Jart Auctions

Total Page:16

File Type:pdf, Size:1020Kb

Jart Auctions Jart Auctions XMAS 2020 ART & ANTIQUES SALE Sunday - December 6, 2020 XMAS 2020 ART & ANTIQUES SALE 18001: After Jacob van ES (c.1596-1666 EUR 100 - 150 After Jacob van ES (c.1596-1666) -- Description : Still life with fish -- Medium : Oil on canvas -- Dimensions : 39.5 x 55.5 cm -- Signature : unsigned -- Estimate : 100 - 150 Euro 18002: DUTCH SCHOOL 19th Century EUR 600 - 900 DUTCH SCHOOL 19th Century -- Description : Deer in summer landscape -- Medium : Oil on canvas -- Dimensions : 68 x 75 cm -- Signature : unsigned -- Estimate : 600 - 900 Euro 18003: GERMAN SCHOOL 19th Century EUR 300 - 400 GERMAN SCHOOL 19th Century -- Description : Travellers in vast landscape -- Medium : Oil on panel -- Dimensions : 31 x 43 cm -- Signature : unsigned -- Estimate : 300 - 400 Euro 18004: Alfred T. BASTIEN (1873- 1955) EUR 300 - 500 Alfred T. BASTIEN (1873- 1955) -- Description : À la tombée du jour -- Medium : Oil on canvas -- Dimensions : 38.5 x 55.5 cm -- Signature : Signed lower right and verso -- Estimate : 300 - 500 Euro 18005: Manner of Paulus MOREELSE (1571-1638) EUR 300 - 500 Manner of Paulus MOREELSE (1571-1638) -- Description : A young shepherdess -- Medium : Oil on canvas -- Dimensions : 27 x 40 cm -- Signature : Unsigned -- Estimate : 300 - 400 Euro 18006: DUTCH SCHOOL 19th Century EUR 800 - 1,200 DUTCH SCHOOL, 19th Century -- Description : Young boy blowing bubbles -- Medium : Oil on canvas -- Dimensions : 32 x 42 cmSignature : Unsigned -- Estimate : 800 - 1200 Euro 18007: Frits MONDRIAAN (1853-1932) EUR 300 - 500 Frits MONDRIAAN (1853-1932) -- Description : Figures in forest -- Medium : Oil on canvas -- Dimensions : 41 x 58.5 cm -- Signature : Signed lower right -- Estimate : 300 - 500 Euro 18008: Maria VOS (1824-1906) EUR 600 - 800 Maria VOS (1824-1906) -- Description : Still life with fruit -- Medium : Oil on paper/ panel -- Dimensions : 25 x 40 cm -- Signature : Signed lower left -- Estimate : 600 - 800 Euro Bid Live Online at LiveAuctioneers.com Page 1 XMAS 2020 ART & ANTIQUES SALE 18009: FRENCH SCHOOL ca.1850 EUR 300 - 500 FRENCH SCHOOL ca.1850 -- Description : Entwined rose branches -- Medium : Oil on canvas -- Dimensions : 95 x 34 cm -- Signature : Unsigned -- Estimate : 300 - 500 Euro 18010: Jozef HOLOUBEK (1892-1967) EUR 500 - 700 Jozef HOLOUBEK (1892-1967) -- Description : Landscape near Trencin, Slovakia -- Medium : Oil on canvas -- Dimensions : 70 x 90 cm -- Signature : Signed lower left -- Estimate : 500 - 700 Euro 18011: Frantisek HLADIK (1887-1947) EUR 200 - 300 Frantisek HLADIK (1887-1947) -- Description : Summer landscape -- Medium : Oil on canvas/board -- Dimensions : 12 x 18 cm -- Signature : signed lower right -- Estimate : 200 - 300 Euro 18012: Henri Louis LUDWIG (1856-1925) EUR 400 - 600 Henri Louis LUDWIG (1856-1925) -- Description : Cattle in landscape -- Medium : Oil on canvas -- Dimensions : 45 x 55 cm -- Signature : Signed lower right -- Estimate : 400 - 600 Euro 18013: DUTCH SCHOOL 19th Century EUR 200 - 300 DUTCH SCHOOL ca. 1850 -- Description : On the docks in Dordrecht -- Medium : Watercolour on paper -- Dimensions : 33 x 23 cm -- Signature : Signed lower right -- Estimate : 200 - 300 Euro 18014: Alice Hogarth NICHOLSON (1879 -1940) EUR 600 - 800 Alice Hogarth NICHOLSON (1879 -1940) -- Description : Campo Erberia, Venice -- Medium : Pastel on paper -- Dimensions : 36.5 x 55.5 cm -- Signature : Signed lower right, verso titled, signed -- Estimate : 600 - 800 Euro 18015: Dutch / Belgian artist, around 1900 EUR 600 - 900 Dutch / Belgian artist, around 1900 -- Description : Evening at the fairground -- Medium : Gouache on panel -- Dimensions : 33 x 43 cm -- Signature : Signed -- Estimate : 600 - 900 Euro 18016: Dutch / Belgian artist 1930 EUR 300 - 400 Dutch / Belgian artist 1930 -- Description : Street view by night -- Medium : Oil on canvas -- Dimensions : 78 x 97 cm -- Signature : Signed lower left -- Estimate : 300 - 400 Euro Bid Live Online at LiveAuctioneers.com Page 2 XMAS 2020 ART & ANTIQUES SALE 18017: GERMAN SCHOOL around 1920 EUR 200 - 300 GERMAN SCHOOL around 1920 -- Description : At the Ballet Class -- Medium : Oil on panel -- Dimensions : 22.5 x 22.5 cm -- Signature : Unsigned -- Estimate : 200 -300 Euro 18018: Frans David OERDER (1867-1944) EUR 400 - 600 Frans David OERDER (1867-1944) -- Description : Still life with flowers -- Medium : Watercolour on paper -- Dimensions : 45 x 37 cm -- Signature : Signed lower right -- Estimate : 400 -600 Euro 18019: Dietz EDZARD Attr. (1893-1963) EUR 150 - 200 Dietz EDZARD Attr. (1893-1963) -- Description : Still life with flowers -- Medium : Oil canvas/ panel -- Dimensions : 23 x 17.5 cm -- Signature : Signed verso -- Estimate : 100 - 200 Euro 18020: Dutch, / Indonesian School ca. 1900 EUR 200 - 300 Dutch, / Indonesian School ca. 1900 -- Description : Nature Morte -- Medium : Watercolour on paper -- Dimensions : 50 x 64 cm -- Signature : Unsigned -- Estimate : 200 - 300 Euro 18021: Lucien MANCEAU (1873- 1937) EUR 100 - 150 Lucien MANCEAU (1873- 1937) -- Description : Floral still life -- Medium : Oil on canvas -- Dimensions : 36 x 18 cm -- Signature : Unsigned -- Estimate : 100 - 150 Euro 18022: Alfred SCHONIAN (1856-1936) EUR 200 - 300 Alfred SCHONIAN (1856-1936) -- Description : Two Peacocks -- Medium : Oil on panel -- Dimensions : 26,5 x 34 cm -- Signature : Signed lower left, dated -- Estimate : 200 - 300 Euro 18023: T. BAKKER, American EUR 300 - 500 T. BAKKER, American -- Description : Fastnet Rock -- Medium : Oil on canvas -- Dimensions : 60 x 80 cm -- Signature : Signed lower right -- Estimate : 300 - 500 Euro 18024: T. BAKKER, American EUR 300 - 500 T. BAKKER, AmericanDescription : The Mermerus -- Medium : Oil on canvas -- Dimensions : 60 x 80 cm -- Signature : Signed lower right -- Estimate : 300 - 500 Euro Bid Live Online at LiveAuctioneers.com Page 3 XMAS 2020 ART & ANTIQUES SALE 18025: T. BAKKER, American EUR 300 - 500 T. BAKKER, American -- Description : Rockport Storm -- Medium : Oil on canvas -- Dimensions : 60 x 80 cm -- Signature : Signed lower right -- Estimate : 300 - 500 Euro 18026: Carl KENZLER (1872-1947) EUR 1,000 - 1,500 Carl KENZLER (1872-1947) -- Description : Capri coast -- Medium : Oil on canvas -- Dimensions : 70 x 100 cm -- Signature : Signed lower right -- Estimate : 1000 - 1500 Euro 18027: Leonid Romanovitch SOLOGOUB (1884 -1956) EUR 800 - 1,200 Leonid Romanovitch SOLOGOUB (SOLOGUB) (1884 -1956) -- Description : Faraglioni, Capri -- Medium : Oil on canvas -- Dimensions : 40 x 50 cm -- Signature : Signed lower left -- Estimate : 800 - 1200 Euro 18028: Camillo DE VITO (XVIII-XIX) EUR 400 - 600 Camillo DE VITO (XVIII-XIX) -- Description : Eruzione del Vesuvio -- Medium : Gouache on paper (2x) -- Dimensions : Both 21 x 25 cm -- Estimate : 400 - 600 Euro 18029: Jules DUPRÉ After (1811-1889) EUR 100 - 200 Jules DUPRÉ After (1811-1889) -- Description : Landscape at dusk -- Medium : Oil on panel -- Dimensions : 17 x 26 cm -- Signature : No apparent signature -- Estimate : 100 - 200 Euro 18030: André LANSKOY (1902-1976) EUR 800 - 1,200 André LANSKOY (1902-1976) -- Description : Nature Morte aux Fruits -- Medium : Oil on board -- Dimensions : 33.5 x 35.5 cm -- Signature : Signed with initial lower right -- Estimate : 800 - 1200 Euro 18031: Dutch / German school EUR 600 - 800 Dutch / German school -- Description : Portrait of a young girl -- Medium : Oil on wood -- Dimensions : 80 x 54 cm -- Signature : Unsigned -- Estimate : 600 - 800 Euro 18032: Hubert VOS (1855-1935) EUR 3,000 - 5,000 Hubert VOS (1855-1935) -- Description : Portret de l'Auteur, Self portrait -- Medium : Oil on canvas -- Dimensions : 41 x 41 cm -- Signature : Signed middle right -- Estimate : 3000 -5000 Euro Bid Live Online at LiveAuctioneers.com Page 4 XMAS 2020 ART & ANTIQUES SALE 18033: Piet MONDRIAAN (MONDRIAN) (1872-1944) after EUR 800 - 1,200 Piet MONDRIAAN (MONDRIAN) (1872-1944) after -- Description : Winter landscape with trees -- Medium : Charcoal on paper -- Dimensions : 32 x 42 cm -- Signature : Signed lower left -- Estimate : 800 -1200 Euro 18034: Cándido PORTINARI (1903-1962) Attr. EUR 3,000 - 5,000 Cándido PORTINARI (1903-1962) Attr. -- Description : Woman in landscape -- Medium : Oil on panel -- Dimensions : 41 x 31 cm -- Signature : Marked 'Rio de Janero' verso -- Estimate : 3000 - 5000 Euro 18035: Manner of Erich HECKEL (1883-1970) EUR 800 - 1,200 Manner of Erich HECKEL (1883-1970) -- Description : Portrait of a girl -- Medium : Oil, canvas -- Dimensions : 58 x 48 cm -- Signature : Unsigned, indist. writing on verso -- Estimate : 800 - 1200 Euro 18036: Rudolf JELINEK (c.1880-1950) EUR 80 - 100 Rudolf JELINEK (c.1880-1950) -- Description : Portrait of a peasant girl -- Medium : Oil on wood -- Dimensions : 22 x 15 cm -- Signature : Unsigned -- Estimate : 80 -100 Euro 18037: Albin SCHLEHAHN (1870-1939) EUR 100 - 200 Albin SCHLEHAHN (1870-1939) -- Description : Harvest -- Medium : Charcoal, paper -- Dimensions : 30 x 50 cm -- Signature : Signed lower right -- Estimate : 100 - 200 Euro 18038: FRENCH SCHOOL 19th Century EUR 100 - 200 FRENCH SCHOOL 19th Century -- Description : Mary with Jesus -- Medium : Oil canvas/ board -- Dimensions : 30 x 25 cm -- Marks : Unsigned -- Estimate : 100 -200 Euro 18039: Vyacheslav KUBAREV (1931-1995) EUR 3,000 - 5,000 Vyacheslav KUBAREV (1931-1995) -- Description : Figures in mountain landscape -- Medium : Oil on board -- Dimensions : 47 x 69 cm -- Signature : Signed lower right -- Estimate : 3000 - 5000 Euro 18040: Vyacheslav KUBAREV (1931-1995) EUR 3,000 - 5,000 Vyacheslav KUBAREV (1931-1995) -- Description
Recommended publications
  • Martin Kippenberger Dortmund 1953 ∆ Wien
    036 √>/ 037 √>/ 038 √>l Martin Kippenberger √>/ Andreas Horlitz √>/ Sigmar Polke √>/ Auke de Vries √>/ Bleistift, Kugelschreiber, Farbstift, Filzstift, Prag (CZ), 2003, Haus der Fotografie, Mos- Modern Art, Humlebæk (DK), 2004 ist im Zusammenhang mit Polkes Unter- Martin Kippenberger Letraset auf Hotelbriefpapier bzw. kau (RUS), Deutsches Historisches Sigmar Polke √>/ behind the facts – interfunktionen 1968 – suchungen zu den Möglichkeiten des Bildes Dortmund 1953 ∆ Wien (A) 1997 auf Japanpapier Museum, Berlin, 2004, Kat. √>/ Bilder, die Oels / Oles´nica (PL) 1941, lebt in Köln 1 975. Kunsthalle Fridericianum, Kassel, als Wiedergabe von Realität zu sehen. die einzelnen Blätter je: ohne Titel noch fehlten – Zeitgenössische Fotografie. 2005 √>/ Mehr als ein Auge fassen kann – In Sechs Richtige spielt der Künstler offen- √>l Heft 1994—1995 acht Blätter je 29,7 ≈ 21 cm Deutsches Hygiene-Museum, Dresden, Von 1960 bis 1967 studierte Sigmar Polke Fotokunstausstellung aus der Sammlung sichtlich auf das freundschaftliche Verhält- zwei Blätter je 26 ≈ 18 cm 2000, ZDF, Mainz, 2003, Kat. √>/ Portrait an der Kunstakademie Düsseldorf bei Ger- der Deutschen Bank. Museo de Arte de Lima nis zu Klaus Staeck an. Sie verweisen auf das gerahmt je 47,5 ≈ 38,3 cm ohne Antlitz. Kunsthalle zu Kiel, Museum hard Hoehme und Karl-Otto Götz. 1963 (PE), Museo de Artes Visuales Colección Lottospiel und hintergründig auf den Bochum, 2004, Kat. gründete er mit Konrad Fischer-Lueg und Santa Cruz – Yaconi, Santiago de Chile (RCH), Kunstmarkt. –––––––––––––––––––––––––––––––––––––––––––––––––––––––– Gerhard Richter die Bewegung >Kapitalisti- Museo de Arte Moderna, São Paulo (BR), Ankauf des Förderkreises Literatur scher Realismus<. Von 1970 bis 1971 und Pabellón de las Bellas Artes Pontificia Univer- JS 036 06.
    [Show full text]
  • Nov-Dec 2015 / from the RABBI Y’Shar Koh’Khem
    the of ohavi Zedek Synagogue voice Burlington, vermont heShvan/kiSlev/tevet nov/dec 2015 NEW RABBI ON BOARD! Sunday, November 22 9:30 - 11: 30 am Board elections (Detailed letter will follow) Scholar-in- Residence Shabbaton Nov 6 - 8 See page 15 OZ President Jeff Potash and Rabbi Amy Joy Small on contract signing day. Rabbi Amy’s tenure at Ohavi Zedek begins January 1, 2016. Leadership Contacts ..............................2 From the Rabbi......................................3 Please join us for our FABULOUS From the Assistant Rabbi........................4 From the President.................................5 From the Treasurer................................6 CHANUKAH PARTY! Profile .................................................8 Sunday, December 6 Hebrew School.....................................10 Announcements...................................11 11:30 am to 1:00 pm Library............................................12 Crafts & Games Young Judaea..................................13 Music by Gigi Weisman and Robert Resnik Scholar-in-Residence.......................15 Adult Ed..........................................16 Homemade Latkes & Applesauce Shalom Shuk.........................................17 Suggested donation...$5/adult...$3/child...$15/family Tributes................................................18 Yahrzeits...............................................20 Gift Shop will be open Calendar.......................................22 leaderShip contactS STAFF BOARD OF DIRECTORS Rabbi.............................................................Joshua
    [Show full text]
  • Lover's Disco(Urse)
    Begleitmaterial zur Vorstellung LOVER'S DISCO(URSE) Alek KawkaAlek © VRUM Performing Arts Collective, Dschungel Wien & KLIKER Festival (HR) Tanztheater | 75 Min. | 15 – 20 Jahre Begleitinformationen erstellt von: Cornelius Edlefsen, Melika Ramić, Sanja Tropp Frühwald Kartenreservierungen für pädagogische Institutionen: +43 1 522 07 20 18 | [email protected] KULTURVERMITTLUNG Vorbereitender Workshop Auf Anfrage kommen wir gerne vor Ihrem Theaterbesuch an Ihre Schule, stimmen die Klasse auf das Thema ein und bereiten Sie und Ihre Schüler:innen auf das Medium „zeitgenössischer Tanz und Performance“ vor – mit Gesprächen und kreativen Übungen aus dem Tanz-, Performance- und Schauspielbereich. Dauer: 2 Schulstunden Kosten: € 130,00 pro Klasse Ort: Fest- oder Turnsaal an Ihrer Schule, ev. auch in einem größeren Klassenzimmer möglich. Publikumsgespräch Sehr gerne können Sie sich für ein kostenloses Publikumsgespräch direkt im Anschluss an die Vorstellung anmelden. Im Publikumsgespräch können die Kinder und Jugendlichen relevante Themen des Stückes bearbeiten, Fragen stellen und ihren ersten Eindrücken Ausdruck verleihen. Unterschiedliche Formate passend zu Inhalt und Zielgruppe – zum Teil mit interaktiven Elementen – bieten den geeigneten Rahmen für direkten Austausch und ermöglichen neue Zugänge zur darstellenden Kunst. Bitte geben Sie bei der Reservierung bekannt, ob Sie ein Publikumsgespräch wünschen. Nachbereitender Workshop Vor allem bei theatererfahrenen Klassen kann es sinnvoll sein, statt des vorbereitenden Workshops eine Nachbereitung zu buchen. Hier verarbeiten die Schüler:innen das gesehene Stück in Gesprächen und durch eigenes kreatives Schaffen. Dauer: 2 Schulstunden Kosten: € 130,00 pro Klasse Ort: Fest- oder Turnsaal an ihrer Schule, ev. auch in einem größeren Klassenzimmer möglich. Ansprechpersonen für weitere Informationen und Beratung: Judit Abegg | +43 1 522 07 20-24 [email protected] II Inhaltsverzeichnis 1.
    [Show full text]
  • Andy Warhol's Factory People
    1 Andy Warhol’s Factory People 100 minute Director’s Cut Feature Documentary Version Transcript Opening Montage Sequence Victor Bockris V.O.: “Drella was the perfect name for Warhol in the sixties... the combination of Dracula and Cinderella”. Ultra Violet V.O.: “It’s really Cinema Realité” Taylor Mead V.O.:” We were ‘outré’, avant garde” Brigid Berlin V.O.: “On drugs, on speed, on amphetamine” Mary Woronov V.O.: “He was an enabler” Nico V.O.:” He had the guts to save the Velvet Underground” Lou Reed V.O.: “They hated the music” David Croland V.O.: “People were stealing his work left and right” Viva V.O.: “I think he’s Queen of the pop art.” (laugh). Candy Darling V.O.: “A glittering façade” Ivy Nicholson V.O.: “Silver goes with stars” Andy Warhol: “I don’t have any favorite color because I decided Silver was the only thing around.” Billy Name: This is the factory, and it’s something that you can’t recreate. As when we were making films there with the actual people there, making art there with the actual people there. And that’s my cat, Ruby. Imagine living and working in a place like that! It’s so cool, isn’t it? Ultra Violet: OK. I was born Isabelle Collin Dufresne, and I became Ultra violet in 1963 when I met Andy Warhol. Then I turned totally violet, from my toes to the tip of my hair. And to this day, what’s amazing, I’m aging, but my hair is naturally turning violet.
    [Show full text]
  • View Now I Realize It Has Become a Bringing Us to Six Book Publications in Four with an Exhibition of Old Master Paintings Trend for Me to Say Every Years
    THE MUSCARELLE MUSEUM OF ART DIRECTOR Aaron De Groft, Ph.D. HOURS ADMISSION REGISTRAR’S FELLOW Tuesday – Friday Regular Admission: $5.00 Elana C. Carpinone 10 AM – 5 PM Special Exhibitions Additional: $5.00-$10.00 MANAGER OF INSTITUTIONAL ADVANCEMENT Saturday – Sunday Christina M. Carroll, Esq. 12 noon – 4 PM Admission may change during special exhibitions. FACILITIES & EXHIBITIONS MANAGER Closed Monday Kevin Gilliam Free to Members, W&M Students, CURATOR OF EDUCATION & NEW MEDIA Faculty and Staff, and Children Amy K. Gorman, Ph.D. M-F, 8 AM – 5 PM Under Twelve. Closed on most national holidays ASSISTANT TO THE DIRECTOR For more information, Cindy Lucas please visit our website, www.wm.edu/muscarelle SPECIAL PROJECTS ADMINISTRATOR or call 757.221.2700. Ursula McLaughlin-Miller ASSISTANT TO DEVELOPMENT & EDUCATION Rusty A. Meadows REGISTRAR Melissa Parris DIRECTOR OF SECURITY Charles Pfenning EDUCATION SPECIALIST/ COVER/BACK IMAGES: SCHOOL ARTS COORDINATOR Bettina Flitner Elayne Russell From the series, Report from No Man’s Land, 1990/1991 Silver gelatin photograph HOUSEKEEPING Image courtesy of the Artist Beulah Smith DISTINGUISHED SCHOLAR IN RESIDENCE John T. Spike, Ph.D. MEMBERSHIP MANAGER Bronwen Watts ASSISTANT DIRECTOR OF SECURITY Larry Wright SECURITY Ernest Wright LETTER SPRING/SUMMER FROM THE We ended 2010 increasing attendance by DIRECTOR brief snippets of what people are thinking or more than 35,000 people over last year. doing. We conclude the spring semester with Our Michelangelo, Warhol, experimental a retrospective of ceramic works by retiring 11 architecture, and new acquisitions exhibitions William & Mary Art professor Marlene Jack. resulted in more than 267,000,000 media The exhibition will highlight Jack’s functional BERLIN WALL impressions including recognition in the Wall works designed for the domestic environment Report From No Man’s Street Journal, NY Times, Washington Post, as well as figurative sculptures.
    [Show full text]
  • 1. Carbon Copy: 6/25 – 6/29 1973
    The online Adobe Acrobat version of this file does not show sample pages from Coleman’s primary publishing relationships. The complete print version of A. D. Coleman: A Bibliography of His Writings on Photography, Art, and Related Subjects from 1968 to 1995 can be ordered from: Marketing, Center for Creative Photography, The University of Arizona, Tucson, AZ 85721-0103, or phone 520-621-7968. Books presented in chronological order 1. Carbon Copy: 6/25 – 6/29 1973. New York: ADCO interviews” with those five notable figures, serves also as Enterprises, 1973. [Paperback: edition of 50, out of print, “a modest model of critical inquiry.”This booklet, printed unpaginated, 50 pages. 17 monochrome (brown). Coleman’s on the occasion of that opening lecture, was made available first artist’s book. A body-scan suite of Haloid Xerox self- by the PRC to the audiences for the subsequent lectures in portrait images, interspersed with journal/collage pages. the series.] Produced at Visual Studies Workshop Press under an 5. Light Readings: A Photography Critic’s Writings, artist’s residency/bookworks grant from the New York l968–1978. New York: Oxford University Press, 1979. State Council on the Arts.] [Hardback and paperback: Galaxy Books paperback, 2. Confirmation. Staten Island: ADCO Enterprises, 1975. 1982; second edition (Albuquerque: University of New [Paperback: first edition of 300, out of print; second edition Mexico Press, 1998); xviii + 284 pages; index. 34 b&w. of 1000, 1982; unpaginated, 48 pages. 12 b&w. Coleman’s The first book-length collection of Coleman’s essays, this second artist’s book.
    [Show full text]
  • Andy Warhol's Exploding Plastic Inevitable
    Jean Wainwright Mediated Pain: Andy Warhol’s Exploding Plastic Inevitable ‘Warhol has indeed put together a total environment. But it is an assemblage that actually vibrates with menace, cynicism and perversion. To experience it is to be brutalized, helpless…The Flowers of Evil are in full bloom with the Exploding, Plastic, Inevitable’.1 The ‘Exploding Plastic Inevitable’ (EPI) was Andy Warhol’s only foray into a total inter-media experience.2 From 1966 to 1967 the EPI, at its most developed, included up to three film projectors3, sometimes with colour reels projected over black and white, variable speed strobes, movable spots with coloured gels, hand-held pistol lights, mirror balls, slide projectors with patterned images and, at its heart, a deafening live performance by The Velvet Underground.4 Gerard Malanga’s dancing – with whips, luminous coloured tape and accompanied by Mary Woronov or Ingrid Superstar – completed the assault on the senses. [Fig.9.1] This essay argues that these multisensory stimuli were an arena for Warhol to mediate an otherwise internalised interest in pain, using his associates and the public as baffles to insulate himself from it. His management of the EPI allowed Warhol to witness both real and simulated pain, in a variety of forms. These ranged from the often extreme reactions of the viewing audience to the repetition on his background reels, projected over the foreground action.5 Warhol had adopted passivity as a self-fashioning device.6 This was a coping mechanism against being hurt, and a buffer to shield his emotional self from the public gaze.7 At the same time it became an effective manipulative device, deployed upon his Factory staff.
    [Show full text]
  • FACT SHEET January 16, 2018
    FACT SHEET January 16, 2018 Media Contacts: Selby Gardens Mischa Kirby, APR 941-366-5731 ext. 225 [email protected] Blue Water Communications Amber Hendrickson 800-975-3212 [email protected] Exhibition: Warhol: Flowers in the Factory Dates: Feb. 11-June 30, 2018 Venue: Marie Selby Botanical Gardens, Sarasota, Florida Admission: All-access admission to the gardens and the exhibition is free for members; $25 for adults (ages 18 and up); $15 ages 4-17 and free for children 3 and under. Media Preview: Thursday, Feb. 8, 11 a.m. RSVP to Mischa Kirby at [email protected] Significance: Warhol: Flowers in the Factory highlights Pop artist Andy Warhol’s surprising interest in exploring, preserving and celebrating nature. Selby Gardens provides a matchless context for showcasing Warhol’s conservationist leanings. This immersive exhibition examines Warhol’s work through the lens of flowers and nature, emphasizing the artist’s natural sensibilities through dynamic horticultural interpretations of his work. Observing Warhol’s Flowers alongside the nature that inspired him encourages a mutually enriched experience of art and the natural world. The second exhibition in the Jean and Alfred Goldstein Exhibition Series at Marie Selby Botanical Gardens, the series connects fine arts exhibitions to nature and to the botanical collections in the gardens. Content: Warhol’s particular interest in plants will be illustrated in this colorful exhibition featuring four iconic Warhol silkscreens of hibiscus, on loan from Williams College Museum of Art, from the original series of 10 flower silkscreens produced in the mid-1960s. Two prints by Warhol, entitled Poinsettias, on loan from the private collection of Sarasota art patron Flora Major, as well as additional loans of Warhol works from the Williams College Museum of Art, including lithographs and an artist book, will also be on view.
    [Show full text]
  • Warhol Underground
    WARHOL UNDERGROUND WARHOL UNDERGROUND SOMMAIRE 1. PRÉSENTATION GÉNÉRALE DE L’EXPOSITION ……………P.3 2. PORTRAIT D’ANDY WARHOL………………………… P.5 3. REPÈRES CHRONOLOGIQUES………………………....P.7 4. PARCOURS DE L’EXPOSITION………………………....P.11 5. BIOGRAPHIES DE PHOTOGRAPHES…………………….P.33 6. CITATIONS……………………………………….P.35 7. INFORMATIONS PRATIQUES………………………… P.37 2 WARHOL UNDERGROUND 1.PRÉSENTATION GÉNÉRALE DE L’EXPOSITION WARHOL UNDERGROUND 01.07 > 23.11.15 GALERIE 1 Commissaire : Emma Lavigne, directrice du Centre Pompidou-Metz Une relecture inédite de l’œuvre du pape du pop art à travers ses liens avec la scène new- yorkaise underground : musique, danse, cinéma... L’exposition met en lumière l’influence de la scène musicale, du cinéma underground et de l’avant-garde chorégraphique new-yorkaise dans l’œuvre d’Andy Warhol (1928-1987). Elle est l’occasion de célébrer les cinquante ans de la rencontre de Warhol avec le groupe de rock new-yorkais The Velvet Underground, dont il devint le producteur. « Je n’ai jamais voulu être peintre, j’ai toujours voulu être danseur de claquettes », déclarait Warhol, alors même que l’œuvre de l’artiste du pop art est souvent réduite à sa dimension picturale. « Je ne peins plus. J’ai abandonné la peinture il y a à peu près un an et maintenant je ne fais plus que des films. La peinture était seulement une phase que j’ai traversée », ajoutait-il. Nombre de déclarations de l’artiste montrent combien son œuvre, extrêmement protéiforme, a dépassé la peinture, ainsi qu’il aimait lui-même à le penser. La musique, présente tout au long du parcours, guide le visiteur dans une redécouverte de l’œuvre de Warhol, à travers plus de 150 photographies de Nat Finkelstein, Hervé Gloaguen, Fred W.
    [Show full text]
  • Psychedelic Review, No. 10, 1969
    _ f,_ . }!?_ ? _?? i!, ·:' · , w .i¸ Psychedelic Review PUBLISHER SrJ Kr_shna Endeavors EDITOR Ralph Mefzner, Ph.D. CONTRIBUTING EDITOR Timothy Lear/, Ph.D. ART DIRECTOR Dion Wright CONSULTING EDITORS Richard Alpert, Ph.D., New York Allen Atwell, City University of New York Joe K. Adams, Ph.D., Big Sur, California Richard Baker, San Francisco, California Joseph Berke, M.D., Langham Clinic, London Joseph J. Downing, M.D., San MateD, California Lawrence Feriinghettl, San Francisco, California Gary M. Fisher, Ph.D., Los Angeles, California Joel Fort, M.D., University of California, Berkeley Stanislaus Graf, M.D., Psychiatric Research Institute, Prague David Israelstam, M.D., Berkeley, California Stanley Krippner, Ph.D., Maimonides Hospital, Brooklyn, New York Pau_ Lee, Ph.D., Un_verslty of Californ_.a, Santa Cruz William H. McGIothlin, Ph.D., Rand Corporation Robert E. Mogar, Ph.D., San Francisco State College Eugene Schoenfeld, M.D., M.P.H., Berkeley, California John W. -Rpellman, Ph.D., University of British Columbia Sanford M. Unger, Ph.D., National Institute of Mental Health Alan Watts, Sausalito, California Gunther Wei_, Ph.D., Wellesley, Massachusetts Joan Wescott, Ph.D., London, England John R. B. Whittlesey, Houston Texas MANAGING EDITOR Jeremy H. Grlffith PRODUCTION MANAGER David Feig David Michaels OFFICE MANAGER Barbara Budd Typeselting by Graphic Systems, Inc. and Sorensens' Advertising Typographers PSYCHEDELIC REVIEW. Published bi-monthly. _Psychedelic Review 1969. Address a_ correspondence to 290 SeYenth Street, San Francisco, California 94103 Printed in U.S.A. ? /.! . _B_4P .4 / / " Evolution Mandala by Dion Wright Yin-Yang Mandala by Susan Fral_ Psychedelic Review NUMBER 10 / 1969 CONTENTS EDITORIAL.........................................................................................................................................................
    [Show full text]
  • Andy Warhol and the Cinematic Eclipse of Marcel Duchamp Openaccess Papers
    Andy Warhol and the Cinematic Eclipse of Marcel Duchamp Kieran Lyons transtechnology research openaccess papers | i Executive Editor Prof. dr Michael Punt Editors-in-Chief Dr Martha Blassnigg Dr Hannah Drayson Managing Editors Amanda Egbe Martyn Woodward Associate Editors Rita Cachão Edith Doove Joanna Griffin Claudy Op den Kamp Jacqui Knight Marcio Rocha Image Credits: Anémic Cinéma © Succession Marcel Duchamp, 2006, ADAGP/Paris. DACS, London The author would like to thank Elizabeth Finkelstein for her kind support during the production of this paper. Production and Design Amanda Egbe, Martyn Woodward Please contact the original authors and /or copyright holders for permission to reproduce these materials. Transtechnology Research • Reader 2012/13 Plymouth University Portland Square, Drake Circus Plymouth PL4 8AA United Kingdom © 2013 Transtechnology Research ISBN 978-0-9538332-3-8 ii | Lyons•AndyWarholandtheCinematicEclipseofMarcelDuchamp Andy Warhol and the Cinematic Eclipse of Marcel Duchamp Kieran Lyons [email protected] Abstract This paper considers two deaths – the imagined death of Marcel Duchamp on the one hand, and the near death of Andy Warhol on the other. Duchamp, although born in France, became an American citizen in 1955, causing protests amongst a vociferously anti-American French avant-garde who resented this final proof of his shift in cultural affiliations. A reckoning of sorts took place, luridly played out in a sequence of paintings that culminated in the portrayal of a military-style state funeral for Duchamp, with Warhol depicted as a pallbearer. Warhol was in the vanguard of American cultural imperialism’s entry into Europe, and was understood to be an associate of Duchamp’s.
    [Show full text]
  • Andy Warhol: the Last Decade June 18–September 12, 2010 About the Exhibition Andy Warhol: the Last Decade Is the First U.S
    Teacher Resource Packet Andy Warhol: The Last Decade June 18–September 12, 2010 About the Exhibition Andy Warhol: The Last Decade is the first U.S. museum survey to examine the late work of American artist Andy Warhol (1928–1987). The exhibition includes nearly fifty paintings that reveal the artist’s vitality, energy, and renewed spirit of experimentation. During this time Warhol produced more works, in a considerable number of series and on a vastly larger scale, than at any other point in his forty-year career. It was a decade of great artistic development for him, during which a dramatic transformation of his style took place alongside the introduction of new techniques. Warhol expanded upon his artistic and business ventures with commissioned portraits, print series, television productions, and fashion projects, but he also reengaged with painting. About the Artist Born Andrew Warhola in 1928, in Pittsburgh, Pennsylvania, Warhol began his career as a commercial illustrator after graduating from the Carnegie Institute of Technology and moving to New York City in 1949. In the early 1960s, Warhol began mechanically transferring images borrowed from popular culture to create vibrant new works that would alter the course of American art. He drew on consumer culture and the mass media, from Campbell’s Soup cans and Coca-Cola bottles to Marilyn Monroe and Elvis Presley. Although Warhol hand-painted some of his artworks, many were created using an application technique known as screenprinting, whereby photographic images could be transferred onto canvas or paper. This process allowed him to generate artworks easily and inexpensively in large quantities.
    [Show full text]