Null Josef Staub 1931-2006
Salome, 2006
Chromstahl
am unteren Ende der Schlaufe …

Description

Josef Staub 1931-2006 Salome, 2006 Chromstahl am unteren Ende der Schlaufe monogrammiert und datiert JS 06 100 x 85 x 65 cm

188

Josef Staub 1931-2006 Salome, 2006 Chromstahl am unteren Ende der Schlaufe monogrammiert und datiert JS 06 100 x 85 x 65 cm

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Estim. 200 - 300 CHF

FRANCISCO BARÓN MOLINA (Madrid, 1931 - 2006). "Head". Patinated bronze, specimen 20/25. Painted plaster base. Signed and numbered on one side. Measurements: 5 x 8 x 6,5 cm (sculpture); 4,5 x 5 x 3,5 cm (pedestal). Mainly sculptor, although he also tackled painting, Francisco Baron began his training at the School of Fine Arts of San Fernando, where he had as teachers Laviada and Ortells, and later expanded it in London and New York thanks to various scholarships. In 1960 and 1961 he was awarded the first prize at the New England Art Festival, and in 1965, two years after returning to Spain for good, he participated in the New York International Art Fair and obtained a grant from the March Foundation. That same year he held his first solo exhibition at the Neblí Gallery in Madrid. Throughout his career Baron showed his work throughout Spain, as well as in Europe, Latin America, the United States and Africa, and was awarded the Valladolid Sculpture Prize (1983), the Art and Culture Prize of the Museum of Contemporary Art of Madrid (1965), the gold medal at the Exhibition of Mini-Paintings at the Círculo 2 gallery in Madrid and the Mojácar Prize. He is currently represented in the Museo de Escultura al Aire Libre de Alcalá de Henares, among other public and private collections.

Estim. 20 - 40 CHF

Set of 9 studies on Balzac: Alain, Reading Balzac. Laboratoires Martinet, 1935. Cazauran, "Sur Catherine de Médicis" by Honoré de Balzac. Collection de l'ENS de jeunes filles, 1976. Ponceau, Paysages et destins balzaciens. Paris, Myrte, 1950. Métadier, Balzac homme politique. L'Harmattan, 2006. Vouga, Balzac malgré lui. José Corti, 1957. Bertault, Balzac et la religion. Boivin, 1942. Giraudoux, Le film de la duchesse de Langeais d'après la nouvelle de Balzac. Grasset, 1942, illustrations by Laglenne. Ki Wist, Les manuscrits de premier jet de Honoré de Balzac. Henriquez, 1964. 2 volumes in common cover. Clouzot and Valensi, Le Paris de la comédie humaine. Le Goupy, 1926, half-chagrin with corners. Lot of 12 studies on Balzac: Le Breton, Balzac l'homme et l'oeuvre. Boivin, sd. Faguet, "En lisant les beaux vieux livres". Extract from his 1911 book. Favre, Balzac et le temps présent. Flammarion, 1888. Demi-basane. Faguet, Dix neuvième siècle, études littéraires. Société française d'imprimerie et de librairie, 1900. Half-percaline. Neefs, Balzac, l'éternelle genèse. Manuscrits modernes, 2015. Brunetière, Etudes critiques sur l'histoire de la littérature française. Hachette, sd, seventh series. Dédéyan, Le faustisme romantique de Balzac. Revue des lettres modernes, n°39, Autumn 1958. Pommier, Créations en littérature. Hachette, 1955. Copy with dispatch to the writer André Maurois. Myrdal, Balzac und der Realismus Essays. Bucherei Oberbaum, 1978. Janis Glasgow, Une esthétique de comparaison - Balzac et George Sand. Nizet, 1978. Wedmore, Balzac. London, Walter Scott, 1890. Claudia Schmölders, über Balzac. Diogènes, 1977. Set of 9 studies on Balzac: Barny, Etudes textuelles 3. Volume 63, 1993, 5 texts on Balzac. Pommier, Créations en littératures. Hachette, 1955. Evans, Louis Lambert et la philosophie de Balzac. José Corti, 1951. Chardon, Expliquez-moi Balzac (2 Balzac). Foucher, 1962. Lecour, Généalogie des personnages de la Comédie humaine. Vrin, 1966. One volume and 33 folding plates. Important work. In common folder and slipcase. Voivenel, Autour des femmes et l'amour. Raoul Lion, 1950. Copy enriched with a letter to Dr. Moynier. Ingrid Ulrike Lange, Der Selbstmord in Honoré de Balzacs Comédie humaine. Romanistischer Verlag, 1995. Garnand, The influence of Walter Scott on the works of Balzac. NY, Octagon books, 1971. Weigand, Stendhal und Balzac, essays. Leipzig, Im Inselverlag, 1911. [autographs by Bardèche] Set of 15 studies on Balzac: F Germain - Honoré de Balzac, L'enfant maudit (critical edition). Paris, belles lettres, 1965. Half morocco, fine copy. Bardèche, Balzac romancier. Paris, Plon, 1940. Enriched copy with two typescript letters signed by Bardèche to Charles Gould of Bristol University. Half-percaline. Balzac and Italy. Paris, Des Cendres, 2003. Lucey, Les ratés de la famille - Balzac et les formes sociales de la sexualité. Paris, Fayard, 2008. Guise, Balzac. Nancy, Presses universitaires, 1994. Lotte, Dictionnaire biographique des personnages fictifs de la Comédie humaine. Paris, Jose Corti, 1952. Adamson, The genesis of Le Cousin Pons. Oxford university press, 1966. Swahn, Balzac et le merveilleux - étude du roman balzacien 1822-1832. Lund University press, 1991. Surville, Balzac, sa vie et ses oeuvres. Paris, librairie nouvelle, 1858. Blanchard, Témoignages et jugements sur Balzac. Paris, Champion, 1931. Lotte, Dictionnaire biographique des personnages fictifs de la Comédie humaine. Paris, Corti, 1956. Bérard, La genèse d'un roman de Balzac - Illusions perdues 1837 - du manuscrit à l'édition. Paris, Colin, 1961. Affron, Patterns of failure in La Comédie humaine. Yale university press, 1966. Prendergast, Balzac - Fiction and Melodrama. Edward Arnold, 1978. Vanoncini, Figures de la Modernité. Paris, Corti, 1984.

Estim. 6 500 - 7 000 CHF

LORETTA LUX (Dresden, Germany, 1969). "Hugo and Dylan 1", 2006. Photography, edition 10/20. Work referenced on the artist's website. Measurements: 27 x 22 cm; 50 x 40 cm (frame). The resounding success of photographer Loretta Lux lies, in part, in her cold and unsentimental approach to the children captured through her lens. Her snapshots, which have more to do with metaphors of childhood innocence than with the psychology of individuals, are influenced by the bourgeois portraits of the early twentieth century, showing us young models in domestic settings dressed in eccentric outfits that are now considered old-fashioned. Aesthetically, the mixture of photography, painting and digital manipulation is appreciated, by means of which Lux distorts proportions and places the children in static scenarios. Loretta Lux left East Germany shortly before the fall of the Berlin Wall to travel to Munich, where she studied painting at the Akademie der Bildenden Künste. In 1999 she began taking photographs. She was awarded the 2005 Infinity Award for Art, International Center of Photography, New York, NY. Throughout her career she has exhibited in Israel, Italy, Switzerland, Mexico, Netherlands, USA, Russia, Germany (solo). Currently his work is part of public collections such as the Solomon R. Guggenheim Museum in New York. Guggenheim Museum in New York, the National Museum of Art in Osaka, the Photo Museum in Munich, the Musée de l'Elysée de Lausanne in Switzerland, the Maison Europeenne de la Photographie in Paris, the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Israel Museum, Jerusalem in Israel, the Gemeentemuseum Helmond in the Netherlands, the Art Gallery of New South Wales in Sydney, the National Gallery of Victoria in Melbourne and the Art Gallery of Alberta in Edmonton, Alberta, Canada. In the United States: the Art Institute of Chicago, the Brooklyn Museum of Art, the Denver Art Museum, the Los Angeles County Museum of Art, the Milwaukee Art Museum or the San Francisco Museum of Modern Art. He currently lives and works in Ireland.

Estim. 2 000 - 3 000 CHF

Serge ROCHE (1898-1988) Rare miroir à encadrement rectangulaire mouluré en bois doré agrémenté de baguettes de miroirs vieillis et torsadées Etiquette au dos de l'Exposition Internationale du cadre du XVème au XXème siècle, avril 1931, Galeries Georges Petit, Paris Vers 1930 39 x 33 cm Bibliographie : - Patrick Mauriès, «Serge Roche», Edition Le Promeneur-Galerie Chastel-Maréchal, Paris 2006, exposition citée dans le glossaire à la fin.

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