ART MODERNE — Mercredi 31 Mars 2021
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IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
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. -
出品作品リスト| List of Works
主 催:東京都美術館(公益財団法人東京都歴史文化財団)、東京新聞、TBS 後 援:オ ラ ン ダ 王 国 大 使 館 、 TBSラ ジ オ、 BS - TBS 協 賛:三井住友銀行、日本写真印刷、三井物産、損保ジャパン日本興亜 協 力:エールフランス航 空 / K L M オランダ航 空、日本航 空、オランダ 政 府観 光 局 Organized by:Tokyo Metropolitan Art Museum (Tokyo Metropolitan Foundation for History and Culture)/The Tokyo Shimbun/TBS With the support of:Embassy of the Kingdom of the Netherlands/ TBS RADIO, Inc./BS - TBS With the sponsorship of:Sumitomo Mitsui Banking Corporation/Nissha Printing Co., Ltd./MITSUI & CO., LTD. /Sompo Japan Nipponkoa Insurance Inc. With the cooperation of:Air France / KLM Royal Dutch Airlines/JAPAN AIRLINES/ Netherlands Board of Tourism & Conventions 本展は、政府による美術品補償制度の適用を受けています。 This exhibition is covered by the Japanese Act on the Indemnification of Damage to Works of Art in Exhibitions (Act No.17 of 2011) 出品 作 品リスト | List of Works ・本リストの掲載順と作品展示順は必ずしも一致しません。 ・ 展示室内の温度・湿度、照明は、作品保護に関する所蔵者の貸出条件に従い管理しております。ご来場の皆様にとって理想的と感じられない場合もあるかと存じますが、 ご容赦ください。 ・作品番号 10、11、27、29、53、62 は東京会場に出品されないため、本リストには掲載しておりません。 ・The order of the work in this list may not necessarily correspond to that in the exhibition. ・Temperature, humidity and brightness of the exhibition room are controlled under the lender's condition of loan and international standard for preservation of work. We apologize any inconvenience this may cause. ・Work nos. 10, 11, 27, 29, 53, 62 will not be displayed in Tokyo. 番号 作家名 作品名 制作年 技法・材質 所蔵 No. Artist Title Year Technique / Material Collection 第1章 近代絵画のパイオニア誕生 The Making of the Two Fathers of Modern Art 1 フィン セ ント ・ファン ・ゴッホ 泥炭船と二人の人物 1883 油彩、 ドレント美 術 館 板 に -
Art of Tomorrow : Fifth Catalogue of the Solomon R. Guggenheim Collection
A K SOLOMON R. GUGGENHEIM COLLECTION OF y . \ Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/artoftomorrowfif1939gugg ' The theme center of the New York World's Fair owes its inspiration to this creation of Rudolf Bauer, "The Holy One," painted in 1936, exhibited and published in 1937 in the United States of America. ART OF TOMORROW RUDOLF BAUER FIFTH CATALOGUE OF THE SOLOMON R. GUGGENHEIM COLLECTION OF NON-OBJECTIVE PAINTINGS PART OF WHICH IS TEMPORARILY EXHIBITED AT 24 EAST 54 th STREET, NEW YORK CITY st 1 OPENING JUNE , 1939 SOLOMON R. GUGGENHEIM FOUNDATION NEW YORK RUDOLF BAUER, No. 103, No. 104, No. 105, No. 106, "TETRAPTYCHON" Symphony in four movements. THE POWER OF SPIRITUAL RHYTHM A great epoch in art is started by genius who has the power to improve former accom- plishments and the prophecy to state the new ideal. Genius is a special gift of God to the elite of a nation. Great art is always advanced to the understanding of masses. Yet masses indirectly are benefited through the fame for culture which the advance guard of elite brings to them in the increase of their importance as a nation. There are thousands of people interested towards creating the importance of their century. When addressed to them, art is certain of response. In the coming millennium masses will profit by the prophetic cultural achievements of these thousands as courageous, honest, far-seeing creators influence the style of the earth of tomorrow. A highly developed taste, the most refined cultural expression of art can be acquired by anyone who is able to feel beauty. -
Style Saloniste
Monday, July 17, 2017 Modernism Gallery’s Brilliant New Re-Invention I love the chic new design of Martin Muller’s great Modernism gallery. With its bold and dramatic Cubist/Constructivist exterior and elegant interior, it is very Martin, and very Modernism, and it is very true to the artists he has presented for the last four decades. Situated in a lively corner of San Francisco’s edgy Tenderloin neighborhood, Modernism gallery, with a museum-worthy roster of major artists, is an exciting addition to the city’s notable architecture, and cultural life. Martin Muller worked very closely with the great San Francisco architecture firm, Aidlin Darling Design, to create the new gallery. Formerly in the classical Monadnock building on Market Street (near the new SFMOMA) Modernism now pioneers new territory. Bravo, Martin. Martin Muller with paintings by Georges VALMIER [1885-1937] and Louis MARCOUSSIS [1878-1941] I’m so excited about Martin’s dramatic new gallery. It’s situated in a space on Ellis Street in the Tenderloin. It’s in an area that’s wonderful for discovery called Little Saigon. Modernism now occupies a five thousand square foot bi-level single-tenant building one-and-a-half blocks from Van Ness Avenue. First erected in 1946, the former Diebold Safe & Lock Co. building has been completely remodeled by the award-winning San Francisco architecture firm Aidlin Darling Design. The gallery's design is further enhanced by eighteen-foot-high skylights, polished concrete floors, and moveable exhibition walls that will advance Martin’s tradition of originating international exhibitions of intellectual rigor and importance. -
Annual Report 2004
mma BOARD OF TRUSTEES Richard C. Hedreen (as of 30 September 2004) Eric H. Holder Jr. Victoria P. Sant Raymond J. Horowitz Chairman Robert J. Hurst Earl A. Powell III Alberto Ibarguen Robert F. Erburu Betsy K. Karel Julian Ganz, Jr. Lmda H. Kaufman David 0. Maxwell James V. Kimsey John C. Fontaine Mark J. Kington Robert L. Kirk Leonard A. Lauder & Alexander M. Laughlin Robert F. Erburu Victoria P. Sant Victoria P. Sant Joyce Menschel Chairman President Chairman Harvey S. Shipley Miller John W. Snow Secretary of the Treasury John G. Pappajohn Robert F. Erburu Sally Engelhard Pingree Julian Ganz, Jr. Diana Prince David 0. Maxwell Mitchell P. Rales John C. Fontaine Catherine B. Reynolds KW,< Sharon Percy Rockefeller Robert M. Rosenthal B. Francis Saul II if Robert F. Erburu Thomas A. Saunders III Julian Ganz, Jr. David 0. Maxwell Chairman I Albert H. Small John W. Snow Secretary of the Treasury James S. Smith Julian Ganz, Jr. Michelle Smith Ruth Carter Stevenson David 0. Maxwell Roselyne C. Swig Victoria P. Sant Luther M. Stovall John C. Fontaine Joseph G. Tompkins Ladislaus von Hoffmann John C. Whitehead Ruth Carter Stevenson IJohn Wilmerding John C. Fontaine J William H. Rehnquist Alexander M. Laughlin Dian Woodner ,id Chief Justice of the Robert H. Smith ,w United States Victoria P. Sant John C. Fontaine President Chair Earl A. Powell III Frederick W. Beinecke Director Heidi L. Berry Alan Shestack W. Russell G. Byers Jr. Deputy Director Elizabeth Cropper Melvin S. Cohen Dean, Center for Advanced Edwin L. Cox Colin L. Powell John W. -
Readymade Digital Colour: an Expanding Subject for Painting
READYMADE DIGITAL COLOUR: AN EXPANDING SUBJECT FOR PAINTING Doctorate of Philosophy DAVID SERISIER 2013 College of Fine Arts University of New South Wales ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed ................................................................. Date ................................................................. ii COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). -
Anatole Jakovsky (1907/1909? – 1983) : La Trajectoire D ’Un Critique D ’Art Au Xx E Siecle
UNIVERSITÉ PARIS IV-SORBONNE UFR D’ART ET D’ARCHÉOLOGIE MASTER I D’HISTOIRE DE L’ART Vanessa NOIZET SOUS LA DIRECTION DE Monsieur Arnauld PIERRE PROFESSEUR D’HISTOIRE DE L’ART CONTEMPORAIN Année universitaire 2010-2011 ANATOLE JAKOVSKY (1907/1909? – 1983) : LA TRAJECTOIRE D ’UN CRITIQUE D ’ART AU XX E SIECLE . Volume n°1 Vanessa Noizet 46, rue Gabriel Péri 94240 L’Haÿ-les-Roses [email protected] Session juin 2011 La trajectoire d’un critique d’art au XXe siècle. 1 La trajectoire d’un critique d’art au XXe siècle. SOMMAIRE Remerciements p. 5 Avertissement au lecteur p. 7 Avant-propos p. 8 Introduction p. 10 I. HISTOIRE DE L ’ABSTRACTION p. 17 1) L’historiographie de l’abstraction p. 18 « These-Antithese-Synthese » p. 20 Cubism and Abstract Art p.26 Une impasse picturale p. 26 2) Anatole Jakovsky et l’art britannique p. 29 Jean Hélion p. 29 Jean Hélion et l’art britannique p. 30 Hélion et Gallatin p. 31 Les contributions à Axis p. 32 II. REFLEXIONS SUR LA PEINTURE p. 34 1) Une extension du champ pictural p. 34 Condamnation de l’objet p. 34 L’espace du tableau p. 35 L’ « Art Mural » p. 37 2) Le cycle organique p. 38 III. MULTIPLES FACETTES D ’A NATOLE JAKOVSKY p. 41 1) Anatole Jakovsky, écrivain p. 41 2 La trajectoire d’un critique d’art au XXe siècle. 2) Anatole Jakovsky – Robert Delaunay : un intérêt pour les livres illustrés p. 44 Clefs des pavés p. 44 Vacances en Bretagne p. 46 3) Le collectionneur d’art abstrait p. -
News Release ATZ200730-E E
News Release ATZ200730-E_E July 30, 2020 Artizon Museum, Ishibashi Foundation Rimpa and Impressionism: Arts Produced by Urban Cultures, East and West November 14 (Saturday), 2020 ‒ January 24 (Sunday), 2021 The Artizon Museum of the Ishibashi Foundation (Director: Ishibashi Hiroshi) is delighted to announce its upcoming exhibition, Rimpa and Impressionism: Arts Produced by Urban Cultures, East and West. The Rimpa school of painting was initiated by Tawaraya Sotatsu in the early seventeenth century. It evolved through the work of Ogata Korin in the early eighteenth century and Sotatsu’s and Korin’s colleagues in context of the townsman culture of Kyoto, then Japan’s imperial capital. In the early nineteenth century, Rimpa was carried on by artists such as Sakai Hoitsu and Suzuki Kiitsu, in Edo (today’s Tokyo), the shogun’s headquarters. In Edo, the evolving Rimpa school became an urban genre with a decorative aesthetic at its core. Impressionism was an innovative, modern school of art that emerged in Europe in the latter half of the nineteenth century. Centered on Paris, the Impressionists included artists such as Édouard Manet, Claude Monet, Edgar Degas, Pierre-Auguste Renoir, and Paul Cézanne who candidly expressed their impressions of their everyday experiences and the delights of urban lifestyles. This exhibition is an innovative attempt to compare and survey, through works by artistic geniuses nurtured by urban cultures in Japan and Europe, East and West, what the sophisticated aesthetics characteristic of major metropolises achieved. The exhibition includes the Impressionist masterpieces that are the core of our collection and Rimpa works from our collection being shown for the first time, plus masterworks from temples and museums in Japan. -
Archives Des Musées Nationaux Direction Des Musées De France (Série AA)
Archives des musées nationaux direction des musées de France (série AA) Répertoire numérique n° 20150333 Hélène Brossier, Audrey Clergeau, Camille Fimbel, Guillaume Monnot, archivistes sous la direction de la mission des archives du ministère de la Culture et de la communication à partir des inventaires rédigés par les agents des Archives des musées nationaux Première édition électronique Archives nationales (France) Pierrefitte-sur-Seine 2015 1 Mention de note éventuelle https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_054219 Cet instrument de recherche a été rédigé avec un logiciel de traitement de texte. Ce document est écrit en ilestenfrançais.. Conforme à la norme ISAD(G) et aux règles d'application de la DTD EAD (version 2002) aux Archives nationales, il a reçu le visa du Service interministériel des Archives de France le ..... 2 Archives nationales (France) Sommaire Archives des musées nationaux-Direction des musées de France (série AA) 10 Courrier départ 13 Juin-Décembre 1928 13 Janvier-Juin 1929 13 Juillet-Décembre 1929 13 Janvier-Mai 1930 13 Juin-Septembre 1930 13 Octobre-Décembre 1930 13 Janvier-Avril 1931 13 Mai-Août 1931 13 Septembre-Décembre 1931 13 Janvier-Avril 1932 13 Mai-Juillet 1932 13 Août-Novembre 1932 13 Décembre 1932-Janvier 1933 14 Février-Avril 1933 14 Mai-Juin 1933 14 Juillet-Septembre 1933 14 Octobre-Novembre 1933 14 Décembre 1933-Janvier 1934 14 Février-Mars 1934 14 Avril-Mai 1934 14 Juin-Juillet 1934 14 Août-Septembre 1934 14 Octobre-Novembre 1934 14 Décembre 1934-Janvier 1935 14 Février-Mars -
Mise En Page 1
lundi 23 juin 2014 Hôtel Drouot Estampes & Multiples Estampes & Multiples Lundi 23 juin 2014 à 13h30 - Hôtel Drouot - Salle 7 1 Expositions publiques : Directrice du département : Samedi 21 juin, 11h – 18h Dorothée Ferté Lundi 23 juin, 11h – 12h Tel. : +33 1 47 27 11 24 - Fax : +33 1 45 53 45 24 [email protected] Hôtel Drouot 9, rue Drouot – 75009 Paris Téléphone pendant les expositions : Les rapports de conditions des œuvres que nous présentons peuvent être délivrés +33 1 48 00 20 07 avant la vente à toutes les personnes qui en font la demande. Ceux-ci sont uniquement procurés à titre indicatif et ne peuvent se substituer à l’examen personnel de celles-ci par l’acquéreur. Commissaire-priseur : Arnaud Cornette de Saint Cyr Tel. : +33 1 47 27 11 24 [email protected] Commissaires-priseurs habilités : Pierre, Bertrand, Arnaud Cornette de Saint Cyr Tous les catalogues en ligne sur www.cornette-saintcyr.com Design Montpensier Communication 46, avenue Kléber – 75116 Paris – tél.: +33 1 47 27 11 24 Impression Geers Offset Agrément n° 2002-364 INDEX ESTAMPES MODERNES ESTAMPES CONTEMPORAINES & MULTIPLES ARP (D'APRES) 105 KIRKEBY 370 BALTHUS 22 ADAMI 117, 386 KLASEN 384 BELLMER 32 AGAM 406 à 408, 417 KOONS 222, 260 BONNARD 23 AILLAUD 259 KOSUTH 127 BRAQUE 61, 62 ALBEROLA 368 KUPER 400 BRAQUE (D'APRES) 64, 65 ALECHINSKY 114, 350, 377 LAM 358, 359 BRASILIER 54 APPEL 345, 346 LANSKOY 176 BRAYER 51 ARMAN 118, 188 à 190, 218 LEWITT 115 BUFFET 10 à 12 ARROYO 383 LICHTENSTEIN 218, 228, 231 à 233, 246 CALDER 80, 81 ART & LANGUAGE 376 -
Gazette Drouot INTERNATIONAL
Gazette Drouot INTERNATIONAL NUMBER 3 MAY 2011 FINE ART AND EUROPEAN FURNITURE FRIDAY 6 MAY 3 PM - CLARIDGE’S - LONDON RARE TABLE DE SALON in dark wood and black lacquer, of serpentine form, japanese lacquer. Fine ornementation of engraved gilt bronzes Stamped B.V.R.B., Bernard II Van Risen Burgh ( ? – 1765) Louis XV period H 26.8, W 21.7, D 14 inches Enquiries: Bid online Maître Nathalie Vermot +33 (0) 1 42 46 43 94 [email protected] Catalogue: [email protected] Europ Auction - Société de Ventes Volontaires - Agrément n° 2008 – 683 3, rue Rossini - 75009 Paris - Tél. : +33 (0) 1 42 46 43 94 - Fax : +33 (0) 1 42 47 17 12 - Email : [email protected] www.europauction.com CONTENTS EVENT . 11 EXHIBITIONS . 96 Highlights at Drouot-Montaigne Caillebotte, Perriand… UPCOMING . 25 MUSEUM . 98 Lyonel Feininger… François Morellet RESULTS . 31 MEETING . 102 Weiller, Gourdon, Chirée collections… Marc Restellini INTERVIEW TRENDS . 76 THE IMAGINARY . 106 Dasson, Linke… Diego Velázquez DESIGN . 92 COLLECTIONS . 110 Michel Boyer The Barnes Foundation THE MAGAZINE EDITORIAL What's an ideal world ? A world where the future looks as promising as the past has been opulent, and the present delightful… Well, take the art market. These past months have been particularly rich in million- plus bids, with results to make the most astute investors green with envy, in spite of the recession. Examples include the sale of the Château de Gourdon collections at the Palais de Tokyo. These Art Deco and UAM masterpieces had been freshly acquired by Laurent Negro for his château in the South of France, and not for trifling sums either! The overall result may not have attained the wildest dreams of the auction house, but it was still a resounding success.