm

Limited

2043.- Eggs Cups

H. 7cm, Dia. 5cm

Limited

2044.- Butter dish

Height 6cm (with lid), 3cm (without lid) Limited Length 17.5cm, Width 14.5cm

2045.- Dining Service 6 P

Several Sizes

Limited

2046.- Saucer Boat + Saucer

Cup: H.8.2cm / 17.8x12.5cm Saucer Dia. 17.5cm

Limited

2047.- Soup cup + Saucer

Cup: H.6.6cm / 16.5x11.6cm Saucer Dia. 17.5cm

Limited

2048.- Dining Service 8 P

Several Sizes

Limited

2049.- Bowl with Lid / Tureen

H. 11cm / 29.5 x 22cm

Limited

2050.- Candy Bowl

Height 3cm, Dia. 12.5cm

Limited

All pieces have a description of Designer, Decorator, Signs and Editions and the Seal of Rosenthal Germany.

Some of this dishes are made by Rosenthal Studio Linie,a second branch of main factory

127

- Designing Olympic Stamps 1951 - 3 Grand Prix, Milan 1951,1954,1960 - Lunning Prize 1951 - Order of the Lion of Finland Medal 1955 - 1st place, the World Fair in Brussels 1957 - Society of Industrial Arts'in Medal of the Year 1958 - Silver Medal, Milan 1963 - Gold Medal of the President of Italy, Faenza International, - Ceramics Competition 1963-66-67-69-73 - Premio Internazionale Vicenza 1963-66-67 - Honorary Royal Designer of Industry, Lontoo 1964 - Honorary Prize, the Finnish Cultural Foundation 1968 - Honorary doctorate Royal College of Arts, London 1971 - Teosto organization's medal for Creative Work 1980 - Prince Eugen Medal, Stockholm 1980.

Tapio Wirkkala

Victor Vasarely

MULTIPLES - Porcelain

2032.- Coffee Service 6 persons: 1 Coffee pot with lid H. 21,5cm, 1 Sugar pot with lid H. ca 9.5cm, 1 Milk pot H. ca 9.3cm, 6 Cake plate Dia. 20cm, 6 Upper mugs H. 8x10.3cm

2033.- Coffee Cup

2034.- Sugar Pot

2035.- Cake Serving Plate

128

Victor Vasarely

MULTIPLES - Porcelain

2036.-Tea Service 6 persons: 1 Tea pot/lid H. 21.5cm, 1 Sugar pot/lid H. 9.5cm, 1 Milk pot H. 9.3cm, 6 Cake plate Dia. 20cm, 6 Upper mugs H. 7x9.8cm, Cup Plates Dia.13.5cm

2037.- Tea cup

129

2038.- Coffee Pot

2039.- Cups Plate

Victor Vasarely

MULTIPLES - Porcelain

2040.- Dinner plate

2041.- Serving Platter

2042.- Cake Serving Plate

2043.- Eggs Cups

2044.- Butter dish

130

Victor Vasarely

MULTIPLES - Porcelain

2045.- Dining Services 6 persons: 1 ragout bowl with lid, 1.6 l, height about 8 cm, with lid about 11 cm, diameter 21.5 cm. 1 salad bowl, round, height approx. 8.5 cm, diameter approx. 19 cm. 1 side plate, oval, approx. 31.5 cm x 23.5 cm. 1 gravy boat, 0,32 l, height 8 cm, diameter ca. 12,5 cm with saucer, diameter 18 cm. 8 soup cups, 0.28 l, height about 7 cm, diameter about 11.5 cm each with saucer, diameter about 18 cm. 8 plates, flat, diameter about 25 cm. 8 plates, deep, diameter about 23 cm

2046.- Sauce boat and Saucer

131

2047.- Soup cup and Saucer

Victor Vasarely

MULTIPLES - Porcelain

2048.- Dining Services 8 persons: 1 ragout bowl with lid, 1.6 l, height about 8 cm, with lid about 11 cm, diameter 21.5 cm. 1 salad bowl, round, height approx. 8.5 cm, diameter approx. 21.5 cm. 1 salad bowl, round, height approx. 8.5 cm, diameter approx. 19 cm. 1 side plate, oval, approx. 31.5 cm x 23.5 cm. 1 side plate, oval, approx. 38.5 cm x 29 cm.

1 gravy boat, 0,32 l, height 8 cm, diameter ca. 12,5 cm with saucer, diameter 18 cm. 8 soup cups, 0.28 l, height about 7 cm, diameter about 11.5 cm each with saucer, diameter about 18 cm. 8 plates, flat, diameter about 25 cm. 8 plates, deep, diameter about 23 cm

2049.- Bowl with Lid / Tureen

2050.- Candy bowl

132

Victor Vasarely Nº

Title

MULTIPLES - Porcelain Dimensions

MULTIPLES “Porcelain-Objects 4” Editions: Rosenthal Studio Linie Medium: Porcelain Tableware

Edition Published in:1976

Design Decor: Victor Vasarely

Serie SUOMI 1976,design form:Timo Sarpaneva (Finland 1926-2006) 2051.- Nr. 1 Tea Pot

H:16.5x19.8x12.8 cm (w/o handle/beak) Metal handle,1.34L,Form7000 Decor 2091

500

2052.- Nr. 2 Coffee Pot

H:16.5x12x10.5 cm (w/o handle/beak) Metal handle,1.5L,Form7000 Decor 2090

500

2053.- Nr. 3 Sauce boat

H:13.5cm, Dia.12cm (w/o handle/beak) Metal handle,0.52L,Form7000 Decor 2089

500

2054.- Nr. 4 Salad Bowl

H: 7.7cm, Dia.18cm 1.95L Form7000 Decor 2088

500

Serie Miniature SUOMI 2001-2003, design form:Timo Sarpaneva 2055.- Nr. 5 Salad Bowl

H:7x7x5.5cm

999

2056.- Nr. 6 Sauce Boat

H:9x7x7cm (w/o handle/beak)

999

2057.- Nr. 7 Coffee Pot

H:8.8x7x4.5 cm (w/o handle/beak)

999

All pieces have a description of Designer, Decorator, Signs and Editions and the Seal of Rosenthal Studio-Line.

Miniset (2001-2003) Rosenthal Studio Line "Hommage a Suomi" 25 years of avant-garde Form: Suomi Design Form: Timo Sarpaneva Design Deco: Victor Vasarely Mini set Vitrine L/B/H: 28.0x12.1x13.5 cm

Nr. 1

Nr. 4

133

Nr. 2

During the early 1970`s, Vasarely created the awesome graphic pattern for “Suomi” set to Rosenthal Studio-Line, The distinctive Op Art gold decor with the Vasarely typical graphic effects.

Concentration on the essential marks the “Suomi” set by the Finn Timo Sarpaneva. With the design of the compact, organic form from the year 1976, Timo Sarpaneva was inspired by the round, smooth pebbles from the coast of Finland. “Suomi” with its flawless perfection is Scandinavian purism for design fans. The combination of white porcelain and metal gives “Suomi” its special character.

The individual parts of this collection were reduced to the basic necessities, therefore the parts are multifunctional.

For the design of “Suomi” Timo Sarpaneva received the gold medal of Faenza, the highest award in the world of the porcelain. Today “Suomi” is one of the most successful sets of the Rosenthal studioline .Has been accepted into the permanent collection of the Centre Pompidou in Paris as an example for contemporary design.

Timo Sarpaneva (1926-2006) Designer and sculptor was an internationally known force in Finnish design. It was written that this master of many materials had "a rare ability to be mesmerized and to worship beauty". His rise towards the top of the design world began in the 1950s.Sarpaneva's works are exhibited in homes and museums around the world.

Awards: Gold Medal (1976-1978-1980) »Suomi« Dinner service and Coffee service.

International Design Award (1963) Doctor honoris causa: Royal College of Art of London University of Mexico University of Art & Design Helsinki Timo Sarpaneva

Nr. 3 Front view

Nr. 3 Back view

Victor Vasarely

MULTIPLES - Porcelain

Up side detail

2052.- Nr. 3 Sauce Boat

2051.- Nr. 1 Tea Pot

Up side detail

2053.- Nr. 2 Coffee Pot

2054.- Nr. 4 Salad Bowl

Bottom detail 2055.- Nr. 5 Salad Bowl

2056.- Nr. 6 Sauce Boat

2057.- Nr. 7 Coffee Pot

134

Victor Vasarely Nº

Title

MULTIPLES - Porcelain Dimensions

MULTIPLES “Porcelain-Objects 5” Editions: Rosenthal Studio Linie Medium: Porcelain relief

Edition Published in:

1979

Design Decor: Victor Vasarely

Serie Art Collection Nº 4: Design form: Elsa Fischer-Treyden 2058.- Supernovae 2 Vase

1979

33 x 28 x 12.7 cm

(300)

Form13512 Decor 2113

2059.- Kat-Tuz 1 Vase

(1)

1979

32.4 x 29.8 x 13.5 cm

100

Form13512 Decor 2114

2060.- Kat-Tuz 2 Vase

(1)

1979

32.4 x 29.8 x 13.5 cm

100

Form13512 Decor 2114

2061.- Procion 1/1 Vase

(1)

1979

27.3 x 25.4 x 11.5 cm

300

Form13512 Decor 2115 (1) Also named as Serie “VEGA” All pieces have the Seal of Rosenthal Studio-Line. *The quantity on parentheses is not confirmed with the manufacturer”

Probably the largest piece in the Rosenthal's Art Collection No 4. White porcelain with glossy glaze. Vasarely is generally considered to have been the father or original pioneer of "Op Art". The actual pattern on the vase is taken from part of an oil painting called "Supernovae" done between 1959 and 1961 at the very beginning of the Op Art period. Also pattern of “Procion 1/1” (19591965) and “Kat-Tuz” (1972-1975) were used for several pieces of differents shapes and sizes, using parts of this principal works.

Supernovae 2 Vase

Elsa Fischer-Treyden (URS 1901-1995) was an artist and designer (she studied industrial design with Wagenfeld). Her work is clear and matter-of-fact and does justice to the art of production.

Her design fulfills the demand for a fruitful collaboration of art, industry,craftsmanship and commerce. Fischer-Treyden worked for Rosenthal from 1952 until her death. Her famous works include the stemware series »Fuga«, the porcelain service »Fortuna« or the ceramic form »Favo«.

Porcalain Vase Serie Art Collection Nº 4 with shape design by Elsa Fischer-Treyden, 1971 and painted decoration pattern by Victor Vasarely, 1979, for Rosenthal Glass, made in Germany.

Awards: The good industrial design / iF: (1957) »Fortuna« Trinkglasserie (1967) Dose (1967) »L 060« Lampe (1967) Schale (1967) Vase (1969) »Fuga« Triennial Gold Medal Mailand: (1957) »Fortuna« Federal Award: (1977) »Fuga« Trinkglasserie (1986) »Favo« Rosenthal studio-line Elsa Fischer-Treyden 2058.- Supernovae 2 Vase

Victor Vasarely

MULTIPLES - Porcelain

Denise René Galerie exhibition room, Paris 1964. Rigth, “Supernovae” 241.9x152.4cm, work which was taken the pattern of the vase Supernovae 2 Vase.

2059.- Kat-Tuz I Pos. Vase

2060.- Kat-Tuz II Neg. Vase

2061.- Procion 1/1 Vase

Victor Vasarely Nº

Title

MULTIPLES - Porcelain Dimensions

MULTIPLES “Porcelain-Objects 6” Editions: Rosenthal Studio Linie Medium: Porcelain relief

Edition Published in:1980`s

Design Decor: Victor Vasarely

Serie Art Collection Nº 4, Design form: Rosenthal Creative Center 2062.- Square tray 1 2063.- Square tray 2

30.5 x 30.5 x 2,5 cm 14 x 14 x 2,5 cm

499

2064.- Square tray 3

32 x 32 x 2,5 cm

Limited

2065.- Oval tray 4 2066.- Oval tray 5

24 x 24 x 2,5 cm 24 x 24 x 2,5 cm

499 499

2067.- Supernovae 1 Vase 2068.- Supernovae Cup 2069.- Supernovae 1 Vessel

30 x 14 x 14 cm Cap. 15 oz.

H.: 11

Limited Limited Limited

Limited

Form: 14085, Decor: 405636

All pieces stamped “Rosenthal Studio-Line”

Designs of Victor Vasarely for Studio Rosenthal 2070.- NB 16

40 x 40cm

Limited

2071.- NB 16-2

40 x 40cm

Limited

<<Design for Facade Studio Rosenthal, Tile dim. 6x6cm. Weight: 30kg>>

2072.- NB 128

2062.- Square tray 1

96 x 48cm

Limited

2063.- Square tray 2

Victor Vasarely with “Supernovae” on background

2064.- Square tray 3

Back side Plates and Vase

Photo by P.B Nov. 2015 2065.- Oval Tray 4

137

2066.- Oval Tray 5 “Plate 2000”

Victor Vasarely

MULTIPLES - Porcelain

View 1

View 2

2067.- Supernovae 1 Vase

2069.- Supernovae 1 Vessel

2068.- Supernovae Cup

2070.- NB 16

2071.- NB 16-2

View 1

View 2

2072.- NB 128

138

Victor Vasarely Nº

Title

MULTIPLES - Porcelain Dimensions

MULTIPLES “Porcelain-Objects 7”

Edition Pub. in:1950-2010

Editions: Rosenthal Studio Linie, Zsolnay & Crhistofle Medium: Porcelain Design Decor: Victor Vasarely

Porcelain Objects by Rosenthal Studio-Linie (Germany) Serie Manipur design form: Elsa Fischer-Treyden (URS 1901-1995)

2073.- Manipur Motive Vase 1979

33 x 30.4 x 13 cm

100

Porcelain Objects by Fabrique de Céramique Zsolnay (Hungry): The Hungarian porcelain and majolica manufacturer Zsolnay was founded by Miklos Zsolnay in 1852, near Pécs. Later, his sons took over the factory. Particularly thanks to the merits of Vilmos Zsolnay the Pecs porcelain factory soon achieved worldwide fame. Zsolnay Porcelain is besides Herend one of the most famous porcelain factories in Hungary. The range is characterized by a large bandwidth. Zsolnay offers everything from decorative objects to tableware that can be manufactured from porcelain.

2074.- Hexa-3

(1)

1976

33.5 x 27cm

86

The Zsolnay ceramics factory in Pécs (Hungary) donated a mural to the International Union of Railways, made from the Hexa-3 drawing of Victor Vasarely.

A series of numbered enamel plates had to be offered to various members of the UIR at the inauguration of the mural.

2075.- Vilog-4

(2)

1976

33.5 x 27cm

86

Porcelain Objects by Christofle (Paris): 2076.- Circles

(3) (4) c.1950

Dia. 25cm

Limited

The Maison Christofle in 1950 publishes a plate decor "Circles" created by Victor Vasarely, at the request of Carla Borletti of Christofle. This plate is signed on the back. silkscreened Brand "editado Christofle por la Argentina" on the back; the decorations are signed or monogrammed

2077.- Set “Artist plates”

(3) 2010

Dia. 25cm

100

In 2010 Christofle re-edits this dish in a box "Artists 'plates' including 6 plates of different artists. This is a numbered series limited to 100 boxes, 10 copies being out numbered. Other artists Man Ray, Gio Ponti, Paul Eluard, Jean Cocteau and Françoise Gilot.

(1) Ketterer Kunst, Sale 430, Lot. 1186, 23/24-May-2016 (2) Piasa, Sale “Art Contemporain”. Lot. 344, 30-Mar-2008 (3) Kapandji Morhange, “20th Century:Paintings...”, Lot. 90, 15-Jun-2005, Paris (4) Calmels-Chambre-Cohen, “Art Moderne”, Lot. 232, 18-Oct-1998, Paris.

Hexa-3 - mural in the premises of the International Union of Railways in Paris - realization by the Zsolnay Factory

Stamp buttom detail

2073.- Black Vase

139

Black Vase`s view details

Victor Vasarely

MULTIPLES - Porcelain

Detail 1 Detail 2

2074.- Hexa-3

Detail 1 Detail 2

2075.- Vilog-4

2076.- Circles

2077.- Set “Artists Plates”

140

Victor Vasarely Nº

Title

MULTIPLES - Porcelain Dimensions

Edition

MULTIPLES “Porcelain-Objects 8” Published: early 1990`s Editions: Royal Prussian Tettau / Ars Mundi Medium: Porcelain Dishes

The Royally Tettau

Serie: Jade Squar

2078.- Set of 6 Porcelain

20 x 20cm

Serie Limited

2079.- Breakfast Plate “Tuz-Pos”

20 x 20cm

Serie Limited

2080.- CC w/ Saucer “Tuz-Pos”

C. 0,21L

Serie Limited

2081.- CC w/ Saucer “VB-VB-Rouge”

C. 0,21L

Serie Limited

2082.- Breakfast Plate “VB-VB-Rouge”

20 x 20cm

Serie Limited

2083.- Breakfast Plate “Eridan PH-BC”

20 x 20cm

Serie Limited

2084.- CC w/ Saucer “Eridan PH-BC”

C. 0,21L

Serie Limited

2085.- CC w/ Saucer “Vega-Tak”

C. 0,21L

Serie Limited

2086.- Breakfast Plate “Vega-Tak”

20 x 20cm

Serie Limited

2087.- Breakfast Plate “Vega-Zett”

20 x 20cm

Serie Limited

2088.- CC w/ Saucer “Vega-Zett”

C. 0,21L

Serie Limited

2089.- CC w/ Saucer “Zett I”

C. 0,21L

Serie Limited

2090.- Breakfast Plate “Zett I”

20 x 20cm

Serie Limited

All the pieces of porcelain of the manufacturer “The Royally Tettau” was named by a image of the original piece by Victor Vasarely.

Until this Catalog the serie were limited to four digits

Vasarely became famous for his 'cunstructively, geometric, abstract, graphic art' as they can be seen on the dishes of Tettau tableware.

The different colors of the plates and the cups show the different creative periods of Vasarely's life (1968-1972): Black-White, Yellow Manifesting... The Royally Tettau (Königlich Tettau) Vasarely porcelain collection and another artits-hommage from the manufacturer Tettau.

Details on the bottom of cups. Numbered and signed

141

2078.- Set of 6 in an attractive gift box

Victor Vasarely

MULTIPLES - Porcelain

Serie Jade Squar with sign detail on cup

2079.- Breakfast Plate “Tuz-Pos”

2080.- Coffee Cup w/ Saucer “Tuz-Pos”

2083.- Breakfast Plate “Eridan”

2084.- Coffee Cup w/ Saucer “Eridan”

2087.- Breakfast Plate “Vega-Zett”

2088.- Coffee Cup w/ Saucer “Vega-Zett”

2081.- Coffee Cup w/ Saucer “VB-VB-Rouge”

2085.- Coffee Cup w/ Saucer “Vega-Tak”

2089.- Coffee cup w/ Saucer “Zett I”

2082.- Breakfast Plate “VB-VB-Rouge”

2086.- Breakfast Plate “Vega-Tak”

2090.- Breakfast Plate “Zett I”

142

Victor Vasarely Nº

Title

MULTIPLES - Porcelain Dimensions

Multiples “Porcelain Objects 9” Editions: Briare / Hollóháza / Fürstenberg

Pub. on: 1974-1979 Medium: Porcelain

<< Serie Briare 1974 >> Briare modern porcelain. Dekor by Vasarely 170 x 154 x 5 cm 2091.- BV-12 (1) 2092.- BV-21

(1)

2093.- Rosenthal Vase 3

Edition

Emaux de Briare

Unique

170 x 154 x 5 cm

Unique

20.5 x 19 x 7.5 cm

Limited

<< Hollóháza Porcelain Factory >> . Dekor by Vasarely 2094.- Tuz Book

10 x 10 x 1.5 cm

400

<< Serie Fürstenberg Vase >> Desing Ernst August Sundermann. Dekor by Vasarely 2095.- Fürstenberg Vase-1

H. 14cm approx.

1450

2096.- Fürstenberg Vase-2

H. 15 x 13cm W.600g

1447

2097.- Fürstenberg Vase-3

H. 27 x 9.5 x 7 cm

2098.- Fürstenberg Vase-4

H. 10.2 x 9.5 cm

1370

2099.- Fürstenberg Vase-5

H. 14cm approx.

1444

259

(1) Permanent collection of Briare Museum of Enamels and Mosaics.

(2) Published in Hungarian,German,English & French.100 copies per language.

Briare Museum of Enamels and Mosaics / Musée des Émaux et de la Mosaïque De Briare

Les Émaux de Briare is a French mosaic manufacturer based in Briare in the Loiret department and the Center-Loire Valley region. It is the result of the acquisition of the Faïencerie de Briare, founded in 1837, by Bapterosses & Co, a company specializing in the manufacture of porcelain buttons founded in Paris in 1845.

Thanks to the growing reputation of the brand, in 1965, the management created the decoration department under the direction of Norbert Seroussi, a former decorative artist who will evolve the product and in particular launch the range "Gemmes". The company is embarking on major projects such as the decoration of metro stations in Paris, Brussels and Montreal or the Paris-Charles-de-Gaulle, Paris-Orly or Caracas airports in Venezuela.

At the same time, Émaux de Briare opened subsidiaries at the Design Center in New York and in Brussels and shortly afterwards in Germany in Düsseldorf, Munich and Stuttgart with a shop in Cologne and Switzerland in Geneva and Zurich. This policy of internationalization culminated with the New Economist's award of excellence in its "Export Oscar" competition in 1977.

The company still works with renowned artists, including the Op Art kinetic movement such as Yaacov Agam, Carlos Cruz-Díez and Victor Vasarely.

(Works Fondation Vasarely, Aix-Provence:Alom 594x594cm-Unit 24x24mm, Vonal 576x572cm-Unit 24x24mm.

2091.- BV-12 (Prototype for Alom)

143

2092.- BV-21 (Prototype for Vonal)

Victor Vasarely

MULTIPLES - Porcelain

2093.- Rosenthal Vase-3

2094.- Tuz Book

View 1

2096.- Fürstenberg Vase-2

View 1

2098.- Fürstenberg Vase-4

2095.- Fürstenberg Vase-1

View 2

2097.- Fürstenberg Vase-3

View 2

2099.- Fürstenberg Vase-5

144

Victor Vasarely Nº

MULTIPLES - Glass - Crystal

Title

Dimensions

Edition

MULTIPLES “Glass&Crystal-Objects”

Pub.: 1959-88

Medium: Glass or Crystal

2100.- Erebus (Rosenthal)

(1)

33 x 24.1 x 2.5 1982

2000

The effect this work has when light reflects off the surface, creates a wonderful array of prismatic highlights and rainbows. Comprised of minimal lines, shapes and colors, the complexity of this work is realized in the viewer’s interaction with this piece. Created in 1982, this glass sculpture was published

by Rosenthal in an edition of 2,000. Numbered on the bottom of the base,1 to 2000 with the publisher’s name, date, and Vasarely’s stamped signature, this work has an additional etched signature by Victor Vasarely in the lower right. Professor Eugen Gomringer of the Düsseldorf Art Academy stated of this work, “The Glass object ‘Erebus’ belongs to a particularly rich group of works of Victor Vasarely…he worked…for a long time and researched…the ‘movements in the surface’, on the deformation of the area by line networks… On the basis of realizations of the theory of Relativity, wave mechanics and the cybernetics he found in the play between certainty and uncertainty a source of poetic inspiration. The conception of ‘Erebus’ exists a linear structure in the change of an even, perpendicular structure through the interruption by means of a number of unequal blisters. These cause an enlargement of the perpendicular structure within their range, i.e. they function like lenses. The effect is irregularity, aliveness, a play without stopping. The transparent material "glass" suits such a concept particularly well, as the oval lenses are even actually now from the material from which lenses normally are, from glass. The sense of a work of the kinetic phase finds the most suitable means in the material ‘glass’.

2101.- Multiple Markab

53 x 68 x 9.5cm 1959

150

Mixed Technique (fluted glass, wood etc..) Edition of 150. lower left Signed and annotated on the back of mounting cartel Editions MAT . Only a few have multiple finally made it. The authenticity of this work we were kindly confirmed by Pierre Vasarely. In the Yellow Manifesto published in 1955 on the occasion of the exhibition Movement Denise René Gallery, Vasarely wrote: "If the idea of the plastic work far lived in a traditional approach and the myth of unique, it now finds itself in the design of a possible RECREATION from MULTIPLICATION and EXPANSION”

2102.- Taittinger Champagne Bottle 34.29 x 9.52cm

1978

100.000

2100.- Erebus

Estamped Signature of the artist on the bottle and the box

<<Designed on red, blue, purple and green glasses>> Prototypes for edition of 4 (never made it). (Dimensions without base)

(1967)

(3)

105 x 91cm

1971

Unique

2104.- Tridim Q 2 (1967)

(4)

93.9 x 83.8cm

1972

Unique

2105.- Goett-2

101x92x1.2cm

1984-88

Unique

2103.- Tridim Q

Engraved on tempered glass, Acrylic painting (grey, silver & dark blue) both sides.

50 x 50 x 6.9 cm 1973

2106.- Vega-Mir

XX+200

Work of album “Bach Vasrely” 1973 D.R., Belfond, París.

2107.- Transparent Kinetic Wall (5) On request

1970

Unique

Composed of 14 slabs of safety glass, sliding kinetic door composed of 2 slabs of safety glass. KLM building, Amsterdam, Netherlands.

2108.- Algemb-2

147.5x88x1cm

1956-88

Vasarely and Mr.Taittinger.1982.Photo courtesy by Michele Vasarely Archive`s

Unique

Engraved on tempered glass, Acrylic painting (black and silver) both sides.

Res. Pemore`s main room bathroom, Caracas, Venezuela

2108B.-Rosenthal trays

(2) 30 x 30 mm Form: 61161 / Dekor: 331161 Victor Vasarely. Not signed.

Limited

(1) Artcurial, Sale 2731, Lot. 56, 19-May-2015 (2) Set Rosenthal Sweet Sixties - Turqouise. 2 units per set.

(3) Exhibit at Musée Vouland, Avignon. 2 Jun-2 Oct 2016, Coproduced Fondation Vasarely.

(4) Christie´s , Sale 3791, Lot. 275, 11-Nov-2015.

(5) Catalogued on du Griffon, Neuchatel, Vol. 4, Pag. 14

2101.- Multiple Markab

145

Victor Vasarely

MULTIPLES - Glass - Crystal

Victor Vasarely and Mr. Claude Taittenger. 1983. Photo courtesy by Michele Vasarely Archive`s

2102.- Taittinger Champagne Bottle

146

Victor Vasarely

MULTIPLES - Glass - Crystal

2103.- Tridim Q

2105.- Goett-2

147

2104.- Tridim Q 2

2106.- Vega Mir

Victor Vasarely

MULTIPLES - Glass - Crystal

2107.- Transparent Kinetic Wall

2108.- Algemb-2

2108B.- Rosenthal Trays

148

Victor Vasarely Nº

Title

Tapestries Nº1 Dimensions

TAPESTRIES Nº1 Editions: Denise René / Maison Tabard, Aubusson

Editor

Published in: 1951-66 Medium: Tapiz, hand woven

2109.- Karim 2110.- Luberon

(1951) (1951)

276 x 228 cm 255 x 300 cm

Maison Tabare, Aubusson Maison Tabare, Aubusson

2111.- Zaira II

(1952)

145 x 160 cm

Maison Tabare, Aubusson

276 x 228 cm 274 x 222 cm

Maison Tabare, Aubusson Tabare, Aubusson Nº 1160

2112.- Gordium + (1955) 2113.- Gordium - (1956)

(1) (2)

2114.- Caracas 2115.- Horn

(1957) (1957)

135 x 128 cm 175 x 137 cm

Maison Tabare, Aubusson Maison Tabare, Aubusson

2116.- Monastir

(1957)

179 x 137 cm

Maison Tabare, Aubusson

(1957) 2117.- Zsolt 2118.- Meándre + (1958)

160 x 134 cm 268 x 223 cm

Maison Tabare, Aubusson Maison Tabare, Aubusson

188 x 169 cm 190 x 170 cm

Maison Tabare, Aubusson Tabare, Aubusson Nº 652

200 x 260 cm 242 x 167 cm

Maison Tabare, Aubusson Maison Tabare, Aubusson

295 x 187 cm

Maison Tabare, Aubusson

2119.- Zirza 2120.- Lonike

(1958) (1958)

2121.- Ty Neue 2122.- Majus

(1958) (1958)

(3)

2123.- Hokkaido 2124.- Zebra 2125.- Zèbres + 2126.- Zèbres -

(1959) (1959) (1959)

(4)

214 x 150 cm 206 x 187 cm 206 x 185 cm

Maison Tabare, Aubusson Maison Tabare, Aubusson Maison Tabare, Aubusson

2127.- Ibadan 2128.- Markab

(1961) (1963)

(5) (8)

250 x 300 cm 260 x 376 cm

France-Tapis, Beauvais Maison Tabare,Aubusson

2129.- Yapoura

(1963)

310 x 300 cm

Maison Tabare, Aubusson

2130.- Kalota-T 2131.- Our-MC

(1963) (1963)

(2) (10)

236 x 220 cm 260 x 244 cm

Maison Tabare, Aubusson Tabare, Aubusson Nº 1266

(11)

235 x 225 cm 260 x 244 cm

Maison Tabare, Aubusson Tabare, Aubusson Nº 1308

270 x 252 cm 210 x 210 cm

Maison Tabare, Aubusson Maison Tabare, Aubusson

266 x 246 cm 200 x 200 cm

Maison Tabare, Aubusson Maison Tabare,Aubusson

400 x 380 cm 260 x 246 cm 260 x 246 cm 260 x 246 cm 260 x 246 cm

Maison Tabare, Aubusson Maison Tabare, Aubusson Tabare, Aubusson Nº 1388 Tabare, Aubusson Nº 1375 Maison Tabare, Aubusson

2132.- Cassiopee (1963) (1966) 2133.- Harmas (1966) 2134.- Tega Or 2135.- Vega Zett F (1966)

2136.- Eridan 2137.- Zett KZ

(2)(9)

(1966) (1966)

2138.- Orion MC I (1966) 2139.- Orion MC II (1966) 2140.- Orion Blanc (1966) 2141.- Orion Noir (1966) 2142.- Orion Or (1966)

(2) (8) (8)

1951-66

V15.- Tau Ceti 2143.- Hekla

(1966) (1966)

200 x 200 cm 207 x 196 cm

Maison Tabare,Aubusson Manufact. by Gobelins

2144.- Arcturus I 2145.- Kei-Ho

(1965) (1966)

196 x 196 cm 330 x 306 cm

Maison Tabare, Aubusson Maison Tabare,Aubusson

Maison Tabard, Aubusson

Exhibition at Vasarely Museum, Pecs, Hungary. Left to right: Zebra and Zébres.

For over one hundred years (1869-1983 as Aubusson) the Aubusson Pinton mill has been weaving rugs and tapestries. It is a privatly owned company, established at Felletin , in the Creuse region of France, at about 10 kilometres from Aubusson. Since then, the business has remained family owned for over three generations. Lucas Pinton has been running the business since 2003.

The mill was re-built by the architect Jean Willerval in 1973 where are now the weaving workshops which allow the manufacturing of tapestries on horizontal looms and «hand-tufting» rugs.

Exhibition at Victor Vasarely Museum Pecs. This is one of Pécs’ most popular collections. Since its inauguration in 1976, it has received over two million visitors. At the same time several hundred thousand have enjoyed the travelling exhibitions of the museum. Tapestries on the photo: Orion Blanc & Majus MC.

(1) “Tapisseries d'Aubusson”, exhibition catalogue,Galerie Denise René, Paris,1974, p.65 (2) Edition of 5. Published on “Vasarely - In Retrospect”. Rothmans Gallery, Canada.

(3) Sotheby`s, “Paintings, Furniture & works of Art”, Lot. 586, 21/22-Feb-2006 (4) Permanent collection Art Institute Chicago No. 682 (5) Four examplaires manufactured. Edition Galerie La Demeure (6) Christie`s, Sale 2412, Lot. 290, 12-Jan-2011 (7) Victor Vasarely, Carlo Cambi Edittore, 2007, Pag. 260 (8) Permanent Collection of National Gallery of Victoria, Nº CT8-1993, Melbourne Presented by the Estate of the late Kenneth Myer, 1993,Licensed by VISCOPY, Australia (9) Koller Auktionen, Sale Fine Art & Antiques, Lot. 1255, 5-Dec-2015 Aubusson wool tapestry (10) By Tabard Frères, signed and with the weaver's monogram in the weave, signed in ink and numbered 1442 on their label verso.

(11) Anni Albers on webbing, Studio Vista London, Plate 112. Pag. 195 2109.- Karim

Victor Vasarely

Tapestries Nยบ1

1951-66

Exhibition at Vasarely Didactic Museum at the Gordes Chateau. Left to right: Orion-Noir 1966 Tapestrie, Zebra 1966, Orion-Or 1966 and Gordium - 1956 tapestries.

2110.- Luberon

2111.- Zaira II

2112.- Gordium +

2113.- Gordium -

Victor Vasarely

2114.- Caracas “Bug”

2116.- Monastir

2118.- Meandre +

Tapestries Nº1

2115.- Horn

2117.- Zsolt

2119.- Zirza

1951-66

Victor Vasarely

2120.- Lonike

2122.- Majus

2125.- Zebres +

Tapestries Nยบ1

2121.- Ty Neue

2123.- Hokkaido

2126.- Zebras

1951-66

Victor Vasarely

2124.- Zebre

2128.- Markab

2130.- Kalota T

Tapestries Nยบ1

2127.- Ibadan

2129.- Yapoura

2131.- Our MC

1951-66

Victor Vasarely

Tapestries Nยบ1

Umeni Olomouc Museum exhibition, last guided tour of the exhibition, September 18, 2015.

2133.- Harmas

Photo: Tereza Hrubรก

2132.- Cassioppe

2135.- Vega Zett F

2134.- Tega Or

2138.- Eridan

1951-66

Victor Vasarely

Tapestries Nยบ1

2137.- Zett KZ

2138.- Orion MC

2138.- Orion MC II

2140.- Orion Blanc

2141.- Orion Noir

2142.- Orion Or

1951-66

Victor Vasarely

V15.- Tau-Ceti

2144.- Arcturus I

Tapestries Nยบ1

2143.- Hekla

2145.- Kei Ho

1951-66

Victor Vasarely Nº

Title

Tapestries Nº 2 Dimensions

TAPESTRIES Nº 2 Editions: Denise René / Maison Tabard, Aubusson

Editor

Published in: 1967-70 Medium: Tapiz, hand woven

2146.- CTA 102 Or (1967) 2148.- Unités Plastiques (1968) (6)

200 x 200 cm 400 x 200 cm

Maison Tabare, Aubusson D.R.,Paris/Hans Mayer,RFA

2147.- CTA 103 Arg (1967) (1) (7) 2149.- Koska (1968-70)

200 x 200 cm 230 x 228 cm

Tabare, Aubusson Nº 1823 Maison Tabare, Aubusson

2150.- Kood 2151.- Dia Or

(1969) (1969)

(8)

200 x 200 cm 260 x 250 cm

Maison Tabare, Aubusson Tabare, Aubusson Nº 1973

2152.- Quasar 2153.- EG 1-2 2154.- Dia Argent

(1969) (1969) (1969)

(9) (2) (2)

260 x 265 cm 268 x 268 cm 254 x 249x3cm

Aubusson Nº 1755 / 1971 Tabare, Aubusson Nº 1673 Tabare, Aubusson Nº 1762

234 x 158 cm 234 x 158 cm

Maison Tabare, Aubusson Maison Tabare, Aubusson

260 x 260 cm 390 x 780 cm

Tabare, Aubusson Nº 1669 Maison Tabare, Aubusson

255 x 255 cm 258 x 252 cm

Tabare, Aubusson Nº 1674 Maison Tabare, Aubusson

268 x 268 cm 270 x 270 cm

Tabare, Aubusson Nº 1691 Tabare, Aubusson Nº 1685

196 x 196 cm 259 x 258 cm

Maison Tabare, Aubusson Maison Tabare, Aubusson

175 x 178 cm 175 x 178 cm

Finnrya AB, Helsinki Finnrya AB, Helsinki

2155.- Betelgeuse (1969) 2156.- Tlinko (1969) 2157.- Meh 2158.- Gordes

(1969) (1969)

2159.- Vega Teck 2160.- Vega 201

(1969) (1969)

2161.- Maamor 2162.- Majus MC

(1969) (1969)

2163.- Arcturus II 2164.- Vega Sakk

(1969) (1969)

<<Tapis Cinetiques>> 2165.- Ilile + (1970) 2166.- Ilile (1970)

(2) (3)

(2) (4) (2)

(5) (5)

Victor Vasarely with two tapestries, left to right: Unite Plastiques (1968) and Dia Or (1969). On his hand the book “Victor Vasarely” by Maria Egrl publisher Te Neues Pub Group, (April 1992)

(1) Represented on Metropolitan Museum of Art, N.Y. Edition of 6 (2) Edition of 5. Published on “Vasarely - In Retrospect”. Rothmans Gallery, Canada.

(3) Piasa, Sale “Richelieu Drouot, Sale 10”, Lot. 339, 30-Mar-2008, Paris.

(4) Sotheby`s, Sale Comtemporay Curated, Lot. 13, 10-Jun-2015, New York (5) Wright, Sale Print and Multiples, Lot. 188, 28-Jan-2016, Chicago. Edition 250 Tapestries Cinetiques, 50 exemplaires Format 175x178cm Limited Edition (hand made), 200 exemplaires (Mechanic made).

(6) Lempertz Auction House, Sale 858, Lot. 515 4-Jun-2004. Edition of 25 (7) Metropolitan Museum of Art USA Inv. Number: 1981.92. (Aubusson No.1456,3/6) (8) Artcurial, Sale 3109, Lot. 127, 12-Dec-2016. France. Edition of 6 (9) Dorotheum, Sale Collection Reinhold Hofstätter, Lot. 47, 29-Sept-2017 Tabard Frères & Soeurs for the Galerie Denise René.

Mentioned on VASARELY III, du Griffon Neuchatel 1974. p. 243,Switzerland,Marcel Joray.

2149.- Unites Plastiques

1967- 70

2147.- CTA 103 Or

2147.- CTA 103 Arg

Victor Vasarely

Tapestries Nº 2

1967- 70

Hall of Victor Vasarely Museum Pecs. Tapestries on the picture at left: Vega-Sakk and Arcturus II, in the middle of hall, “Kroa II” 1968 (metal sculpture) and at the bottom, “Vega-ARL” 1968 tempera on paper, 37x36cm

2150.- Koska

2150.- Kood

Victor Vasarely

Tapestries Nยบ 2

1967- 70

Hall of Victor Vasarely Museum Pecs. Tapestries on the picture, left: EG-1-2 and Dia-Argent, in the middle of hall, Sir-Ris + and Sir-Ris -, 1967 (metal sculptures)

2151.- Dia-Or

2152.- Quasar

Victor Vasarely

2153.- EG 1-2

2155.- Bettelgeuse

Tapestries Nยบ 2

2154.- Dia-Argent

2156.- Tlinko

1967- 70

Victor Vasarely

Tapestries Nยบ 2

On request / Sur demande

2157.- Meh

2157.- Gordes

2159.- Vega Teck

2160.- Vega 201

2161.- Maamor

2162.- Majus MC

1967- 70

Victor Vasarely

2163.- Arcturus II

2165.- Ilile +

Tapestries Nยบ 2

2164.- Vega Sakk

2165.- Ilile +

1967- 70

Victor Vasarely Nº

Title

Tapestries Nº 3 1970-72 Dimensions

TAPESTRIES Nº3 Editions: Denise René / Maison Tabard, Aubusson

Editor

Published in: 1970-72 Medium: Tapiz, hand woven

<< Tapis Cinetiques>> 2166.- Gamma Square 2167.- Novae 2168.- Gamma + 2169.- Gamma R 2170.- Beta + 2171.- Beta 2172.- Beta 46

(1970) (1970) (1) (1970) (1) (1970) (1) (1970) (1) (1970) (1) (1970)

246.4 x 246.4 cm 233 x 250 cm 400 x 200 cm 400 x 200 cm 400 x 200 cm 400 x 200 cm 213 x 213 cm

Finnrya AB, Helsinki Finnrya AB, Helsinki Finnrya AB, Helsinki Finnrya AB, Helsinki Finnrya AB, Helsinki Finnrya AB, Helsinki Finnrya AB, Helsinki

2173.- VP 108 / VP Kek 2174.- Reytey 2175.- VP 103 2176.- Vonal Fegn 2177.- Vega Fel

(1971) (1971) (1971) (1971) (2) (1971)

302 x 152 cm 207 x 207 cm 152 x 302 cm 252 x 252 cm 268 x 268 cm

Aubusson Nº 1816 / 1974 Maison Tabare, Aubusson Tabare, Aubusson Nº 1969 Manufact. by Gobelins Tabare, Aubusson Nº 1828

2178.- Ond 2179.- Maamor T 2180.- Izzo MC 2181.- Tridim J 2182.- Ympo 2183.- Lapidaire

(1971) (3) (1971) (1971) (1971) (1971) (1971)

268 x 256 cm 392 x 392 cm 333 x 283 cm 267 x 170 cm 330 x 198 cm 200 x 200 cm

Maison Tabare, Aubusson Maison Pinton, Aubusson Maison Pinton, Aubusson Maison Pinton, Aubusson Maison Pinton, Aubusson Maison Pinton, Aubusson

2184.- Axo 2185.- CTA-102 + 2186.- Tau-Ceti + 2187.- Pauk 101 2188.- Cheyt Stri

(1971) (4) (1971) (1971) (1971) (1972)

200 x 200 cm 410 x 410 cm 410 x 410 cm 315 x 315 cm 312 x 278 cm

Maison Pinton, Aubusson Manufact. by Gobelins Manufact. by Gobelins Maison Pinton, Aubusson Maison Tabare, Aubusson

2189.- CTA 102 2190.- Tau-Ceti 2191.- Tridim H 2192.- Sikra 2193.- CTA-103-OR 2194.- Boeing

(1972) (1972) (1976) (4) (1976) (4) (1976) (4) (1976) (4)

410 x 410 cm 410 x 410 cm 200 x 240 cm 160 x 152 cm 202 x 206 cm 102 x 194 cm

Manufact. by Gobelins Manufact. by Gobelins Maison Tabare, Aubusson Atelier Mesnage, Boisson Maison Tabare, Aubusson Maison Tabare, Aubusson

2195.- Domb-A 2196.- Ciel et Terre I 2197.- Oltar-Drei 2198.- Rena 2199.- VP-Stri 2200.- Phila-Bleu

(1977) (1977) (1978) (1978) (1978) (1978)

264 x 256 cm 230 x 200 cm 185 x 363 cm 185 x 185 cm 300 x 300 cm 160 x 150 cm

Manufact. Gobelins Atelier Pierre Daquin Manufact. Gobelins Manufact. Gobelins Maison Pinton, Aubusson Maison Pinton, Aubusson

2201.- Felhoe 2202.- Kesegue 2203.- Aix-MC 2204.- Phila-Rouge 2205.- Pylla 2206.- Stri-Arc

(1978) (1978) (1978) (8) (1978) (1978) (1978)

160 x 160 cm 165 x 165 cm 197 x 100 cm 160 x 150 cm 175 x 170 cm 160 x 160 cm

Maison Pinton, Aubusson Maison Pinton, Aubusson Maison Pinton, Aubusson Maison Pinton, Aubusson Maison Pinton, Aubusson Maison Pinton, Aubusson

160 x 160 cm 150 x 150 cm 157 x 156 cm 400 x 200 cm 400 x 200 cm 181 x 180.5 cm 181 x 180.5 cm 181 x 180.5 cm

Maison Pinton, Aubusson Maison Pinton, Aubusson Maison Pinton, Aubusson Finnrya AB, Helsinki Finnrya AB, Helsinki Finnrya AB, Helsinki Finnrya AB, Helsinki Finnrya AB, Helsinki

2207.- Thez-2 2208.- Unidell 2209.- WA-4 2210.- Capella + 2211.- Capella 2212.- Capella 17-1 2212b.- Capella 17-2 2212c.- Capella 17-3

(1978) (1978) (4) (1978) (6) (1970) (5) (1970) (5) (1970) (5) (1970) (5) (1970) (5)

Atelliers Aubusson - Pinton Until the end of 1970, Ateliers Aubusson have produced numerous tapestries designed by famous artists from this century and the last such as: - Calder, S. Delaunay - Bazaine, Brianchon - Le Corbusier, Fumeron - Matégot, Miro - Léger, Vasarely...

In the same way, Ateliers Aubusson have worked over the years with artists and designers who have spread elegance, creativity and French style thoughout the world : -Leleu - Lersy - Adnet - Alechinsky,...

2168.- Gamma Square

(1) Tapestries Cinetiques, 50 exemplaires Limited Edition (hand made), Format 400 x 200 and 200 exemplaires (Mechanic made), Many dimensions and colors.

(2) VASARELY, Klaus Albretch, Schröder, Prestel,Bonn,1992 Pag.55 Mentioned on VASARELY IV.Editions du Griffon Neuchatel (Switzerland) 1979. Pg.205 (3) Bonhams, Sale 13066, Lot. 5215, 15-Dec-2004, New York.

(4) Six exemplaires hand manufactured.

(5) Edition of 250. Signed on label at the back (6) Permanent Collection of Galerie Chevalier, Paris.

(7) Bonhams, Sale 13066, Lot. 5215, 15-Dec-2004, New York.

(8) Editions George Falls, Paris & Tapisserie D`Aubusson Pinton Mentioned on VASARELY III Pg.244/VASARELY IV,Pg.205 Editions du Griffon Neuchatel (Switzerland).

2169.- Novae

Victor Vasarely

Tapestries Nยบ 3 1970-72

Vasarely Museum, Pecs. Lleft ot right Aubusson tapestry (1971): Maamor-T (392 x 392cm),Maamor 1969 (268 x 268cm) & Finnrya AB Tapestry Capella 17-3 (181x180.5)

On request / Sur demande

2172.- Gamma +

2172.- Gamma R -

2172.- Beta +

On request / Sur demande

2172.- Beta -

Victor Vasarely

Tapestries Nยบ 3 1970-72

2172.- Beta 46

2173.- VP 108 / VP Kek

2174.- Reytey

2175.- VP-103

2176.- Vonal Feng

2177.- Vega Fel

Victor Vasarely

Tapestries Nยบ 3 1970-72

2179.- Maamor T 2178.- Ond

2180.- Izzo MC

2180.-Ympo

2180.- Tridim J

2180.-Lapidarie

Victor Vasarely

Tapestries Nยบ 3 1970-72

2184.- Axo 2185.- CTA-102 +

2186.- Tau Ceti +

2188.- Cheyt Stri

2187.- Pauk - 101

2188.- CTA-102 -

Victor Vasarely

2190.- Tau Ceti -

Tapestries Nยบ 3 1970-72

2190.- Tridim H

2192.- Sikra 2147.- CTA 103 Or

On request / Sur demande

2192.- Boeing

2192.- Domb-A

Victor Vasarely

2200.- Ciel et Terre I

2200.- Rena

2200.- Phylla Bleu

Tapestries Nยบ 3 1970-72

2200.- Oltar-Drei

2199.- Vp-Stri

2200.- Felhoe

Victor Vasarely

Tapestries Nยบ 3 1970-72

On request / Sur demande

Detail 1

Detail 2

2200.- Kesegue 2203.- Aix-MC

2200.- Phila Rouge

2206.- Stri-Arc

2205.- Pylla

2207.- Thez-2

Victor Vasarely

2208.- Uni Dell

2208.- Capella +

Tapestries Nยบ 3 1970-72

2209.- Wa-4

2209.- Capella -

Victor Vasarely

2210.- Capella +

2211.- Capella -

2212.- Capella 17

Tapestries Nยบ 3 1970-72

Victor Vasarely Nº

Title

Tapestries Nº 4 1979-89

Dimensions

Editor

TAPESTRIES Nº 4

Published in: 1979-89 Medium: Tapiz

Editions: Denise René / Maison Pinton, Aubusson

240 x 240 cm

6

Maison Pinton, Aubusson

2214.- Vega Zett 1980 (2) 227 x 237 cm

6

Maison Pinton, Aubusson

2215.- Vega Zett-2

235 x 235 cm

6

Maison Pinton, Aubusson

2216.- Boglar

210 x 210 cm

6

Pinton, Aubusson Nº 1967

2217.- Vilag

160 x 158 cm

6

Maison Pinton, Aubusson

2218.- Circles

264 x 249 cm

6

Maison Pinton, Aubusson

2219.- Okta-Poss

156 x 153 cm

6

Maison Pinton, Aubusson

2220.- Anadyr

192 x 158 cm

50

Royal Lesotho Tapestries

2221.- Vega Pal

110 x 104.1 cm

50

Maison Pinton, Aubusson

2222.- Denfert

132 x 231 cm

On request

Edition Art Surface

2223.- Vega

113 x 93 cm

50

Maison Pinton, Aubusson

2224.- Panderlak

125 x 76 cm

320

Edition La Demeure

2213.- Vega Gyuru

(1)

(1) Piasa, Contemporary Art, Lot. 270, 25-Mar-2007, Paris, France (2) Koller Auktionen AG, Tapisserie, Lot. 1261, 24/25-Jun-2016, Zurich, Switzerland

Atelliers Aubusson - Pinton

Hall of meetings of Vasarely Museum of Budapest.

Tapestrie Vega-Gyuru. Museum´s Collection

All the Tabards Aubusson rugs are labeled as the photo below, sewn to the mat, made of cloth and seal Tabard Atelier Aubusson in red and artist's signature style in letter mold, Numbered according to manufacturing.

2213.- Vega Gyuru

Vega Zett detail

2214.- Vega Zett

2215.- Vega Zett 2

Victor Vasarely

Tapestries Nº 4 1979-89

Tapestries on the picture, left “Maamor”, in the middle “Vega-Pal”, both by Victor Vasarely, at the bottom and rigth, two Pablo Picasso´s Tapestries: “Portrait a la Teche Jaune”1965 1.53x2.30m, Editions Marie Cuttoli & Lucia Weil and “Les Demoiselles d’Avignon” 1958 2.72x2.60m

2216.- Boglar

2217.- Vilag

Victor Vasarely

Tapestries Nยบ 4 1979-89

2219.- Okta Poss

2218.- Circles

2220.- Anadyr

2222.- Denfert

2221.- Vega-Pal

2223.- Vega

2224.- Panderlak

Victor Vasarely Nº

Title

Tapestries Nº 5 1990-97 Dimensions

TAPESTRIES Nº 5 “Last Works” Editions: Victor Vasarely / Masterworks Fine Arts

Editor Published in: 1990-97 Medium: Tapestries

2225.- Zebres

MFA

(1950)

274 x 365 cm

Masterworks Fine Arts

2226.- Altair

MFA

(1957)

152 x 253 cm

Masterworks Fine Arts

2227.- Capella -

MFA

(1968)

152 x 213 cm

Masterworks Fine Arts

2228.- Capella + MFA

(1968)

152 x 213 cm

Masterworks Fine Arts

(1956-59)

213 x 152 cm

Masterworks Fine Arts

2230.- Cassiopea MFA

(1957)

213 x 152 cm

Masterworks Fine Arts

2231.- Eridan II

MFA

(1968)

213 x 152 cm

Masterworks Fine Arts

2232.- Keiho

MFA

(1956)

213 x 152 cm

Masterworks Fine Arts

2233.- Leyre

MFA

(1956-62)

213 x 152 cm

Masterworks Fine Arts

2234.- Ondho

MFA

(1960)

213 x 152 cm

Masterworks Fine Arts

2235.- Yablapur

MFA

(1955-60)

213 x 152 cm

Masterworks Fine Arts

2236.- Zebras

MFA

(1944)

213 x 152 cm

Masterworks Fine Arts

2229.- Calcis

MFA

Masterworks Fine Arts Vasarely`s Last Works Vasarely created only a few drawings and collages between 1990 and 1997.

About 1 year ago before his death, he created and approved designs for a series of tapestry.

These tapestries are large, grand, beautiful, and elegant. The black or white elements are cut at different thicknesses and then collaged together by hand.

This gives each work a wonderful 3-dimensional appearence. The editions are extremely small -- limited to 99 examples, plus three artist proofs. Each tapestry carpet was signed in a plaque affixed to the back of the piece, in addition to the signature on the front.

2225.- Zebres MT

2226.- Altair MT

2227.- Capella Negative MT

2228.- Capella Positive MT

Victor Vasarely

Tapestries Nยบ 5 1990-97

2229.- Calcis MT

2230.- Cassiopea MT

2231.- Eridan II MT

2232.- Keiho MT

2233.- Leyre MT

2234.- Ondho MT

2235.- Yablapour MT

2236.- Zebras MT

Victor Vasarely

Tapestries Nยบ 5 1962

TEXTILES Published in: Editions: Victor Vasarely / Edinburgh Weavers / Morton Sundour Fabrics Medium: Jacquard-woven ramie, wool and cotton V18.- Oeta

(1962)

On request

1962

Edinburgh Weavers

Edinburgh Weavers

Established as an experimental branch of Morton Sundour Fabrics in 1928, Edinburgh Weavers has always been synonymous with cutting-edge design and groundbreaking textile manufacturing.

This gives each work a wonderful 3-dimensional appearence. The editions are extremely small -- limited to 99 examples, plus three artist proofs. Each tapestry carpet was signed in a plaque affixed to the back of the piece, in addition to the signature on the front.

Victor Vasarely Nº

MULTIPLES - Watches

Title

Dimensions

Edition

MULTIPLES “Watches” Published in:1989 / 1996 Editions: Circle Fine Arts Corporation.

Brands: Bulova / Swatch Medium: Copper, Titanium and chrome / Crystal face

CIRCLE FINE ART CORPORATION

CIRCLE FINE ART CORPORATION

Strap Size Watches for Bulova “Classic Moments”: Decor: Victor Vasarely Signed "France Vasarely Classic Moments for Bulova” 2237.- Classic Moments-1

(1)

Dia. 3.8cm

19.7cm

750

2238.- Classic Moments-2

(2)

Dia. 3.8cm

19.7cm

750

2239.- Classic Moments-3

(2)

Dia. 3.8cm

19.7cm

750

2240.- Classic Moments-4

(2)

Dia. 3.8cm

19.7cm

750

2241.- Classic Moments-5

(2)

Dia. 3.8cm

19.7cm

750

2242.- Classic Moments-6

(1)

Dia. 3.8cm

19.7cm

750

2243.- Classic Moments-7

(1)

Dia. 3.8cm

19.7cm

750

2244.- Classic Moments-8

(1)

Dia. 3.8cm

19.7cm

750

2245.- Classic Moments-9

(2)

Dia. 3.8cm

19.7cm

750

2246.- Classic Moments-10

(2)

Dia. 3.8cm

19.7cm

750

2247.- Classic Moments-11

(3)

Dia. 3.8cm

19.7cm

750

2248.- Classic Moments-12

(3)

Dia. 3.8cm

19.7cm

750

2249.- Classic Moments-13

(2)

Dia. 3.8cm

19.7cm

750

2250.- Classic Moments-14

(2)

Dia. 3.8cm

19.7cm

750

2251.- Classic Moments-15

(4)

Dia. 3.8cm

19.7cm

750

2252.- Classic Moments-16

Dia. 3.8cm

19.7cm

750

2253.- Classic Moments-17

Dia. 3.8cm

19.7cm

750

2254.- Classic Moments-18

Dia. 3.8cm

19.7cm

750

2255.- Classic Moments-19

Dia. 3.8cm

19.7cm

750

2256.- Classic Moments-20

Dia. 3.8cm

19.7cm

750

Selections from the Victor Vasarely artist`s Watch Collection by Classic Moments

2257.- Classic Moments-21

(2)

Dia. 4.3cm-H.6mm

19.7cm

750

2258.- Classic Moments-22

(3)

Dia. 4.3cm-H.6mm 19.7cm

750

Circle Fine Art was appointed Victor Vasarely's worldwide exclusive publisher of limited edition graphic works and representative for his unique works in 1987.

Circle Fine Art has published some of the artist's most innovative limited edition fine art works to date large-scale serigraphs, handpainted wood sculptures, acrylic sculptures, reflective serigraphs, as well as the first editions of “Art to Use”, including a monumental acrylic sculpture/grandfather-size clock and The Artist's Watch", a series of watches from Classic Moments Company.”

In 1989, Victor Vasarely visits the United States for the first time in many years to participate in the gala openings of two major Vasarely retrospective exhibitions at Circle GallerySoho, New York and Circle Gallery, Chicago.

Swatch “Classic Moments”: Decor: Victor Vasarely Dia. 34mm 20 cm (5) 2259.- Keret “Gk231” Water resistant: 30m / 100feet, 1996 Fall Winter Collection

50000

Swatch Women “Vintage Pop Watch”: Dia. Case 39mm 2260.- PWK166 Water resistant: 30m / 100feet, 1992 Fall Winter Collection (1) Details of back side at last page

(3) Details of back side at last page

(2) Details of back side at last page

(4) Details of back side at last page

(5) Details of back side at last page

(6) Details of back side at last page

50000

2237.- Classic Moments-1

2238.- Classic Moments-2

Victor Vasarely

2239.- Classic Moments-3

2242.- Classic Moments-6

2245.- Classic Moments-9

MULTIPLES - Watches

2240.- Classic Moments-4

2241.- Classic Moments-5

2243.- Classic Moments-7

2244.- Classic Moments-8

2246.- Classic Moments-10

2247.- Classic Moments-11

Victor Vasarely

MULTIPLES - Watches

2248.- Classic Moments-12

2249.- Classic Moments-13

2250.- Classic Moments-14

2251.- Classic Moments-15

2252.- Classic Moments-16

2253.- Classic Moments-17

2254.- Classic Moments-18

2255.- Classic Moments-19

2256.- Classic Moments-20

Victor Vasarely

2257.- Classic Moments-21

2259.- Keret “GK231”

2260.- Keret “GK231”

MULTIPLES - Watches

2258.- Classic Moments-22

Victor Vasarely

MULTIPLES - Watches

Details 1

Details 2

Details 3

Details 4

Details 5

Victor Vasarely

Remarkable Works

DEEP KINETIC WORK “The idea of movement in a plane has haunted me since my childhood. The "railroad" and the "herd of elephants in mad flight" were the favorite themes of my first drawings. One of the games I enjoyed most was drawing with my fíngers on steamclouded window panes. I must explain. In my native Hungary the windows are double because of the extremes of the continental climate. One winter, then, I drew a sun-face on the outside pane, then shutting the inside window-frame, I tried to reproduce exactly the same drawing on the second transparent surface, separated from the fírst by some six to eight inches. I had to work fast, for the condensed water vapor quickly turned into big drops. But these two sun-faces that were superposed when looked at from directly in front, doubled their grimaces when I moved my head a little to the right or to the left. This crude little cinema has left deep traces in my subconscious.

A little later came my "games" on tracing paper. a "deep" translucent surface having a specific property, that of showing both sides of the paper at once. Wíth a pen and India ink I would draw the upper half of a bathing girl on one side of the tracing paper, and the lower half on the other. The effect was startling, the translucent substance of the tracing paper, covering the bathing girl's legs, effectively evoked the dimension of water. The same effect was produced when I drew a factory on the right side and the smoke from its chimneys on the wrong side of the tracing paper. By using three sheets of tracing paper and painting figures of different sizes in black gouache on each of the sheets, I produced an image of a crowd in a milky mist. These superpositions (in which the idea of "screens" was already germinating) were anticipations of spatiality. Now space equals time-movement. In two gouaches.

Green Study and Blue Study, executed at the Budapest Bauhaus, superposed linear networks gave me the first watering effects, anticipating by twenty-five years the "photographisms", the "deep works" and the "Futurism". the imitation of movement in the plane, was revealed to me only in about 1938, at which time I had already completed a series of socalled "movement" studíes (the study of human movements, in groups and isolated, the study of movements of objects. fall, convergence, vibration. oscillation, bursting, undulation, etc.). To be sure, these animated Robots, Athletes, Dancing girls, Workers, these fleeíng Antelopes, these spinning, bouncing Springs. Tops, and Ping-Pong Balls did give the illusion of movement, but they were really only optical deceptions—trompe-Like Futurism itself, these studies of movement were on the wrong track.

Curiously enough, it was in my Two-dimensional graphic studies executed between 1933 and 1938 that Optical Kinetism finally appeared in a vigorous and decisive way. Checkerboards, Harlequins, Zebras, Tigers, Prisoners and Martians moved, not by mimetísm but by the aggressiveness with which their structures struck the retina. Although still figurative. these studies rich in inventíon constituted the basic repertory of my abstract Kinetic period in the plane undertaken in 1954.

Added to this repertory were the geometric drawings for fabric prints, composed in collaboration with Claire for the Lyon silk manufactures. I composed a number of these. and she thousands in about 1931-1932. Many of these 10cmx10cm drawings, pretentiously enlarged, might have constituted an anticipatory collection of "Op Ad". In any case, in 1954-1956 I developed major works from them: Tlinko, Eridan, Betelgeuse, Androméde and Bellatrix.

I noted in 1954 : leafing through the plates of an album produces in me a quite different sensation from the contemplation of a painting. In turning the pages, the picture I see on them accedes to three dimensions, undergoes consecutive foreshortenings, then vanishes to give place to the next... Through movement, the plastic content of an album becomes a part of time.”

Victor Vasarely. Extract of “The Movement”, Paris 1955. Editions Denise René

Victor Vasarely with Sorata T (deep kinetic work on glass)

Victor Vasarely at his Atelier.

Victor Vasarely

Remarkable Works

Victor Vasarely, Plasticien.

He commits himself exclisively to artistic studies, in the Poldini-Volkkmann Academy, Budapest. Between 1928 and 1929 he works in the Mühely Academy, the Hungarian Bauhaus. In 1930 he moves to Paris.

While working in advertising and decoration, he continues his own painting work, of constructivist inspiration, which will culminate with his series of Harlequins, Checkers, Martians and Zebras. He also painted over Cellophane, superposing different sheets to achieve, through transparences, what he called Multidimension.

Then he began to worry about the movement of surfaces, developing, about 1953, the kinetic art, which pretends to create the impression of movement through optical illusions, in which execute his first master piece Sorata T 1953.

In 1954, Vasarely participates in the project of the architect Carlos Raúl Villanueva, "Synthesis of the Major Arts" in the University City of Caracas. For this project, Vasarely makes 3 works, “+/- (PositiveNegative)” which is located on the way of the Concert Hall of the UCV. A glazed ceramic mural in colors, “Homage to Malevich”, and a tribute to journalist and criticizes Sofia Imber named “Sophia”, what also it is glazed ceramic tile but this time in black and white.

In order to do this, he uses the oppositions between positive and negative values, to which later he will add the color problems. During his long career, Vasarely has obtained several international prizes, among which is well to remember the Guggenheim Prize, won in 1964, and the “Great Prize of the 8th Bienal de Sao Paulo” 1965, Section France, representing to Galerie Denise Rene, París participating with 22 Paintings,10 Collage and 6 Specials Works: In Glass,Tlinko-Blanc, Biforme, Kettoe and Ibadan. In Metal, Quadratura and Manhattan.

His influence has been felt on contemporary movements like Op Art.

Victor Vasarely with Sofia Imber. Comtemporanean Museum Art in Paris. Photo by Michele Vasarely.

Deep kinetic work in glass

Sorata T 1953

Aluminium Integration

+/- (Positive-Negative) 1954

Monumental Indoor Integration

Victor Vasarely and Carlos Raúl Villanueva architect, Caracas

Tlinko to 1959

Monumental Outdoor Integration

Victor Vasarely. Works left to rigth: In aluminium “Manhattan” 1964, “Quadrature” 1960 and in glass “Bi-forme” 1961. Photo 1965

Detail of Hommage to Malevich 1954

Victor Vasarely Nº

Title

Oeuvres Profondes Dimensions

Oeuvres Profondes Medium: Glass / Crystal / Plexiglass

Edition

Pub. 1953-1965 Editor: Galerie Denise René, Paris

160x133cm,160x160cm,160x133cm (2) 1953 Painted glass triptych plus wooden base 1953-1957 2262.- Sorata On request Triptych on Plexiglass 2261.- Sorata T

2263.- Kettoe (1) (3) 1952-1963

60 x 60 x 16cm

1 1

8

Ink and two glasses top made with metal base

2264.- Ibadan (1) (3) 1952-1963

60 x 60 x 16cm

9

Tempera and two glasses top with metal base

80 x 62 (2) 1954 Ink and two glasses top made with metal base

x 16cm

8

80 x 62 (3) 1955-1960 Ink and two glasses top made with metal base

x 16cm

10

2265.- Ixion I 2266.- Ujjain

2267.- Eclipse

80 x 62 x 16cm (3) 1955-1961 Tempera and two glasses top with metal base

2268.- Tlinko I (1)(2)(3) 1956-1961

12

80 x 62 x 16cm

11

Ink and two glasses top made with metal base

80 x 60 x 16cm (1) 1956-1961 Profound work, Etched two glasses panels and metal base

10

80 x 62 (3) 1957-1960 Ink and two glasses top made with metal base

3

2269.- Biforme 2270.- Torke

x 16cm

2271.- KSTS

40 x 59.7 x 12.7cm (2) 1953 Kinetic Study on Transparent Screen, scaled in depth

1

2272.- Mora B

(8)

2273.- Umbriel

60 x 60 x 16cm (3) 1959-1963 Tempera and two glasses top with metal base

11

200 x 120 x 20cm 1962 Profound work, Etched two glasses panels and industrial structure

1

80 x 62 x 16cm (3) 1958-1964 Tempera and two glasses top with metal base

2274.- Biforme II

<<Profound work, Etched two glasses panels and metal base>>

2275.- Nethe 2276.- Monastir V20.- Encelade-2

1964 1965 1965

80 x 60 x 16cm 80 x 60 x 16cm 80 x 60 x 16cm

(8) (8) (8)

(1) Mentioned on Catalog “8va Bienal de Sao Paulo”, 1965, Section France.

(2) Catalogued on VASARELY I, Editions du Griffon Neuchâtel (Switzerland). 1971 (3) Mentioned on Vasarely: Kestner-Gesellschaft Hannover,1963.

Section Objets Cinetiques,Pag.69-70

2264.- Ibadan

2265.- Ixion I

2261.- Sorata T, Eng Pedro Benavides Collection. Res. Pemore, Caracas.

Photo Petre Maxim.

Sorata T, 1953. This work, carried out on three glass plates , is an extension of the first abstract black and white compositions created by Vasarely in the late 1940s. However, it has the characteristic to modulate following the movements of the viewer. Games contrasts between black and white, opacity and transparency demonstrate teaching graphic that received Vasarely.

“Vasarely participated in the most famous exhibition "Le Mouvement" at Denise Rene Gallery in 1955 with Sorata T, letting in light and its principles so to speak, the game program of internal dynamic relations and as for the whole, so enriching the viewer experience how Vasarely achieved thanks to the alliance between intrined structural and perceptual variables. Nobody can deny that the morphology of Vasarely is one of the leading and most widespread languages of the plastic core of our century” - Text by Carlos Silva This work was adquired by Inocente Palacios (Director of School of Art UCV) in 1957. Later, was presented on “Lenguajes Esenciales de la Epoca”, at Galerie Durban Cesar Segnini, Caracas, 1991, Collection Eng. Pedro Benavides, Caracas, Venezuela.

2266.- Ujjain

Victor Vasarely

Oeuvres Profondes

Gallery Denise René Rive Gauche exhibition “L`oeuvre multipliable de Vasarely” june-september 1966. Left to rigth: Column DF, Serigraph CTA-102-5 (from the Album CTA-102), Koeb 1966, “Mora” 1956, Sculpture: Quadrature Neg., Tlinko Blanc, Serigraph: Arany, Ezust, Sculpture Monastir, Serigraph: Markab, Sculpture Ibadan Kinetic, Keet, Beta II

2267.- Eclipse

2268.- Tlinko I (Tlinko Blanc)

2269.- Bi-forme

2270.- Torke

2271.- KSTS

2272.- Mora B

Victor Vasarely

Oeuvres Profondes

Vasarely on his Atelier with some deep kinetics works in differents materials: Plexiglass, wood, anodized aluminum. Left to rigth: Omega 25 Pos, Tau-Ceti Blanc, Tau-Ceti NB, Valur Blanc, Keet H, Omega 25 Neg, Helios Noir, Sculpture Ter-A, Carmi NB, Sculpture Ter-F, Ceti NB, Tlinko F, Tau-Ceti Blanc, Helg GR, Glass panel with metal base 2263.-Kettoe and Metal Cubes: Vega-Lum - Vega Cox -. and Vega 4 -.

Photo courtesy by Michele Vasarely Archive`s

Victor Vasarely

2274.- Bi-forme II

2276.- Monastir

Oeuvres Profondes

2275.- Nethe

2276.- Encelade-3

Victor Vasarely

Metal

Sculptures

View of the cell 4, Kinetic Hall, Fondation Vasarely, Aix-en-Provence.

Victor Vasarely Nº

Metal

Title

Dimensions

Metal Sculptures

Sculptures

Edition

Editors: Vasarely / Pub. 1952-76 Galerie Denise René, París

Medium: Metal / Wood

2277.- Positive-Negative (+/-)

1954 295.5 x 519 x 22cm Vertical self-standing steel sculpture, silver painted, UCV, Caracas

2278.- Hommage à Malevich

1

(1) 1953-60

80 x 66 x 12cm

3

(1) (3) 1955-60

80 x 66 x 12cm

3

Sculpture metal. Painted

2279.- Quadrature Sculpture metal. Painted

2280.- Pyramid NA

252 x 252 x 90cm (2) 1964 Relief, Silkscreen print. Aluminium, wood. (dim. includes base)

1

2281.- Pyr Blue

x 110 x 60cm

2282.- Caracas

x 12cm

3

x 70 x 50cm

3

110 1963 Spatial Development in Units, wood sculpture.

1952-54 55 x 95.2 Vertical self-standing steel sculpture, silver painted

2283.- Manhattan

(2)(3) 1963-64 120 Spatial Development in Units, sculpture metal.

2284.- Spatial Development I

3

1964

120x50x30

3

1968

200x200x15

1

100 x 50 x 30cm

3

Sculpture metal.

2285.- Dak

2277.- +/- (Positive-Negative) Caracas University of Venezuela (UCV). Executed by Morollon Firm. This work, pioneer Victor Vasarely optical art aspect changes slighly according to the angle from which we see it.

Anodized Aluminum

2286.- Spatial Development II (2) 1964 Sculpture metal.

2287.- Betelgeuse I

210 (5) 1963 Spatial Development in Units, sculpture metal.

x 210 x 80cm

1

<<Permanent collection Fondation Vasarely>> Room 4, Aix-en-Provence, France 594 x 594 x 110cm 1 (4) (1967) Integration formed a prismatic elements embossed aluminum

2288.- PYR-DAK-1 2289.- Caracas-2

566 x 486 x 38cm (4) 1963 Metal structure on solid aluminum. 28 sheets. (Base not included)

1

200 x 140 x 140cm 1 (4) (1967) Rotating sculpture on aluminum elements. (Metalic & wood base included)

2290.- Kroa Bleu-2

540 x 484 x 18cm 1 (1967) Shaped vertical accordion integration on anodized aluminum on wooden support.

2291.- Tukoer

770 x 80 x 80cm 1 (4) (1968) Anodized aluminum elements, on wooden support. (Metalic mirror base not included)

2292.- Colonne MC-2

2293.- Yellow Metal Pyramid (2) 1963

190 x 190 x 70cm

View 1

View 2

1 2278.- Hommage à Malevich

Spatial Development in Units, sculpture metal. <<Permanent collection of Centre Pompidou, France>> Donated by Vasarely

2294.- Hommage G. Pompidou 1976

500 x 400 x 6cm

1

38 anodized aluminum profiles arranged vertically.

2295.- Hommage to Malevicth 2 1963

198 x 316 x 37.5cm

1

Shaped vertical accordion integration. Anodized aluminum on wooden support. <<Serie Releif in units>> Spatial Development in Units, sculptures on wood.

270 x 120 x 70cm 1968 110 x 110 x 60cm 1963 110 x 110 x 60cm (2) 1963 110 x 182.5 x 60cm 1966 55 x 55 x 35cm 1966 2 x (110x65x20cm) 1966

2296.- Dak 2 2297.- Dak A 2298.- Dak B (Blue) 2299.- Dak C 2300.- Dak D 2300b.- Dak E

1 3 1 3 3 3

Edition 3, some unfinished so it can be taken as unique works (1) Catalogued on Vasarely: Kestner-Gesellschaft, Hannover,1963.

Section “Kinetics Objects”, p.65-67-71-73.

(2) Catalogued on VASARELY I, Editions du Griffon Neuchatel (Switzerland). 1971.

Pag. 170,171,173, 174, 175 / Boisgirar Antonini, Paris, Sale Tableux Modernes et Comtemporains chez, Lot. 90, 31-Mar-2017 (3) Mentioned on Catalog “8va Bienal de Sao Paulo”, 1965, Section France.

(4) Permanent Collection Fondation Vasarely, Hall 4, Aix-en-Provence, France.

(5) Exhibition Internation Expo “Documenta III” 1964, Kassel, Germany.

View 1 2279.- Quadrature

View 2

Victor Vasarely

Metal

Sculptures

Caracas Univesity of Venezuela (UCV). Left to right: Pascual Navarro Wall (Facade of Concert Hall) 1954, middle, Victor Vasarely; +/- (Positive-Negative) 1954, on the background Mateo Manaure wall in industrial glass mosaics 1954

2280.- Pyramid NA

2281.- Pyr Blue

View 1 View 1 2282.- Caracas

View 2 View 2

Victor Vasarely

Metal

Sculptures

Museum of Fine Arts, Budapest.1969. Work`s Mounting details. Left to right:

View 1

2283.- Manhattan

View 2

2284.- Spatial Development 1

Victor Vasarely

Metal

Sculptures

2285.- Dak

Victor Vasarely, Annet-Sur-Marne. Works: Dak, 1968, Releif. 200x200x15cm, Ter-G, 1968, Wood Sculpture, 30x24x6cm, Ablac-B, Metal Sculpture, 30x30x18cm, Gamma Negatif, 1968, 17.5x17.5x17.5cm.

View 1

2286.- Spatial development 2

View 2

2287.- Betelgeuse I

Victor Vasarely

Metal

Sculptures

View of Kinetic Hall, Fondation Vasarely, Aix-en-Provence. Works: Kroa Bleu-2, behind, Colonne MC-2, Pyr-Dak-1 and Caracas-2.

2288.- PYR-DAK-1

2289.- Caracas-2

Victor Vasarely

Metal

View 1

Sculptures

View 3

View 2

2290.- Kroa Bleu-2

0.8m

0.8m

2291.- Turkoe

2292.- Colonne MC-2

2293.- Yellow Pyramid in units

Victor Vasarely

Metal

Sculptures

View 1

View 2

Main entrance Centre Pompidou, Paris, France

2294.- Hommage to Georges Pompidou

View 1 2295.- Hommage to Malevitch

View 2

Victor Vasarely

Metal

Sculptures

2297.- Dak C

2298.- Dak D

2296.- Dak 2. Hall of ORTF, Avenue Cognacq-Jay, París.

2299.- Dak A

2300.- Dak B (Blue)

2300b.- Dak E

Victor Vasarely Nº

Monumental Outdoor Works

Title

Dimensions

Edition

Monumental Outdoor Works

Design Decor: Victor Vasarely

Medium: Many materials

2301.- Hommage to Malevich (1)(2)(3) 1954

262 x 1418 x 22cm

1

Bimural / Concrete Sculpture in Ceramic. UCV, Caracas

2302.- Sophia

247x470x2cm each (1)(3) 1954 Industrial glass mosaics. Executed by Claycraft Firm. UCV, Caracas

1

700 1968 Concrete glass facade, Bonn University, Germany

1

2303.- Riu-Kiu C Variation

x 2200 cm 2

Aprox. 70m

1

215x220cm 1960 Entrance Faculté des Lettres, Montpellier, France.

1

250x450cm

1

2304.- Mural in multicolor

1968 Tiles. Integration, 6-8 rue Camou, París.

2305.- Grill modulated metal bars 2306.- Kinetic work in depth, +/-

1968

Museum of Juresalem, Israel

Approx. c.1970 Villa Gordes, rute to didactic museum at the castle.

2307.- Hexa Bleu

H.440cm

1

640m 1966 Lacquered kiln-baked strips, by Hunter Douglas. Halle aux Vins, Paris.

1

Approx.

1969 Outdoor integration. City Hall of Maubeuge, France

1

2308.- Tabor

2309.- Facade of tinted cement

500m

5 x 16 m 1971 Integration in multicolored tile. University of the Ruhr, Bochum, Germany

1

720x720cm 1971 Serigraph Sekurit glass,16 squares, e/o 1.68m.Univ.of Ruhr, Bochum,URSS

1

2310.- Bidim

2311.- Vega-16 Vitral 2312.- Water Tower

1972

55 m Tall

1

Polychrome signal, Dieppe, France.

400 x 1975 Mural work. Municipality of Poindimié, New Caledonia.

2313.- Donnan II

200 cm

530 x 270 1973 Polychrome sculpture, signal, Flaine, Upper Savoie, France

2314.- Tri-Hexa MC

x 53cm

350x280x70cm 1974 Metal polychrome sculpture-signal.Railway station Neuchâtel,Switzerland

2315.- Tridim

2316.- Hommage à L´Hexagone

1977

320 x 320 x 50cm

1 1 1 1

Polychrome structure, 6 hexagons. Reinforced concrete PTT Center,Grambois, Fr.

16.50 x 4.5m 1978 Porcelain relief of the Rosenthal Studio Haus, Kurfürstendamm, Berlin.

1

Aprox. 700 x 340 cm 1978 Stele Vasarely Foundation from Zsolnay manufacturer, Pecs, Hungary.

1

1500m 1979 Terrace of Monte Carlo Congress Center. 24.000 lozenges in 14 colors.

1

10 x 55 x 0.4 m 1973-78 Both sides of the National Theatre of Györ. Zsolnay Ceramic. Hungary.

1

2317.- Rosenthal Facade 2318.- Tri-Hexa Blue 2319.- Hexa Grace

2320.- Kiu-Siu Variation

2321.- V-MC by Victor Vasarely

On request

2301.- Hommage to Malevich,1954. (Integrated architech work) Located on Deck Rector Square.

The integration of MONUMENTAL OUTDOOR WORKS aesthetics into prefabricated building materials is henceforth being undertaken, City and Beauty are one and indivisible. Some of them already in part constitute an answer to the ideas developed above.

The first “Architectural Integration” made by Vasarely is on the campus of the UCV in Caracas, Venezuela, by an invitation of the architect Carlos Raúl Villanueva.

These works are in particular the following done in 1954 “+/Positive - Negative” a vertical self-standing steel sculpture, silver painted. “Hommage to Malevich” a Bimural executed in concrete and glazed ceramic.

As a curiosity, if read from right to left you can see the word “LOVE” and if you read the contrary you can see the word “AMOR” and “Sophia” a triptych executed in glazed ceramic mosaics, executed

by Claycraft Firm.

Also he makes several “Arthitectural integration” like 1966 “Riu-Kiu”, black and white facade, giving an attractive abstraction, using commonplace facing materials located on Bonn University, Germany.

1971 “Bidim” Integration in multicolored kiln-baked tile, located on Ruhr University, Rusia, 1978 “Facade Rosenthal Studio”, porcelain relief for facade of Rosenthal Studio Haus, Kurfürstendamm, Berlín, and more.

1

Centre Culturel Jacques Prevert, Villaparisis, France

2322.- V-Blue by Victor Vasarely

On request

1

Fondation Vasarely, Aix-en-Provence, France

2323.- Lecek by Victor Vasarely

340 x 730 1981-84 Zsolnay Ceramic Canopy, Cultural House, Kecel, Hungary.

cm

1

340 x 730 cm 1982-84 Zsolnay Ceramic Canopy, Keceli Educational Center II, Hungary

1

2324.- Lecek 2 by Victor Vasarely

(1) Architechtonic Integration 1954, University City of Caracas.

Architec: Carlos Raul Villanueva (2) Catalogued on Vasarely:Kestner-Gesellschaft, Hannover,1963.

Section Objetcs Cinetiques,Pag.65-67-71-73 (3) Catalogued on Vasarely IV, Editions du Griffon, Neuchâtel, 1979 (Switzerland) Pags. 8-9-10-14-16-17-22-24-26

Mounting detail of Hommage to Malevich

Victor Vasarely

Monumental Outdoor Works

"Hommage to Malevich" 1954, in honor of Kasimir Malevich, russian painter creator of “Suprematism”.

View A Dimensions: 247 x 470 cm

View B Dimensions: 247 x 470 cm

View C Dimensions: 247 x 470 cm Work: Sophia, 1954 Type: Wall (triptic) Decor: Victor Vasarely Architech: Carlos R. Villanueva Material: Glazed Ceramic. 2×2 cm Executed by Claycraft Firm

2302.- Sophia,1954. Caracas, Central University, Location: Cooling Tower Aula Magna. West Facade

Victor Vasarely

2303.- Library Facade, Bonn University. (Integrated architech work)

2304.- Multicolor Mural,1968. 6-8 rue Camou, ParĂ­s.

Monumental Outdoor Works

Victor Vasarely

Monumental Outdoor Works

2305.- Grill modulated metal bars

2306.- Kinetic work in depth +/-

2307.- Hexa Bleu

Victor Vasarely

2308.- Tabor

2310.- Bi-dim,1971.Ruhr University, Bochum, Germany

Monumental Outdoor Works

2309.- Facade City Hall Maubeuge

Victor Vasarely

Monumental Outdoor Works

2

2311.- Vega-16 Vitral (Grand Vitral Kinetic) / Vega-16 Vitral (CinĂŠtique grand vitral)

2312.- Water Tower,1972.

2313.- Donnan II,1975.

Victor Vasarely

2314.- Tri-Hexa MC, Flaine, France

Monumental Outdoor Works

2315.- Tridim

2316.- Hommage to Hexagone

2317.- Rosenthal Facade, Berlin, Germany

2318.- Tri-Hexa Blue (Zsolnay totem)

Victor Vasarely

Monumental Outdoor Works

2319.- Hexa Grace (The sky, the sea, the earth) - Hexa Grace (Le ciel, la mer, la terre). Executed by Fondation Vasarely, Aix-en-Provence

Victor Vasarely

Monumental Outdoor Works

View 1. Kiu Siu Variation Negative

View 2. Kiu Siu Variation Positive

2320.- Kiu Siu Variation + / - (National Theatre of Györ)

2321.- “V” Centre Culturel Jacque Prevert

2322.- “V” Fondation Vasarely

Victor Vasarely

2323.- Lecek

2324.- Lecek 2

Monumental Outdoor Works

Victor Vasarely Nº

Monumental Outdoor Works

Title

Dimensions

Edition

Monumental Outdoor Works 2

Design Decor: Victor Vasarely

Medium: Many materials

40 m2 (1) 1960 Aluminium wall in relief, in collaboration with the architect Jean Ginsberg.

Boulevard Lannes, Paris.

2325.- Aluminium wall in releif

2

45 m (1) 1971 2 walls of black-grey-white ceramic sandstone. France

2326.- C.E.S Déchy

1

2

1

2

1

73 m 1971 3 walls of brown-red-pink-white ceramic sandstone. France

2327.- C.E.T Anzin

(1)

33 (1) 1971 2 walls ceramic sandstone in 4 blue shades. France

2328.- C.E.S Le Cateau

1

m

2

1

110 m approx.

1971 Kinetic structure in metal strips, occupying the facade of the RTL building.

22 rue Bayard, Paris.

2

1

6x6x6m 1972 Polychrome steles executed in reinforced concrete. Situated in the park of the vacation Center of the Ministry of Posts and Telecomunications.

1

325 m 1968 Integration in 3 sides of the gallery in aluminium strips. Grenoble, France The Olympic tribune speed-ring

2329.- Capella Integration

2330.- Oerveng-2

2331.- Kroa NB

2325.- Aluminium wall in relief

<< Veranneman Kruishoutemp Foundation, Belgium >>

V14.- Unites

1975 Polychrome grill composed of enameled plates.

V15.- Hexagone

(2)

1975

12 x 3 m

1

320 x 220 x 60 cm

1

Enameled sheet-metal sculpture. << P&T Sculptures >> Vacation Center of the Ministry of Posts & Telecomunications

2326.- C.E.S Déchy

Polychrome steles executed in reinforced concrete, in modular elements assembled on site. Volvic lava facing enameled in the region Aix-en-Provence

2332.- Hepta-Hexagon RB

(3) (4)

1978

530 x 178 x 180 cm

1

2333.- Hepta-Hexagon MC

(4)

1978

On request

1

2334.- Di-Tridim 2

(4)

1978

On request

1

2335.- Deca-Hexagon

(4)

1978

On request

1

2336.- Tri-Hexagon RGB

(4)

1978

On request

1

2337.- Tridim-MC

(4)

1978

On request

1 2327.- C.E.T Anzin

<<Jeddah Sculpture Museum>> Enamelled steel

2335.- Hexagone-G

1982

230x230x45cm

1

2336.- Ter-G

1982

240x150x26cm

1

2337.- Axo-G

1982

250x130x28cm

1

(1) Catalogued on Vasarely IV, Editions du Griffon, Neuchâtel, 1979 (Switzerland) Pags. 8-9-10-14-16-17-22-24-26 (2) Cornette de Saint Cyr, Sale Collection Fondation Verenneman, Lot. 10, 8-Oct-2005 (3) Cornette de Saint Cyr, Sale Art Contemporary, Lot. 11, 28-Mar-2013 (4) Name placed according to the number of units that integrate it

2328.- C.E.S Le Cateau

Victor Vasarely

Monumental Outdoor Works

2329.- Olympic Speed Ring

2302.- Olympic Speed Ring

Actual view 1. 2010`s restoration

Actual view 2.

2330.- Oerveng-2 (RTL Facade)

Victor Vasarely

Monumental Outdoor Works

2331.- Kroa NB

V14.- Unites

V15.- Hexagone

Victor Vasarely

Monumental Outdoor Works

2332.- Hepta Hexagon RB

2333.- Hepta Hexagon MC

2334.- Di-Tridim 2

2335.- Deca Hexagon

2336.- Tri-Hexagon RGB

2337.- Tridim-MC

Victor Vasarely

Monumental Outdoor Works

Open air Jeddah Sculpture Museum

The Jeddah Sculpture Museum on the Corniche brings together more than twenty of Jeddah’s world famous sculptures Some of the most prominent sculptures in Jeddah have been exposed to the natural elements, strong winds and the salt of the sea and had suffered extensive damage over the last few decades. Therefore, the decision was taken to not only restore them to their former glory but also to increase their prominence by creating an open-air museum, housing 21 of these sculptures in a seven square kilometre park along the Jeddah Corniche, known locally as ‘Al Hamraa’.

The Works on this park: Victor Vasarely: “Balance in the Air” (Axo-G), “Changing Positions” (Ter-G), “The Illusion of a second cube” (Hexagone-G), Maha Malluh “Food for thought ‘abraj’”, Jean Arp “A step forward”, François Kovacs “alterations in space”, , Arnaldo Pomodoro: “Circular Mass”, “Cube IV”, “Rotating First Section no. 3”, Sylvestre Monnier “Flames”, Henry Moore: “Large Spindle Piece”, “Oval with points”, “Upright motive no.

2”, “Three piece reclining figure no. 1”, Eila Hiltunen “Flame of Life”, Alexander Calder: “Flexibility of Balance”, Jacques Lipchitz “La joie de vivre” (the joy of life), Jean Miró: “Project for a monument”, “Oiseau” (bird), César Baldaccini “The Eye”, Drago Marin Cherina “Untitled” A lot of work besides restoring the sculptures went into creating what is today the Jeddah Sculpture Museum, the city’s new centre of creativity, it required an underground infrastructure, the construction of visitor facilities, as well as new bases for the sculptures.

2332.- Hexagone-G (The Illusion of a second cube)

Victor Vasarely

2332.- Ter-G (Changing Positions)

2332.- Axo-G (Balance in the Air)

Monumental Outdoor Works

Victor Vasarely Nº

Title

Monumental Indoor Works Dimensions

Edition

Monumental Indoor Works Medium: Different Materials

Design Decor: Victor Vasarely 2

(1) 1959 Area: 14m Deep Kinetic work in matt paint and engraved slab. Av. Versailles, París

2338.- Tlinko

1

(1) 1965 4 x 7m 1 Mural integration black-white.Hall of the Pädagogische Hochschule, Essen, (Ger.)

2339.- Canopus

(1) 1967 Differents Sizes 1 1.- Opaque engraved slab, 2.- Collage, 3.- Grill in the showroom Herpain, Brusels

2340.- Three works

2341.- Wall colored porcelain (1) 1970

20 x 5 m

1

Wall of colored porcelain swimming-pool. Gerd Hatje, Stuttgart, (Germany)

790 x 300 cm 1971 Gold and silver on aluminium base. Yellow and grey Luran (BASF) Conference room of the Deutsche Bundesbank, Frankfurt, Germany

2342.- Two Kinetic walls

2343.- Hallenbad Selb

(1972) Column mural tiles in Rosental Park

1100 x 230 x 80cm

720 x 420cm 1976 Mosaic Hall of the International Union of Railways in Paris.

2344.- Hexa-3

2345.- Thirty one integrations 1974

Zsolnay

200 x 200cm / 150 x 200cm

1

1 1 1

Anodized aluminium 10x10cm black-white-color, pos.-neg.,Régie Renault,France.

2338.- Tlinko

(1) 1977 875 x 275cm Interior of the Community Music School of Vancouver, BC, Canada.

1

(1) 1976 10x5m Tapestry des Gobelins Hall of Prefecture of the Hauts-de-Seine at Nanterre, France

1

(1) 1978 3x6 cm Tapestry Aubusson Tapestry executed fot he Hall of the Prefecture of la Gironde at Bordeaux.

1

On request 1978 Mural Fresco executed at the Centre des Impots de Nice. Partitioned inlays of white and black quartz grains bound together with synthetic resins.

1

(1) 1984 220 x 801 cm Acrylic painting on canvas, signed down right. Place de Fontenoy, Paris.

1

2346.- Mural integration 2347.- Vega-Pauk 2348.- Berc-2

2349.- Metamor Variation

2350.- City Neu

2351.- Deep Kinetic Work

(1) 1967

10 x 3 m

1

6 x 32 m each one

1

Hilton Hotel, Brussels

2352.- Two polychrome mural (1) 1971

Mural frescoes (one red and mauve, one blue and green) in opposite positions, in the great departure hall of the Maine-Montparnasse Station, Paris (1) 1971 36 x 36 m 1 Cieling polychrome volume, Oil paint. Municipal Library Nouveau Créteil (Val-de-Marne).

2353.- Vasarely Cieling

(1) Catalogued on Vasarely IV, Editions du Griffon, Neuchâtel, 1979 (Switzerland) Pags. 8-9-10-14-16-17-22-24-26

2340.- Three works

205

2339.- Canopus

Victor Vasarely

Monumental Indoor Works

2341.- Porcelain Swimming Pool environment

2342.- Two Kinetic walls

206

Victor Vasarely

2343- Hallenbad Selb in Rosenthal-Park

View 1

2345.- Wall integrations, RĂŠgie Renault, Paris

207

Monumental Indoor Works

2344.- Hexa-3

View 2

Victor Vasarely

Monumental Indoor Works

2346.- Mural Integration, Nice, France

2347.- Vega-Pauk

208

Victor Vasarely

2348.- Berc-2 Tapestry

2349.- Metamor Variation

209

Monumental Indoor Works

Victor Vasarely

Monumental Indoor Works

2350.- City Neu (New City). Entry to UNESCO: December 1985. Acquisition by UNESCO: 1985

2351.- Deep Kinetic work

210

Victor Vasarely

Monumental Indoor Works

Part 1

Part 2 2352.- Two polychrome Mural

2353.- Cieling in polychrome

211

Victor Vasarely

Foundation Vasarely Aix en Provence

Victor Vasarely

Foundation Vasarely Aix en Provence

Indoor Integration in Foundation Vasarely The Foundation Vasarely allow visitors to percieve differents works on numbered rooms 2 to 8.

It will also allow the identification of 42 mural integrations numbered 101 to 142, in addition 2 sculptures A & B. Each work have information like: the title, format, materials used, the technical installation, names of manufacturers and year of design. Mostly made in 1975-76 The work`s order is taken from the beginning indicated by the red arrow that is clockwise depending on the room where this is

Centauri Births

B

Ujjain

Colonne MC-2

A Kroa Bleu Vonal

Pyr-Dac-1

Tukoer

Koska

Tlinko

Supernovae

Ond

Vega-Zett

Caracas-2

Leyre

Manipur

Tupa

Kod-Lila Majus

Folkokta

Bellatrix Blue

Vega-Anneaux

Zett

Okta Cleo

Cheyt-Stri

Our-MC

VP-Surke Alom

Canopus

Dia-Or

Kezdi

Hexa

Beryll

Axo

Tridim-Blanc

Gestalt

Sonora

Tri-dim

Tau-Ceti

Dell

Gamma

Capella

Kalota

Victor Vasarely

Foundation Vasarely Aix en Provence

WORK LIST 101-120 & Sculptures A-B Room 2 - 101 - CANOPUS - 695 x 400cm - 1959 Nยบ 2354.Wall lntegration on staff background. Relief and staff with hollow reservation in the large work. Satin enamel paint applicated to the gun. Silver background.

Room 2 - 102 - BERYLL - 550 x 550cm - 1963 Nยบ 2355.Group made up of staff reliefs on staff background (wood and steel structure). Based screen printing inks applied by spray painting.

Satin finish. Red background.

Room 2 - 103 - DELL - 800 x 600cm - 1972 Nยบ 2356.Joint integration on concrete background straightened plaster.

Relief top el bottom staff. Hollow top and bottom by reservation staff in concrete. Grid made of half-round iron elements welded.

Painted matte black glycerophthalic for the grid. Background white satin.

Room 2 - 104 - HEXA - 548 x 527cm - 1971 Nยบ 2357.Group made up of staff reliefs on staff background (wood and steel structure). Based screen printing inks applied by spray painting.

Satin finish. Purple background.

Room 2 - 105 - CLEO - 710 x 395cm - 1958 Nยบ 2358.Wall lntegration on staff background. Relief staff. Hollow staff with booking in the large work. Satin enamel paint applied to the gun.

Dark gray background.

Room 2 - 106 - OKTA - 500 x500cm - 1972 Nยบ 2359.Group made up of staff reliefs on staff background (wood and steel structure). Painting a based screen printing inks applied to the gun.

Satin finish. Yellow background.

Room 3 - 107 - BELLATRIX BLUE - 472x442cm -1957 Nยบ 2360.Integration consists of aluminum elements treated anodition, and plated on a wooden support, with wood and steel structure.

Background painting รก based screen printing inks. Blue satin.

Room 3 -108 - MANIPUR - 644 X 535cm - 1952 Nยบ 2361.lntegration composed of sandstone mats 24 x 24 mm black and white, cut and pasted workshop on wood panels and assembled on wood windows simultaneously, in place. Background painting glycerophthalic satinรฉe light gray.

Room 3 - 109 - LEYRE - 800 X 600cm - 1956 Nยบ 2362.Wall lntegration on staff background. Satin enamel paint applied to the gun.

Room 3 - 110 - SUPERNOVAE - 666 X 396cm - 1959 Nยบ2363.Integration consists of aluminum elements treated anodisation, and plated on a wooden support structure with wood and steel.

Background painting รก based screen printing inks. Blue satin.

Nยบ 2364.Room 3 - 111 - VONAL - 576x572cm - 1968 lntegration in Briare enamel, 24 x 24 mm, made from two lines รก eight shades each. Cut and pasted atelier wood panels and assembled on wood windows simultaneously in place. Background satin gray enamel paint.

Nยบ 2365.Room 3 - 112 - TLINKO - 566 x 566cm - 1956 lntegration plagues in ceramic 20 x 20 mm made by Delft porcelain on motives and plans provided to the manufacturer.

Traditional installation with cement glue on the wall straightened plaster. Fund painting รก based screen printing inks, Satin blue.

Nยบ 2354 - 2375

Room 4 - 113 - TUKOER - 540 x 484cm - 1967 * Nยบ 2290.Vertical accordion shaped integration with plagues of alumina minium anodized 180 x 180 mm and applied on wooden support, with a wood and steel structure, Background satin gray glycรฉrophtalique paint.

Room 4 - 114 - CARACAS-2 - 566 x 486cm - 1953 * Nยบ 2288.Metal sculpture consisting of 28 blades solid aluminum extruded, cut, anodized polished and then assembled by stainless steel pins. Supervision of all profiles of aluminum clad steel. background wall glycerophthalic Black lacquered matt.

Room 4 - 115 - PYR-DAC-1 - 594x594x110cm -1967 * Nยบ 2287.Integration formed a prismatic embossed aluminum elements rnince 155 x 155 mm, treated by anodization el applied on a wooden support, with a wood and steel structure. Painted bottom satin gray glycerophthalic.

Room 4 - 116 - BIRTHS - 347 x 306cm - 1951 Nยบ 2366.Integration composed of a set of three ice an ice 15 mm fixed รก the outer wall of the building, frosted by sandblasting, diffusing the light of day; two intรฉrieures ice 15 mm thick, steel framed and hung; they have, on their rear face, an identical pattern etched sandblasted and painted black.

Room 4 - 117 - Ujjain - 347 x 306cm - 1955 Nยบ 2367.Integration composed of a set of three ice an ice 15 mm fixed รก the outer wall of the building, frosted by sandblasting, diffusing the light of day; two indoor ice 15 mm thick, steel framed and hung; they have, on their rear side, an identical pattern etched sandblasted and painted black.

Room 4 -118 - CENTAURI - 347 x 306cm -1965 Nยบ 2368.Integration consists of a set of three ice 15 mm thick, fixed รก the outer wall of the building, frosted by sandblasting, diffusing the light of turn; two indoor ice 15 mm thick, steel framed and hung; these have, on their rear side, an identical pattern engraved jet sand. and lacquered in black for one el blue for autre.

Room 4 - A. - Kroa Bleu - 140x140x140cm-1967 * Nยบ 2289.Swivel sculpture made of aluminum elements treated anodizing, and applied on a wooden support. Structure in wood and metal ensemble.

Room 4 - B.- COLONNE MC-2 -770x80x80cm-1968 * Nยบ 2291.Column made of aluminum elements treated by anodization, and applied on a wooden support. Structure! Whole bowls and metal. top mirror: รก ligther frame. low mirror classic.

*

Included on chapter Alumnium Sculptures of this catalog. Pag.183-184

Nยบ 2369.Room - 5 - 119 - KOD-LILA - 576 x 576cm - 1965 Wall integration glued cartons. Each square consists of two cardboard cut elements รก cookie-piece and assembled by embedding. Painting รก based screen inks, each element before assembly. Laying units by catching-coded wall and direct bonding.

Matt black lacquer background glycerophthalic.

Nยบ 2370.Room 5 - 120 - MAJUS - 576 x 576cm - 1964 Wall lntegration by glued cartons. Each square consists of two cardboard cut elements รก cookie piece and assem wheat by embedding. A based screen printing inks of each element before assembly painting. Laying units by catching coded wall and direct bonding. Matt black lacquer background glycerophthalic.

Victor Vasarely

Foundation Vasarely Aix en Provence

WORK LIST 121 - 142 Room 5 - 121 - FOLKOKTA - 560 x 560cm - 1974 Nº 2371.Wall integration glued cartons. Units octagonal composed by three cardboard cut elements a cookie piece and assembled by embedding. Painting a serigraph based inks of each element before assembly. Laying units by catching coded wall and direct bonding. Matt black lacquer background glycerophthalic.

Room 5 - 122 - OUR-M.C. - 624 x 576cm - 1965 Nº 2372.Wall integration by glued cartons. Each square consists of two cardboard cut elements á cookie plece and assembly by embedding. A based screen printing inks of each element before assembly painting. Laying units by catching coded wall and direct bonding. Matt black lacquer background glycerophthalic.

Nº 2373.Room 5 - 123 - ZETT - 528 x 528cm - 1966 Wall integration glued cartons. Each square consists of three elements cardboard cut á cookie-piece and assembly by embedding. Special paint Nextel a two components applied a each element before assembly. Poses units and consist of catching coded wall and direct bonding. Matt black lacquer background glycerophthalic.

Nº 2374.Room 5 - 124 - Kézdi - 570 x 570cm - 1966 Wall Integration by glued cartons. Each square consists of three elements cardboard cut-piece a prevails and assembly wheat by embedding. a based screen printing inks of each element before assembly painting. Laying oes units by catching coded wall and direct bonding. Matt black lacquer background glycerophthalic.

Nº 2376 - 2397 Room 7 - 131 - DIA-OR - 554 x 554cm - 1956 Nº 2386.Soap of the Manufacture Nationale des Gobelins. Suspended directly to the wall with Velcro sewn on rceuvre game and taped to the wall. gray background.

Room 7 - 132 - V.P. SURKE - 670 x 335cm - 1969 Nº 2387.Due directly to the wall tapestry made Aubusson. By Suspe Velcro sewn on the game work and taped to the wall. Silver Room 7 - 133 - ALOM - 594 x 594cm - 1966 Nº 2388.Integration Briare enamel, 24 X 24mm realized from three ranges nine shades each workshop on wood panels and assembled on wood windows simultaneously in place. Background matte black enamel paint.

Room 7 - 134 - GESTALT - 575 x 550cm - 1969 Nº 2389.Wall integration cartons of 7 mm thick. Units in diamonds 60/120 degrees, cut the eporte á-Piece. Painting Wall at based screen printing inks before posem. catching coded and direct bonding.

Matt black lacquer background GLYCEROPHTALIC. Room 7 - 135 - AXO - 522 x 522cm - 1968 Nº 2390.Wall integration cartons of 7 mm thick. Comprising axonometric units á cut cookie piece. Painting a based screen printing inks before laying. Catching coded wall and direct bonding.

Background gold lacquer and special application.

Room 7 - 136 - TAU-CETI - 554 x 554cm - 1955 Nº 2391.Tapestry of the Manufacture Nationale des Gobelins.

Suspended directly to the wall with Velcro sewn on the game ceuvre and taped to the wall. Ocher background.

Nº 2375.Room 6 - 125 - TUPA - 562 x 506cm - 1972 Tapestry made a Aubusson. Suspended directly to the wall with Velcro sewn on the game ceuvre and taped to the wall. Dark gray background.

Room 8 - 137 - SONORA - 665 x 402cm - 1973 Nº 2392.Wall integration staff background. Catching after model of manual to 1/10th. A based screen printing inks applied by spray painting. crimped black, green background.

Room 6 - 126 - VEGA-ANNEAUX- 582x582cm- 1969-75 Nº 2376.Tapestry made a Aubusson. Suspended directly to the wall with Velcro sewn on the game ceuvre and taped to the wall. Dark gray background.

Room 8 - 138 - TRIDIM BLANC - 360 x 600cm - 1968 Nº 2393.Wall integration hardboard elements. Comprising axonometric units, a cut saw. Special paint Nextel a two components applied a each element before assembly. Pose by catching coded wall and direct bonding. Glycérophta bottomlic satin white lacquer.

Nº 2377.Room 6 - 127 - CHEYT-STRI - 620 x 553cm - 1971 Tapestry made a Aubusson. Suspended directly to the wall with Velcro sewn on the game ceuvre and taped to the wall. Dark gray background.

Nº 2378.Room 6 - 128 - OND - 606 x 558cm - 1968 Tapestry made a Aubusson. Suspended directly to the wall with Velcro sewn on the game ceuvre and taped to the wall. dark gray background.

Room 8 - 139 - TRIDIM - 692 x 400cm - 1968 Nº 2394.Wall integration staff background. Catching after model of manual to 1/10th. Painting a based screen printing inks, Applicated to the gun. Crimped black, purple background.

Room 8 - 140 - CAPELLA - 800 x 600cm - 1965 Nº 2395.Wall lntegration on staff background. Catching after model of manual to 1/10th. Satin enamel paint, traditional application. Black and white.

Nº 2379.Room 6 - 129 - KOSKA - 573 x 573cm - 1970 Tapestry made a Aubusson. Suspended directly to the wall with Velcro sewn on the game ceuvre and taped to the wall. dark gray background.

Nº 2396.Room 8 - 141 - GAMMA - 800 x 600cm - 1958 Wall integration staff background. Plotting after a manual model to 1/10th. Satin enamel paint, traditional application. Black and white.

Nº 2380.Room 6 - 130 - VEGA-ZETT - 585 x 585cm - 1971 Suspended directly to the wall by game. Tapestry made á Aubusson. Velcro strips sewn on Susp rceuvre and stuck to dark gray background.

Nº 2397.Room 8 - 142 - KALOTA - 636 x 422cm - 1967 Wall lntegration on staff background. Plotting after the manual model at 1/10th. Painting a based screen printing inks, application cated to the gun. Crimped black, blue background.

Victor Vasarely

Room 2 -

Room 2 -

101 Canopus

104 Hexa

Foundation Vasarely Aix en Provence

102 Beryll

105 Cleo

103 Dell

106 OKTA

Victor Vasarely

Room 3 - 109 Leyre

Room 3 -

110 Supernovae

Foundation Vasarely Aix en Provence

107 Bellatrix Blue

111 Vonal

108 Manipur

112 Tlinko

Victor Vasarely

Room 4 - 115 Pyr-Dac-1

Room 4 - A Kroa Bleu

Foundation Vasarely Aix en Provence

114 Caracas-2

116 Births

118 Centauri

B Colonne M.C.-2

113 Tukoer

117 Ujjain

Victor Vasarely

Room 5 - 121 Folkokta

Room 5 -

Foundation Vasarely Aix en Provence

122 OUC MC

123 Zett

120 Majus

124 Kèzdi

119 Kod-Lila

Victor Vasarely

Room 6 -

126 Vega Anneaux

Room 6 -

129 Koska

Foundation Vasarely Aix en Provence

125 Tupa

130 Vega-Zett

128 Ond

127 Cheyt-Stri

Victor Vasarely

Room 7 - 132 VP-Surke

Room 7 - 136 Tau Ceti

Foundation Vasarely Aix en Provence

131 Dia-Or

135 Axo

134 Gestalt

133 Alom

Victor Vasarely

Room 8 - 138 Tridim Blanc

Room 8 -

142 Kalota

Foundation Vasarely Aix en Provence

137 Sonora

142 Gamma

140 Capella

139 Tri-dim

Victor Vasarely

Exhibitions

1930

1956

Kovacs Akos Gallery, Budapest

Blanche Gallery, Stockholm.

Der Spiegel Gallery, Cologne

1933 Ernst Museum, Budapest

1944

Denise René Gallery, París

Denise René Gallery, Paris

1946 Denise René Gallery, Paris

1949 Denise René Gallery, Paris

1950 Arne Bruun Rasmussen Gallery, Copenhague Galerie Denise René, París. 1956

1958 Rose Fried Gallery, New York.

Galería del Rascacielos, Milán.

Museo Nacional de Bellas Artes, Buenos Aires.

1952 Denise René Gallery, Paris.

Samlaren Gallery, Stockholm

Museo de Arte Moderno, Montevideo

1959 Der Spiegel Gallery, Cologne.

1954 Palais des Beaux-Arts, Brusselas.

"Tableaux Cinétiques", Galerie Denise René, Paris.

APIAW, Liege

Museo de Bellas Artes, Caracas APIAW, Lieja

1955 Denise René Gallery, Paris. “Le Mouvement” exhibition Collective Exhibition

Museo de Bellas Artes, Caracas 1959

Victor Vasarely

Exhibitions

1960

1961

Palais des Beaux-Arts, Bruxelles.

Galerie Der Spiegel, Cologne.

Galerie Le Point Cardinal, Paris.

Galerie Artek, Helsinki.

Museum of Modern Art, New York

Galerie Denise RenĂŠ, Paris

<< Collective Exhibition >>

Hanover Gallery, Londres

Victor Vasarely

Exhibitions

1961 Galleria Lorenzelli, Mar-1961, Milan. Italy

Lorenzelli Gallery, Hall 1, left to right: F-Erebus 1955, Imbituba II, Belle Isle Meaux 2, Procion, F-Oeta, Jol, Balaton 1957, F-Xingon 1960, Bellatrix Ii1960, Cerro 1958, B. Arlequin I 1960, Ninive 1949, Quito 1958, Siris, Imbituba 1951

Vasarely`s on exhibiton at Lorenzelli Gallery 1961: Paintings: Kirakoum 073 1949-58 39x31cm - Cérro 066 1947-58 50x34cm Jol 051 52x32cm - K-Tabor X 1950/60 47.5x27cm F-Xingon 1949/60 40x32cm - Chelle III 120x100cm B. Arlequin I 1955/60 42x33cm - M. Saus-tiche 1950/60 30.5x28.5cm Hir.2 1953/58 72x60cm - Sian 3 048 49x36cm Ispahan 104 1949 34x24cm - F-Oeta 120 195x130m Belle Isle Meaux 2 1106 86x23.5cm - Quito 1123 1953/58 44x36cm Balaton 120 1951-57 32.5x30.5cm - F Erebus 60 1950-55 130x97cm T. Hommage à Malevich 1952-60 43.5x41cm - Leyre 1103 1956-59 43.5x41cm

Procion 55x34cm - Imbituba, 2 059 1951 43x34cm Umbriel III 58x37cm - Imbituba II 130x97cm Quata 81x65cm - Kirakoum 073 1949-58 39x31cm Siris 050 46.5x34cm - Ninive 021 1949 50x36cm I, Bellatrix II 1957-60 41.5x34cm - Naïni 72x60cm

Lorenzelli Gallery, Hall 2, left to right: Ninive, Leyre, Sia 3, Ispahan, Naini, Tabor x and Chelle III

Sculpture on glass: Üjjain 1955/60 74x62cm “...the works of vasarely are no longer square but plastic objects that aspire to anonymity, identifiable only in their “micha mobilista interassociante”. Vasarely operates a 'next revolution in the traditional concept of the prospective validity, the fourth in chronological order after the Renaissance, Cubist and Futurist. as the Renaissance painted with space and how the Impressionists painted with water and light so vasarely creates plastic objects with relativity; t spacetime.

There is a plastic time, which is certainly not the musical one. The work of vasarely moves by the need to unify this time with space...”

Extract of text by Carlo Belloli, Milan Feb-1961

Lorenzelli Gallery, Hall 3, left to right: H. to Malevich, Kirakoum, Saus Tiche, Umbriel III, Hïr 2, Quata and Imbituba II

Victor Vasarely

Exhibitions

1962 Kaare Berntsen Gallery, Oslo, Norway

Kaare Berntsen Gallery, Victor Vasarely exhibition, February, Oslo. Works left to right: Vega III 1957/59, Tlinko II 1956, Anadyr II 1956/59 and Yanina 1956/57

Victor Vasarely`s exhibiton at Kaare Berntsen Gallery:

Galerie Artek, Helsinki

Paintings: Vega III 1957/59 130x195cm - Tlinko II 1956 195x130cm Yanina 1956/57 130x89cm - Nai 1949/55 117x100cm Erebus 1949/55 138x91 - Paros 1956/60 87x80cm Ienisei 1949/50 87x80 - Terreur 1954/60 65x60cm Anadyr II 1956/59 65x60cm - Geminosum 1956/59 80x54cm Yony II 1956/59 65x60cm - Prividje 1953 108x100cm Umbroid II 1950 55x37cm - Chelle 1949/58 42x35cm Bhopal 1949 33x35cm - Cassiopee III 1958 58x39cm Caracas 1954 58x44cm - Keiho 1956 54x37cm Darjiling 1953/60 50x45cm - Kantara II 1956/59 45x37cm Arlequin II 1955/60 41x33cm Relief: Garam 1949/60 37x26cm Transparences (double): Composition I 1960 74x62cm - CompositionII 1960 74x62cm Gouaches: Aguia I 1961 42x38cm - Ivia 1961 33x39cm Orgavan 1961 41x34cm - Hot ami II 1961 54x43cm Helion 1961 41x449cm Artek Galerie, Helsinki.

Litographies: 12 pieces with preface 65x50cm 6 pieces Kassak 1920/30 & 6 pieces Vasarely 1950/60 65x50cm

Galerie Le Point Cardinal, Paris.

Pace Gallery, Boston, Massachusetts.

Victor Vasarely

Exhibitions

1963 Taft Museum of Art, Cincinnati.

Kestner-Gesselschaft, Hannover

Palais du Louvre, Pavillon de Marsan, Paris.

L'Unité Plastique, Musée des Arts Décoratifs.

Photo Courtesy by Michele Vasarely`s Archives

Photo Courtesy by Michele Vasarely`s Archives

Victor Vasarely

Exhibitions

1964 Kunsthalle, Düsseldorf.

Exhibition hall, 18 Feb-15 Mar 1964. Kunsthalle, Dusseldorf. Left to right: Bettlegeuse 1 1956-60, Canopus I 1956-60, Metagalaxie 1959-61, Mizzar 1956-61, Laika II 1957-59, Ondho 1960-61, Umbriel 1959, Bihar II1945-58, Monastir 1956-58, Sian II 1951-58. Sculptures: Törke 1957-60, Eclipse 1955-61, Hommage á Malevitch 1953-60 and Quadrature 1955-60.

Catalog of exhibition First works: - Arlequin, 1935. 60x40cm - Echiquier, 1935. 60x40cm - Tigres,1938. 82x122cm - Autoportrait, 1945. 116x89cm - Serre,1946. 130x97cm - Belle-Isle, 1947. 116x82 cm - Bihar II, 1945-58. 195x130cm - Cerro, 1947-58. 130x81cm - Yamada, 1948. 130x89 cm - Nives, 1948. 130x70cm - Hó II, 1948-53. 130x89cm - Davalaghiri, 1949. 130x89cm - Ninive, 1949. 130x97cm - Aquila, 1949. 44x40cm - Belle-Isle II, 1949-50 130x195cm - Olbio, 1949-53. 170x160cm - Ruhr, 1950. 114x195cm - Ezinor 114, 1950. 67x52cm - Mar Caribe, 1950-56.162x130cm - Hokkaido,1950-58 162x102cm - Quami, 1950-58. 100x105cm - Sian, 1950-60. 39x26cm - Sian II, 1951-58. 130 x 195 cm - Santorin 139, 1952. 54x44cm - Longsor II, 1952-56. 195x130cm - Chillan, 1952-57. 159x148cm - Yarkand, 1952-58. 195x114cm - Uzok 2, 1952-58. 120x100cm - Siris II, 1952-58. 195x130cm - Lyrae, 1952-60. 162x130cm - Zint, 1952-61. 108x100cm - Kiruna, 1952-62. 195x130cm - Chadar, 1953. 120x100cm - Yerta 118, 1953. 51x49cm - Olkia, 1953. 13,2x11,5cm - Olkia 2, 1953. 17x25cm - Baikal, 1954-55. 130x97cm - Socotora, 1955. 120x100cm - Altair, 1955-60. 120x100cm - Yablapur, 1955-60. 145x130cm - Horn, 1956. 162x130cm - Bug III, 1956-58. 145x130cm - Hotaml, 1956-59. 195x130cm - Yaret, 1956-59. 88x80cm - Nethe II, 1956-59. 120x100cm - Likka I, 1956-59. 93x61cm - Likka II, 1956-59. 93x61cm - Mizzar, 1956-61. 130x75cm - Leyre II, 1956-62. 195x130cm - Monastir, 1956-58. 195x130cm - Uzok 117, 1957. 48x35cm - Törke, 1957. 36x32,5cm - Laika II, 1957-59. 162x130cm - Attika, 1957-80. 120x100cm - Gotha, 1958. 195x130cm - Umbriel, 1959. 195x130cm - Ty-Neu, 1959. 146x97cm - Metagalaxie, 1959-61. 159x147cm - Helion, 1960. 41x49cm - Ondho, 1960-61. 162x130cm

Small format: - Kaba 1163, 1955. 50x34 cm - Algot 1222, 1956. 45x41 cm - OB 1223, 1956. 58x39cm - Linn, 1956. 44,5x40,5cm - Betelgeuse 1, 1956-60. 47x34cm - Bug-C, 1955-56. 35x34cm - laca 1263, 1957. 61x37cm - Mindoro 1264, 1958. 53x35cm - Tilla (nég) 1265, 1958. 61x41cm - Mimas II, 1958-60. 55x39,5cm - Sirius, 1958-60. 54,5x34cm - Canopus I, 1959-60. 55,5x32,5cm Collages: - Soleil A2, 1947-60. 63x47cm - Ciel B2, 1947-60. 62,5x46,5cm - Brume C3, 1947-60. 62x46cm - Remous D4, 1947-60. 47x62,5cm - Plage E1, 1947-60. 47x61,5cm - Soleil A4, 1947-61. 63x47cm - Ciel B3, 1947-62. 46x62cm - Plage E2, 1947-62. 46,5x62cm - Liosor II, 1948-58. 63x34cm - Collage, 1951. 61,5x50cm - Zafra C, 1951. 66x49,5cm Spatial Composition: - Hoonan-C, 1956-63. 270x250cm - Keiho-C, 1956-63. 270x250cm - Persee-C, 1956-63. 270x250cm - Eridan-C, 1957-63. 270x250cm Kinetic objects: - Kettoe, 1952-63. 60x60x9cm - Ibadan, 1952-63. 60x60x9cm - H. á Malevitch,1953-60.80x66x12cm - Umbriel, 1959-63. 60x60x9cm - Ujjain, 1955-60. 80x62x16cm - Eclipse, 1955-61. 80x62x16cm - Tlinko, 1956-61. 80x62x16cm - Törke, 1957-60. 80x62x16cm - Markab 1958-63. 60x60x9cm - Quadrature, 1955-60. 80x66x12cm Tapestries: - Luberon 499,1950-51.225x300cm - Yapura 987,1951-63.310x300cm - Markab 986,1958-63. 260x376cm.

Victor Vasarely 1964 Kunsthalle, Düsseldorf.

Exhibitions “Documenta III” Kassel, Germany

<< Opening >>

Pace Gallery, New York.

Haus am Waldsee, Berlin

1965 Hanover Gallery, Londres.

Galleria del Deposito, Genova.

Galerie Handschin, Basel.

Galerie Müller, Stuttgart.

Palais des Beaux-Arts, Brussels.

Pace Gallery, New York.

Kunsthalle, Berne

Conférence “Vasarely et l'Art Social”, Académie des Beaux-Arts, Paris.

Galerie Le Point Cardinal, Paris.

Galerie Hybler, Copenaghe.

Brook Street Gallery, Londres.

Gemeenten Museum, Netherlands.

Galerie Ziegler, Zurich.

“Druckgraphik” Clemens-Sels-Museum

Pace Gallery, New York. Works left to rigth: Betelgeuse I 1963, Monastir 1965, Dess 1964 and Metagalaxie 1964.

Victor Vasarely

Exhibitions

1965 Sao Paulo 8va Biennale. Sep 1965, Brasil

Hall Vasarely, 8ª Bienal Sao Paolo, Brasil. Left to right: Sian II 1951-59, Cassiopée 1957, Uzok II 1952-55, Orion-Or 1964, Riu-Kiu 1956, Vega III 1957-59, Sculptures: Quadrature 1956-60, Manhattan 1964, Tlinko-Blanc 1956-61.

8ª Biennale de Sao Paolo, Brasil, 1965 - Collective Exhibition

Victor Vasarely winner of the “Prêmio Bienal de São Paulo” Special Rooms: - 400 Years of Colonial Painting in Latin America - Carlos Botelho Carlos Milan - Cicero Dias - Darel Valença Lins - Felicia Leimer Fernando Lemos - Franz Weissmann - Jean Messagier - Joan Ponç John Villanova Artigas - Jose Cuneo Perinetti - Kim Whanki - Lin Sheng Yang - Marina Nuñez del Prado - Maximilian Feuerring - Nilda Nuñez del Prado - Oswaldo Arthur Bratke - Roberto De Lamonica - Surrealism and Fantastic Art - Victor Vasarely (all piece was sponsored by Denise René Gallery, Paris) - Yolanda Mohalyi.

“For this edition of the Biennial was held a contest to choose the sign of the Biennial Foundation (" symbol " was the name at the time).

The winner was Aloisio Magalhães, one of the most important Brazilian designer.

The signal has been modified over the years, now being presented in black and white, sometimes in green and blue, sometimes even inverted version of colors. "

Special Room “Victor Vasarely” (Denise René Gallery, Paris) Paintings (Denise René Gallery Collection except “Vega III”): Bihar II, 1945-55. 195x130cm - Hó I, 1948-52. 130x89cm Hokkaïdo, 1950-55. 162x102cm - Goulphar, 1961. 130x97cm Donan, 1951. 172x77cm - Sian II, 1951-58. 130x196cm Uzok II, 1952-55. 195x180cm - Caere, 1952-55. 130x81cm Siria II, 1952-55. 195x130cm - Yarkand, 1952-58. 195x114cm Lyrae, 1952-60. 162x130cm - Yablapour, 1956. 145x180cm Riu-Kiu, 1956. 180x196cm - Likka I, 1956-59. 93x61cm Cassiopée, 1957. 195x130cm - Laika II, 1957-59. 162x180cm Vega III, 1957-59. 130x195cm - Markab, 1958. 130x195cm Bora II, 1958-64, 188x160cm - Umbrlel, 1959. 196x130cm Ty-Nie, 1959. 146x97cm - Ujjain-C, 1955-62. 170x160cm Collages (Denise René Gallery Collection ): Hoonan-C, 1956-63. 270x260cm - KeTbo-C, 1966-63. 270x260cm Persée-C, 1956-63. 270x260cm - Eridan-C, 1958-63. 270x250cm Sürke, 1956-63. 190x190cm - Cassiopée-C, 1967-63. 240x225cm Bellatrix-C, 195743. 200x200cm - Terkis, 1962-63. 210x200cm Korund, 1962-63. 190x190cm - Orion-Or, 1964. 210x200cm Specials Works (Denise René Gallery Collection): Tlinko-Blanc, 1956-61. Deep work, gravure on glass, 80 x 62 x 16cm Biforme, 1956-61. Deep work, gravure on glass. 80 x 62 x 16cm Quadrature, 1966-60. Positive-Negative work. metal, 80 x 68 x 12cm VIII. Kettoe, 1952-63.Transparence, guache and glass, 60 x 60 x 9cm IX. lbadan, 1962-63. Transparence, guache and glass, 60 x 60 x 9cm Manhattan, 1964. Sculpture on metal, 120 x 70 x 60cm Serigraphies (Denise René Gallery Collection): “Planetary Folklore”, 1964. 65x62cm, Album 6 plates.

Victor Vasarely

Exhibitions

1965

1967

Palais des Beaux-Arts, Brussels.

“Vasarely Tapisseries”, Musée des Arts Décoratifs.

Pavillon de Marsan, Palais du Louvre, Paris.

Multiples, Galerie Denise René, Paris

1966 Galerie Denise René,Paris.“L’oeuvre multipliable de Vasarely”

Galerie Denise René, París.1967

De Cordova Museum, Lincoln, Massachusetts.

Speed Art Museum, Louisville University of Colorado.

Contemporary Arts Association, Houston, Texas.

Organized by Museum of Modern Art, New York Santa Barbara Museum of Art, California.

Stedelijk Museum, Amsterdam.

Hans Mayer Gallery, Germany.

1968 “Vasarely” Sidney Janis Gallery, New York.

Pryzmat Gallery, Cracovia.

Sidney Janis Gallery, New York.

Galleria del Leone, Venezia.

Brook Street Gallery, Londres.

Galleria de Foscherari, Bologna. “Victor Vasarely” Aktuell Gallery, Bern, Switzerland.

Der Spiegel Gallery, Cologne.

Victor Vasarely

Exhibitions

1968 Galery Suvremene Umjetnosti, Zagreb, Croatia

Hall 1, Left to rigth: Alom, V. Bloglar, Tuz, Vita, Elbrouz II, Sellem, Salgo, Beryl,Topaze Blanc, Dess and Sculpture Koeb.

Catalog of exhibition 1968. Works 1957-1967 Paintings: - Elbrouz II, 1956-57. 195x130cm - Cleo, 1958-61. 130x97cm - Manipur,1952-60. 162x152cm - TY-NY, 1959. 146x97cm - Helios,1958-66. 200x200cm - EG II, 1965. 160x160 cm - Yvaral, 1958-65. 210x200cm - Lant, 1966 160x160cm Collages: - Dess 1964 210x200 cm - Alom, 1966. 250x250cm - V. Boglar, 1966. 250x250cm - Ion A, 1967. 227x223cm

Transparences Multiples: - Novae, 1966-67. 30x30x5cm - Keet, 1966-67. 30x30x5cm - Tsillag,1966-67. 30x30x5cm - Ibadan, 1966-67. 30x30x5cm - Riu-Kiu,1966-67. 30x30x5cm - Helios, 1966-67. 30x30x5cm Graphics (Serigraphs): - Capella I 127/150 80x50cm - Capella II, 128/150 80x50cm - Capella III 128/150 80x50cm - Eridan 131/150 80x50cm - Sir-Ris, 138/150 80x50cm - Centauri 128/150 80x50cm - Gamma 130/150 80x50cm - Procion, 128/150 80x50cm - Quasar - 17/200 68x68cm - Our M.C. 271/300 84x66.5cm - Taller 145/150 68x68cm

Tempera: - Hedjes 0546, 1964. 84x80cm - Pehei 0556, 1964. 84x80cm - Vita 0585, 1965 80x80cm - Kodd-V, 0589 1965. 80x80cm - Yla, 0616 1965. 80x80cm - Tuz 0617, 1965. 84x84cm - Apro 0654, 1965. 80x80cm - Banat 0755,1966 80x80cm - Meh-Za 2028, 1967. 44x43cm - Ion-5 2053, 1967. 44x44cm - Ion-10 2055, 1967. 43x43 cm Interference: - IX-Ibadan, 1952-63. 58x58x10cm Transparence: - Alfa-43, 1956-63. 62x62x10cm - Ibadan, 1952-67. 30x30x5cm - Novae, 1958-67. 30x30x5cm Releif on wood: - Dak, 1966. 55x55x35cm - Koeb, 1966. 30x18x18cm - Ablac, 1966. 30x30x18cm - Sellem, 1967. 38x36cm - Salgo, 1967. 38x36cm - Beryl, 1967. 36x36cm - Topaze Blanc, 1967. 36x36cm - Granat, 1967. 38x36cm - Zephir, 1967. 38x36cm - Turkiz, 1967. 38x36cm

Galery Suvremene Umjetnosti, 1968.

Victor Vasarely

Exhibitions

1969 Museum of Fine Arts, Budapest, Retrospective.

Museum of Fine Arts, Budapest. Grand Retrospective 1969. Rigth, Denise Rene and Vasarely,

1969

Gimpel & Hanover Gallery, Zurich.

1969

Sidney Janis Gallery, New York.

Opening, 1969

Victor Vasarely 1969

Exhibitions Galerie Veranneman, Bruselas.

Centre de la Culture, Neuchâtel. Switzerland Galeria René Métras, Barcelona. Spain Musée des Beaux-Arts, Pécs.

Galerie Engelberts, Genéve.

"Folklore Planétaire", Galerie Deníse René, Paris.

1970 Multidimensional Polychromies, Denise René Gallery,Paris.

Galerie Veranneman, Bruselas.1970

1971 “Reliefs, Multiples, Serigraphics”, Galerie Suzanne Egloff, Basel.

“Collage”, Galerie Denise René, Paris.

“Vasarely Retrospect”, Stattford Art Association, Ottawa Kunsthalle, Cologne, Germany.

“Oeuvres Originales et Graphiques”. Minami Gallery, Tokyo

1972 “Vasarely” at Rothman-Pall-Mall Company.

Traveling Retrospective Canada: 1.- Glenbow Alberta Art Gallery, Calgary.

2.- Mendel Art Gallery, Saskatoon.

3.- Edmonton Art Gallery, Edmonton.

4.- Winnipeg Art Gallery, Winnipeg.

Denise René Gallery, Paris. “Vasarely 1948-1958”.

Galerie Charles Kriwin, Bruxelles.

Galerie Denise René, París.1970. “Bidim” exhibition

Opening of the work of the Vasarely Didactic Museum, Chateau de Gordes, France

Philadelphia Museum of Art, Philadelphía, Pennsylvania.

Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Germany.

Galerie Rivolta, Lausanne. di Baviera Galerie Abrams, Amsterdam.

Galleria d'Arte II Castello, Milan Galerie Semiha Huber, Zurich.

Galerie Schottenring, Vienna

Kanta & lboya, Galerie Vision Nouvelle, Paris

.

Victor Vasarely

Exhibitions

1972 Sidney Janis Gallery, New York. “Duo-exhibition recent works”:

Sidney Janis Gallery, New York, 1972. Left to right: VP-MV 1971, Vega Kontosh 1971, Koska Kela 1971, Vega Anneaux 1969/71, Ter-B 1969, Ter-A1 1968/69

“Vasarely Duo-exhibition recent works” 1972 42 Paintings: Tridim P 219,7x139,7 1968 - Tridim F 259,7x139,7 1968 Vega Anneaux 170x170 1969/71 - B.A.S.F. 116,8x157 1969/72 OND DVA 199x199 1970 - YMPO 253x170 1970 Torony MC 252x119 1970 - VP119 260x130 1970/71 Vega Kontosh 122x122 1971 - Cedull 199x199 1971 Vega Zett 2 160x160 1971 - Goemb Stri 160x160 1971 Kezdi Vega 160x160 1971 - Dombor 122x122 1971 VP-MV 140x70 1971 - HAT A 185x160 1971 HAT C 220x192 1971 - HAT D 220x192 1971 Koska Kar 140x140 1971/72 - Dombor Kek 119x119 1971/72 HAT MEH 184x160 1971/72 - HAT LEG 150x130 1971/72 Cheyt S.J. 119x119 1972 - Kontosh-Kek 119x119 1972 Saturne II 102x102 1971 - Hexa Hat 3 97x81 1971 Hat III 92x80 1971 - Vega Mi 80x80cm 1971 Vega Fa 80x80cm 1971 - Vega Sol 80x80cm 1971 Babel 2 114x96cm 1971 - Hat IV 93x80cm 1972 Kiess 58x58cm 1972 - Barak 60x60cm 1969/71 Koska Kela 64x64cm 1971 - Koska Lum 100x100cm 1971/72 Bivega 116x75cm 1968/72 - V-LY-A 60x60cm 1970/72 Fel Vilag 3 80x80cm 1972 - Hat Tupa 93x80cm 1972 Sin Pal 59x59cm 1971/72 - Koska Mez 64x64cm 1972

1973 Moos Gallery, Toronto.

Philippe Reichenbach Gallery, Paris.

Denise René Gallery, Paris: Presentation of album of Victor Vasarely “Octal”. Oeuvres 1948-1973.

Moser Gallery, Graz.

Goodman Gallery, Johannesburg.

Museo de Arte Moderno, Mexico DF.

6 Collages: Torony SS 45x30cm 1971 - Vaar 46x39cm 1971 Majus Fek 76x76cm 1965/71 - Sende C 76x76cm 1966/71 Hat IV C 54x45cm 1971 - Hat II C 62x54cm 1971 6 Sculptures: Ter-A1 54x29x5cm 1968/69 - Ter D 237x177x30cm 1968/69 Ter B 250x150x20cm 1969 - Bidim T 87x25x4cm 1969 Ter L-1 39x26x6cm 1969 - Tridim BM 35x24x5cm 1971

Museo de Arte Moderno, Mexico, 1973

Victor Vasarely

Exhibitions

1973 Galerie Veranneman, Bruxelles.

Left ot rigth: Bikub 1972, Folkokta 1973, Ion Neu 1973, Ouivar 1973, Vega Anneaux 1969-71, Bella Neg 1957, Meez 1971, Novae Kat 1959, Mainte 1973.

“Vasarely Exhibition recent works” 1973 1974 22 Paintings:

Galleria Annuncíata, Apr 17 - May 6, Milan.

Gordium Pos 1951-HK 195x160cm - 140-Bug-NN 1955-HK 67x 54cm Bella-NEG 1957-HK 167x155cm - Novae-Kat 1959-HK 255x155cm TUZ 1966-70 182x182cm - DI-GA 1967-73 120x120cm 1042-Tridim-Fond 1968-73 66x42cm - Vega-Anneaux 1969-71 170x170cm Basf 1969-72 117x158cm - 2596-Meez 1971-73 100x100cm Tegla-Hat 1972 220x192cm - Bikub 1972 151x 75cm 2495-Vega-Arct 1972 100x100cm - VEGA-TUZ-III 1972-73 120x120cm 1043-Xico-Tina 1973 39x 30cm - 2570-Folkokta-2 1973 78x78cm Folkokta 1973 140x140cm - Ouivar 1973 180x180cm ION-NEU 1973 193x210cm - 2585-Perokta-II 1973 60x60cm 2589-Mainte 1973 50x50cm - 2584-Perokta 1973 75x75cm Annunciata Galery Vasarely exhibition.

1974

1975

Semiha Huber Gallery, Zurich.

Theo Gallery, Madrid, Spain.

Minami Gallery, Tokyo.

Heller Gallery, London.

Bel'Art Gallery, Stockholm.

Jeanneret Gallery, Genéve.

Galleria Borgognona, Roma

Teheran Gallery, Teheran, Iran

Victor Vasarely

Exhibitions

1976 Vasarely Fondation openning, Aix-en-Provence.

From left, Madame Claude Pompidou, MonsieurJacques Chirac, and Michel Guy, Culture Minister and Victor Vasarely

The Fondation Vasarely was established in 1976 by Victor Vasarely, "to promote his ideas of 'art for all' and of the 'city of tomorrow'.".

Construction started in 1973 with architects John Sonnier and Dominique Ronsseray implementing the designs of Vasarely, and was inaugurated on February 1976.

42 monumental integrations by Vasarely (6 x 8 metres) in seven "cells", hexagonal each 14 metres across and 11 metres high.

1976 Museum of Art, Tel Aviv.

Kunstmuseum, DĂźsseldorf Galerie Denise RenĂŠ, Paris.

Victor Vasarely

Exhibitions

1977 Museo de Arte Contemporáneo Sofia Imber, Caracas.

Comtemporary Art Museum Sofia Imber, Caracas. November 1977 Left to right: Sofía Imber, Museum Director, Carlos Andrés Pérez, President of Venezuela, Victor Vasarely, Henry Ramos Allup (back) and Gonzalo Barrios, Senate President. Photo of José Luiz Sanz. Courtesy of Michelle Vasarely archives.

Museum of Contemporary Art in Caracas (MACC). Was founded on August 1973 by journalist and art promoter, Sofia Imber (Director from1973 - 2001).

Was opened to the public on February 1974. (Photo of facade between 1990-2006)

Museum of Contemporary Art Sofia Imber in Caracas.

Kat-tuz (1972-75) 191.8x192.1cm, Capella NB (1964) 140x70cm

Victor Vasarely

Exhibitions

1977 Kulturforum, Bonn University.

Kroa MC 1969, 50x50x50cm and Tridim SP 1970, 160x256x5cm

Mathilde van Wijnen Gallery, Amsterdam.

Bel'Art Gallery, Stockholm, Sweden

Victor Vasarely

Exhibitions

1978 Inauguration of Vasarely Center, New York.

In May 1978, “Vasarely Center” inaugurated in New York.

1978 Monchehaus Museum für Moderne Kunst,Goslar, Germany

Möncheshaus Museum in Goslar is dedicated to temporary exhibitions of modern and contemporary art. The institute was founded in 1978 with the intention to provide adequate international winners Goslar forum exhibition "Imperial Ring". The prestigious art award was granted by the city of Goslar since 1975 once a year to outstanding contemporary artists, among others, Joseph Beuys, Max Ernst, Victor Vasarely, Christo, Georg Baselitz, Gerhard Richter, Olafur Eliasson

1979 “The Optic Art of Vasarely” Phoenix Art Museum, Arizona.

Vasarely — Yvaral, Centre Culturel, Villeparis.

“La Couleur éternelle dans l'architecture traditionnelle”, Fondation Vasarely, Aix-en-Provence.

Victor Vasarely

Exhibitions

1980

1987

Palazzo Reale, Budapest.

Vasarely, Okresne Museum, Praga. Czech Republic

“Vom Bauhaus zur Fondation”, Badisches Landesmuseum, Karlsruhe.

“The Art of Victor Vasarely”, Midland Center for the Arts, Michigan.

Hommage á Vasarely, Palazzo comunale, Montélimar

"Vasarely’s Vision" Vasarely Center de New-York, USA (projection du film de Jean-Christophe Averty sur l’artiste)

Victor Vasarely, Castello Esterhazy, Eisenstad.

Romanischer Keller, Salisburgo Kulturhaus, Knittelfeld.

Savjet Muzejsko, Zagreb.

Galerie Lahumiére, Paris.

Circle Gallery, New York, Los Angeles, San Francisco, Houston, Denver, Scottsdale, Washington.

Galerie Augustiner, Norimberg.

Kunsthaus Frenzel, Ulm.

Galería Freites, Caracas. 1982

1991

Includes 17 works of paintings made between 1977 and 1981.

Work`s list: SIRT-MC, 1977 150X150cm,VE-MI,1972-1974 120x120cm CORONA, 1979 123x123cm, POLNA, 1974 65x65cm EZUSS, 1972-1975 100x100cm, IGUEN, 1982 111x111cm BOKOR, 1981 86x86cm, CANOPUS, 1981 200x100cm BERGUE, 1979 71x71cm, ARIES, 1980 72x72cm CORTI, 1980 90x90cm, ZETT-VA, 1980 76x76cm DIEUZEU-II, 1981 68x60cm, TUZ-MC, 1974-1976 80x80cm V-PAUK-MC, 1973 83x43cm, BULUS GORDES, 1980 61x43cm HEET, 1981 100x100cm

Galerie Durban Cesar Segnini,Caracas. <<Collective Exhibition>> “Lenguajes Esenciales de la Epoca”

1982

Galeria Durban Cesar Segnini,Caracas.1991. Works: Sorata T and Tlinko-To

1992 Kunstforum, Vienna, retrospettiv.

"Le Mouvement", Fondation Maeght, St Paul de Vence, France

1993 1983 Szépmuvészeti Múzeum, Budapest.

A Tribute to Victor Vasarely, Vasarely Center, New York.

1985 Vasarely, Galerija S. Dubrovnik, Croatia.

Centre Culturel Noroit, Arras, Retrospective .

Japon travelling retrospect: Mitsukoshi Museum of Art, Tokyo; Iwaki Municipal Museum, Fukushima.

Museum of Modern Art, Hokkaido; Hokkaido.

Obihiro Museum of Art, Obihiro.

Itami City Museum of Art, Hyogo.

Kure City Museum of Art, Hiroshima.

1986 Galerie Der Stadt Esslingen, Esslingen am Neckar.

"Vasarely" Musée National des Beaux-Arts d’Alger, Algerie Circle Gallery, New York, Chicago.

1994 “Retrospective” Museé des Beaux-Arts, Charleroi, Belgique.

Musée Olympique, Lausane, Retrospective

1987

1995-1996

Inaugurazione del Vasarely Múzeum, Budapest.

Les collections des musées de France, Musée des Beaux-Arts et d'Archéologie, Libourne. “Histoire de Blanc et Noir”, Musée de Grenoble, Grenoble.

“Hommage á Vasarely”, Fiac, Galerie Lahumiére, Paris.

1997 VVilhelm-Hack-Museum, Ludwigshafen am Rhein.

1998 Kunstverein, Ulm, Vasarely Retrospective, Wolfsburg.

Retrospective Josef Albers Museum Quadrat Bottrop, Bottrop.

Victor Vasarely

Exhibitions

2000

2005 - 2006

Fundación Juan March, Madrid, Retrospective.

Victor Vasarely: “The Absolute Eye” Herakleidon Museum, Athens, Greece.

Includes 47 works, including paintings and drawings made between 1929 and 1988.

Phase 1: November 11, 2005 - March 12, 2006 - Editions

Phase 2: March 16, 2006 - June 18, 2006 - Editions “Vasarely et la Couleur”,Fondation Vasarely, Aix-en-Provence, France

Fondation Vasarely, Aix-en-Provence, 2000

2001 Palais Bénédictine, Fécamp, Retrospective

2002 RegieRenault, Paris, France

2003 "La période noire et blanche", Galerie Pascal Lainé, Avignon, France Robert Sandelson Gallery, London

2004 Palais Rihour, Lille, Retrospectiv Naples Museum of Art, Naples. Florida.

Phase 3: June 22, 2006 - September 10, 2006 - Editions 2006 “The Expended Eye”, Kunsthaus, Zurich.

Victor Vasarely

Exhibitions

2007

2010

“Victor Vasarely Prints and Multiples”, Christies, South Kensington, London

Galeria Ascaso, Caracas. << Collective Exhibition >> Geométricos de Colección. “Vasarely - Schöffer - Agam”

Christie`s South Kensington, London. 2007.

2008 La Triennale di Milano, Milano, Retrospective

2009 Vasarely. “The utopia of happiness or the allegory of decorum”.

Castello Gallery, Milan

Galeria Ascaso, Caracas.2010

Victor Vasarely

Exhibitions

2012 “Retrospective of the work of Victor Vasarely”, Le museé en Herbe, Paris, 16 March to 31 December 2012.

Exhibition “Le museé en Herbes”,Paris.At Left:Fille Fleur & Etude Lineare-2

Exhibition “Le museé en Herbes”,Paris. View 2

The Musée en herbe is a museum especially designed for children and aims to make children discover the art learning and playing.

The expression "en herbe" means “one who learns”, usually used to talk of children. Hence the name Musée en herbe.

The Vasarely exhibition to the eye, that is: the discovery of the artist, his work as a graphic poster of his first abstract works. Entry into the black & white world for the kids, 14 playful manipulation (reconstruct posters to complete, zebras that come alive, optical illusions, color schemes).

The scenography is thought to both, adults and children.

Originals works on the exhibition room.

Victor Vasarely

Exhibitions

2016 Victor Vasarely: Pour un Manifeste.

Omer Tiroche Contemporary Art, London.

Omer Tiroche Contemporary Art, detail 1. 8th Feb-29th Apr 2016. London

Detail 2, 8th Feb-29th Apr 2016. London

Detail 3, 8th Feb-29th Apr 2016. London

Detail 4, 8th Feb-29th Apr 2016. London

Detail 5, 8th Feb-29th Apr 2016. London

Detail 6, 8th Feb-29th Apr 2016. London

Victor Vasarely

Exhibitions

2016 Mattatuck Museum, Waterbury, Connecticut Victor Vasarely: The Absolute Eye, Feb-18,

Mattatuck Museum, Waterbury, Connecticut

Hall 1, Left to right: three works of Euclide`s Suite 1985, (Barcel, Celona and Abra), Trivega (1981) and Tekke-2 (1978)

Hall 2, Left to right: Gordes Tabor (1971), Gordes Nives (1971), Gordes Taira (1971), Calcis (1975), Gizeh-II (1975).

Hall 3, Left to right: Dell-Surk (1975), Striond (1975), Callisto (1981), Deimos (1981), Volans (1981).

Hall 1, Left to right: Fern (1978), Vonal-G, Olla (1988), Dia Or CF (1967) and Vilag (1979)

Hall 3, Left to right: Hexa-Stri-C (1991), Parminede (1981), Tupa-2 (1972), CTA-24 (1966), Bekwa V (1978).

Victor Vasarely

Exhibitions

2016 Maxwell Davidson Gallery, New York

Hall 1. Left to rigth: Phobos 1979, Graphisme 4 1958, Otal 1970 and Micron 1984.

Victor Vasarely: â&#x20AC;&#x153;Analogâ&#x20AC;?, September 8 - October 29 Vasarely[s work was systematic, focusing on graphic intricacy to create his indelible images. Today, in the digital age, it seems simple to create the vibrating, eye-popping, mind-bending images that Vasarely made by hand.

12 Paintings: Amu-Daria 1948 20x22cm - Meandres Belle-Isles 1951 150x102cm Jerusa 1956 46x46cm - MC-BC 1968 100x100cm Vega Argent 1969 49x49cm - Quasar-Kek 1971 160x160cm Vonal-Prim 1975 200x200cm - Kolosi 1978 84x84cm Phobos 1979 160x160cm - Micron 1984 180x180cm Infin 1979-88 198x198cm - Graphisme 4 1958 90x80cm

Hall 2. Infin 1979-88, Vega Arg. 1969, Quasar Kek 1971 & Jerusa

1 Collage: Otal 1970 39x39cm 3 Programes (Ink and graphite on board): Programes-Xelles 1967 32.5x39.5cm Programes-Metagalaxie 1959-61 51x55.5cm Programes-CTA-Szurke 1965 34.5x34.5cm

Hall 3 Vonal Prim 1975, Meandres 1951 and Phobos 1979.

Victor Vasarely

Exhibitions

2016 Vasarely “Serigraphs and Multipliers”. Museum of Fine Arts, Budapest 2016. Mar 19 – Jun 18

Vasarely's characteristic work at the exhibition. Photo: Gergő Tóth

2017 Colective Exhibition. Galerie Denise René. Art Brussels 2017. Apr 21st – 23rd

Galerie Denise René.Art Brussels 2017.Left to right, two works of Victor Vasarely: Kezdi-Kroa 1966-1967 150x150cm and Epsylon, 1958-1962 130x97cm

Colective Exhibition.

Galerie Denise René. Art Brussels 2017 Artists In This Show: Carlos Cruz-Diez, Victor Vasarely, Elias Crespin, Wolfram Ullrich, Pe Lang, Geneviève Claisse, Lab[au] Anne Blanchet, Hans Kooi

Victor Vasarely

Exhibitions

2017 Victor Vasarely Retrospective Exhibition. MSGSÜ Tophane-i Amire Culture and Arts Center, Istambul, Turkey. Feb 2 - 31 March

View1. A Retrospective in Turkey. Victor Vasarely.

Victor Vasarely: “A Retrospective in Turkey”, Febraury 2 - March 31 This exhibition consists of more than fifty pieces, including paintings, sculptures, designs and tapestry produced by the artist in different periods of his artistic career. This comprehensive exhibition was realised through the contributions of the Victor Vasarely Foundation, located in the Aix en Provence, Victor Vasarely Museum, Budapest Fine Arts Museum, Renault Corporate Art Collection and Arkas Art Collection.

View 3. At center, Sculpture Koeb III Arg.

View 2. At bottom, Porcelain Relief Nb11 Bk/W and Tetcie (Oil on canvas)

View 4. At bottom, Porcelain Relief Nb11 Bk/W and Tetcie (Oil on canvas)

Victor Vasarely

Exhibitions

2017 Eye Attack Op Art and Kinetic Art. Stedelijk Museum Schiedam, Alkmaar, Netherlands. Feb 25 - June 18

Eye Attack Op Art and Kinetic Art, View1. Left to rigth: Victor Vasarely, Zador 1965, Zilah 1957. Yvaral, Progression Polychrome A70 1970, Forme Ambiqué Moeduis, 1970. At the end, other room, Vasarely, Vega-Lum Or.

Eye Attack Op Art and Kinetic Art << Collective Exhibition >> Febraury 25 - June 18 This extensive retrospective exhibition with works of international trend-setting artists from the period 1950 - 1970 .

Artists | works from the period 1950 - 1970 Bridget Riley, Hartmut Bӧhm, Carlos Cruz-Diez, Angel Duarte, Ludwig Wilding, Heinz Mack, Gerhard von Graevenitz, Adolf Luther, Getulio Alviani, Toni Costa, Julio Le Parc, Ad Dekkers, Jesús Rafael Soto, Carlos Cruz-Diez, François Morellet, Victor Vasarely, Luis Tomasello, Giovanni Anceschi, Marina Apollonio, Gabriele de Vecchi, Grazia Varisco, Alberto Biasi, Edoardo Landi, Davide Boriani, Gruppo MID, Manfredo Massironi, Enzo Mari, Bruno Munari, Dadamaino, Gianni Colombo, Richard Joseph Anuskiewicz, Wojciech Fangor, Almir Mavignier, Edwin Mieczkowski, Yvaral, Günter Uecker, Yaacov Agam, Nicolas Schӧffer, Jan Schoonhoven, Peter Struycken, Jaap van den Ende, Josef Albers.

View 3. Vega-Pal. 1969

View 4. Vega-Lum Or.

Victor Vasarely

Exhibitions

2017 Victor Vasarely. Ales Sur Bohemian Gallery. Chateau Riding Hall, deep above the Vltava 144. Jun 24 - Oct 1

Eye Attack Op Art and Kinetic Art, View1. Left to rigth: Victor Vasarely, Zador 1965, Zilah 1957. Yvaral, Progression Polychrome A70 1970, Forme Ambiqué Moeduis, 1970. At the end, other room, Vasarely, Vega-Lum Or.

Victor Vasarely. Ales Sur Bohemian Gallery June 24 - October 1 Exhibition of Victor Vasarely at Ales Sur Bohemian Gallery in Hluboka he presented his work on the property of Olomouc Museum of Art and works of the Vasarely Foundation in Aix-enProvence (France) and Victor Vasarely Museum in his native Pesc ( Hungary).

Victor Vasarely's serigraph set 33 is a representative cross section of the artist's graphic design. The importance of this collection increases from the best possible source (Fondation Vasarely in Aix-en-Provence)

View 2.

While preparing the exhibition and choosing the works to be exhibited, Dr. Gina Renotière, the project's curator and the head of the Contemporary Art Dept. of the Olomouc Museum, cooperated closely with Mr. Pierre Vasarely, the president of the Fondation Vasarely, Chevalier des arts et lettres (who himself will open the exhibition) and with Mr. József Sárkány, the director of the Pécs Vasarely Museum. The event will be held under the auspices of both French and Hungarian embassies in Croatia, whose representatives will attend the vernissage and deliver speeches.

View 3

Victor Vasarely

Exhibitions

2017 Victor Vasarely. Laczkó Dezső Museum. Torok, Hungary. Nov-17-2016 - Mar-26-2017

Hall of Laczkó Dezsó Museum. At Center, Maamor 1969, Tapestry and Album Xico 1973, eigth serigprahs.

Victor Vasarely. Laczkó Dezső Museum.

Nov-17-2016 - Mar-26-2017 The Janus Pannonius Museum in Pécs and the Laczkó Dezső M Museum, thanks to this cooperation operation, will receive a new replacement of the cooperation.

This time, Victor Vasarely, works of OP-Art, will be made in the spotlight, while József Egry's works will be presented in Pécs, Pécs and the Modern Hungarian Gallery.

View 2.

The new periodical exhibition of Laczkó Dezső Museum goes through the main periods of Vasarely's art, thus focusing on opart textiles, black and white constructions, geometric structures and kinetic works. Looking at the pictures, we really can not decide which convexity or just is the flat surface that is in front of us.

View 3

Victor Vasarely

Biography

1906 Only the previous year his disappearance, Victor Vasarely reveals his real date of birth, on April 9, 1906 to Pécs, in Hungary, to the newspaper french "You Figaro” 1925-1927 It frequents the faculty of Medicine to the university of Budapest, but interrupts his studies to dedicated on soul and body to the activity artistic, registering on to a private school, the academy Podoleni-Volkmann.

1929 Transfers to the “Mühely”, a school founded by Alexander Bortnyik and considered the Hungarian school of the Bauhaus.

1930-1934 It decides to move to Paris, center of great artistic and cultural fervor. Here it marries and works as advertising graph. In these years it experiences new graphical searches directed the study of the geometry. The reached results shape his definite features called by himself as his " répertoire fondamental " base of all his painting for coming. Birth of Jean-Pierre, who as an artist would later assume the name Yvaral Victor Vasarely with one of his works

1935-1939 In 1938 it composes Tigers and Zébres, works that indicate the definitive step between the pictorial conscience and the optical interpretation of the art.

1940 Vasarely meets his future dealer, Denise René, with whom he would collaborate until 1975 1944 After the warlike period, it moves with his family to the southwest of France, returns in the villas lumiére, where his premiere inaugurates great personal exhibition in the Galerie of Denise René with drawings, graphical studies and works of advertising.

1945-1950 It is the years in which the artist resigns the figurative part of his work, though the landscape and spatial local influences return. They are remembered three periods artísticos principales: Belle-Isle, Denfert and Gordes, which evoke places of summer vacation and the Parisian metropolis.

1950-1952 It begins a flowery period for production and production of new expressive methods: of these years the exhibition Photographismes in the Galerie Denise René.

Victor Vasarely on his Atelier. 1948

1955-1959 It initiates the first phase of consecration of the artist, who " gives scandal " with the publication of the" Yellow Manifest" and with the collective exhibition Denise René's "Mouvement" to Paris. It takes part with Kassel's Documents, to the Inaugural exhibition " Selection to the Guggenheim " of New York (1959), besides important prominent figures of Buenos Aires and Caracas, for mentioning some of them. The patent comes deposited by the system of the "Unité Plastique", which allows to the artist and to his collaborators unlimited variations of the original "score".

Victor Vasarely 1960 Vasarely supports the founding of the “Groupe de recherche d´art visuel”, in which his son Yvaral is involved and which would exist until 1968 1961 Moves from Arcueil to Annet-sur-Marne.

1963 Personal exhibition “The Unité Plastique” to the Musée des Arts Décoratifs of Paris.

Biography 1972-1976 Opening of Foundation Vasarely, based on his own design, in Aix-en-Province, whose construction he has financed.

The foundation is dedicated to putting Vasarely`s architectural and urban visions into pratice and is devoted to theory and research. Installations of the large-scale relief portrait of Georges Pompidou at the Centre Pompidou in París. Inagurations of the Vasarely Museum in the house of the artist`s birth, in Pécs, Hungary.

1964 Guggenheim Award, Nueva York. Development of groups of architectural works, such as “Hommage a l`hexagone”, out of investigations of axonometric and Kepler cubes, and “Tridim and “Bidim”. Numerous solo shows, at Kunsthalle Bern, Pace Gallery, New York, and Sidney Janis, New York.

1965 There takes part in Op Art's exhibition “The Responsive Eye” to the MoMA of New York and receives the gentleman's title of the order of the arts and the letters.

1966-1969 In these years it takes part in Op Art's exhibition Lumiére et Mouvement, organized by Modern Mu-sée de Art of the Villas of Paris and intensifies the production of multiple, graphs, tapestries and three-dimensional objects. The period initiates Vega, in which, the espacialidad of the work is of - terminata of infinite variations of tones of the same color and of the deformation prospetctica that the figures suffer on the surface of the fabric.

1970-1971 Inauguration of The Musée Didactique Vasarely de Gordes.

Decorated with the title of the Legion of Honor. Creates many futher architectural integrations, including two large frescoes in Montparnasse's Station of Paris. (1971)

Victor Vasarely and French President Francois Mitterrand, 1991.

Photo courtesy of Michele Vasarely archive`s

1983-1987 He is nominated an honorary citizen of New York. (1983).

Stage design for Wagner`s “Tannhäuser” at the Paris Opera, directed by Istvian Szabó. (1984). Inauguration in Budapest of the Vasarely Museum in the castle Zichy.

(1987).

1990-1996 Named Grand Officer of the “Ordre du Mérite”.

Unfortunately in the following years, Alzheimer disease gets little by little of his wonderful intellectual and physical qualities.

1997 Víctor Vasarely dies at París on march 14.

Victor Vasarely and Gyula Kosice, 1958.

Photo courtesy of Michele Vasarely archive`s At work on his “Plastic Alphabet” at his studio on Annet-sur-Marne

Victor Vasarely VASARELY I - Victor Vasarely Editorial: Editions du Griffon, Neuchatel, 1971

Profusely illus. Text and design by the artist.

Hardcover. Pages: 195

VASARELY II - Vasarely, Victor Published by Editions Du Griffon Neuchatel, 1973 Fabulous illustrations including translucent plates and acetate overlays, list of exhibitions, biography, bibliography. Part of the Plastic Arts of the 20th Century series, edited and introduction by Marcel Joray, texts and design and layout by Vasarely, and translated by Haakon Chevalier.

Hardcover. Pages: 206

Vasarely III - Vasarely, Victor Editorial: Editions Du Griffon Neuchatel, 1974 Fabulous illustrations including translucent plates and acetate overlays, list of exhibitions, biography, state collections, bibliography and a list of works. Part of the Plastic Arts of the 20th Century series, edited and introduction by Marcel Joray, texts and design and layout by Vasarely, and translated by Haakon Chevalier.

Hardcover. Pages: 243

Books - Vasarely Vasarely Author: Diehl, Gaston Published: Bratislava, Tatran (corvina) - 1972 "Vasarely is widely regarded as the father of Op-Art. During the 1960’s and 70’s his optical images became part of the popular culture, having a deep impact on architecture, computer science, fashion, and the way we now look at things in general. Even though he achieved great fame he insisted on making his art accessible to everyone. His motto was “Art for all”." Per Vasarely Website.

Vasarely, By Gaston Diehl , Uffic Press 1972 Pages: 95 Size: 29 x 22 x 1.8 cm

VICTOR VASARELY-THE ABSOLUTE EYE - 1st Vol This book is a catalogue of the 1st phase of the exhibition “Victor Vasarely, The Absolute Eye” celebrated at the Private Museum Herakleidon, Experience in Visual Arts (Nov 11th 2005 – March 12th 2006). It includes 65 high quality images of the artist’s works along with comments from the artist about his art and the techniques he used.

Special attention is given to the “Plastic Alphabet”, Vasarely’s remarkable achievement used in many of his works.

Pages: 168. Dimensions: 21.5x27.5. Soft Cover Three languages (Greek- French- English)

VICTOR VASARELY - THE ABSOLUTE EYE - 2nd Volume

Three languages (Greek- French- English) which includes four different high resolution transpariencies (suitable for framing) with works of the artist. This book is the catalogue of the 2nd phase of the exhibition “Victor Vasarely, The Absolute Eye” exhibited at the Private Museum Herakleidon, Experience in Visual Arts (March 16th 2006 – June 18th 2006). It includes 52 high quality images of Vasarely’s works, information about his life as well as his views about contemporary architecture.

152 pages. 52 images. 21,5 X 27 cm. Soft Cover.

VASARELY IV - Vasarely Victor Published by Editions du Griffon, Neuchatel, 1979

VICTOR VASARELY - THE ABSOLUTE EYE - 3rd Volume

Heavily illus. Book design by the artist. translated from the french by H Chevalier in page 53 reproduces la Montaigne sainte Victoire 1896-1988 by PAUL CEZANNE. First edition 205 pages Fine and complete.

Text in English.important bibliography of the artist with original illustrated hard cover.

A special soft cover edition in three languages (GreekFrench- English). This book is the catalogue of the 3rd phase of the exhibition “Victor Vasarely, The Absolute Eye” exhibited at the Private Museum Herakleidon, Experience in Visual Arts (Jun 22th – Sept 10th 2006). It includes 54 high quality images of the artist’s works along with comments from the artist about his art and the techniques he used.

Hardcover. Pages: 208

154 pages. 21,5 X 27 cm. Soft Cover.

Vasarely. Inventor of Op-art.

Streets, Richard W.: Ostfildern, Hatje Cantz Verlag, 1998.

ISBN: 3775707263 EAN: 9783775707268

Vasarely - Werner Spies Publisher: Abrams, N (1971)

DuMont, Cologne, 1971. Original clothbound. 1 Edition.

With numerous illustrations. mostly color illustrations, Pages: 222.

Language: German

253

Hardcover. Pages: 206 pages.

Dimensions: 12 x 11.4 x 1.3 inches

Victor Vasarely VASARELY Publisher: Te Neues Pub Group; GERMAN edition (April 1992) Language: English ISBN-10: 3791311999 ISBN-13: 978-3791311999 Hardcover. Pages: 185.

Dimensions: 12 x 9.7 x 1 inches Weight: 3.1 pounds

Books - Vasarely Victor Vasarely - Bilder und Graphik 1930-1985

Exhibition catalogue in Kulturhaus Wiesloch 1986

Pages 208, 159 images (78 colored)

VASARELY Publisher: Taschen (May 1, 2005) Series: Basic Art Language: English ISBN-10: 3822839086 ISBN-13: 978-3822839089

VASARELY by Victor Vasarely Published: Alpine Fine Arts Collection Publishers of Fine Art Books, New York - 1979

Pages: 96. Dimensions: 7.4 x 9.1 inches Weight: 12.6 ounces

Extra heavy semi-gloss stock, with four gatefolds, and having 180 illustrations, including 64 in color.

Translated from the French by I. Mark Paris, First American Edition

Hardcover. Pages: 160.

Dimensions: 9 1/2" X 13â&#x20AC;?

VASARELY - GEA Publisher: Editions Hervas (1982) ISBN-10: 2903118078 ISBN-13: 978-2903118075 Language: French

Hardcover. Pages: 135.

Dimensions: 11.6 x 9.1 x 0.7 inches

VASARELY PLASTICIEN: Un Homme et son metier Publisher: R. Laffont (1979) ISBN-10: 2221002369 ISBN-13: 978-2221002360 Language: French

Soft Cover. Pages: 233 Dimensions: 8.5 x 5.3 x 0.7 inches

Vasarely inconnu. The unknown Vasarely.

Der unbekannte Vasarely - Victor Vasarely Published by Ă&#x2030;d. du Griffon, Neuchatel, 1977

Victor Vasarely Author & Editor: Busto, Andrea. Isnardi Christian.

Publisher: Carlo Cambi Editore, Italian and English text.

Poggibonsi

All illustrated color. Magnificent publication on the great Hungarian painter with interesting texts written by him in 1977, followed by 123 full-color reproductions of paintings and drawings made between 1928 and 1957.

This monographic catalog on the innovative Hungarian painter and graphic artist, published on the occasion of a much-anticipated exhibition of the Master, curated by Andrea Busto and Cristiano Isnardi , at the Triennale di Milano Bovisa from 4 October 2007 to 27 January 2008. "The artist does not have a choice : zero as a person in favor of his work and offer it with love abstract humanity " through 200 works divided into nine sections, the exhibition offers a fresh look for the Italian public and international expressive path of Vasarely and its role in the history of twentieth century art.

Hardcover. Pages: 131

Hardcover. Pages. 336, Dimensions: 25x29 cm.

Vasarely Folklore Planetaire Publisher: New York Graphic Society; 1ST edition (1973)

VICTOR VASARELY il Maestri del Novecento Author: Vasarely - Mussa Italo Editor: Sadea - Sansoni (1975)

Language: English ISBN-10: 3765415278 ISBN-13: 978-3765415272 ASIN: B0006CA372

With 41 color plates and illustrations in black.

Biographical, exhibitions.

Hardcover: 88 pages Product Dimensions: 9.4 x 9.2 x 0.7 inches Cover on cavas. Pages: 96

254

Victor Vasarely Vasarely - Author: Robert C. Morgan Publisher: George Braziller (January 31, 2005) This book, which gathers together a generous selection of his most significant works, celebrates his immense intelligence, passion, and artistry. Vasarely's work was included in the groundbreaking `65 exhibition "The Responsive Eye" at the MoMA in N.Y. Robert Morgan's text provides fresh insight into Vasarely's startlingly precise and hallucinatory images, discussing the evolution of the artist's career and of the ideas that shaped his work. Considering Vasarely's work from today's perspective, Prof. Morgan sees the artist as the innovator behind many of the most radical ideas in design, architecture, and painting at the last century.

Books - Vasarely Vasarely Author: Werner Spies Publisher: Harry N. Abrams book for Meridian Books S.D.ISBN/UPC: 0810944227 Cop. illustrated paperback publishing. With 85 illustrations and 16 color images Hardcover. Pages: 76 + (2). Dimensions: 20x22 cm.

Hardcover: 128 pages, Dimensions: 0.8 x 8.9 x 10.2 inches

Victor Vasarely. Farbwelt. Folklore Planetaire.

Author: Vasarely Editorial: Bruckmann Verlag., München, 1973 ISBN 10: 3765415278 ISBN 13: 9783765415272 Photos: Stefan Moses.

Design: Peter Wilhelm.

Texts in German, English and French.

With lots of pictures and a film insert.

Victor Vasarely Author: Bruno Grossetti Publisher: Galleria Annunciata, Salone Annunciata.

Notas: Collana dell-angelo,anno 34,5.

Tenuous Exposition 17 april to 6 march 1974 in the Gallery Announced, Milan.

Softcover, Pages: 56, Dimensions: 22 cm.

Pages: 88

ENTRETIENS AVEC VICTOR VASARELY Author: J. L. FERRIER Belfond 1969 E.O num.

Musee Vasarely Author: Victor Vasarely Publisher: Musee Didactique París, 1973

Original Edition on Vellum Rives.

Chapters: Genesis and principle of kinetic Art Towards a new illusion - Kinetic Art and society Documents.

4º Edition. With numerous B.W. and color illustrations, in German and French language

Softcover, Pages: 79.

Pages: 182 Dimensions:19.5x14.5cm. Weight: 320 g.

VASARELY Author: Otto Hahn Edition: Fernand Hazan 1970

“Fondation Vasarely” Op Art Catalogue Abstract Art, Publisher by Fondation Vasarely 1975, Aix en Provence English edition

Format: broché Illustrations : illustrations en couleurs

Profusely illustrated glossy catalogue. Catalogue with a set of ten showcases each containing 21 frames. These include reference pages and additional pictures.

Text by Vasarely.

Pages:44. Dimensions: 15x10,5 cm

Softcover. Pages: 101

Victor Vasarely Fabstadt.

Color City - Cité polychrome - The polychrome city Publisher: Bruckmann Pantheon Edition, 1977 ISBN: 3765416053 EAN: 9783765416057

VASARELY - by Marcel Joray Artist: Vasarely Edition: du Griffon Neuchatel 1976

Text in German, French & English. 1st Edition

Signed by the author Marcel Joray. Illustrations in black and white and color.

Hardcover large format. Pages: 96.

Dimensions: 33 cm.

Softcover. Pages: 128. Dimensions: 15 x 11.5cm

255

Victor Vasarely Hommage a Victor Vasarely Publisher: Istres en Provence, Centre d'Art Contemporain 1993 Exhibition Catalogue 4 febraury - 31 may 1992.

Centre d'Art Contemporain, Istres en Provence, 41 color plates. Texts in French. First Edition.

Books - Vasarely Vasarely Inconnu Author: Victor Vasarely Editor: Serge Lemoine 2014 Publisher: Silvana Foreword by Pierre Vasarely / Text by Julio Le Parc Language English ISBN-10 8836627056 9788836627059 ISBN-13 Exhibition catalog.

Hardcover. Pages: 71. Dimensions: 25 x 25 cm.

Hardcover. Pages:220 Dimensions:29x29cm

Victor Vasarely - Gordes / Vaucluse Publisher: Vasarely Museum in Gordes / Vaucluse. 1976 Editing didactic museum of Gordes, 1976

Vasarely Author: Galerie Denise Rene Paris, France Text: Guy Habasque Publisher: Quadrum

Many paintings Reproduction in full screen. Text Claude Desailly.

Modern Art International Review. Published on “Palais des Beaux-Arts” on Bruselles. (cf.vol III - 1957 )

Softcover. Pages: 87. Dimensions: 26x23 cm -

Softcover. Pages: 16. Dimensions: 27.3x21cm.

Otto cartelle di serigrafie di Victor Vasarely Author: Vasarely Publisher: Centro Italiano D`Arte ANNUNCIATA. Milano

Vasarely Author: Galerie Denise Rene Paris, France Publisher: Galerie Denise René, París

Permutations, Hommage a L`Hexagone, Clarities, Gestal, Vega, Gordes, VP, Bach Vasarely Softcover. Pages: 28 Dimensions: 24x20cm Softcover, Pages: 56, Dimensions: 22 cm.

Vasarely Farbwelt - Folklore Planetaire.

Author: Victor Vasarely Publisher: Munich, Bruckmann 1973 ISBN: 3765415278 EAN: 9783765415272 4 ° Edition , With 45 mostly color illustrations and 45 photos, Language: German Softcover, Dimensions: 28x21cm Pages: 92.

Vasarely Inconnu Author: Victor Vasarely Editor: Palis Bénédictine, France 2001

Tableaux cinétiques.

Publisher: Galerie Denise René, Paris 1959 Language: French It features four superb full page black and white reproductions on heavy stock paper, separated by different color card paper. There is also a very Op Art style photographic portrait of the artist and biographical information (in French). The last end pages features a printed (plate) signature of the artist.

Pages: 30. Dimensions: 27x21cm

Catalogue de l'exposition - VASARELY Du 16 au 27 février Author: Galerie Kaare Berntsen, Oslo, Norvège Publisher: Galerie Kaare Berntsen, Oslo, Norvège 1962 Language: French

Exhibition catalog.

Many small illustrations in black and white

Softcover. Pages: Dimensions:

Softcover. Pages: 56. Dimensions: 24.9 x16.5cm.

256

Victor Vasarely

Books - Vasarely

Galerie Denise Rene Paris, France 1965 Printed in Belgium

1968 Denise Rene: Josef ALBERS Victor VASARELY Yaacov AGAM Jean ARP CRUZ DIEZ ++

The catalogue is undated, it is thought to be from 1965 as it was published by Quadrum, There are 6 dazzling full page color plates, and 10 equally impressive in black and white. The text (entirely in French) by Henri VAN LIER is printed on semi-gloss thin paper, while the artwork reproductions are on thicker white wove paper, giving them the look and feel of actual prints.

These are Denise Rene's artists and this was indeed a monumental London exhibition in the late Sixties, where Denise Rene brings Op Art to the most happening city on the international art and culture scene of that era: London!!. Features 33 black and white reproductions of artworks, excluding the photographic portraits of each artist. There is also one color reproduction of Vasarely's work.

Pages: 32. Dimensions: 8.25x10.75 inches.

Softcover. Pages: 36

March - April 1963 Vasarely Author: Musée des Arts Décoratifs Printing house: Mazarine, París.

Printer: E Guillot, Maitre

Denise Rene Gallery Author: Jean-Jaques Leveque Text: Jean-Jaques Leveque Publisher: Denise Rene Gallery, Cimaise 1966

Exhibition catalog serigraphs, Tableaux, Collages, Oeuvres Profondes cinetiques (transaparences), Reliefs on metal ((+ -)), Oeuvres on woven, Oeuvres walled.

Text by Michel Faré (Conservator in chief of Musée des Arts Décoratifs)

Many black and white illustrations; 3 in color.

Softcover. Pages: 14. Dimensions: 27x21cm.

Softcover. Pages: 26. Dimensions 31x24cm

Denise René, L´intré`pide Publisher: Centre Georges Pompidou Service Commercial (January 31, 2001) ISBN-10: 2844260845 ISBN-13: 978-2844260840 Text in French

Victor Vasarely : Kestner-Gesellschaft Hannover; 12.

Dezember 1963 bis 26. Januar 1964 Editorial: Hannover - Kestner-Ges, 1963 Title on added t.p.: Victor Vasarely.

Catalog of an exhibition held at Kestner-Gesellschaft, Dec. 12, 1963-Jan. 26, 1964.

Softcover. Pages: 96. Dimensions: 21x15cm

Softcover. Pages: 96 Dimensions: 27x21.6cm

Denise René mes annes 50 Publisher: Galerie Denise René, 1988 Text in French

1964 VICTOR VASARELY Op Art Hags Gemeentemuseum Museum Exhibition Catalogue

Illustrations in black. Denise René gallery is an abstract art gallery, based on the presentation of the pioneers of abstract art of the twentieth century. Denise René launched the career of Vassarely. She opened a second gallery, Denise René-Rive Gauche, boulevard SaintGermain, and in 1967 another German, Hans Mayer, and finally a space in New York in 1971, closed ten years later.

Victor Vasarely catalogue published on the occasion of the 1964 Rare Haags Gemeentemuseum exhibition in the Netherlands. The text is in Dutch. It also features 2 color illustrations and 18 black and white. In addition to a Biography, it features a detailed Checklist of all 121 works in the exhibition.

Softcover. Pages: 36. Dimensions: 8.9x7.5 inches

Softcover. Pages: 96 Dimensions: 31x24.5cm

Galerie Denise René 124 rue la beotie paris Publisher: Galerie Denise René, 1961 Text in French Illustration inset of 32 pages. Excerpts from texts by Le Corbusier and Michel Seuphor.

Victor Vasarely - Paroles D`Artiste Author: Victor Vasarely Publisher: Fage Editions 2016 ISBN 10: 2849754137 / ISBN 13: 9782849754139 Text: English / French Illustrations: 31 Victor Vasarely The controversies represented by ‘figurative-abstract’, ‘major art’ and ‘minor art’ are spurious. All art makes figures, and all true art is major.

Paperback book, softcover, not paginated.

Pages: 50

Par : Victor Vasarely Les controverses “figuratif-abstrait”, “art majeur-art mineur” sont fausses. Tout art figure et toute œuvre vraie est majeure.

Softcover. Pages: 64. Dimensions: 17x12 cm

257

Victor Vasarely Victor VASARELY Paintings and Graphics London Arts & Sidney Janis Catalogue Editions du Griffon Neuchatel, Switzerland, 1965.

Introduction: Michel Hoog This undated 1966 catalogue with stiff wraps is a superb and uncommon reference on the graphic work as well as paintings of Victor Vasarely in the 1960's. It features a Checklist of 16 oil paintings, 106 serigraphs, and 4 lithographs. At the end is a list of writings by Vasarely, a brief biography (to 1966), and a list of publications by London Arts.

Catalogs - Vasarely L'affaire Vasarely - Michèle Vasarely Publisher: Vents Contraires (February 12, 2002) ISBN-10: 2910953181 ISBN-13: 978-2910953188 Language: French

Pages: 319. Dimensions: 9.4 x 5.9 x 0.9 inches

Softcover. Pages: 40. Dimensions: 6.5x8.75 inches.

VICTOR VASARELY-EXHIB.CAT.BASEL 1°ED.1965 Galerie Handschin, Basel, 1965

Paperback Edition. 8 color and black and white. Plates FIRST EDITION Text in German

VICTOR VASARELY, STEDELIJK MUSEUM AMSTERDAM CATALOGUE. CROUWEL DESIGN Publisher: Stedelijk Museum, Amsterdam, 1967 Exhibition catalogue. Text in Dutch. With 128 illustrations in black & white. Can be considered as an early catalogue raisonné of Vasarely’s screenprints.

Softcover. Pages: 32. Dimensions: 27,5 x 18,5 cm Softcover. Pages: 16. Dimensions: 29.5 x 21 cm.

Victor Vasarely : De l'oeuvre peint à l'oeuvre architecturé Author: Jean Paul Ameline Edition: Hermann 2013 ISBN: 9782705687038

L`ART VIVANT 1965-1968 Publisher: Fondation Maeght, 1968 Text in French - paperback, Illustrated boards b&w and colors.

Textes de Pierre-Antoine Gatier, François Goven, Robert Jourdan, Claude Pradel-Lebar, Jacques Repiquet, V. Vasarely. Paperback Edition.

Hardcover. Pages: 138. Dimensions 20x22cm Hardcover. Pages: 115. Dimensions: 28 x 28 cm.

Museumjournaal screenprint on see through fiche Author: Victor Vasarely Publisher: Museumjournaal 1965 Language: German

Cover and the special Vasarely silkscreened inlay

Softcover. Pages: 52. Dimensions: 25.4x19cm.

VASARELY IN RETROSPECT Author: Rothmans of Pall Mall Canada limited Edition 1970

This oversized somewhat scarce softcover catalogue with stiff wraps was published in conjunction with this important Canadian Retrospective of Vasarely's work, planned in the Sixties, and opening in 1970, the turn of the new decade. Vasarely (1906-1997) was the founder of the European Op Art movement, and this exhibition was during his lifetime. The illustrations are all full page on glossy white paper, while the remaining text is on blue rag paper, making for a most elegant design.

Pages: 75.

Victor Vasarely Author: Victor Vasarely Publisher and printer: Vytiskly Moravia 1966 Exhibition catalog serigraph by Victor Vasarely, who staged a unitary club working horn club Friends of Fine Arts in Chrudim in 1966. Text catalog: Jiri Siblík printed moravske tiskarske factories operating in Usti nad eagle

Dimensions: 28cm

Catalogue de l'exposition VASARELY Juin - Août 1969 Author: Galerie Engelberts, Genève Publisher: Galerie Engelberts, Genève 1969 Language: French

Many small illustrations in black and white

Softcover. Pages: 14. Dimensions 19x20cm Hardcover. Pages: 42. Dimensions: 16.9x18 cm.

Pages: 36. Dimensions: 29x30 cm

258

Victor Vasarely VASARELY - Catalogue Veranneman 1970

Catalogue of the exposition in Galerie Veranneman on 1970

Softcover. Dimensions: 26 x 21cm

Catalogs - Vasarely VASARELY. Catalogo di mostra, Galleria de' Foscherari 1968.

Bologna Galleria de' Foscherari Text: Germano Beringheli Catalog of the exhibition organized in Bologna, Galleria de 'Foscherari, May 4-24, 1968, in collaboration with the La Bertesca Gallery of Genoa. 6 black and white illustrations. Biography and bibliography. In the appendix the newsletter of Pietro Bonfiglioli Softcover. Pag. 12,

VASARELY Publisher: Edition Pyra, 1970

VASARELY. Au Chateau de Vascoeuil, 1971 Author: Vasarely Publisher: Georges Fall, París. 1971

Exhibition catalog No Date Tire was a part 250 numbered examplaires. Lot designate before the recipient exposition of the oeuvre original made by vasarely.

Softcover. Dimensions: 21x21cm Softcover. Pag. 34, Dimension: 26x23cm

Vasarely - Exhibition catalog Edition: Pyra 1970 By the Galleria Lorenzelli, Milan, Via Manzoni, 20, Wells Photos Bergamo, Quattricromie Bassoli of Zinc "Zincotecnica", Bergamo With Types of Printing Conti, Bergamo 1961

Vasarely 15 octobre - 6 novembre 1971 à la Galerie VERANNEMAN de Bruxelles

Flexible hardcover, ice reproductions in color and black & white. French text of Vasarely, photo of the artist in black & white

Softcover. Dimensions: 21 x 21 cm Pages:64 pages. Dimensions: 21 cm X 27 cm.

Weight: 292 g

2. VASARELY Publisher: ANTHEA, Gallerie d´arte 1971 This publications was prepared on the ocassions of a exhibition of Victor Vasarely, realized on 12 october 1971, on the Anthea Galery.

Text by: Giuseppe Selvaggi / Otto Hahn

Victor Vasarely - Catalogo Galleria La Bussola, Torino, Marzo 1971 Author: Victor Vasarely Editor: Galleria La Bussola, Torino 1971 Texto: Otto Hahn 16 Plates on color and black and white (8 in colors)

Softcover. Pages: 24. Dimensions: 21x15cm.

Pages: 20. Dimensions: 21,5x15cm

VASARELY Author: Victor Vasarely Publisher: Kunsthalle 1971

VASARELY duo/exhibition recent works Publisher: Denise René / Sidney Janis . N.Y. April 1972 Printed: S.M.I, París. Printed on France Text: English ASIN: B0006C78BQ

Catalog of the exhibition, 11 June to 19 September 1971. Texts by Helmut R. Leppien and Werner Spies.

60 illustrations in black and in color. Bibliography, list of exhibitions, works in public collections and those exposed. Text in German

22 illustrations on color and black and white. List of works exhibited.

Softcover. Pages: 32 Dimensions: 27cm Softcover. Pages: 36 Dimensions: 28x21cm Softcover. Pages: 102. Dimensions: 23cm

259

Victor Vasarely Victor Vasarely 1948 - 1958 Publisher: Galerie Charles Kriwin, Brussels. 1972

Catalogs - Vasarely Victor Vasarely Author: Victor Vasarely Editor: Galleria La Bussola, Torino 1974 Print: Stamps Grafic Olimpia, Milano

Exhibition Catalogue / Exhibition Catalogue Mai - Juin 1972. 11 color plates + 1 photographic portrait of Vasarely.

FIRST EDITION / FIRST EDITION. Texts in French

by Pierre Sterckx and Paul Joray.

Exhibition catalog, December 1974. Text by Marcel Joray. With 16 plates in black and 4 colors. List of works.

The Compass Gallery 1974

Softcover. Pages: 28. Dimensions: 22,5 x 22,5 cm

Softcover. Pages: 28. Dimensions: 21.5 x 15cm

VASARELY Author: Marc Hallain Publisher: Fernand Hazan - Ateliers d´ Aujourd'hui, 1973

VASARELY Artist: Victor Vasarely Publisher: Galeria Theo 1975 Language: French

Text Marc Hallain - Black and white with illustrations in colors and inserts.

Illustrations / Photographs in black and white and color

Hardcover. Pages: 64 Dimensions: 23 x 18cm

VASARELY, catalogue exposition Galerie VERANNEMAN Brussel, 1973 Flexible hardcover, icy layer on the first page, reproduction of a manuscript text by Vasarely.

Reproductions in color and black & white. Text in French and flemish picture of the artist in black and white.

Pages: 28. Dimensions: 21x27cm. Weight: 225g

VASARELY Author: Natali Elvio - Victor Vasarely Publisher: Gallery of Modern Art Falsetti 1974 Exhibition catalog, 6 to 26 July 1974. Foreword by Elvio Christmases. With 20 plates in black and one in color. biographical notes. First edition 1000 es. numbered (First edition of 1000 numbered copies)

Broch Softcover. Pages: 14. Dimensions:

Vasarely - Exposition du 12 juin au 1 septembre 1974. marie-louise jeanneret - art moderne. Genève Editior: Galerie Jeanneret (1974) Loose-leaf folder, brochure 4 pages with an essay by Vasarely, 24 pages with 26 illustrations from exhibition held from June 12 to September 1 at the gallery of modern art Marie Louise Jeanneret, plus a table index, paperback publishing lithography.

Paperback. Pages: 54. Dimensions: 21x17cm.

Vasarely Muzeum, Pecs Published: Janus Pannnius Muzeum Muveszeiti Kiadvanyai 28. 1976 Catalogue in Hungarian. Inserted French translation of statement by Vasarely and the introduction by Eva Hars.

Illustrated. (some on colors) Pages: 48. Dimensions: 22 x 24 cm.

The Imaginary Museum of Vasarely Author: Victor Vasarely Publisher: Edition Duculot 1978 Language: German

Color and black and white illustrations Hardcover. Pages: 80. Dimensions: 31x25cm.

VASARELY Author: Catalog Heinz Holtmann and Junior Gallery .

Publisher: Junior Gallery, 1979 Binding paperback. BW and color pictures.

German language Softcover. Pages: 79. Dimensions: 26x21cm.

Pages: 28. Dimensions: 33x25cm

260

Victor Vasarely Imagen de una idea: Rosenthal Studio-Linie Author: Rosenthal Studio-Linie Publisher: Rosenthal Studio-Linie 1979 Language: Español The book is dedicated to the Studio-Linie development and included items and features many large format color pictures on high quality paper.

Softcover. Pages: 60. Dimensions: 30.5x30.5cm.

The Rosenthal story Author: Hermann Schreiber, Dieter Honisch & Ferdinand Simoneit Publisher: Econ Verlag, Vienna / Dusseldorf 1980 ISBN 10: 3-430180-49-X ISBN 13: 978-3-430-18049-8 Great overview of the company, its history and products First Edition, Photos 117 b/w & 154 colored Hardcover. Pages: 227. Dimensions: 28x23cm.

Weight: 1,850 grams

Catalogs - Vasarely Vasarely 1938-1962 Author: Imre Pan, Victor Vasarely Publisher: Le Point Cardinal, 1962 Exhibition Catalogue / Exhibition Catalogue 6 lithographed plates in color and illustrated first course

Softcover. Pages: 32. Dimensions: 12cm

Victor Vasarely - A Retrospective Exhibition.

Selections from 50 years of artistic achievement.

Publisher: Circle Fine Art Corporation (1989) Author: Victor Vasarely This publications was prepared on the ocassions of a serie of exhibitions, Victor Vasarely: A Retrospective Exhibition 1940`s to present, curated by Peggy Bagley, Art Historian, Circle Fine Art Corporation. Book Design: Douglas Wilkinson. Book Production by Art Media, Chicago, Illinois Softcover, Pag. 50. Dimension: 23 x 21cm

VASARELY AU FUTUR Author: Frederic de Towarnicki Publisher: Georges Fall / Atelier Gourdon Paris-OsloLos Angeles. 1985 Text in both English and French. Traduction of Nissim Marshall. Features 12 mini black and white reproductions of Vasarely serigraphs published by Georges Fall Prints. On the last page are colophon details of the print series, including number of editions published.

Vasarely : Budapest, 1992, Zichy-kastély.

Publisher: Vasarely Múzeum, Budapest, 1992.

Catalogue of an exhibition held at Essays written by Mária Egri. The writing of Brigitta Ciffka, and the catalogue of the exhibited works of art are taken from the publication of the Museum of Fine Arts, 1987.

Biography and bibliography by Lívia Bíró. Illustrated. (some on colors) Softcover. Pages: 71. Dimensions: 21 x 21 cm.

Softcover. Pages: 24. Dimensions 24x23.5cm

VASARELY Author: Brigitta Cifka.

Published: Vasarely Muzeum, Budapest 1987

VICTOR VASARELY - Retrospettiva-Exhibition Catalogue 1° Ed. Publisher: Musée des Beaux-Arts, Charleroi, 1994

Great book featuring the artwork of Hungarian born Op artist Victor Vasarely. 15 full-page color illustrations of Op images, abstract works, optical illusions, minimalist works by Vasarely. Inlcudes biography of the artist.

Same text in Hungarian and German.

38 plates in color and black and white. Textes in French

by Chaterine Leclercq, Tamara Luuk.

Softcover. Pages: 40. Dimensions 21x21cm

Softcover. Pages: 80. Dimensions: 24 x 24 cm

Victor Vasarely <<Les Annes Cinquate>> Publisher: Galerie Lahumiere, 1988

VASARELY Museum Tour 1993-1994, Japan.

Publisher: The Japan Association of Art Museums, 1994

Published on 3 versions: French, German and English.

16 pictures on colors and 3 on black and white.

First edition. A catalog for a show that traveled throughout Japan in 1993 and 1994. Text in English and Japanese. Includes numerous color and black and white illustrations.

Hardcover. Pages: 88. Dimensions: 28cm Softcover. Pages:137. Dimensions: 30cm

261

Victor Vasarely Vasarely - Hommages Author: Pierre Vasarely Publisher:Musees des Beaux-Arts de Charleroi, Belgium 1996 Language: French

42 full-page color plates

Catalogs - Vasarely Victor Vasarely Author: Ali Ova Publisher: Yapi Kredi (May 2001) ISBN 10: 9750802314 ISBN 13: 9789750802317 Language: Turkish Catalogue with 68 pages of photographs in black and white and color has been prepared by Yapý Kredi Cultural Activities- Arts and Publishing, for Yapý Kredi Bank Corp. on the occasion of the exhibition, "Victor Vasarely painting – sculpture – tapestry". Exhibition Poster is included with each catalogue.

Softcover. Pages: 72. Dimensions: 24.1x24.1cm.

Softcover, Pages: 68.

Victor Vasarely - 50 years of creation Author: Victor Vasarely Editor: Lausane, Switzerland 1996 Print: Stamps Grafic Olimpia, Milano Exhibition catalog.

Victor Vasarely.

Author: Victor Vasarely; Barry Schwabsky; Robert Sandelson (Firm) Editor: Robert Sandelson, ©2003.

Essay: Barry Schwabsky.

ISBN: 0954495802 9780954495800 Catalog of an exhibition held at the Robert Sandelson gallery in 2003.

Softcover. Pages: 72 Dimensions: 23x23cm

Softcover. Pages: 123 Dimensions: 30x24.5cm

Victor Vasarely - Creador del OP-ART y del Arte Cinetico. Spain 1998 Author: Victor Vasarely Editor: Palacio Sastago Museum Diputación Provincial de Zaragoza. Servicio de Cultura ISBN: 8489721203 ISBN-13: 9788489721203

Vasarely Author: Victor Vasarely Publisher: Foundations Homes North 2004.

Book published on the occasion of the exhibition "Vasarely course 1930 - 1980.". Many color illustrations.

1st Edition.

First Edition. Exhibition catalog.

Softcover. Pages: 120. Dimensions: 21x21cm

Softcover. Pages: 82. Dimensions: 24 x 24 cm

Victor Vasarely Author: Victor Vasarely Editor: Ulmer Museum, Germany 1998-99

CHRISTIE’S, South Kensington – “Victor Vasarely Prints and Multiples from the Collection of André and Michele Vasarely” – July 19, 2007 Auction Catalog

Exhibition catalog.

This Auction sale catalogue features 128 Lots, all described and color illustrated.

Softcover.

Softcover. Pages: 44. Dimensions: 28x22cm

Vasarely Author: Werner Spies Editor: Juan March Foundation, Spain 2000 ISBN: 84-7075-486-6 Foundation Juan March ISBN: 84-89935-13-0 Edition de Arte y Ciencias

VASARELY Works 1930-80 Publisher: Aix et Hongrie, 2008

Catalogue Irelande. Aix et Hongrie

Diseño Catalogo: Jordi Teixidor Hardcover. Pages: 86 Softcover. Pages: 144 Dimensions: 29x23cm

262

Victor Vasarely

Catalogs - Vasarely

Vente au Profit de la FONDATION VASARELY Artist: Vasarely Edition: Fondation Vasarely 2009

Victor Vasarely - from painting to architecture Author: Pierre Vasarely Publisher: Editions Hermann 2013 Language: French

Samedi 7 Mars 2009 à 14h30, Salle 8 - Hôtel Drouot.

Vente Dirigée par Maître Yves Wetterwald

Illustrations / Photographs in black and white and color

Hardcover. Pages: 120. Dimensions: 26.8x26.8x1cm.

Softcover. Pages: 40. Dimensions: 28x22cm

ars porcellana Author: Edith Behnke and Josephine Gabler Publisher: Museum of Modern Art - Wörlen, Passau 2009 Language: German ISBN 10: 3-928844-61-X ISBN 13: 978-3-928844-61-1

Vasarely, Du 11 mai au 18 juin 1965 Publisher: Honover Gallery, London 1965 Language: French and English Text by Michel Butor Many illustrations in Black&White and one in color, 2 sheets flap brochure.

Great overview of the company, its history and products First edition 2009, Illustrations: 45 color illustrations Hardcover. Pages: 112. Dimensions: 27,6x21,5x1,2 cm.

Weight: 750 grams

Hardcover. Pages: 44. Dimensions:23,4x10,8cm

Fondation Vasarely 2011 - Leclere Maison de Ventes Author: Fondation Vasarely

Homage to Denise René, Past, Present and Future of a Vision Author: Galerie Espace-Expression Publisher: Galerie Espace-Expression / Denise René Galerie / Logistics-Fine Arts, 2013-2014 Language: French-English

Exposition FONDATION VASARELY, Jas de Bouffan 13090 Aix-de-Provence. Mardi 27 septembre de 10h à 18h Mercredi 28 septembre de 10h à 19h

Softcover. Pages: 80. Dimensions: 25x20cm Softcover. Pages: 121. Dimensions: 28x22cm

Vasarely - Da Belle Isle a Noir-Blanc Author: Boesso Art Gallery Publisher: Boesso Art Gallery 2011 Language: Italian

Vasarely. The utopia of hapiness or the allegory of decorum Author: Galleria Il Castello, Milan Publisher: Galleria Il Castello, Milan 2009 Language: Italian

Catalogue of the retrospective exhibition dedicated to Victor Vasarely at Boesso Art Gallery. Numerous color photos of the works.

Softcover. Pages: 84.

Softcover.

Succession René Bleibtreu (Vasarely, Albers, Agam, Soto, Calder, Cruz Diez, Schoffer, Tomasello, Le Parc, etc.)

Author: René Bleibtreu Publisher: Drouot 2012

Victor Vasarely. Der Traum vom Raum 2017 Author: Marlene Lauter Publisher: Weinand Verlag Language: German

Catalogue of the Succession of René Bleibtreu, brother of the famous gallery of Denise René (real name Denise Bleibtreu), René Bleibtreu was born April 12, 1920. He worked throughout his life to the promotion of art and kinetic built with his sister Denise. Uninterested in trade, René is primarily responsible for achieving the exhibitions and the publication of screenprints, multiples and catalogs and in close collaboration with the artists

Softcover. Pages: 90. Dimensions 24x23.5cm

263

Dimensions:

Softcover. Pag. 128. Dimensions: 28 x 21.1 x 1cm Weigth: 638g

Victor Vasarely VASARELY Author: Erick Andersen, April 1964

Brochure - Vasarely Vasarely - Ses maitres ses amis Publisher: Embassy of France in Brazil Cultural Services Language: French

Softcover. Pages: 6 Dimensions: 25x24cm Softcover. Pages: 4, Dimensions: 16.5 x 16.5cm

Vasarely Publisher: Lippi Galeries, 1971. Chicago, Illinois Slim exhibition catalog for a show that ran July 1 through August 15, 1971. Includes 6 illustrations with 4 in color. A very near fine copy in stapled wrappers

Victor Vasarely Author: Vasarely Victor Text: Otto Hahn Published by Galleria La Nuova Loggia, Bologna, 1971 Exhibition catalog, October 1971. Presentation of Otto Hahn. With 4 illustrations in black and a color cover.

Softcover. Pages: 8.

Pages: 6. Dimensions: 23x30cm

Rosenthal Vasarely Reihe Publisher: Rosenthal, Werbebroschur, Selbstverlag 2009 Language: German Rosenthal, Vasarely series Rosenthal own publishing company, advertising image, gatefold -. Images Doppeklseiten, collectors, relief series,

Paperback. Pages: 18 (9 double pages) Dimensions: 14 x 10.5cm Weigth: 30gr.

Catalogue de l'exposition - VASARELY Du 22 mars au 29 avril Author: Galerie Simpel & Hanover, Zurich Publisher: Galerie Simpel & Hanover, Zurich 1969 Language: Sweden-German Illustrations in color

Softcover. Pages: 8. Dimensions: 24x16cm.

Victor Vasarely - A Retrospectiove of paintings and works on paper Publisher: Associated American Artists Language: English

VASARELY Author: Victor Vasarely Publisher: Gallery Moos Ltd. 1973

This publications was prepared on the ocassions of a exhibition of Victor Vasarely, New York, USA, On 18th June till 1st August, 1997

This publications was prepared on the ocassions of a exhibition of Victor Vasarely organizes with the cooperation of a inter-continental art agency, Vancouver.

On 15th September till 4th October, 1973

Softcover. Pages: 6 (3 double pages) Dimensions: 20 x 23cm

Softcover. Pages: 16. Dimensions: 20x13cm

Vasarely Publisher: Galeria Freites 1982 Language: Spannish

VASARELY - Exposicion de Obras Originales de Victor Vasarely Publisher: Alejandro Freites Centro de Arte

This publications was prepared on the ocassions of a exhibition of Victor Vasarely, Caracas, Venezuela at Galeria Freites, On 15th till 29st August, 1982 Softcover. Pages: 6 (3 double pages) Dimensions: 28 x 21cm

This publications was prepared on the ocassions of a exhibition of Victor Vasarely, Caracas, Venezuela.

On 24th January till 12th Febraury, 1978 Softcover. Pages: 6 (3 double pages).

Dimensions: 21x21cm

264

Victor Vasarely Le Mouvement Author: Victor Vasarely Publisher: Gallery Denise René, 1955 This publications was prepared on the ocassions of a exhibition of Agam, Bury, Calder, Marcel Duchamp, Jacobsen, Soto, Tinguely and Victor Vasarely on Galerie Denise René, Paris, on 6th till 30th April, 1955 Softcover. Pages: 8 (4 double pages).

Dimensions: 24,5x16.5cm

Brochure - Vasarely VASARELY. Publisher: Galleria del Grattacielo, Milano 1958 Language: Italian / French Exhibition from 22 March to 5 April 1958. Cover lithography. 1 reproduction in full page and a photo portrait of the artist. Introduction of Michel Seuphor (in French).

Exhibitions. Bibliography.

Softcover. Pages: 8. Dimensions: 24.9x17.4cm

Form “Duo” Author & Publisher: Rosenthal Studio-Line Printed in 1985

Publisher: Georges Fall, Paris, Jun. 1971 Language: French

This publications contains the very different stamps of the form DUO, desing by Rosenthal Studio Line and decorated of many artists on the XX century. Includes Vasarely

Cover under illustrated cover. VASARELY by Claude Desailly,

Softcover. Pages: 16 (8 double pages).

Dimensions: 23x11,5cm

Softcover. Pages: 84. Dimensions: 27x18cm

LO(s) CINÉTICO(s) Publisher: National Museum Reina Sofía - Madrid 2007 Language: Spanish Exhibition Catalogue

Softcover. Pages: 279. Dimensions: 27x21cm

O(s) CINÉTICO(s) Publisher: National Museum Reina Sofía - Madrid 2008 Language: Spanish Exhibition Catalogue. November 13, 2007 to February 10, 2008 Softcover. Pages: 136. Dimensions: 31x22.5cm

Victor Vasarely Originale und grafik Publisher: Denise René / Hans Mayer Language: German

Softcover. Pages: Dimensions:

VASARELY “KANTA” Publisher: Galleria Levi (1971) Text of Franco Passoni. 17 illustrations on color. List of works exhibited.

Softcover. Pages: 12 Dimensions:

Vasarely Publisher: Richard Feigen gallery, 1966.

Chicago, Illinois

MoMA OP ART Responsive Eye Bridget RILEY VASARELY NOLAND ALBERS First Edition 1965

Exhibition catalog for a show that ran February 22 through March 26, 1988. Includes 13 black and white illustrations

Catalogue of a landmark MoMA exhibition. Features the finest in sixties "optical" art by artists including Bridget Riley (cover), Vasarely, Reinhardt, Dorazio, Albers, Agam, Stella, Karl Gerstner, Kenneth Noland, and more. Great full-page illustrations, many color.

Softcover. Pages: 16. Dimensions: 23x15cm

265

Opus International N°26.

Softcover. Pages: 56. Dimensions: 9.5 x 8.5".

Victor Vasarely Vasarelyptique Tome 1 Artist: Victor Vasarely Publisher: Editions Du Griffon Language: French ISBN : 978-2-88006-045-9 Limited to 1000 copies set of three portfolios and texts and unpublished documents. Until today, the series of portfolios devised and supervised by Vasarely in person were preserved in our archives and disseminated only in small circles. Grouped in this Vasarelyptique, the ultimate original copies are again available in exclusive and limited edition.

Each volume contains three portfolios designed by the artist, accompanied by reproductions of historical documents and rare texts or unpublished.

Volume 1 (2012) Hardcover. Dimensions: 27,5x27,5cm

Vasarelyptique Tome 2 Artist: Victor Vasarely Publisher: Editions Du Griffon Language: French ISBN : 978-2-88006-046-6 Limited to 1000 copies set of three portfolios and texts and unpublished documents. Until today, the series of portfolios devised and supervised by Vasarely in person were preserved in our archives and disseminated only in small circles. Grouped in this Vasarelyptique, the ultimate original copies are again available in exclusive and limited edition.

Each volume contains three portfolios designed by the artist, accompanied by reproductions of historical documents and rare texts or unpublished.

“My plastic logic far beyond the logic of my writings as I continue to invent. " Vasarely (letter to Marcel Joray, 23 March 1970) Volume 2 (2013) • Portfolios:

Various Publications - Vasarely Coffret Vasarelyptiques, Victor Vasarely Artist: Victor Vasarely Publisher: Editions Du Griffon ISBN: 978-2-88006-048-0 Language: French Grouped in this case, the ultimate original copies are available again, accompanied by reproductions of original documents and rare or unpublished texts.Box with 3 x 3 portfolios Hardcover. Dimensions: 29x32x8,5cm (Coffret)

Victor Vasarely - Taschen Portfolio Publisher: Taschen 2006 ISBN-10: 3822850721 ISBN-13: 9783822850725 Language: English, French, German, Spanish

Softcover. Pages: Dimensions: 35.5 x 28 x 0.5 cm Weight: 17.6 Oz

Victor Vasarely - Naissances Publisher: Galerie Der Spiegel / Verlag 1971 Author: Victor Vasarely Language: French, German 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 "447/650". 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.

Pages: 52. Dimensions: 29 x 20.5cm

- CTA-102 (1971) - Planetary Folklore (1971) - Vega (1971)

• Unpublished Documents 2013: - Sketch Study Vasarely (1968) - Manifest script Vasarely (1954) - Unpublished text Habasque Guy (1957) - Text Frank Popper (1967)

Hardcover. Dimensions: 27,5x27,5cm

Vasarelyptique Tome 3 Artist: Victor Vasarely Publisher: Editions Du Griffon Language: French ISBN : 978-2-88006-046-6 Until today, the series of portfolios designed and supervised

by Vasarely in person were preserved in our archives and broadcast only in limited circles. Grouped in this Vasarelyptique, the ultimate originals are again available in exclusive and limited edition.

Each volume contains three portfolios designed by the artist, accompanied by reproductions of original documents and rare texts and unpublished.

"My plastic logic goes far beyond the logic of my writings because I continue to be invented. " Vasarely (letter to Marcel Joray, 23 March 1970) Volume 3 (2013) • Portfolios: - Graphics 1(1977) - Graphics 2 (1977) - Graphics 3

Vasarely - Hommage a L´Hexagone Artist: Victor Vasarely Publisher: Editions Du Griffon 1973 Format: Sheets under shirt Language: French Large square 8vo, silver cardboard sheets under shirt, suit 8 color plates; back rubbed and rubbed caps.

Pages: 8 Plates. Dimensions: 27.5x27.5 cm

Vasarely - Vonal Artist: Victor Vasarely Publisher: Editions Du Griffon 1973 Format: Sheets under shirt Language: French Large square 8vo, leaves in silver jacket hardcover, 10 color plates; back rubbed and rubbed caps

(1977)

• Unpublished Documents 2013: - Photo by Andre Maurin (1966), - Manifesto Vasarely (1954), - Text by Michel Seuphor (1955), - Unpublished text of Pierre Vasarely (2013), - Kinetic Rhodoïd (1973)

Pages: 10 Plates. Dimensions: 27.5x27.5 cm

Hardcover. Dimensions: 27,5x27,5cm

266

Victor Vasarely Vasarely - Progressions 1 Artist: Victor Vasarely Publisher: Editions Du Griffon 1972 Format: Sheets under shirt Language: French Large square, leaves in black jacket , Original farde with 8 boards.

Pages: 8 Plates. Dimensions: 41x41cm

Vasarely - Progressions 2 Artist: Victor Vasarely Publisher: Editions Du Griffon 1973 Format: Sheets under shirt Language: French Large square, leaves in black jacket , Original farde with 8 boards.

Pages: 8 Plates. Dimensions: 41x41cm

Vasarely - Progressions 3 Artist: Victor Vasarely Publisher: Editions Du Griffon 1974 Format: Sheets under shirt Language: French Large square, leaves in black jacket , Original farde with 8 boards.

Pages: 8 Plates. Dimensions: 41x41cm

Vasarely - Ondulatoires Publisher / Editor: du Griffon, Neuchatel, 1973 ISBN : 978-2-88006-018-3 Language: French

Various Publications - Vasarely Vasarely - Corpusculaires Publisher / Editor: du Griffon, Neuchatel, 1973 ISBN : 978-2-88006-014-5 Language: French

Portfolio: 10 planches

Softcover. Dimensions: 36 x 29 cm Weight: 17.6 Oz

Vasarely - Croisées Publisher / Editor: du Griffon, Neuchatel, 1973 ISBN : 978-2-88006-015-2 Language: French

Portfolio: 10 planches

Softcover. Dimensions: 36 x 29 cm Weight: 17.6 Oz

Vasarely - Linéaires Publisher / Editor: du Griffon, Neuchatel, 1973 ISBN : 978-2-88006-017-6 Language: French

Portfolio: 10 planches

Softcover. Dimensions: 36 x 29 cm Weight: 17.6 Oz

Vasarely - Livres - Planches - Albums - Cartes Postales Publisher & Editor: du Griffon, Neuchatel Language: French-English-German

Portfolio: 10 planches

Softcover. Dimensions: 36 x 29 cm Weight: 17.6 Oz

Vasarely - Étres ou Fantómes Publisher / Editor: du Griffon, Neuchatel, 1973 ISBN : 978-2-88006-016-9 Language: French

Softcover. Dimensions: 15x10cm Pages:10 (5 double pages)

Vasarely - Albums - Mappen Publisher & Editor: du Griffon, Neuchatel Language: French-English-German

Portfolio: 10 planches

Softcover. Dimensions: 36 x 29 cm Weight: 17.6 Oz

267

Softcover.Dimensions:15x10cm Pages: 6 (3 double pages)

Victor Vasarely Vasarely - Oeuvres Originales numérotées et signées en tirages limités Publisher & Editor: du Griffon, Neuchatel Language: French-English-German

Softcover. Dimensions:15x10cm Pages:8 (4 double pages)

Various Publications - Vasarely Construction and Geometry in Painting Exhibition Catalog 1960 Featuring 50 artists from 17 different countries, with introduction by Michel Seuphor of Paris, from The Constructive and Geometric School of Art. Illustrated examples of Lissitzky, Picabia, Moholy-Nagy, Ritcher, Kupka, Deyrolle, Diller, Fruhtrunk, Glarner, Nemours and many more. Illustrated in black and white, some in color. The Vasarely plate also includes a matching transparency, laid in.

Softcover. 18.4 x 18.4cm. Unpaginated.

Vasarely - Planches - Plates - Tafeln Publisher & Editor: du Griffon, Neuchatel Language: French-English-German

Softcover. Dimensions:15x10cm Pages:6 (3 double pages)

Le Musée Didactique Vasarely au Chateau de Gordes Publisher / Editor: Le Musée Didactique Vasarely 1971 Language: French Catalogue includes extensive texts, biographical notes, historical photographs, and 23 superb full-page plates of works by Vasarely, including some rarely seen early works.

Softcover. Pages: 76 Dimensions: 26 x 22.8cm

Vasarely - Livres - Books - Bücher Publisher & Editor: du Griffon, Neuchatel Language: French-English-German

Tableaux des XIX et XX - Russes et Orientalistes Impressionnistes - Comtemporains Publisher / Editor: Aguttes, 19 Dec 2005, Paris Drouot Catalog of Tableaux from XIX and XX century, Russians and West, Impressionist and Comtemporaries

Softcover. Dimensions:15x10cm Pages: 4 (2 double pages)

Vasarely - 4 Publisher & Editor: du Griffon, Neuchatel Language: French-English-German

Softcover. Dimensions:21x15 Pages:4 (2 double pages)

Softcover. Pages: 183. Dimensions: 29 x 21 cm Weight: 860gr

Six clefs pour la France.

La nouvelle revue d'Air France Publisher / Editor: Jolie / Air France, 1970 Language: French Couverture illustrée en couleurs avec un trou de serrure en son centre. The eye, hand, ear, palate, nose, wing.

Illustrations and photos in black and colors. Eight out texts Vasarely, Veira da Silva, Messagier, Beaudin, Lapicque, Max Ernst, Singier, Piaubert.

Softcover. Pages: 164 Dimensions: 28x25,5cm.

Weight: 600 gr

Vasarely - Gestalt Sin Publisher & Editor: du Griffon, Neuchatel Language: French-English-German

Vasarely - 12 Tableaux-metal Publisher & Editor: du Griffon, Neuchatel Language: French-English-German

Softcover. Dimensions:21x15 Pages:4 (2 double pages)

Softcover. Dimensions:21x10.5cm Pages:4 (2 double pages)

268

Victor Vasarely Vasarely - Plastic Arts of the 20th Century Publisher & Editor: du Griffon, Neuchatel Language: French-English-German

Softcover. Dimensions:15x10cm Pages: 10 (5 double pages)

Various Publications - Vasarely The Long Island Art Collectors Exhibition: Modern Masterpieces and Contemporary Art from Distinguished Long Island Art Collections Publisher & Editor: Long Island University Language: English Includes a checklist of the works exhibited, along with 15 fullpage color plates of works by: Claude Monet, Henri Matisse, Max Pechstein, August Macke, Jan Müller Gaston Lachaise, Larry Rivers, Victor Vasarely, Jean Dubuffet, Philip Pearlstein, Lee Bontecou, Robert Cottingham, Nancy Grossman, ,Ben Schonzeit, Kosso

Softcover. Pages: 36. Dimensions: 18.4x18.4cm

Pop & OP Publisher: Nassau County Museum of Fine Art 2008 Catalogue documents a 2008 exhibition at the Nassau County Museum of Fine Art (New York), It includes an essay by Constance Schwartz and Franklin Hill Perrell, a list of works exhibited, and 37 illustrations in color. Among the featured artists were: Victor Vasarely, Roy Lichtenstein, Gene Davis, Andy Warhol, Jim Dine, James Rosenquist, Mel Ramos, Robert Indiana, Larry Rivers, Jasper Johns, John Chamberlain, Tom Wesselmann, Richard Anuszkiewicz, Alfred Jensen, Jules Olitski, Bridget Riley, Julian Stanczak, Josef Albers, Tadasky (Tadasuke Kuwayama ), Kenneth Noland, Henry Pearson.

1963 - 1993 Une Collection Publisher & Editor: Galerie Lahumiere, 1993 Language: French Illustrations / photographs in black and white and color, Artist: Gabo, Herbin, Calder, Albers, Dubreuil, Dewasne, Nemours, Lewitt, Legros Magnelli, Soto, Gorin, Arp, Vasarely, Cahn, Leppien, Masson. One color screen original signed and numbered of schmitt (Photo No. 1 and 2) Softcover. Pages: 82 Dimensions: 28x21cm Weight:

Softcover. Pages: 24. Dimensions: 27.9x21.6cm

Victor Vasarely - OP Star - A Selling Exhibition S2 Publisher / Editor: Sotheby`s, New York 2014 Language: English

Vasarely - Werke aus sechs Jahrzehnten Publisher: Galerie der Stadt Esslingen, 1986 Editor: Stuttgart, Klett-Cotta

Catalog Sale exhibition S2 Victor Vasarely

Language: French

Softcover. Dimensions:

Vasarely - Plasticité L'oeuvre plastique dans votre vie quotidienne Publisher / Editor: Casterman, Mutations-Orientations, 1970 Language: French

Abstract art - The Artist - The work - Technical Mobile Picture and kinetic - Multiple - The painter and architecture - The future of art Illustrated photo black & white

Hardcover.

VASARELY - Dan les collections des musée de France Publisher: Musée de Libourne 1996 Language: French

Paintings and Programation 1945-1980

Softcover. Pages: 144 Dimensions: 18 x 11 cm Weight: 17.6 Oz

Vasarely - Ecrits divers 1947-1969 Publisher & Editor: Language: French

Vasarely Author: Victor Vasarely Publisher: Bijenkorf Kunstkoop Kollektie / Galerie Denise Rene, 1970 Language: French

From the author, Broché Softcover.

Softcover. Pages: 101. Dimensions: 4 in.

269

Victor Vasarely

Various Publications - Vasarely

VICTOR VASARELY - Portraits Publisher: Leclere Boulin Offset 1999 Language: French

VICTOR VASARELY Publisher: Galleria San Carlo 1991 Language: Italian

Many portraits of Vasarely

Opera 1974 - 1989 Hardcover. Dimensions: 21x20.5cm Pages: 70

Softcover. Dimensions: 31x23cm Pages: 64

Vasarely - Multiples Publisher & Editor: Denise René Language: French-English

VICTOR VASARELY - In Black & White Publisher: Robert Sandelson Gallery, London 2005 Language: English

Introductory essay, works in exhibition, biography, selected exhibitions, selected bibliography. 15 illustrations Softcover. Pages: 5 Dimensions: Softcover. Dimensions: 21.5x21.5cm Pages: 56

VICTOR VASARELY biographie, ses oeuvres Author: Michèle Bianco Publisher & Editor: Nouvelles éditions Françaises 1978 Language: English

His works through his periods. Recognized as the father of Optical Art. Many photographs, Amply illustrated.

Victor VASARELY Paintings, collages, spatial works, tapestries, serigraphs.

Publisher: The Tel Aviv Museum, 1976 Language: English / Israelien Exposition Mar-May 1976. 12 reproduction in 4 colors Introduction by Dr. Haim Gamzu (english/Israelien) and facsimilé of "Manifeste jaune" by Vasarely (Dec 1954).

Hardcover. Dimensions: 33x24cm Softcover. Pages: 36. Dimensions: 22x22cm

VICTOR VASARELY Exhibition Publisher: The Seibu Museum of Art, Tokyo Language: Franch / Japanese

Tapisseries récentes.

Publisher: Musée des Arts décoratifs, Paris 1967 Language: French

Published on the occasion of the exhibition as "VICTOR VASARELY Exhibition" 2 June, 1993 - 15 May, 1994 / Tokyo, Iwaki, Sapporo, Obihiro, Itami, Kure.

Exposure February-March 1967. 14 reproductions including 2 colors.

Peintures Actuelles 27 works, Collages 14 works, Oeuvres retrospectives 32 works, Tapisseries d'aubusson 6 works, Reliefs 9 Worksmultiples et prototypes 15 works, Centrales Nucleaires 14 works, 1979, Notes pour un manifeste, List of Works

Softcover. Pages: 18. Dimensions: 17.7x17.7cm

Softcover. Dim.: 29.1x24.4cm Pag:158 Weight:approx. 1040g

VICTOR VASARELY A retrospective Exhibition 1940s to Present Author: Victor Vasarely Publisher: Circle Gallery - Soho, New York Language: English

VASARELY. Publisher: Museo Nacional de Bellas Artes, Bs Aires 1958 Language: Spanish

Exhibition May 12 - Jun 5 1989.

Exhibition August-September 1958. 5 black and white reproductions. Introduction of Jorge Romero Brest.

Biographical elements. List of works.

Softcover. Dimensions: 23x21cm. Pages: 36 Softcover. Pages: 12. Dimensions: 32.5x24.2cm

270

Victor Vasarely OPUS International N°46.

Publisher: Georges Fall, Paris, Sept. 1973 Language: French

Various Publications - Vasarely Barátom, Vasarely.

Author: Catherin Millet / Denise Renével Publisher: Vibri Language:

Cover under illustrated cover.

VASARELY "texte mosaique"

Softcover. Pages: 80. Dimensions: 27x18cm

OPUS International N°78.

Publisher: Georges Fall, Paris, 1980 Language: French "Nous sommes à l'aube d'un nouveau style" by Victor VASARELY.

Softcover. Pages: . Dimensions:

Victor Vasarely.

“ICI NAQUIT LA PENSEE...” 1980 Author: E. Szirmai Publisher: Language:

Softcover. Pages: 64. Dimensions: 27x18cm

Softcover. Pages: . Dimensions:

Polychromies multidimensionnelles.

Aspects historiques du constructivisme et de l'art concret.

Publisher: Musée d'Art Moderne, Paris, 1977 Language: French

Publisher: Galerie Denise René, Paris, 1970 Language: French Exhibition March-April 1970.

12 reproductions inset colors.

Text by Michel Ragon. Bibliography.

Exhibition June-August 1977.

Softcover. Pages: 114. Dimensions: 29.5x21cm Softcover. Pages: 50. Dimensions: 29.7x18.5cm

Victor VASARELY - Retrospective 1947-1986.

Publisher: Arras, Noroit, 1992 Language: English / Israelien Trade shows November-December 1992 in Bethune and February to April 1993 in Arras.50 color reproductions and black and white and some photographic illustrations.

Preface by André Descamps. Excerpts from the diary Vasarely "Notes brutes 1946-1967".

VICTOR VASARELY: PAINTINGS, SCULPTURES PRINTS Publisher: Pace Gallery, 1964 Author: Allan T. Schoener and Sam Hunter Language: German Exhibition Catalog. Mar 31, 1964 - Apr 18, 1964 7 color illustrations

Softcover. Pages: 14. Dimensions: 24x19cm Softcover. Pages: 40. Dimensions: 30x21cm

Oeuvres récentes.

Publisher: Galerie Denise René, Paris 1966 Language: French

FARBE ZU FLÄCHE ZU RAUM Publisher: Folkwang Museum, Germany 2008 Language: German

Exhibition June-July 1966. 21 reproductions inset including 6 in color. Introduction of Abraham A. Moles.

Exhibition Catalogue. January 12 to March 30, 2008

Softcover. Pages: 22. Dimensions: 23.2x23.1cm Softcover. Pages: 158. Dimensions: 28x21cm

271

Victor Vasarely

Various Publications - Vasarely

L'Art de Vivre Publisher: Éditions Michel Jankowski, 1968 Editors: Michel Jankowski and J. A. Motte Language: French

Panderma - Historical magazine of art Author: Victor Vasarely

Published on the occasion of the 45th Salon de la Société des Artists Décorateurs in 1967. Profusely illustrated with images of work by the the salon's participating designers, visual artists, and architects.

Essays by J.A. Motte and Michel Jankowski. Printed metal plate mounted on the front panel.

Catalogue of 1964. Illustration black and white

Softcover. Pages: 36. Dimensions: 29x30 cm

Hardcover. Pages: 122. Dimensions: 28.5x27.3cm

L'ŒIL MOTEUR - Art optiqueetcinétique, 19501975 Publisher: Strasbourg Modern Art Museum - France 2005 Language: French

Panderma Almanach 1966 Publisher: Panderma Verlag Text: Carl Laszlo Language: Swiss Basel, Panderma Verlag, 1966. Binding Stapled.

Attached 2 serigraph and original by Vasarely (29x25 cm) and Muller-Brittnau (cm28x28), Unnumbered.

Exhibition Catalogue. May 13 to September 25, 2005 Hardcover. Pages: 90. Dimensions: 29x28cm Softcover. Pages: 304. Dimensions: 29x24.5cm

Vasarely.

Publisher: Brook Street Gallery., London, 1964 Language: English

Folklor - N2: Victor Vasarely.

Publisher: Stuttgart, Reclam 1971 Language: German ISBN 10: 3150091497 ISBN 13: 9783150091494

Exhibition Catalogue. May 13 to September 25, 2005

Softcover.

Softcover. Pages: 32. Dimensions: H.15cm Weight: 100gr.

OP ART Publisher: Schirn Kunsthalle Frankfurt, Germany 2007 Language: German

Multiples: the first decade Publisher: Philadelphia Museum of Art (1971) Author: John L Tancock Language: English ASIN: B00072U2TA

Exhibition Catalogue. February 17 to May 20, 2007

Philadelphia Museum of Art March 5-April 4, 1971

Softcover. Pages: 320. Dimensions: 28x24.5cm

Hardcover. Dimensions: 22.8x12.7cm

OPTICA NERVE - Perceptual Art of the 1960s Publisher: Columbus Museum of Art, Ohio (USA) 2007 Language: English

Vasarely Publisher: Hanover Gallery, London, 1961 Language: English

Exhibition Catalogue

Exhibition catalog October 25 - November 25, 1961.

Includes 21 black and white illustrations along with a laid in a illustrated acetate sheet

Softcover. Pages: 208. Dimensions: 29x25cm Softcover.

272

INDEX BY PAGE / INDEX PAR PAGE Nยบ Archiv 1572 1573 1574 1575 1576 1577 1578 1579 1580 1581 1582 1583 1584 1585 1586 1587 1588 1589 1590 1591 1592 1593 1594 1595 1596 1597 1598 1599 1600 1601 1602 1603 1604 1605 1606 1607 1608 1609 1610 1611 1612 1613 1614 1615

273

Nombre Tableaux Metal Hilรถen 2 Or Hilรถen 2 Arg Likka Nethe Ar Nethe Nethe + Yvaral + Yvaral Yvaral Or Bora 2 + Bora 2 Bora 2 - Or Illile V Or Illile Ar Zeta Epsilon + Epsilon illile NB Quadrature Quadrature-2 Quadrature -3 Bellatrix-1 Metal Sculptures 1 Ablac A Ablac B Koeb Or Koeb Arg Koeb II Or Koeb II Arg Koeb NB Diadal Diadal 2 Kroa NB Kroa 1 Kroa Arg Kroa 2 Kroa Bk Kroa Bk/Arg Ur Ur 2 Ur 3 Sir-Ris + Sir-Ris Pyr Dak Relief Units

Pagina 25 25 25 26 26 26 27 27 27 27 27 27 27 27 27 28 28 28 28 28 28 28 29 29 29 30 30 30 30 30 31 31 31 31 31 32 32 32 32 32 33 33

Nยบ Archiv 1616 1617 1618 1619 1620 1621 1622 1623 1624 1625 1626 1627 1628 1629 1630 1631 1632 1633 1634 1635 1636 1637 1638 1639 1640 1641 1642 1643 1644

Nombre Cassioppe Pyr-1 Pyr-2 Pyr-3 Metal Sculptures 2 Beta Positif beta Negatif Gamma Positif Gamma Negatif Vega Lum Positif Vega Lum Negatif Vega Cox Positif Vega Cox Negatif Vega 4 Positif Vega 4 Negatif Kroa MC Kroa Blue Kroa A Kroa B Metal Sculptures 3 Kroa M Rey-Tey Meta Quadratur Tridim 1 Tridim 2 Tridim 3 Tridim EY Tridim VR Bidim 11 Bidim 22

Pagina 34 34 34 34 35 35 35 35 35 35 36 36 36 36 36 36 36 36 37 37 37 37 37 37 37 38 38 38 38

Kinetic Objects 1 1645 1646 1647 1648 1649 1650 1651 1652 1653 1654 1655 1656

Mora Aix Aura Alpha Clock Aura Beta Clock Parosh Clock Ideu Clock Pendulo Clock 3D Object Sobor Bleu Sobor Vert Sobor BK Sobor Jaune

39 39 40 40 40 41 41 41 43 43 43 43

INDEX BY PAGE / INDEX PAR PAGE Nº Archiv 1657 1658 1659 1660 1661 1662 1663 1664 1665 1666 1667 1668 1669 1670 1671 1672 1673 1674 1675 1676 1677 1678 1679 1680 1681 1682 1683 1684 1685 1686 1687 1688 1689 1690 1691 1692 1693 1694 1695 1696 1697 1698

Nombre Sobor Rouge Sobor MC Lighter Tilla Lighter Ond Gold Watch Vasarely Világitó Zebra Bk Világitó Zebra W Multiples-Plastique Iron Box Planetary Folklore I Planetary Folklore II Tableaux-Plastique 1 Planetary Folklore 2 P/G Planetary Participations Planetary Folklore 2 + Y/G Planetary Folklore 2 - Y/G Planetary Folklore 2 R/B Planetary Folklore 2 B/G Tableaux-Plastique 2 Orion Noir Negative Orion Noir Positive Orion Blanc Negative Orion Blanc Positive Orion Multicolor Alom Green/Blue Alom Blue/Blue Alom I Red/Grey Alom I Yellow-Yellow Alom Red-Grey Alom Red-Blue Zett W Zett I Red-Grey Zett I Violet monocolor Zett Green-Yellow Zett Blue-Green Zett Blue-Red Zett Grey Monocolor Zett I Green Monocolor Zett Green-Violet Zett I Blue Monocolor Zett Grey-Blue Zett I Yellow Monocolor Zett I Grey-Blue Zett I Yellow-Grey Zett I Green -Violet Zett I Green-Yellow

Pagina 43 43 43 43 44 44 44 46 46 46 46 46 46 46 46 47 47 47 47 47 48 48 48 48 49 49 49 49 49 49 50 50 50 50 50 50 51 51 51 51 51 51

Nº Archiv 1699 1700 1701 1702 1703 1704 1705 1706 1707 1708 1709 1710 1711 1712 1713 1714 1715 1716 1717 1718 1719 1720 1721 1722 1723 1724 1725 1726 1727 1728 1729 1730 1731 1732 1733 1734 1735 1736 1737 1738 1739 1740

Nombre Zoeld Blue-Green Zoeld Violet-Green Zoeld Blue-Red Zoeld Red-Green Zoeld Violet-Yellow Zoeld I Yellow-Yellow Zoeld Red-Grey Zoeld I Blue-Red EG 1-2 Yellow-Grey Pos EG 1-2 Yellow-Grey Neg EG 1-2 Blue-Yellow EG 1-2 Blue-Green Tableaux Plastique 3 Majus A Majus B Majus C Sende Arcturus Tableaux Plastique 4 Alom Violet-Yellow Alom Gray-Yellow Zett Green-Violet Zett I Yellow-Green Zett Red-Blue Zoeld Blue-Yellow Zoeld Violet-Violet Zoeld I Red-Blue Zoeld Red-Green Kontoesh Gestalt Violet Gestalt Blue Hexa Torony Transparences 1 Omega-25 Noir Omega-25 Orange Omega-25 Blanc Omega-25 Rouge Omega-26 Pos. Omega-26 Neg. Tlinko J/R Tlinko R/B Tlinko Noir Tau-Ceti NB Tau-Ceti Blanc

Pagina 52 52 52 52 52 52 53 53 53 53 53 53 54 54 54 54 54 55 55 55 55 56 56 56 56 56 56 57 57 57 57 60 60 60 61 61 61 62 62 62 62 62

274

INDEX BY PAGE / INDEX PAR PAGE Nº Archiv 1741 1742 1743 1744 1745 1746 1747 1748 1749 1750 1751 1752 1753 1754 1755 1756 1757 1758 1759 1760 1761 1762 1763 1764 1765 1766 1767 1768 1769 1770 1771 1772 1773 1774 1775 1776 1777 1778 1779 1780 1781 1782 1783

275

Nombre Tau-Ceti J-N Keet-H Ibadan Gr/Bk Helg-GR Helios Noir Helios Vert Helios R/Vert Helios R/Noir Velur Carmi NB Novae Tlinko F NB Tsillag Yl/Pl Riu-Kiu Transparence I Transparence II Transparence III Transparence IV Transparence V Transparence VI Transparence VII Transparence VIII Transparence IX Transparence X Transparence XI Transparence XII Transparence XIII Transparence XIV Transparence XV Transparences 2 Encelade 2 Pleïone 2 Novae 2 Tlinko 2 Yablapour Flaari Sculpture on Plexiglass Oeuvre Profonde 69 Beta 85 Beta II 85 Venus 86 Zint 81 Zebras Gestalt Sin Procion 68

Pagina 62 63 63 63 63 63 63 63 64 64 64 64 64 64 65 65 65 65 65 65 65 65 66 66 66 66 66 66 66 67 67 68 68 68 68 69 69 69 70 70 70 71 71

Nº Archiv 1784 1785 1786 1787 1788 1789 1790 1791 1792 1793 1794 1795 1796 1797 1798 1799

Nombre

1800 1801 1802 1803

Ibadan Cinetique Tuz 70 Metamor II Naissances 73 Hexagon Moire Wave Moire Wave Color Oltar Zoelo Cuba aux Zebre Kupla 89 Zebres 88 Holld 88 Tihany 88 Tihany II 90 Echiquier 79 Vega 3 Metal Anodise Axo Metal Vega 4 Unites-Plural 1 Concentric Circles

1804 1805 1806 1807 1808 1809 1810 1811 1812 1813 1814 1815 1816 1817 1818 1819 1820 1821 1822 1823 1824 1825

Plastic Sculptures 1 Iboya NB1 Iboya NB12 Iboya NB19 Iboya NB21 Iboya NB31 Iboya NB41 Iboya NB42 Iboya NBC1 Iboya NBC11 Iboya NBC21 Iboya NBC32 Iboya NBC35 Iboya NBC36 Iboya NBC43 Iboya MC1 Iboya MC12 Iboya MC21 Iboya MC31 Iboya MC46 Iboya MC103 Iboya MC116 Iboya MC124

Pagina 71 71 71 71 72 72 72 72 72 73 73 73 73 73 74 74 75 75 75 75

77 77 77 77 77 77 77 78 78 78 78 78 78 78 78 78 78 78 78 78 78 78

INDEX BY PAGE / INDEX PAR PAGE Nº Archiv

Nombre

Pagina

1826 1827 1828 1829 1830 1831

Plastic Sculptures 2 Iboya NB63 Iboya NB212 Iboya MC166 Iboya MC174 Iboya MC212 Iboya NBC71

79 79 79 79 79 79

1832 1833 1834 1835 1836 1837 1838 1839 1840 1841 1842 1843 1844 1845 1846 1847

Wood Sculpture 1 Keiho-Co Carre-Co Colonne DF Colonne EF Colonne FF Moros Kiral Arpad Colonne MC Colonne-1 Talia Ter-A Ter-B Ter-D Bidim MC VP

80 80 80 80 80 80 81 81 81 81 81 82 82 82 82 82

Wood Sculpture 2 1848 1849 1850 1851 1852 1853 1854 1855 1856 1857 1858 1859 1860 1861 1862

Bidim Bidim C Bidim T Ter A-1 Ter A-2 Ter B-1 Ter F2 Ter G2 Ter G2 Ter L-1 Sku Figure 8 Tridim BM Hexa 2 Kroa C

83 83 83 83 84 84 84 84 84 84 84 85 85 85 85

Nº Archiv 1863 1864 1865 1866 1867 1868 1869 1870 1871 1872 1873 1874 1875 1876 1877 1878 1879 1880 1881

Nombre Tridium HH Gestalt Vorder Axo Moulin Gestalt MC Gestalt-P Gestalt-P MC Axo 99 Torony II Kettes Vorder Stèle Axo AB Sancton Felhoe Bi-Octa T Kezdi Tsillag Malom Eksin

Tableaux Releif 1 1882 Zaphir Positive 1883 Zaphir Negative 1884 Granat Positive 1885 Granat Negative 1886 Turkiz Positive 1887 Turkiz Negative 1888 Salgo Positive 1889 Salgo Negative 1890 Sellem Positive 1891 Sellem Negative 1892 Beryl Positive 1893 Beryl Negative 1894 Topaze Blanc Positive 1895 Topaze Blanc Negative 1896 Topaze Noir Positive 1897 Topaze Noir Negative 1898 Caribe Positive 1899 Caribe Negative 1900 Dyok Positive 1901 Eclipse Positive

Pagina 85 85 85 86 86 86 86 86 87 87 87 87 87 88 88 88 88 88 88

91 91 91 91 91 91 91 91 91 91 91 91 91 91 91 91 92 92 92 92

276

INDEX BY PAGE / INDEX PAR PAGE Nº Archiv 1902 1903 1904 1905 1906 1907 1908 1909 1910 1911 1912 1913 1914 1915 1916 1917 1918 1919 1920 1921 1922 1923 1924 1925 1926

Nombre Tableaux Releif 2 Hommage a Malevitch Lemnos-LEF Uzok-LEF Alphar Maamor Mimas Likka-2 Likkah Elipse-4 Bettelgeuse II Cassiopèe Eridan Procion-R Folklore Cephei-R Relief Binare E-Rouge-Vert F-Vert-Bleu G Noir-Blanc Multicolor-1 Likka-b-pos A-A Bleu Multicolor-2 Noir-Vert-Bleu Relief White

Pagina

93 94 94 95 95 95 95 95 95 96 96 96 96 96 97 97 97 97 97 97 98 98 98 98 98

Tableux-Relief 3 1927 1928 1929 1930

Eridan Song Cassiopèe 2 Bellatrix

99 99 99 99

Kinetic Objects 2 1931 1932 1933 1934 1935 1936 1937 1938

277

Beta Gamma N-1 Genova SBP-1 SBP-2 Jolie Tridim-I RCA Clock Radio

100 100 100 100 100 100 101 101

Nº Archiv 1939 1940 1941 1942 1943 1944 1945

1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970

1971 1972 1973 1974 1975

Nombre Kinetic Objects 3 Renault 12 Gordini Renault 30TS Citroën CX Vega MS S1 Vega MS S2 Vega MS S3 Vega MS S4 Kinetic Objects 4 Uran III Rhythm-S Hexagone RYB Hexagone RGB Unesco Medal Lecek Remember Autoportrait Medal Box-Zebras Box-VP Cheyt

Pagina

102 102 102 103 103 103 103

Cube aux Zèbre 2 Oltar Zoelo 2 Rosenthal Grun Cube Siris Cube Chessboard CTA-58 Racks-4 Zebres-2

104 104 105 105 105 105 105 106 106 106 106 106 107 107 107 107 107 108 108 108 108 109 109 109 109

Porcelain Relief 1 Laika NB11 Weib NB11 Schwarz/Weib NB22 Caope Relief 5112

113 113 113 113 113

Dynamo exhibition 5 Magnets Set

Tray Zebras Tray VP-Cheyt Racs-2 Tray Fendi bag CCBHGY bag Large CCBHGY bag Medium CCBHGY Clutch

INDEX BY PAGE / INDEX PAR PAGE Nº Archiv 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999

Nombre Porcelain Relief 2 Porcelain Relief 100 Porcelain Relief 101 Porcelain Relief 102 Porcelain Relief 103 Porcelain Relief 112 Porcelain Relief 104 Porcelain Relief 105 Porcelain Relief 106 Porcelain Relief 107 Porcelain Relief 108 Porcelain Relief 109 Porcelain Relief 110 Porcelain Relief 111 Porcelain Objects 1 Floor Vase Rosenthal Vase Markab Vase Porcelain Vase Zebra Couple Live and let live Rosenthal Porcelain Motive 7 Tea Set Rosenthal Desk Accesory Op-Art Vase 1977 Porcelain Objects 2 Vase Manipur Crock Coffee 6 persons Coffee cup Coffee Pot #30755 Milk Pot Sugar Pot Coffee cup saucer Corckery Set 12 persons Hot Water Pot Large Plate Cake Plate Soup Plate Tea set 4 person Tea Pot Butter Plate Tea Cup Tea Cup Saucer Soup Set 6 persons

2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 Service Oval Plate

Pagina 114 114 114 114 114 114 114 114 114 114 114 114 114 115 116 116 116 117 117 118 118 118 118 118 121 122

122 123

123 124

124 125 125

Nº Archiv 2019 2020 2021 2022 2023 2024 2025 2026 2027 2028 2029 2030 2031 2032 2033 2034 2035 2036 2037 2038 2039 2040 2041 2042 2043 2044 2045 2046 2047 2048 2049 2050 2051 2052 2053 2054 2055 2056 2057 2058 2059 2060

Nombre Large Tureen Soup Bowl Tureen with lid Sauceboat Dinner Plate Fish Oval Plate Meat Oval Plate Salt-Pepper Shakers Breadbasket Butter dish with lid Manipur Op Art Vase Egg Cup Karte Motiv 7 Porcelain Objects 3 Coffee Service 6 persons Coffee Cup Sugar Pot Cake Plate Tea Service 6 persons Tea Cup Coffee pot Cups Plate Dinner Plate Serving Platter Cake Serving Plate Eggs Cup Butter dish Dinning Service 6 persons Saucer Boat + Saucer Soup cup + Saucer Dinner Service 8P Bowl with lid Candy Bowl Porcelain Objects 4 Nº 1 Tea Pot Nº 2 Coffee Pot Nº 3 Sauce boat Nº 4 Salad Bowl Nº 5 Salad Bowl Nº 6 Sauce Boat Nº 7 Coffee Pot Porcelain Objects 5 Supernovae 2 Vase Kat-Tuz 1 Vase Kat-Tuz 2 Vase

Pagina 125 125 125 125 125 126 126 126 126 126 126 126 126 128 128 128 128 129 129 129 129 130 130 130 130 131 131 131 131 132 132 132 134 134 134 134 134 134 134 135 136 136

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INDEX BY PAGE / INDEX PAR PAGE Nº Nombre Archiv 2061 Procion 1/1 Vase Porcelain Objects 6 2062 Square Tray 1 2063 Square Tray 2 2064 Square Tray 3 2065 Oval Tray 4 2066 Oval Tray 5 2067 Supernovae 1 Vase 2068 Supernovae Cup 2069 Supernovae 1 Vessel 2070 NB16 2071 NB16-2 2072 NB128 Porcelain Objects 7 2073 Manipur Motive Vase 2074 Hexa-3 2075 Vilog-4 2076 Circles 2077 Set "Artist Plates" Porcelain Objects 8 2078 Set of 6 Porcelain 2079 Breakfast plate "Tuz-Pos" 2080 CC w/saucer "Tuz-Pos" 2081 CC w/saucer "VB-VB Rouge" 2082 Breakfast plate "VB-VB Rouge" 2083 Breakfast plate "Eridan PH-BC" 2084 CC w/saucer "Eridan PH-BC" 2085 CC w/saucer "Vega-Tak" 2086 Breakfast plate "Vega-Tak" 2087 Breakfast plate "Vega-Zett" 2088 CC w/saucer "Vega-Zett" 2089 CC w/saucer "Zett I" 2090 Breakfast plate "Zett I" Porcelain Objects 9 2091 BV-12 2092 BV-21 2093 Rosenthal Vase 3 2094 Tuz Book 2095 Fürstenberg Vase 1 2096 Fürstenberg Vase 2 2097 Fürstenberg Vase 3 2098 Fürstenberg Vase 4 2099 Fürstenberg Vase 5 Glass & Crystal Objects 2100 Erebus (Rosenthal)

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Pagina 136 137 137 137 137 138 138 138 138 138 138 138 139 140 140 140 140 141 142 142 142 142 142 142 142 142 142 142 142 142 143 143 144 144 144 144 144 144 144 145

Nº Archiv 2101 2102 2103 2104 2105 2106 2107 2108 2108B

Nombre Multple Markab Taittinger Champagne Bottle Tridim Q Tridim Q 2 Goett-2 Vega Mir Transparent Kinetic Wall Algemb-2 Rosenthal Trays

Pagina 145 146 147 147 147 147 148 148 148

Tapestries Nº1 2109 2110 2111 2112 2113 2114 2115 2116 2117 2118 2119 2120 2121 2122 2123 2124 2125 2126 2127 2128 2129 2130 2131 2132 2133 2134 2135 2136 2137 2138 2139 2140 2141 2142

Karim Luberon Zaira II Gordium + Gordium Caracas Horn Monastir Zsolt Meandre + Zirza Lonike Ty Neue Majus Hokkaido Zebra Zebres + Zebres Ibadan Markab Yapoura Kalota-T Our-MC Cassiopee Arcturus I Harmas Orion MC I Orion MCII Orion Blanc Orion Noir Orion Or Tega Or Vega Zett F Eridan

149 150 150 150 150 151 151 151 151 151 151 151 151 151 152 152 152 152 152 152 153 152 153 153 153 154 154 154 154 154 154 154 154 154

INDEX BY PAGE / INDEX PAR PAGE Nº Archiv V15 2143 2144 2145 2146 2147 2148 2149 2150 2151 2152 2153 2154 2155 2156 2157 2158 2159 2160 2161 2162 2163 2164 2165 2166 2167 2168 2169 2170 2171 2172 2173 2174 2175 2176 2177 2178 2179 2180 2181 2182 2183 2184

Nombre Tau-Ceti ZettKZ Kei-Ho Hekla Tapestries Nº2 CTA-102 Or CTA-103 Arg Boeing Unites Plastiques Kod II EG 1-2 Quasar Fem Dia Or Dia Argent Betelgeuse Tlinko Meh Gordes Vega Teck Vega 201 Maamor Majus MC Arcturus II Vega Sakk Illile + Illile Capella + Capella Tapestries Nº3 Gamma + Gamma R Gamma Square Novae Beta + Beta Beta 46 VP 108 / VP Kek Rey Tey Vonal Fegn Vp 103 Vega Fel Ond Maamor T Izzo MC Tridim J

Pagina 154 154 154 154 155 155 155 155 155 156 156 156 156 157 157 157 157 157 157 157 158 158 158 158 158 158 158 159 159 159 159 160 160 160 160 160 161 161 161 161 161 161 161

Nº Archiv 2185 2186 2187 2188 2189 2190 2191 2192 2193 2194 2195 2196 2197 2198 2199 2200 2201 2202 2203 2204 2205 2206 2207 2208 2209 2210 2211 2212 2213 2214 2215 2216 2217 2218 2219 2220 2221 2222 2223 2224 2225 2226 2227

Nombre Ympo Lapidaire Axo CTA-102 + Tau-Ceti + Pauk 101 Cheyt Stri CTA-102 Tau-Ceti Tridim H Sikra CTA-103-OR Boeing Domb-A Ciet et Terre I Oltar Drei Rena VP-Stri Phila-Bleu Felhoe Kesegue Aix-MC Phila-Rouge Pylla Stri-Arc Thez-2 Unidell WA-4 Tapestries Nº4 Vega Gyuru Vega Zett Vega Zett 2 Boglar Vilag Circles Okta-Poss Anadyr Vega Pal Denfert Vega Panderlak Tapestries Nº5 "Last Works" Zebres MT Altair MT Capella - MT

Pagina 161 161 161 161 161 161 161 162 162 162 162 162 162 162 162 162 162 162 162 162 162 162 162 162 162 162 162 162 163 163 163 164 164 165 165 165 165 165 165 165 166 166 166

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INDEX BY PAGE / INDEX PAR PAGE Nยบ Archiv 2228 2229 2230 2231 2232 2233 2234 2235 2236 2237 2238 2239 2240 2241 2242 2243 2244 2245 2246 2247 2248 2249 2250 2251 2252 2253 2254 2255 2256 2257 2258 2259 2260 2261 2262 2263 2264 2265 2266 2267 2268 2269 2270

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Nombre Capella + MT Calcis MT Cassiopea MT Eridan II Keiho MT Leyre MT Ondho MT Yablapur MT Zebras MT Watches Classic Moments 1 Classic Moments 2 Classic Moments 3 Classic Moments 4 Classic Moments 5 Classic Moments 6 Classic Moments 7 Classic Moments 8 Classic Moments 9 Classic Moments 10 Classic Moments 11 Classic Moments 12 Classic Moments 13 Classic Moments 14 Classic Moments 15 Classic Moments 16 Classic Moments 17 Classic Moments 18 Classic Moments 19 Classic Moments 20 Classic Moments 21 Classic Moments 22 Keret "GK231" PWK166 Oeuvres Profondes Sorata T Sorata Kettoe Ibadan Ixion I Ujjain Eclipse Tlinko I Biforme Torke

Pagina 166 167 167 167 167 167 167 167 167 168 168 169 169 169 169 169 169 169 169 169 170 170 170 170 170 170 170 170 170 171 171 171 171 175 175 175 175 175 175 176 176 176 176

Nยบ Archiv 2271 2272 2273 2274 2275 2276 2277 2278 2279 2280 2281 2282 2283 2284 2285 2286 2287 2288 2289 2290 2291 2292 2293 2294 2295 2296 2297 2298 2299 2300 2301 2302 2303 2304 2305 2306 2307 2308 2309 2310 2311 2312 2313

Nombre KSTS Mora B Umbriel Biforme II Nethe Monastir Aluminium Sculptures Positive-Negative (+/-) Hommage a Malevitch Quadrature Metal Pyramid Pyr Blue Caracas Manhattan Spatial Development I Spatial Development II Bettelgeuse I PYR-DAK-1 Caracas-2 Kroa Bleu-2 Tukoer Colonne MC-2 Yellow Metal Pyramid Hommage G. Pompidou Hommage a Malevitch 2 Dak 2 Dak A Dak B Dak C Dak D Dak E Monumental Outdoor Works Hommage to Malevitch Sophia Riu-Kiu C Variation Mural Multicolor Grill modulated metal bars Kinetic work in depth +/Hexa Bleu Tabor Facade of tinted cement Bidim Vega-16 Vitral Water Tower Donnan II

Pagina 176 176 177 177 177 177 179 179 179 180 180 180 181 181 182 182 183 183 184 184 184 184 185 185 186 186 186 186 186 186 187 188 189 189 190 190 190 191 191 191 192 192 192

INDEX BY PAGE / INDEX PAR PAGE Nº Archiv 2314 2315 2316 2317 2318 2319 2320 2321 2322 2323 2324 2325 2326 2327 2328 2329 2330 2331 V14 V15 2332 2333 2334 2335 2336 2337 2338 2339 2340 2341 2342 2343 2344 2345 2346 2347 2348 2349 2350 2351 2352 2353

Nombre Tri-Hexa MC Tridim Hommage à L`Hexagone Rosenthal Facade Tri-Hexa Blue Hexa Grace Kiu-Siu Variation V-MC V-Blue Lecek Lecek 2 Monumental Outdoor Works 2 Aluminium wall in relief C.E.S. Dèchy C.E.T. Anzin C.E.S. Le Cateau The Olympic Ring Oerveng-2 Kroa NB Unites Hexagone Hepta-Hexagon RB Hepta-Hexagon Di-Tridim II Deca Hexagon Tri-Hexagon RGB Tri-dim MC Monumental Indoor Works Tlinko Canopus Three Works Wall Colored Porcelain Two Kinetics walls Hallenbad Selb Hexa-3 Thirty-one integrations Mural integration Vega-Pauk Berc-2 Metamor Variation City Neu Deep Kinetic work Two Polychrome Mural Vasarely Cieling

Pagina 193 193 193 193 193 194 195 195 195 196 196 197 197 197 197 198 198 199 199 199 200 200 200 200 200 200 201 201 201 202 202 203 203 203 204 204 205 205 206 206 207 207

Nº Archiv 2354 2355 2356 2357 2358 2359 2360 2361 2362 2363 2364 2365 2366 2367 2368 2369 2370 2371 2372 2373 2374 2375 2376 2377 2378 2379 2380 2381 2382 2383 2384 2385 2386 2387 2388 2389 2390 2391 2392 2393 2394 2395 2396 2397

Nombre Integration Fundation Vasarely CANOPUS BARYLL DELL Hexa-3 CLEO OKTA BELLATRIX BLUE MANIPUR LEYRE SUPERNOVAE VONAL TLINKO TUKOER CARACAS PYR-DAC BIRTHS UJJAIN CENTAURI KROA BLUE COLUMN MC2 KOD-LILA MAJUS FOLKOKTA OUR-MC ZETT KEZDI TUPA VEGA-RING CHEYT-STRI OND KOSKA VEGA-ZETT DIA-OR VP SURKE ALOM GESTALT AXO TAU-CETI SONORA TRIDIM BLANC TRIDIM CAPELLA GAMMA KALOTA

Pagina

212 212 212 212 212 212 212 212 212 213 213 213 213 213 213 213 213 213 213 213 214 214 214 214 214 214 214 215 215 215 215 215 215 215 215 215 215 215 215 216 216 216 216 216

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Selected Bibliography / Bibliographie choisie Vasarely, introduction by Marcel Joray, design and layout by Victor Vasarely, Editions du Griffon (Neuchatel, 1965 <<Vols. I-IV publ. 1970-1972-1974-1979>>)

Victor Vasarely Author: Bruno Grossetti Publisher: Galleria Annunciata, Salone Annunciata. Text: Collana Dell-Angelo.

Victor Vasarely : Kestner-Gesellschaft Hannover; 12. Dec 1963 bis 26. Jan 1964 Editorial: Hannover - Kestner-Ges, 1963 Title on added t.p.: Victor Vasarely.

Vasarely, Inventor of Op-Art. Editions Ostfildern, Hatje Cantz Verlag, 1998.

“Fondation Vasarely” Op Art Catalogue Abstract Art, Publisher:Fondation Vasarely 1975, Aix en Provence. English edition

Victor VASARELY Paintings and Graphics London Arts & Sidney Janis Catalogue. Editions du Griffon Neuchatel, Switzerland, 1965. Introduction: Michel Hoog

Gaston Diehl: Vasarely Publisher Bratislava, Tatran. 1972 Victor Vasarely, The Absolute Eye (Vol 1-2-3) Editions Herakleidon Museum 2006 Werner Spies: Victor Vasarely (Munich and Budapest 1972) Publisher, Abrams, NY Vasarely. Publisher Te Neues Pub Group Germany, 1992 Vasarely by Magdalena Holzhey.

Publisher Taschen 2005.

Victor Vasarely: Planetary Folklore Publisher: New York Graphic Society 1973 (Munich, 1973). All texts in English

VASARELY - by Marcel Joray Artist: Vasarely Edition: du Griffon Neuchatel 1976 Hommage a Victor Vasarely Publisher: Istres en Provence, Centre d'Art Contemporain 1993

L`ART VIVANT 1965-1968 Publisher: Fondation Maeght, 1968

Victor Vasarely - Gordes / Vaucluse VASARELY IN RETROSPECT Publisher: Vasarely Museum Gordes / Vaucluse. Author: Rothmans of Pall Mall Canada limited Editing didactic museum of Gordes, 1976 Edition 1970 Vasarely Farbwelt - Folklore Planetaire.

Author: Victor Vasarely Publisher: Munich, Bruckmann 1973 ISBN: 3765415278 EAN: 9783765415272

Vasarely Author: Victor Vasarely Victor Vasarely, Bilder und Graphik 1930-1985 Editor: Serge Lemoine 2014 Exhibition catalogue in Kulturhaus Publisher: Silvana. Text: Julio Le Parc Weisloch 1986 Language: English Vasarely by Victor Vasarely Vasarely Publisher: Alpine Fine Arts Collection Author: Galerie Denise Rene Paris, France Publishers of Fine Art Books, New York 1979 Text: Guy Habasque Publisher: Quadrum Victor Vasarely, il Maestri del Novecento Author Vasarely - Mussa Italo Tableaux cinétiques.

Editor: Sadea - Sansoni 1975 Publisher: Galerie Denise René, Paris 1959 Language: French Vasarely - Author: Robert C. Morgan Publisher: George Braziller (January 31, 2005) Catalogue de l'exposition - VASARELY Victor Vasarely. Farbwelt. Folklore Planetaire. Du 16 au 27 février Author: Galerie Kaare Berntsen, Oslo, Norvège Author: Vasarely Publisher: Galerie Kaare Berntsen, Oslo, Editorial: Bruckmann Verlag., München, 1973 Norvège 1962. Language: French ISBN 10: 3765415278 ISBN 13: 9783765415272 Galerie Denise René 124 rue la beotie paris Publisher: Galerie Denise René, 1961 Vasarely Text in French Author: Werner Spies Publisher: Harry N. Abrams book for Meridian VICTOR VASARELY Op Art Hags. 1964 Books S.D.ISBN/UPC: 0810944227 Gemeentemuseum Museum Exhibition Catalogue

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Victor Vasarely, Stedelijk Museum Amsterdam Catalogue. Crouwel Design.

Publisher: Stedelijk Museum, Amsterdam, 1967

Catalogue de l'exposition VASARELY Juin - 1969 Author: Galerie Engelberts, Genève Publisher: Galerie Engelberts, Genève 1969 Language: French VASARELY - Catalogue Veranneman 1970 Catalogue of the exposition in Galerie Veranneman on 1970 VASARELY Publisher: Edition Pyra, 1970 Vasarely - Exhibition catalog Edition: Pyra 1970 By the Galleria Lorenzelli, Milan VASARELY Author: Victor Vasarely Publisher: Kunsthalle 1971 VASARELY. Au Chateau de Vascoeuil, 1971 Author: Vasarely Publisher: Georges Fall, París. 1971.

Vasarely 15 octobre - 6 novembre 1971 à la Galerie VERANNEMAN de Bruxelles Victor Vasarely - Catalogo Galleria La Bussola, Torino, Marzo 1971 Author: Victor Vasarely Editor: Galleria La Bussola, Torino 1971 Texto: Otto Hahn

Selected Bibliography / Bibliographie choisie VASARELY duo/exhibition recent works Publisher: Denise René / Sidney Janis . N.Y. April 1972. Printed: S.M.I, París.

Printed on France. Text: English. ASIN: B0006C78BQ VASARELY Author: Marc Hallain Publisher: Fernand Hazan - Ateliers d´ Aujourd'hui, 1973 VASARELY Author: Natali Elvio - Victor Vasarely Publisher: Gallery of Modern Art Falsetti 1974 Victor Vasarely Author: Victor Vasarely Editor: Galleria La Bussola, Torino 1974 Print: Stamps Grafic Olimpia, Milano VASARELY Artist: Victor Vasarely Publisher: Galeria Theo 1975 Language: French

VASARELY Author: Catalog Heinz Holtmann and Junior Gallery . Publisher: Junior Gallery, 1979

Fondation Vasarely 2011 Leclere Maison de Ventes.

Author: Fondation Vasarely

Imagen de una idea: Rosenthal Studio-Linie Author: Rosenthal Studio-Linie Publisher: Rosenthal Studio-Linie 1979 Language: Español

Vasarely - Da Belle Isle a Noir-Blanc Author: Boesso Art Gallery Publisher: Boesso Art Gallery 2011

Ars porcellana Author: Edith Behnke and Josephine Gabler Publisher: Museum of Modern Art - Wörlen, Passau 2009. Language: German

Vasarely, Du 11 mai au 18 juin 1965 CHRISTIE’S, South Kensington – Publisher: Honover Gallery, London 1965 “Victor Vasarely Prints and Multiples from the Language: French and English Collection of André and Michele Vasarely” – Text:Michel Butor July 19, 2007 Auction Catalog Rosenthal Vasarely Reihe Vente au Profit de la FONDATION VASARELY Publisher: Rosenthal, Werbebroschur, Selbstverlag Artist: Vasarely 2009 Language: German Edition: Fondation Vasarely 2009 VASARELY VASARELY Works 1930-80 Author: Victor Vasarely Publisher: Aix et Hongrie, 2008 Publisher: Gallery Moos Ltd. 1973

Glossary / Glossaire At: Atelier AP.: Artist Proof Apr.: April / Avril Aug.: August / Août Cat.: Catalogue cm : Centimeters / Centimètres Dic.: December / Décembre Dim.: Dimensions D.R.: Denise René Dr.: Doctor / Docteur EA.: Épreuve d'Artiste Ed.: Edition / Édition Eng: Engeneer / Ingénieur Ex.: Exemplaires Ext.: External / Externe Feb.: Febraury / Février F.V.: Fondation Vasarely H.C.: Hors Comerse Img: Image Int.: Internal / Interne ISBN: International Standard Book Number Jan.: January / Janvier Jul.: July / Juillet

Victor Vasarely - from painting to architecture Author: Pierre Vasarely Publisher: Editions Hermann 2013 Language: French

Lit.: Lithography / Lithographie m : Meters / Mètres M.C.: Muti Color / Multicolore Mar.: March / Mars mm : Milimeters / Milimètres MOMA: Museum of Modern Arts NB: Noir Blanc (black & white) Nov.: November / Novembre N.Y.: New York Oct.: October / Octobre Op-Art.: Optical Art / Art Optique ORTF: Office Radiodiffusion Television Française p.: Page PA.:Proof Artist Pag: Page Pags: Pages P.B.: Eng. Pedro Benavides P. Pyr: Pyramid / Pyramide RTL: Radio Television Luxemburg (sede Paris) Sept.: September / Septembre UCV: Universidad Central de Venezuela Vol.: Volumen

Symbols / Symboles : Supervised by Artist. Signed and numbered Supervisé par l'artiste. Signé et numéroté : Supervised by Artist. Not signed Supervisé par l'artiste. Pas signé : Supervised by Artist. du Griffon`s Ilimited Edition. Not signed Supervisé par l'artiste. Édition Limitée du Griffon. Pas signé

+ : Positive / Positif - : Negative / Negatif “ : Inches / pouces (xxx): Quantity not confirmed by Editor Quantité non confirmée par l'éditeur << * >>: Title or subtitle / Titre or sous-titre

284

Photo Credits / Crédits photos

The Publishers wish to thank Michele-Catherine Vasarely for her kind support of the present publication and the provision of illustrations from her archive.

This work contains some pictures of severals museums like: Vasarely Museum of Gordes, Vasarely`s Museum of Pecs, Vasarely`s Museum Budapest, Olomouc Museum of Modem Art in Czech Republic Photographers: Lumir Curik (Vol. 2) Tereza Hrubá (Vol. 2 p. 492) Denise Loeb (p. 134) Pedro Benavides P. (Vol. 2 p. 377-396-420-454-462-463-464-466) Renato Donzelli (p. 136-148) Morela C. Benavides (p.149) W. Osterheld (Vol. 2 p.427) Ascaso`s Gallery archives (Vol. 2) S. Joest (Vol. 2 p. 452) Michele Vasarely (Vol. 2 p. 514) Petre Maxim (Vol. 2 p. 515) Jose Luis Sanz (Vol. 2 p. 560)

Victor Vasarely à son atelier d'Annet sur Marne

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The Eternal Rhombus. 1972 Vasarely and the Renault logo design.

Le Rhombus éternel. 1972 Vasarely et le logo Renault.

Victor Vasarely is an artist of great relevance in the twentieth century. His geometrical proposals, with those optical games between the shades, colors and forms that make painting alive. If his artistic proposal is but one of the many "paths without return" that the art of the XX century has left, nevertheless if it has a plastic power and possibilities that have made it prosper in the world of design, and become In a very popular and widespread aesthetic pattern throughout the world. It is a magnificent example of the popularization of abstract art.

Victor Vasarely est un artiste d'une grande importance au XXe siècle. Ses propositions géométriques, optiques avec ces jeux entre les nuances, les couleurs et les formes qui font la peinture vivante. Si sa proposition artistique, mais l'un des nombreux « chemins sans retour » que l'art du XXe siècle ont laissé, CEPENDANT si elle a une puissance en plastique et les possibilités qui ont fait prospérer dans le monde du design, et devenir dans un très généralisée modèle populaire et esthétique dans le monde. Il est un magnifique exemple de la popularisation de l'art abstrait.

In 1972, Renault needed a change in its corporate image. The logo, which since 1925 incorporated a main form of rhombus or diamond, did not appear however much updated. By then Vasarely was a reputed artist, and from the direction of the brand was thought of a bold proposal. On the one hand, to propose to an abstract artist the design of a logo was a simple way to send a message of innovation and topicality. Renault has always been a brand in which the term "innovation" has had a special meaning, and from its position of "generalist" manufacturer, its contributions to the history of the automotive place it among the mythical and historical marks that it is imperative to respect And know. Vasarely therefore designed a daring logo, which broke with the previous ones, and in which the name of the mark disappeared, being replaced by a rhombus that is in fact a Tape of Moebius. An elegant way to symbolize an infinity of very current root, in which the aesthetics and vibration of the "Op Art" were well visible.

En 1972, Renault avait besoin de changer son image. Le logo, qui depuis 1925 a incorporé une principale forme de losange ou diamant, elles ne portaient pas cependant beaucoup mis à jour. Puis par Vasarely était un artiste réputé, et de la direction de la marque a été pensé d'une proposition audacieuse. D'une part, de proposer à un artiste abstrait la conception d'un logo a été moyen simple d'envoyer un message d'innovation et de l'actualité. Renault a toujours été une marque dans laquelle le terme « innovation » a une signification particulière, et par sa position de constructeur « généraliste », sa contribution à l'histoire du lieu de l'automobile parmi les marques mythiques et historiques, il est impératif de Le respect et la connaissance. Conséquence Vasarely a conçu un logo audacieux, qui, avec les précédentes se sont brisées et où le nom de la marque Disparue, remplacé par un losange être qui est en fait une bande de Moebius. Une façon élégante pour symboliser une infinité de racine actuelle, dans laquelle l'esthétique et la vibration du « Op Art » étaient bien

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CATALOGO RAZONADO 1 Victor Vasarely Printed Editions 1949 - 1991 Catalogo Razonado del artista Victor Vasarely. Resumen de todas las obras en Ediciones Impresas. Datos completos, informacion y guia visual de la obra del autor Hungaro-Frances Victor Vasarely Realizado por Pedro M Benavides, con colaboración de Madame Michele Vasarely y Morela Benavides.

Código: 1709123501126 Fecha: 12-Sep-2017 14:37 UTC Licencia: Creative Commons Attribution 4.0

CATALOGO RAZONADO 2 Victor Vasarely Multiples Spatials and Remarkable works Catalogo Razonado del artista Victor Vasarely. Resumen de todas las obras en Multiples. Datos completos, informacion y guia visual de la obra del autor HungaroFrances Victor Vasarely Realizado por Pedro M Benavides, con colaboración de Madame Michele Vasarely y Morela Benavides.

Código: 170912350119 Fecha: 12-Sep-2017 14:37 UTC Licencia: Creative Commons Attribution 4.0

CATALOGO RAZONADO 3 Victor Vasarely Paintings & Collages Catalogo Razonado del artista Victor Vasarely. Resumen de todas las obras originales en acrílico, tempera y collages. Datos completos, informacion y guia visual de la obra del autor Hungaro-Frances Victor Vasarely Realizado por Pedro M Benavides, con colaboración de Madame Michele Vasarely y Morela Benavides.

Código: Pendiente Fecha: Pendiente Licencia: Creative Commons Attribution 4.0

CATALOGO RAZONADO 4 Victor Vasarely Drawings & Mixed Technique Catalogo Razonado del artista Victor Vasarely. Resumen de todas las obras en Dibujos y técnicas mixtas. Datos completos, informacion y guia visual de la obra del autor Hungaro-Frances Victor Vasarely Realizado por Pedro M Benavides, con colaboración de Madame Michele Vasarely y Morela Benavides.

Código: Pendiente Fecha: Pendiente Licencia: Creative Commons Attribution 4.0

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