Null [Futurism]. Cangiullo, Francesco. Caffe concerto. Surprise alphabet. Milan,…

Description

[Futurism]. Cangiullo, Francesco. Caffe concerto. Surprise alphabet. Milan, Edizioni futuriste di Poesia, [1919]. Rare first edition entirely figured and parolibera, printed on paper of different colors, within printed editorial binding. Book composed as if it were a variety show evening with introductory notes of mock advertising posters, program punctuated in first and second parts for a total of 16 moments, drawn through unscrupulous paroliberalism, in which letters are distorted to outline figures and profiles.

746

[Futurism]. Cangiullo, Francesco. Caffe concerto. Surprise alphabet. Milan, Edizioni futuriste di Poesia, [1919]. Rare first edition entirely figured and parolibera, printed on paper of different colors, within printed editorial binding. Book composed as if it were a variety show evening with introductory notes of mock advertising posters, program punctuated in first and second parts for a total of 16 moments, drawn through unscrupulous paroliberalism, in which letters are distorted to outline figures and profiles.

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Emperor Franz Joseph I of Austria - a transcription of a telegram by the German Emperor Wilhelm II reporting about his visit to the Tsar in 1912 Double sheet, dated "Anfang Juli 1912" in red pencil on the upper margin, the telegram text in black ink with introduction "Nachstehendes Telegramm wurde soeben von der kaiserlich deutschen Botschaft hieramts übergeben: an den Kaiser von Österreich und apostolisch. King of Hungary. Majesty, I have to inform you that I have been informed for both of us by my Entrevue. Found Tsar tidy and communicative. [...] The cheerfulness and vigorous appearance of the heir to the throne are the best denial of the unfavorable rumors circulating about his condition. Both I and the Imperial Chancellor had a series of detailed conversations with the Tsar as well as with the Ministers Mr. Kokovtsov and Mr. Sazonov. [...] I take with me the gratifying conviction that, whatever turn the Italian-Turkish war may take, Russia will not allow herself to be led into a policy of surprises and unrest. The willingness to act as a brake on any warlike activity on the part of the small Balkan states has once again found definite expression. [Kind regards from your Wilhelm.". In addition, a letter from the Secret Civil Cabinet of His Majesty the German Emperor and King of Prussia with the sending of a "photographic picture" to the Court Secretary of the Austrian Emperor, Stefan von Pápay, as a souvenir of the German Emperor's visit to the imperial and royal maneuvers in Güns in 1893. Maneuvers in Güns 1893. Condition: II

Estim. 150 - 200 EUR

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Michel JOURNIAC (France / 1935-1995) Alphabet of the body, 1965 Oil on canvas (supplier's mark (BOSSELUT / Île Saint Louis', on stretcher) Signed and dated 'Journiac 65' (lower right) 116 x 81 cm (sold unframed) Provenance : -Éditions La Différence, Paris (gift of the artist). -Private collection, Paris. MICHEL JOURNIAC (1935-1995), ALPHABET D'IDENTITÉES : WORKS FROM THE COLETTE LAMBRICHS COLLECTION, ÉDITIONS LA DIFFÉRENCE The woman of letters Colette Lambrichs (b. 1946), from whom the following two works by Michel Journiac from the "Alphabet" series come (lots ... and ...), claimed that "the artist should have been at the forefront of French art in the 80s". Today, Journiac is well represented in François Pinault's collection. Director of the renowned La Différence publishing house since 1976, Colette Lambrichs recognized the importance of French painter, performer and transvestite Michel Journiac (1935-1995) as early as the 1960s, at the dawn of the May 1968 revolution in morality, who focused on questioning gender identity and the notion of the traditional family. Known for his performances and photos in which he dresses and makes up as each member of his family, Journiac questions traditional family roles and gender identity, following in the footsteps of Claude Cahun. Michel Journiac's paintings from the 1960s, which follow the same approach and of which Osenat is presenting two important works, are less well known, and have a more intimate and carnal side. The two present paintings are biomorphic gridded abstractions, halfway between carnal surrealism and rational minimalism, unprecedented in Parisian art of the 1960s, presenting a synthesis between lyrical abstraction and minimalism. A rational grid of multiple entrails. One thinks of the viscerality of Chaïm Soutine, but also of the rationalism of Bernd and Hilla Becher. One thinks of the fluidity of Achille Gorky, and the coldness of Donald Judd. Colette Lambrichs, to whom these two works belonged personally, wrote of her encounter with Journiac: "Michel Journiac was a great friend of ours, both to Joaquim Vital (1948-2010, Portuguese poet) and to me. A former seminarian, [Journiac] created a political, libertarian and inspired body of work that should have been at the forefront of French art in the 1980s. When I left Belgium in 1972, I took an exhibition I'd organized at the Palais des Beaux-Arts in Brussels, entitled "La Vénus de Milo ou les dangers de la célébrité", to the Musée des Arts décoratifs in Paris. Among the contemporary artists I asked to create a Venus de Milo was Michel Journiac. Three years later, when I met Joaquim Vital in the offices of Éditions de la Différence, which he had just founded, I was surprised to see Journiac's Venus in his hands. He had bought it along with several other pieces. Éditions de la Différence, to whom the two present works were donated by Journiac, published the first essay on Journiac's work in 1977, "Michel Journiac, l'ossuaire de l'esprit" by Marcel Paquet, as well as a book of the artist's poems, "Délit du corps", in 1978. They had planned to publish a volume on Journiac in the "Mains et Merveilles" collection, but the artist's death in 1995, followed by that of Pierre Restany, who was to have written the text, postponed the publication, which ultimately never took place."

Estim. 2 500 - 3 000 EUR

CARME CORTÈS LLADÓ (Santa Coloma de Gramanet, 1892 - Mexico City, 1979). "Still life with doll", ca.1930. Oil on canvas. Signed in the upper right corner. Measurements: 50 x 61 cm; 61 x 74 cm (frame). The painter Carme Cortès delved into the feminine universe treating it from different genres: portrait, still life, interior scenes... This "Still Life with Doll" is part of this interest in capturing the feminine world, to which she confers the melancholic tone that permeates the toys of the past. This is evidenced by the collection of paintings by the author kept in the MNAC (Museu d'Art Nacional de Catalunya, Barcelona). Carme Cortès i Lladó was a Spanish impressionist painter. At the end of the civil war she went into exile in France and in 1941 she arrived in Mexico, where she created the School of Plastic Arts at the Universidad Autónoma de Nuevo León. Daughter of Antonia Lladó Cullell and Antoni Cortés Valls, she was married to the republican politician Jaume Aiguadé Miró, deputy of the Cortes of the Republic and mayor of Barcelona, and was the mother of the painter Carme Aguadé i Cortés. She began her musical studies with the maestros Enrique Granados and Felip Pedrell and gave her first concert in 1910. She later studied at the Escuela Superior de Bellas Artes directed by the painter Francesc d'Assís Galí and devoted herself fully to painting.

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