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1

PABLO RUIZ PICASSO (1881-1973)

La Serrure, 1955

Tapisserie en laine au point noué, signé et dessiné par Picasso, réalisé pour Marie Cuttoli et la Galerie Lucie Weill.

Reproduit au catalogue de Marie Cutoli.

Excellent état, la tapisserie a toujours été suspendue au mur.

Dimensions : 205 x 150 cm
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Wool tapestry signed and designed by Picasso, executed for Marie Cuttoli and the Lucie Weill Gallery.

Illustrated in the Marie Cutoli Catalog.

Excellent condition, the tapestry was always hanging on the wall.

Dimensions: 205 x 50 cm

6 000 – 8000 €


2

DIEGO GIACOMETTI (1902-1985)

Le couple, ca.1957

Sculpture en bronze à patine sombre signée Diego et monogrammée DG sur la partie avant droite de la terrasse.

Provenance :
– Atelier de l’artiste,
– Galerie L’Intemporel Monaco, Comtesse de Changy ,acquis de Diego Giacometti.
– Collection privée Monte-Carlo par succession, acquis du précédent..

Dimensions : 33 x 25,5 x 9 cm
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Dark patina bronze sculpture, signed “Diego” and monogrammed “DG” on the base.

Provenance :
– Artist’s studio,
– L’Intemporel Gallery Monaco, Countess de Changy, acquired from Diego Giacometti.
– Monte-Carlo private collection by succession, acquired from the above.

Dimensions: 33 x 25.5 x 9 cm

Around 1930, Diego Giacometti joined his brother Alberto’s studio in Paris where they designed several projects together, mainly decoration. Before starting by the creation of furniture, Diego is inspired by the drawings of his brother to create some figure sculptures, including this walking couple.

20 000 – 40000 €


3

CESAR (1921-1998)

Sans titre, vers 1965

Compression de cables d’acier.
Dimensions : 36 x 21 x 8 cm

Provenance :
– Atelier de César dans le Vieux Nice,
– Acquis en 1980 par Rico Zermeno, ami intime de César, directement à l’atelier de l’artiste,
– Collection américaine privée à Monaco, acquis auprès du précédent.

César restera incontestablement lié à ses “compressions”. C’est en assemblant des tôles déformées en 1958 (Le Tiroir Bleu) qu’il découvre chez un ferrailleur où il a l’habitude de se fournir en ferrailles pour réaliser ses sculptures soudées, une presse américaine qui compresse les carcasses de voitures. Il commence par aplatir une Dauphine et à partir de 1959, César centre son travail sur la technique de la « compression dirigée » qui devient sa marque de fabrique. Il compresse divers objets sous forme de parallélépipèdes, d’abord de petits formats avec des rubans de cuivre et des tôles, puis des voitures entières.
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Compression of steel cables.
Dimensions: 36 x 21 x 8 cm

Provenance :
– Artist’s studio in “Vieux Nice”,
– Acquired in 1980 by Rico Zermeno, César close friend, directly from the artist’s studio,
– Private collection, acquired from above

César will undoubtedly remain linked to his “compressions”. It was while assembling deformed sheets in 1958 (Le Tiroir Bleu) that he discovered, at a scrap dealer where he used to get scrap metal to make his welded sculptures, an American press that compresses the carcasses of cars. He began by flattening a Dauphine car and from 1959, César centered his work on the technique of “directed compression” which became his trademark. He compresses various objects in the form of parallelepipeds, first small formats with copper tapes and sheets, then whole cars.

8 000 – 15000 €


4

HENRY SPENCER MOORE (1898-1986)

Tête, d’après Andréa Pisano, 1980-1981

Oeuvre originale au crayon sur impression, signée et datée “Moore 80” en bas à droite.

Certificat n° 2014-254 de la Henry Moore Foundation, intégré au Catalogue Raisonné sous le n° HMF 80-257A.

Dimensions : 27 x 23 cm
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Face, after Andrea Pisano, 1980-1981
Original work in pencil on print 27 x 23 cm, signed and dated “Moore 80” lower right.

Certificate n° 2014-254 from the Henry Moore Foundation, included in the Catalog Raisonné under n° HMF 80-257A.

English artist. Henry Moore is best known for his semi-abstract monumental bronze sculptures which are located around the world as public works of art. As well as sculpture, Moore produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War, along with other graphic works on paper.

His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moore’s works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his Yorkshire birthplace.

Moore became well known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom. His ability in later life to fulfil large-scale commissions made him exceptionally wealthy. Despite this, he lived frugally; most of the money he earned went towards endowing the Henry Moore Foundation, which continues to support education and promotion of the arts.

15 000 – 30000 €


5

HENRY SPENCER MOORE (1898-1986)

Standing woman, 1981

Sculpture en bronze à patine brun clair nuancé, signée “Moore”, numérotée 1/9 avec cachet de fonderie Noack Berlin sur la base et inscription “Woman on the underside”.
Fondue en 1981 dans une édition de 9 exemplaires plus 1 épreuve d’artiste, cette œuvre est enregistrée dans les Archives de la Fondation Henry Moore.

Provenance :
– Groupe de danse anglo-américain,
– Acquis du précédent par une collection privée.

Dimensions : h. 23 cm
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Standing Woman, 1981
Light brown patina bronze sculpture signed “Moore”, numbered 1/9 and stamped with Noack Berlin foundry mark on the base. Also inscribed “Woman” on the underside.

Dimensions: h. 23 cm

Cast in 1981 in an edition of 9 plus 1 artist’s proof. This work is recorded in the Archives of the Henry Moore Foundation.

Provenance:
– Anglo-American Dance Group
– Private collection, acquired from the above

Towards the end of the 1940s Moore produced more and more sculpture by modelling, working the forms in clay or plaster before producing the final work in bronze by the lost wax technique. Apart from a few depictions of “family groups” in the 1950s, the subject is almost always a female figure. In addition, Moore’s sculptures are often pierced or contain cavities, excavations. In her residence at Much Hadham, Moore establishes a collection of natural objects, skeletons, driftwood, pebbles and shells, to create a source of inspiration for organic forms.

Many interpret the undulating form of these extended silhouettes as references to the landscapes and valleys of Yorkshire, the artist’s birthplace. When Moore’s niece asks him why his sculptures have such simple titles, he replies: “All art must have some mystery and must question the viewer. Giving a sculpture or a drawing an overly explicit title removes part of this mystery, and thus the spectator moves on to the next object, without making the effort to measure the meaning of what he has just seen. Everyone thinks they understand, but actually not really, you know. »

22 000 – 28000 €


6

ERNST SEGER (1868-1939)

Stehender Akt

Sculpture en bois de buis, signée E.Seger.
Dimensions : h. 27,5 cm
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Stehender Akt, elegant sculpture in boxwood signed “E.Seger”.
Dimensions: h. 27.5 cm

Ernst Seger was born as the third child of the lawyer and notary Albert Seger and his wife Cäcilie, née Rust in Neurode in the county of Glatz. He attended the sculpture class of the Royal School of Arts and Crafts in Breslau under Robert Härtel from 1884 and worked in the studio of Christian Behrens from 1886. From the late 1880s he received his first major commissions for monuments.

After working in Auguste Rodin’s studio in Paris in 1893 and 1894, he ran his own studio in Berlin. In 1895 he created an Emperor Wilhelm monument for Glatz. Around 1900 he became popular for his Art Nouveau sculptures, especially female nudes.

2 500 – 3500 €


7

LUCIO FONTANA (1899-1968)

Concetto Spaziale, 1968

Multiple en plastique, Edition Achille Mauri.
Provenance : Collection privée, Aix-en-Provence.
Dimensions : 30 x 30 cm
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Concetto Spaziale, 1968
Plastic multiple 30 x 30 cm, Edition Achille Mauri.
Provenance: Private collection, Aix-en-Provence, South of France.

Sculptor and painter born in Argentina, he studied in Italy under the direction of Adolfo Wildt and presented his first exhibition in Milan in 1930. It was in Buenos Aires that in 1946, he worked out in the company of some young artists and intellectuals, the “White Manifesto” which will be considered the first manifesto of the “Spacialist Movement” and which will influence many abstract artists.

He begins by painting monochrome surfaces and “mistreating” them by making holes or incisions, sometimes inserting small shards of beads or small pebbles. For him, the canvas is no longer a support but an illusion that must open wide to the hazards of its non-pictorial environment. He attributes the title of Spatial Concept to this type of work also declined in sculptures. The works of this first Spaziale period, and particularly the first Ambiante Spaziale, are particularly rare today.

5 000 – 10000 €


8

ZAO WOU-KI (1921-2013)

Composition en bleu et rouge

Aquarelle sur papier appliqué sur carton, signée en bas à droite.

Provenance :
– Don de Zao Wou-ki au poète niçois Edouard Valdman
– Collection privée, Aix-en-Provence

Dimensions : 20 x 31,5 cm
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Composition in blue and red
Watercolor on paper applied on cardboard 20 x 31.5 cm, signed lower right.

Provenance:
– Gift of Zao Wou-ki to the Nice poet Edouard Valdman
– Private collection Aix-en-Provence, South of France

Born in Beijing, he will be naturalized French. Attached in the 1950s to the new School of Paris, then to lyrical abstraction, his work is vast. It includes the realistic paintings of his first paintings which are mainly portraits, some still lifes and landscapes (1935-1949), as well as oils on canvas of large formats inspired by Paul Klee which tend towards abstraction from the years 1950, then lyrical abstraction in the 1960s, Indian inks, calligraphy.

45 000 – 75000 €


9

CESAR (1921-1998)

Sans titre, vers 1965

Compression réalisée à partir de lamelles de cuivre et d’acier et tiges de fer.

Dimensions : 38 x 22 x 11 cm

Provenance :
– Atelier de César dans le Vieux Nice,
– Acquis en 1980 par Rico Zermeno, ami intime de César, directement à l’atelier de l’artiste,
– Collection américaine privée à Monaco, acquis auprès du précédent.
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Compression executed from strips of copper and steel and iron rods.

Dimensions: 38 x 22 x 11 cm

Provenance:
– Artist’s studio in “Vieux Nice”,
– Acquired in 1980 by Rico Zermeno, César close friend, directly from the artist’s studio,
– Private collection, acquired from above

6 000 – 12000 €


10

FRANCIS BACON (1909-1992)

Study for Portrait of John Edwards (Sabatier 22)

Lithographie couleur de 1987 sur papier vélin Arches, signée au crayon en bas à droite et numérotée 85/180 en bas à gauche. Imprimé et publié par la Galerie Lelong Paris. Catalogues : Tacou n° 23, Sabatier n° 22.

Provenance : Collection privée, Monte-Carlo
Parfaite condition, sous verre dans un encadrement.

Dimensions papier : 94,5 x 68 cm
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Lithograph printed in colors, 1987, on Arches wove paper 94,5 x 68 cm, signed in pencil lower right and numbered 85/180 lower left. Printed and Published by Galerie Lelong, Paris. Catalogue : Tacou no. 23, Sabatier no. 22. Good condition.

Provenance : Private collection, Monte-Carlo.

Francis Bacon was an Irish-born British figurative painter known for his raw, unsettling imagery. Focusing on the human form, his subjects included crucifixions, portraits of popes, self-portraits, and portraits of close friends, with abstracted figures sometimes isolated in geometrical structures. Rejecting various classifications of his work, Bacon said he strove to render “the brutality of fact. He built up a reputation as one of the giants of contemporary art with his unique style.

Bacon said that he saw images “in series”, and his work, which numbers in the region of 590 extant paintings along with many others he destroyed, typically focused on a single subject for sustained periods, often in triptych or diptych formats. His output can be broadly described as sequences or variations on single motifs; including the 1930s Picasso-influenced bio-morphs and Furies, the 1940s male heads isolated in rooms or geometric structures, the 1950s “screaming popes,” the mid-to-late 1950s animals and lone figures, the early 1960s crucifixions, the mid-to-late 1960s portraits of friends, the 1970s self-portraits, and the cooler, more technical 1980s paintings.

10 000 – 15000 €


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