Rosenberg & Co.
Joaquín Torres-García (Montevideo, 1874-1949) Untitled, circa 1901 Oil on canvas 33 x 44.5 cm Signed J. Torres GARCIA lower right. Provenance: private collection, Barcelona; private collection; Rosenberg & Co., New York Literature: Joaquín Torres-García Online Catalogue Raisonné (www.torresgarcia.com), no. 1901.14; Ciruelo, Pedro. "En el palacio de la Virreina: Las 'Retrospectivas' de la Bienal,’ Destino (Barcelona: October 12, 1955), ill.
Galerie Günter Puhze Gmbh
Mule's head from a fulcrum Bronze and iron Roman, 1st century BC-1st century AD H 9.5 x W 13 cm Condition: the fulcrum was attached to the klinē with two iron pins at the backside Unbroken; tip of right ear and small part of mane missing Provenance: collection M. S., Vienna, acquired from Dr. A. A., Munich, in the late 1970s-1980s. ALR S00149945 This mule´s head would originally have decorated a side of the headrest of a Roman klinē (couch), more precisely the upper part of the headrest support (fulcrum). The head is depicted with open mouth with incised teeth. At the upper head a decorative ornament; a part of the mane tied in a bunch and bound with a ribbon; incised decoration for the hairs of the mane; muscles and folds of skin on the curving neck are carefully characterized. Below the mule´s neck a collar and a panther's skin with pow.
Jean Vendome (Lyon 1930-2017 Eaubonne) Necklace 'Boréale', 1955 18K white gold Unique piece Signed 'Jean Vendome' Literature: Marlène Crégut-Ledué, Jean Vendome the precious journeys of a creator, Faton editions, 2008 ('Boréale' series referenced pp. 34-35) The first jewel in the 'Boréale' line is a 1955 brooch. Rings and ear clips will be added to it. Jean Vendome worked on this line until the 1970s, developing it with 'Star' and 'Horizon'. Extract from Sophie Lefèvre's book 'Jean Vendome a half-century of contemporary jewelry creation', Somogy éditions d'Art, 1999. In the 1960s, the creations of the jeweler Jean VENDOME brought about a real revival: he was one of the first to apply the aesthetic principles of abstraction to the art of jewelry. When he started, in the 1950s, the style of jewelry was the opposite, decorative and figurative. Jean Vendome is in search of a new path, a language in correlation with the way of life of his time. However, jewelry is still frozen in secular codes, classicism is required. In this context, deliberately going off the beaten track was an option that was all the more difficult because everything had to be invented. Starting with the design of the jewel. Jean Vendôme no longer considers it an outward sign of wealth but sees in it an object in harmony with modern life, fashion, music, painting. He sees it as a work of art, a miniature sculpture that can be worn and gives it a specific expressive value. He is developing his research on several fronts: the renewal of forms, the integration of new materials, and work on transformative pieces, allowing elements of a necklace or bracelet to be worn as a ring or brooch. Plastic research leads to radical changes in the appearance of parts. Jean Vendome begins by removing the traditional frame in favor of an abstract pattern, where the stones are arranged in an irregular grid. The break with symmetry and regular ordering is a real novelty, which gives the stones a particular relief, and makes the setting a decoration in itself. He strives to renew and enrich the repertoire of jewelry materials, with native or nugget gold, uncut crystals, mica plates. Participating in numerous exhibitions and professional, national and international events, he contributes to making known and recognized the new forms of the jewel. Revolutionary at the time, but in fact in phase with his century, they will never go out of fashion: many of them have become part of the repertoire of current jewelry (the asymmetry, the use of originals, the frame melted as a decoration, the use of the circle, the rhombus, the spiral, the triangle, among others).
Jules Leleu (Boulogne-sur-Mer 1883-1961 Paris) Sofa and 2 armchairs, circa 1958 Set consisting of a three-seater sofa and two armchairs resting on wooden legs Armchairs: H 79 x W 73,5 x D 80 cm Sofa: H 79 x W 72.5 x D 184 cm Literature: F. Siriex, Leleu, décorateurs ensembliers, Editions Monelle Hayot, 2007, p. 423
Studio 2000 Art Gallery
Jan Toorop (Java, Poerworedjo 1858-1928 The Hague) The orphanage, Amsterdam, 1926 Mixed technique on paper 23.5 x 14.5 cm Signed and dated lower left ‘J.Th. Toorop 1926’ Annotated ‘R.K. Vereeniging ter Bescherming van meisjes (Amsterdam) Voor Programma. De letters in één rechte lijn onder laten drukken’ Study for a poster for the Roman Catholic Association for the protection of girls, Amsterdam Provenance: Auction Christie's, Amsterdam, 12 December 1990, lot n° 97; private collection, The Netherlands Literature: H. Kraaij en W. Rothuizen, Jan Toorop: Het late Symbolisme, Amsterdam 2001, p. 97
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Personnage, circa 1961 Wax crayon on paper 65.5 x 51 cm Signed in graphite lower right, ‘Miro’; inscribed in graphite on the facing page, ‘r. Queneau / 18/75 /Miro’ This artwork is accompanied by a photo-certificate of authenticity issued by ADOM (Association pour la Défense de l'oeuvre de Joan Miró), Paris on 18 January 2020 Provenance: private collection, Barcelona (gifted by the artist); private collection, Barcelona; private collection, Madrid (purchased in 2015)
Raoul Ubac (Belgium, Malmedy 1910-1985 Dieudonné, France) Untitled (Head), circa 1969 Stoneware covered with an amalgam of resin and slate powder H 23 x W 21 x D 15 cm Signed with the 'U' monogram on the back of the sculpture Provenance: collection of Maître Maurice Rheims This sculpture is registered in the Raoul Ubac archives under nº 10 30. The work is accompanied by a photographic certificate from Anne Ubac Delfieu, daughter of the artist and moral rights holder.
Van der Meij Fine Arts
Johan Christian Dahl (Norway, Bergen 1788-1857 Dresden, Germany) Birds in the snow, 1836 Oil on canvas laid on wood 10 x 9.5 cm Signed lower right: J Dahl 1836 Provenance: E.W. von Coopmanns, Dresden, 1836; Auction Blomqvist, Oslo, 4 December 1978, lot 15a; private collection, Norway; Christie's London, 29 November 1991, lot 77; private collection, Switzerland Literature: M.L. Bang, Johan Christian Dahl, Life and Works, Oslo, 1987, vol. II, p. 258, n° 823, vol. III, plate 349 The Norwegian-born painter Johan Christian Dahl (1788-1857) is arguably the most important representative of Dresden romanticism after Caspar David Friedrich. Dahl was born in Bergen, Norway, in 1788 and studied at Copenhagen's Royal Academy between 1811-18. In 1818 he travelled to Germany and settled in Dresden, where he became a member of the Academy in 1820. This was the heyday of Caspar David Friedrich's fame and influence, and although Dahl certainly derived inspiration from Friedrich's revolutionary approach to romanticist landscape panting, he would always prefer a stronger sense of naturalism in his art. . The present painting shows Dahl at his most “Friedrichian”. It is a small oil sketch, the size of a Christmas card. It was made as a gift by Dahl for a close friend, the diplomat E.W. von Coopmanns, who acted apparently as Norwegian chargé d’affairs in Dresden during (some of) the 1830s. The intimate size of the painting is indicative of the fact that it was a present. The theme and composition are firmly grounded in Dresden-based Romanticism. A number of snow-covered fir trees are stood among some rocks. A few crows in the foreground are sitting on the rock to the left, whilst a third bird is sitting on a branch on the right. The presence of the trees is made more pronounced by the unclear perspective: the background is left deliberately undefined. This makes the trees dominate the composition, especially as they are grouped closely together, reminiscent of the way in which Friedrich would do this. Unlike Dahl, for Caspar David Friedrich many compositions carried religious connotations, with snow, for example, representing death and fir trees the promise of resurrection. Dahl did not seek to infer symbols into his paintings in this way, but he did manage to create a contemplative mood in the present oil sketch that exudes what Germans so accurately refer to as Stimmung. The trees and the birds have been painted quite effortlessly, with a few dabs here and there. A soft sprinkling of snow on the branches of the fir trees combines with the gloomy background, creating a warm and peaceful feel. And it is by the loose way in which this has been painted that we can sense the quiet spirit that we are meant to perceive when viewing this slice of nature in such diminutive detail.
Armand Guillaumin (Paris 1841-1927 Orly) La Scierie de Poitiers, circa 1910 Oil on canvas 51 x 71 cm Signed and inscribed 'Guillaumin Hommage à l'Amérique' Provenance: private collection (acquired from the artist around 1920); sale, Parke-Bernet Galleries, New York, October 28, 1970, lot 2 Literature: G. Serret et D. Fabiani, Armand Guillaumin, Catalogue raisonné de l'oeuvre peint, Paris, 1971, n° 776 (illustré)