DOCSLIB.ORG

Moderne, Publié Sous La Direction De MM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Moderne, Publié Sous La Direction De MM AVANT-GARDE 214 C ATALOGUE 137 TWENTIETH-CENTURY AVANT-GARDE Rare Books and Documents ars libri ltd ARS LIBRI LTD 500 Harrison Avenue Boston, Massachusetts 02118 U.S.A. tel: 617.357.5212 fax: 617.338.5763 email: [email protected] http://www.arslibri.com All items are in good antiquarian condition, unless otherwise described. All prices are net. Massachusetts residents should add 5% sales tax. Reserved items will be held for two weeks pending receipt of payment or formal orders. Orders from individuals unknown to us must be accompanied by payment or by satisfactory references. All items may be returned, if returned within two weeks in the same condition as sent, and if packed, shipped and insured as received. When ordering from this catalogue please refer to Catalogue Number One Hundred and Thirty-Seven and indicate the item number(s). Overseas clients must remit in U.S. dollar funds, payable on a U.S. bank, or transfer the amount due directly to the account of Ars Libri Ltd., Cambridge Trust Company, 1336 Massachusetts Avenue, Cambridge, MA 02238, Account No. 39-665-6-01. Clients maintaining accounts in Germany may remit to our German account: Commerzbank, Filiale Bad Soden, 65812 Bad Soden/Taunus, Germany, Account No. 1160159 (BLZ 500 400 00). Mastercard, Visa and American Express accepted. avant-garde 5 1 ABE KONGO Shururearizumu kaigaron [Surrealist Painting]. 115pp., 10 plates (reproducing work by Ozenfant, Picabia, Léger, Bran- cusi, Ernst, and others). Printed wraps. Glassine d.j. Back- strip chipped, otherwise fine. Tokyo (Tenjinsha), 1930. $1,200.00 Centre Georges Pompidou: Japon des avant-gardes 1910/1970 (Paris, 1986), pp. 192 (illus.), 515 2 ACTION Cahiers individualistes de philosophie et d’art. Directeurs: Florent Fels et Marcel Sauvage. Nos. 1-[12], February 1920 - March/April 1922 (all published). 56-88pp. per issue. Numerous illus. hors texte. Original woodcut vignettes and culs-de-lampe throughout, by Vlaminck, Galanis, and others. 4to. and 8vo. (final issue]). Orig. printed wraps. A complete run. Texts by Apollinaire, Cendrars, Salmon, Jacob, Huidobro, Jarry, Péret, Raynal, Vlaminck, Malraux, Satie, Gabory, Arnauld, Martin du Gard, Ehrenburg, Dermée, Artaud, Éluard, Tzara, Zbrorowski, Radiguet, Vlaminck, et al. No. 3 contains the feature “Opinions sur l’art nègre,” with statements by Apollinaire, Cocteau, Gris, Lipchitz, Picasso, Salmon, Vlaminck and others (also “L’affaire dada” by Gleizes); no. 5 contains “Anthologie d’écrivains allemands contemporains.” There are frequent critical texts on African art, principally by Carl Einstein. Light browning, as always; an attractive and well-preserved set. Paris, 1920-1922. $4,000.00 Place/Vasseur III.73ff.; Chevrefils Desbiolles p. 253f.; Admussen 2 3 ALBERS, JOSEF, et al. Beilage der Neuen Frauenkleidung und Frauenkultur. (Neue 7 Frauenkleidung und Frauenkultur. Januar 1925.) 8pp. 7 illus. 5 4to. Self-wraps., stapled as issued. Josef Albers’ lead article, ALBERT-BIROT, PIERRE “Werkstatt-Arbeiten des Staatlichen Bauhauses zu Larountala. Polydrame en deux parties, composé en 1917- Weimar,”includes illustrations of furniture by Albers himself (a 1918. 92pp. 1 full-page original woodcut (frontispiece). Lrg. beautiful Constructivist wooden table), Erich Dieckmann, and 8vo. Boards, 3/4 black calf gilt. One of 120 numbered copies Marcel Breuer. Following are articles by Walter Gropius (an on Arches, from the limited edition of 124 in all. Albert-Birot’s excerpt from “Idee und Aufbau”) and Anni Albers, still writing elaborate ‘polydrame,’ with musical score by Germaine as Anneliese Fleischmann (“Wohnökonomie” ). Their writings Albert-Birot, entails a cast of more than 50 characters, includ- were part of a public relations campaign by the Weimar ing the sixteenth-century ceramic artist Bernard Palissy, Bauhaus, in a climate of of mounting hostility. Last two leaves policemen, clowns, children, dancers, and a tiger. The strik- waterdamaged, with loss at foot, somewhat affecting text and ing, primitivistic woodcut composition depicts a bearded illustration; minor soiling of first leaf. writer facing out from a table, like a seated Sumerian scribe. Karlsruhe/Berlin, 1925. $275.00 Presentation copy, inscribed “A M. [effaced]/ hommage de Wingler p. 633 l’auteur/ Pierre Albert-Birot/ 30 mai 1919” on the first blank leaf. A little browning and wear; handsomely bound. 4 Paris (Éditions “Sic”), 1919. $800.00 ALBERT-BIROT, PIERRE Trente et un poèmes de poche. Préface de Guillaume Apolli- 6 naire. (58)pp. Sm. 8vo. Wraps. Glassine d.j. One of 80 num- ALBERT-BIROT, PIERRE bered copies on bouffant, from the limited edition of 135 in all. Le catalogue de l’antiquaire. 62pp. Blue wraps., with mount- Apollinaire’s “Poèmepréfaceprophétie” is a whimsical verse ed paper label on front cover. Glassine d.j. One of 140 copies in five numbered stanzas, beginning “Pierre Albert-Birot est on vélin blanc, hand-numbered by Albert-Birot, from the edi- une sorte de pyrogène/ Si vous voulez enflammer des tion of 201 in all, printed by “SIC” for Jean Budry. Manuscript allumettes/ Frottez-les donc sur lui/ Elle ont des chances de corrections on pp. 37 and 40, presumably by the author. prendre/ Trop peu de pyrogènes aujourd’hui/ Mais je ne dis Albert-Birot, who worked (for some twenty years) for the anti- rien des allumettes.” One of the key books in Albert-Birot’s quaire Édouard Larcade on the Champs-Élysées, found him- oeuvre. A fine copy. self alone as the caretaker of a private collection of antiques Paris (Editions “SIC”), 1917. $950.00 and antiquities in Saint-Germain-en-Laye in the month of Biro/Passeron p. 14 November 1922. His”peintures à la plume” are Proustian 6 ars libri poetic meditations, tinged with Surrealism, on these objects which took on imaginary lives of their own as he fell under their spell. Together with this, a copy of the 1993 re-edition. Light wear. Paris (Éditions Jean Budry et Cie.), 1923. $550.00 7 ALBERT-BIROT, PIERRE La lune, ou le livre des poèmes. 229pp. Wraps. (front cover partly detached). Glassine d.j. One of 300 numbered copies on vergé pur fil Lafuma, from the limited edition of 326 in all. The work includes a lavish complement of calligrams. Together with this, a small folding handbill of Albert-Birot’s “Comm’ ça,” privately printed by Arlette Albert-Birot on the author’s own press, as a New Year’s gift, 1969. Paris (Jean Budry & Cie.), 1924. $800.00 Dada Global 192 8 ALBERT-BIROT, PIERRE Miniatures. Trente jeux prosodiques. 36pp. 12mo. Printed blue wraps. Glassine d.j. Edition limited to 100 copies in all, numbered in pen by the author. Partly unopened. A hand- some presentation copy, boldly inscribed to the Surrealist writer Joë Bousquet “en souvenir d’une belle letttre/ Pierre Albert-Birot/ Paris 25 Avril 1939.” Paris (Éditions des Canettes), 1939. $450.00 Biro/Passeron p. 14 9 (ALECHINSKY) Caillois, Roger Un mannequin sur le trottoir. Pierre Alechinsky: remarques au pinceau. (20)pp. Illustrations in color throughout by Alechinsky, including 5 plates (2 double-page) and 14 inte- grated with text; the text itself a facsimile typescript contain- ing manuscript corrections by the author. Sm. folio. Portfolio (dec. slipcase, chemise). Contents loose, as issued. Edition limited to 450 hand-numbered copies, signed in the justifica- tion by Alechinsky and Caillois. Light wear to the slipcase. Paris (Yves Rivière), 1974. $950.00 Sicard, Michel: Alechinsky: travaux d’impression (Paris, 1992), no. 30; Peyré, Yves, et al.: Pierre Alechinsky: The Complete Books (Antwerpen: Ceuleers & Van de Velde, 2002), no. 38 10 (APOLLINAIRE, GUILLAUME) Manifestation “SIC” du 24 juin 1917. (8)pp. 2 illustrations, by Picasso (line drawing on cover) and Matisse (linocut, “Nu assis,” reproduced full-page in the interior). Sm. sq. folio. Self-wraps, stitched as issued. One of 20 numbered copies on Japon, signed by Albert-Birot on the front cover, from the édition de tête of 30 copies. Texts by Max Jacob (“Peri- gal-Nohor”), Jean Cocteau (“Zèbre”), Pierre Reverdy (“Mao- Tcha,” dedicated to Apollinaire) and Albert-Birot (“Poème en rond,” a calligram). The deluxe edition of the program for the premiere of Apolli- naire’s “Les mamelles de Tirésias,” which was produced under “SIC”‘s auspices. Subtitled “drame sur-réaliste en deux actes et un prologue,” it was the first prominent public appearance of the word “surrealist’ (which had also been used once, in passing, in Apollinaire’s note on “Parade” the month before). The program predates the serialization of the 10 play in “SIC,” which began in the July 1917 issue, and the first 11 edition of it in book form, which came out the following year. avant-garde 7 12 Apollinaire had been wavering about whether to call his work edges). Arp’s fourth book, a collection of dada poems. The “drame sur-réaliste” or “drame sur-naturaliste” (as it appears 41-line 3-column mechanical repetition of the title on each in manuscript drafts of the play), and it was in fact Albert-Birot cover, a more emphatic recasting of Duchamp’s design for who convinced him to go with the latter. “The play, which “New York Dada,” is one of the most influential typographic introduces the term surrealism, contains innovations—partic- inventions of the period. Front inner hinge with hairline crack; ularly its dissociation of language from setting or plot—that a little light browning; a handsome copy. This issue in boards, prove formative for Paris Dada and its echoes around rather than wrappers, is exceedingly rare. Europe” (Washington: Dada, chronology by Matthew S. Erlenbach-Zürich/ München (Eugen Rentsch) [1924]. Witkovsky). A large and impressive publication, the letter- $4,500.00 press bold on the Japon paper. Very fine. Bleikasten Aa29; Rolandseck 89; Dada Zürich 67; Pompidou Paris (SIC), 1917. $3,000.00 Dada 1211; Motherwell/Karpel 194; Verkauf p.
Load more

Recommended publications
  • Downloaded from Brill.Com10/04/2021 08:07:20AM This Is an Open Access Chapter Distributed Under the Terms of the CC BY-NC-ND 4.0 License
    INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 L’Art pour l’Art or L’Art pour Tous? The Tension Between Artistic Autonomy and Social Engagement in Les Temps Nouveaux, 1896–1903 Laura Prins HCM 4 (1): 92–126 DOI: 10.18352/hcm.505 Abstract Between 1896 and 1903, Jean Grave, editor of the anarchist journal Les Temps Nouveaux, published an artistic album of original prints, with the collaboration of (avant-garde) artists and illustrators. While anar- chist theorists, including Grave, summoned artists to create social art, which had to be didactic and accessible to the working classes, artists wished to emphasize their autonomous position instead. Even though Grave requested ‘absolutely artistic’ prints in the case of this album, artists had difficulties with creating something for him, trying to com- bine their social engagement with their artistic autonomy. The artistic album appears to have become a compromise of the debate between the anarchist theorists and artists with anarchist sympathies. Keywords: anarchism, France, Neo-Impressionism, nineteenth century, original print Introduction While the Neo-Impressionist painter Paul Signac (1863–1935) was preparing for a lecture in 1902, he wrote, ‘Justice in sociology, har- mony in art: same thing’.1 Although Signac never officially published the lecture, his words have frequently been cited by scholars since the 1960s, who claim that they illustrate the widespread modern idea that any revolutionary avant-garde artist automatically was revolutionary in 92 HCM 2016, VOL.
    [Show full text]
  • Cottus Poecilopus Heckel, 1836, in the River Javorin- Ka, the Tatra
    Oecologia Montana 2018, Cottus poecilopus Heckel, 1836, in the river Javorin- 27, 21-26 ka, the Tatra mountains, Slovakia M. JANIGA, Jr. In Tatranská Javorina under Muráň mountain, a small fish nursery was built by Christian Kraft von Institute of High Mountain Biology University of Hohenlohe around 1930. The most comprehensive Žilina, Tatranská Javorina 7, SK-059 56, Slovakia; studies on fish from the Tatra mountains were writ- e-mail:: [email protected] ten by professor Václav Dyk (1957; 1961), Dyk and Dyková (1964a,b; 1965), who studied altitudinal distribution of fish, describing the highest points where fish were found. His studies on fish were likely the most complex studies of their kind during that period. Along with his wife Sylvia, who illus- Abstract. This study focuses on the Cottus poe- trated his studies, they published the first realistic cilopus from the river Javorinka in the north-east studies on fish from the Tatra mountains including High Tatra mountains, Slovakia. The movement the river Javorinka (Dyk and Dyková 1964a). Feri- and residence of 75 Alpine bullhead in the river anc (1948) published the first Slovakian nomenclature were monitored and carefully recorded using GPS of fish in 1948. Eugen K. Balon (1964; 1966) was the coordinates. A map representing their location in next famous ichthyologist who became a recognised the river was generated. This data was collected in expert in the fish fauna of the streams of the Tatra the spring and summer of 2016 and in the autumn mountains, the river Poprad, and various high moun- of 2017. Body length and body weight of 67 Alpine tain lakes.
    [Show full text]
  • Trout Stocking in SAC Rivers. Phase 1: Review of Stocking Practice
    Trout stocking in SAC rivers. Phase 1: Review of stocking practice Science Report: SC030211/SR1 SCHO0707BMZC-E-P The Environment Agency is the leading public body protecting and improving the environment in England and Wales. It’s our job to make sure that air, land and water are looked after by everyone in today’s society, so that tomorrow’s generations inherit a cleaner, healthier world. Our work includes tackling flooding and pollution incidents, reducing industry’s impacts on the environment, cleaning up rivers, coastal waters and contaminated land, and improving wildlife habitats. This report is the result of research commissioned and funded by the Environment Agency (Habitats Directive Programme), English Nature and the Countryside Council for Wales. Published by: Author: Environment Agency, Rio House, Waterside Drive, Aztec West, N. Giles Almondsbury, Bristol, BS32 4UD Tel: 01454 624400 Fax: 01454 624409 Dissemination Status: www.environment-agency.gov.uk Publicly available ISBN: 978-1-84432-796-6 Keywords: Trout, stocking, cSAC rivers, salmon, bullhead, crayfish © Environment Agency July 2007 Research Contractor: All rights reserved. This document may be reproduced with prior Dr Nick Giles & Associates, permission of the Environment Agency. 50 Lake Road, Verwood, Dorset, BH31 6BX. The views expressed in this document are not necessarily Tel: 01202 824245 those of the Environment Agency. Email: [email protected] This report is printed on Cyclus Print, a 100% recycled stock, Environment Agency’s Project Manager: which is 100% post consumer waste and is totally chlorine free. Miran Aprahamian, Richard Fairclough House, Warrington Water used is treated and in most cases returned to source in better condition than removed.
    [Show full text]
  • 1 Tomasz Dziewicki University of Warsaw Intensivism As a Tool of An
    III. International Forum for doctoral candidates in East European art history, Berlin, 29th April 2016, organized by the Chair of Art History of Eastern and East Central Europe, Humboldt University Berlin Tomasz Dziewicki University of Warsaw XXXXXXXXXXXXXXXXXXXXXXXX Intensivism as a Tool of an Art Historian In 1897 in Warsaw, the art critic, Cezary Jellenta, published in a weekly magazine "Głos" the article titled Intensivism. This article in its times did not influence on a polish art, but nowadays a category of intensivism created by Jellenta can be seen as an useable tool from the point of view a art historian. Jellenta noticed in his article a new trend in painting of the end of the century. In his mind modern art turned to a subjective way of perception of reality. Presentation of ordinary objects and phenomena, which are known by a viewer, in work of art tends to experience them anew. The art critic maintained a role of personal experience of powers of nature through a painting and the fact that this power may be embodied with the soul of an artist. At the beginning of his paper he refered to anachronistic examples of Andreas Achenbach's and Anders Zorn's work but also pointed out Arnold Böcklin, Władysław Podkowiński or Józef Pankiewicz as founders of the new movement. Jellenta paid attention to a modern composition, simplification and painting synthesis, which enable to express reality better and deeper. He applies a category, separated plastically and semantically from a representation, of main motif , which, as Jellenta wrote, "tunes our soul". In fact it is an attempt to transfer the music theory of Leitmotif by Richard Wagner on the ground of the painting.
    [Show full text]
  • The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
    MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1.
    [Show full text]
  • Vincent Van Gogh the Starry Night
    Richard Thomson Vincent van Gogh The Starry Night the museum of modern art, new york The Starry Night without doubt, vincent van gogh’s painting the starry night (fig. 1) is an iconic image of modern culture. One of the beacons of The Museum of Modern Art, every day it draws thousands of visitors who want to gaze at it, be instructed about it, or be photographed in front of it. The picture has a far-flung and flexible identity in our collective musée imaginaire, whether in material form decorating a tie or T-shirt, as a visual quotation in a book cover or caricature, or as a ubiquitously understood allusion to anguish in a sentimental popular song. Starry Night belongs in the front rank of the modern cultural vernacular. This is rather a surprising status to have been achieved by a painting that was executed with neither fanfare nor much explanation in Van Gogh’s own correspondence, that on reflection the artist found did not satisfy him, and that displeased his crucial supporter and primary critic, his brother Theo. Starry Night was painted in June 1889, at a period of great complexity in Vincent’s life. Living at the asylum of Saint-Rémy in the south of France, a Dutchman in Provence, he was cut off from his country, family, and fellow artists. His isolation was enhanced by his state of health, psychologically fragile and erratic. Yet for all these taxing disadvantages, Van Gogh was determined to fulfill himself as an artist, the road that he had taken in 1880.
    [Show full text]
  • HARD FACTS and SOFT SPECULATION Thierry De Duve
    THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between.
    [Show full text]
  • God and the Atom: Salvador Dalí's Mystical Manifesto and The
    ©Michael Taylor 2007 & 2016 God and the Atom: Salvador Dalí’s Mystical Manifesto and the Contested Origins of Nuclear Painting by Michael R. Taylor In December 1951, Salvador Dalí announced his newfound interest in the pictorial possibilities of nuclear physics and molecular chemistry at a press conference in London, where he declared himself to be the “First Painter of the Atomic Age” and dismissed all the works he had produced up until this point as “merely evolution.”1 The devastating destruction of the Japanese city of Hiroshima by a nuclear fission bomb with a yield of 15 kilotons – equivalent to the force of 15,000 tons of TNT - had forced Dalí to re-think both the subject matter and spatial complexities of his subsequent paintings. On August 6, 1945, at 8.15 am, a flash a thousand times brighter than the sun illuminated the sky above Hiroshima. It was immediately followed by a wave of incandescent heat and, a few minutes later, a ferocious hurricane that swept away everything in its path. The terrifying heat turned the city into a gigantic inferno, which in turn generated a violent wind followed by black rain. By mid-afternoon the entire city was destroyed. At least 80,000 people were killed in the explosion, and almost as many suffered serious, life-threatening injuries. In the weeks that followed many more were to die in terrible agony from the burns they had sustained after the initial blast, or from the effects of radiation, which caused internal bleeding, cancer, and leukemia.2 How could an artist like Salvador Dalí, whose work was based on an intuitive, paranoiac-critical understanding of the social and political events of his times, not be profoundly affected by the tragic events at Hiroshima, which had revealed the seemingly unlimited destructive capacity of nuclear weapons, as well as the near impossibility of protecting oneself against their pernicious effects, including the long-term consequences of ionizing radiation.
    [Show full text]
  • Impressionist & Modern
    Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts.
    [Show full text]
  • Maurice Allemand OR HOW MODERN ART CAME to SAINT-ÉTIENNE (1947-1966) a Story of the Collections / Nov
    maurice allemand OR HOW MODERN ART CAME TO SAINT-ÉTIENNE (1947-1966) A STORY OF THE COLLECTIONS / NOV. 30TH 2019 - JAN. 3RD 2021 press kit PRESS CONTACT Lucas Martinet [email protected] Tél. + 33 (0)4 77 91 60 40 Agence anne samson communications Federica Forte [email protected] Tel. +33 (0)1 40 36 84 40 Clara Coustillac [email protected] Tél. +33 (0)1 40 36 84 35 USEFUL INFO MAMC+ Saint-étienne Métropole rue Fernand Léger 42270 Saint-Priest-en-Jarez Tél. +33 (0)4 77 79 52 52 mamc.saint-etienne.fr Maurice Allemand in 1960 in front of the Musée d’Art et d’Industrie de Saint-Étienne with Reclining Figure by Henry Moore (1958), temporary [email protected] exhibition One Hundred Sculptors from Daumier to the Present Day. Photo credit: Geneviève Allemand / MAMC+ OR HOW MODERN maurice allemand the Curator’s foreword ART CAME TO SAINT-ÉTIENNE (1947-1966) The foundations of the exceptional collection of modern art at the MAMC+ were laid after the Second World War A STORY OF THE COLLECTIONS by Maurice Allemand (1906-1979), director of the musée d’Art et d’Industrie from 1947 to 1966, at that time the NOV. 30TH 2019 - JAN. 3RD 2021 only museum in Saint-Étienne. This art collection is now part of the MAMC+, created in 1987, and a pioneer of regional modern art museums. The story recounting the genie of the institution is retraced from largely unpublished archives. They provide an alternative understanding of the founding of the collection and allow to rediscover, next to the masterpieces, artists who are little known today, and some one hundred works which have not been on display for twenty years.
    [Show full text]
  • Impressionist & Modern
    IMPRESSIONIST & MODERN ART Thursday 1 March 2018 IMPRESSIONIST & MODERN ART Thursday 1 March 2018 at 5pm New Bond Street, London VIEWING ENQUIRIES Brussels Rome Thursday 22 February, 9am to 5pm London Christine de Schaetzen Emma Dalla Libera Friday 23 February, 9am to 5pm India Phillips +32 2736 5076 +39 06 485 900 Saturday 24 February, 11am to 4pm Head of Department [email protected] [email protected] Sunday 25 February, 11am to 4pm +44 (0) 20 7468 8328 Monday 26 February, 9am to 5pm [email protected] Cologne Tokyo Tuesday 27 February, 9am to 3pm Katharina Schmid Ryo Wakabayashi Wednesday 28 February 9am to 5pm Hannah Foster +49 221 2779 9650 +81 3 5532 8636 Thursday 1 March, 9am to 2pm Department Director [email protected] [email protected] +44 (0) 20 7468 5814 SALE NUMBER [email protected] Geneva Zurich 24743 Victoria Rey-de-Rudder Andrea Bodmer Ruth Woodbridge +41 22 300 3160 +41 (0) 44 281 95 35 CATALOGUE Specialist [email protected] [email protected] £22.00 +44 (0) 20 7468 5816 [email protected] Livie Gallone Moeller PHYSICAL CONDITION OF LOTS ILLUSTRATIONS +41 22 300 3160 IN THIS AUCTION Front cover: Lot 16 Aimée Honig [email protected] Inside front covers: Lots 20, Junior Cataloguer PLEASE NOTE THAT THERE IS NO 21, 15, 70, 68, 9 +44 (0) 20 7468 8276 Hong Kong REFERENCE IN THIS CATALOGUE Back cover: Lot 33 [email protected] Dorothy Lin TO THE PHYSICAL CONDITION OF +1 323 436 5430 ANY LOT.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]