Null LADISLAS KIJNO (1921-2012)
Komposition, um 1965
Gemischte Technik auf Holz
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Beschreibung

LADISLAS KIJNO (1921-2012) Komposition, um 1965 Gemischte Technik auf Holz Signiert von unten nach oben 100 x 72,6 cm Mischtechnik auf Holz Signiert unten links 39 3/8 x 28 5/8 Zoll. Provenienz Sammlung particulière Un certificat de l'artiste en date du 23 octobre 2006 sera remis à l'acquéreur.

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LADISLAS KIJNO (1921-2012) Komposition, um 1965 Gemischte Technik auf Holz Signiert von unten nach oben 100 x 72,6 cm Mischtechnik auf Holz Signiert unten links 39 3/8 x 28 5/8 Zoll. Provenienz Sammlung particulière Un certificat de l'artiste en date du 23 octobre 2006 sera remis à l'acquéreur.

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Startpreis 350 EUR

KIJNO Ladislaus (1921-2012) Der Reiter des Friedens, Wandbehang, hergestellt im Siebdruckverfahren, Bolduc au dos titré, épreuve d'artiste justifiée V/XXX, signiert von der Hand des Künstlers und mit Angabe der Herkunft des Ateliers éditions Combat pour la paix, 35 rue de Clichy 75009 Paris 150 x 100 cm - Staubschatten auf der hinteren Leinwand.

Schätzw. 100 - 150 EUR

Paar Lausbuben um 1900, ein Schusterjunge, Victor Heinrich Seifert, um 1900, verso signiert, Bronze dunkelbraun patiniert, auf Postamentsockel aus Serpentin, H Bronze 13 cm, H gesamt 20 cm; ein Lausejunge, Vaclav Szczeblewski, datiert 1889, gestempelt Bronze Garanti au titre L.V. Deposée sowie Nummer 3915, Bronze braun patiniert, pfeifender Junge in einfacher Kleidung der Zeit, mit Schiebermütze und nackten Füßen auf runder Plinthe, auf Marmorsockel montiert, Patina berieben, H Bronze 21,5 cm, H gesamt 23,5 cm. Künstlerinfo: deutscher Bildhauer (1870 Wien bis 1953 Berlin), wurde als Sohn des Garteninspektors Franz Seifert und der Franziska Seifert geboren, besuchte Schulen in Wien und München, Studium am Kunstgewerbemuseum sowie der Berliner Kunstakademie, Schüler von Ernst Herter, Ludwig Manzel und Peter Breuer, unternahm Studienreisen nach Paris, Italien, Brüssel und London, Dresslers Kunsthandbuch, Band 2, Seite 945, weist ihn als Professor aus, 1930 wohnte er Berlin W, Lietzenburger Straße 31, war Mitglied der Künstler-Genossenschaft und des Künstlervereins der Bildhauer, Quelle: Thieme-Becker/Vollmer, Allgemeines Lexikon der Bildenden Künstler, Verlag Seemann Henschel GmbH & Co. KG. sowie Wikipedia.de. Künstlerinfo: eigentlich Wacław Bernard Szczeblewski, polnischer Maler und Bildhauer (1888 Pelplin bis 1965 Gdynia), absolvierte das Collegium Marianum in Pelplin, studierte mit der finanziellen Unterstützung seiner Professoren 1908-1918 an der Königlichen Akademie der Bildenden Künste in Dresden, von wo aus er bedeutende Städte wie London , Paris und Wien bereiste, ab 1920 in Grudziądz ansässig, 1922 Gründung der privaten Pommerschen Kunstschule in den Räumlichkeiten der Stadtbibliothek, unterrichtete jedoch auch bis 1930 Zeichnen und Malen an einem Lehrerseminar, war Mitglied der Jungkaschubischen Bewegung, gehörte zu den Organisatoren des Kaschubischen Vereins, ab 1933 Umzug mit der Schula nach Gdynia, beschickte zahlreiche Ausstellungen und erhielt Preise für seine Arbeiten. In der Innenausstattung der Kirche in Chmielno und der nicht erhaltenen Garnisonskirche wurden kaschubische Motive verwendet. Quelle: Wikipedia Polen.

Schätzw. 12 000 - 13 000 EUR

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Red and black composition", circa 1962. Oil and gouache on lithographed paper mounted on canvas. Attached is a certificate issued by the Antoni Clavé Archives. The work is registered in the Antoni Clavé Archives, Paris. No : 62TMPMT18. Signed in the lower right corner. Size: 57 x 77 cm; 67 x 87 cm (frame). On a dark background the intensity of the red stands out, reaching a contrast of colours, which brings vivacity to the composition and awakens the spectator's gaze. Through the play between red and black, a resource often used by Antoni Clave, the artist deploys a whole set of elements, apparently random, which come together to form a baroque composition. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

Schätzw. 7 000 - 8 000 EUR

SOL LEWITT (Connecticut, 1928 - New York, 2007). "Not straight lines", 2003. Set of 6 etchings, issue 19/20. Hand signed and numbered by the artist. Measurements: 25 x 25 cm (u.c.); 41 x 41 cm (frames). In the "Not Straight Lines" series, LeWitt develops parallel irregular lines that play with the ambiguity between improvisation and meticulous study of patterns. Using minimalist techniques, LeWitt creates compositions that may appear simple at first glance, but reveal a complexity in the interplay of forms and spaces. LeWitt dedicated his entire oeuvre to delving conceptually and graphically into the exploration of patterns and systems through geometry and repetition. The broken lines convey a sense of fluidity and energy that we visually associate with the pulse of the hand and the emotions involved in creation. These lines thus become a kind of seismograph, a device metaphorically associated with creative intuition. An artist linked to several movements, among them conceptual art and minimal, Sol LeWitt expressed himself mainly through painting, drawing, photography and structures. Born into a Jewish family of Russian immigrants, after receiving a BFA from Syracuse University in 1949 he began a series of trips around Europe, where he was influenced by the great masters of painting. Settling in New York in the fifties, he focused his interest on graphic design, working for Seventeen Magazine. During the following decade the artist worked at the MoMA in New York, another experience that would mark the development of his work. During these years, LeWitt became one of the main representatives of conceptual art, which emphasizes that the idea, and not its physical form, is fundamental. He was one of the pioneers of this movement, as well as one of its most prominent theoreticians, and his work has also been related to minimalism. From 1965 LeWitt will be the subject of hundreds of solo exhibitions in museums and galleries around the world. His works include two- and three-dimensional works, from wall paintings (more than 1,200) to photographs, drawings and sculptures of all kinds, including towers, pyramids, geometric forms and progressions. Sol LeWitt frequently used open, modular structures based on the cube, a key form in the development of his language. In 1978, the Museum of Modern Art in New York dedicated his first retrospective exhibition to him. LeWitt is currently represented in that museum, as well as in the Guggenheim in New York and Bilbao, the Kunstmuseum in Basel, the Palazzo Forti in Verona, the SMAK in Ghent, the Tate Gallery in London, the Hirshhorn Museum and Sculpture Garden and the National Gallery in Washington, the Metropolitan in New York and the National Gallery of Australia, among many others.

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