Null Serbia - Zavodi Crvena Zastava (ZCZ) Mod. 1983
Cal. .357Mag, SN. 19805, ma…

Description

Serbia - Zavodi Crvena Zastava (ZCZ) Mod. 1983 Cal. .357Mag, SN. 19805, matching numbers. Bright bore, ventilated barrel, length 101 mm. Six-shot. Left on frame caliber, right "Zastava". Complete, original finish, minimal usage marks. Hammer and trigger matt chrome-plated. Walnut grip panels with medallions. WBK: Attention - For this gun we will need to obtain an export license for you, based on your import permit (if needed in your country) or through your firearms dealer - more info here Condition: I

12179

Serbia - Zavodi Crvena Zastava (ZCZ) Mod. 1983 Cal. .357Mag, SN. 19805, matching numbers. Bright bore, ventilated barrel, length 101 mm. Six-shot. Left on frame caliber, right "Zastava". Complete, original finish, minimal usage marks. Hammer and trigger matt chrome-plated. Walnut grip panels with medallions. WBK: Attention - For this gun we will need to obtain an export license for you, based on your import permit (if needed in your country) or through your firearms dealer - more info here Condition: I

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Estim. 8 000 - 10 000 EUR

Brian Nissen (London, 1983) Large Mixed Collage Technique on board, with methacrylate urn. "Drone", Nissen, 1983, contemporary school of the 20th century Born in London in 1939. Studies in London and Paris. He lived in Mexico 1963-1978 and held exhibitions in South America, the USA and Europe. In 1978 he moved to New York, where he currently lives and works. From 1980 to 1981 he was awarded the Guggenheim Fellowship. Main exhibitions: Modeno Art Museum, Mexico City Modern Art Museum, Buenos Aires. Whitechapel Art Gallery, London. Tamayo Museum, Mexico City Museo de Barrio, New York. Palace of Fine Arts, Mexico. Measurements 150 x 150 cm. Provenance: important private collection, Spain.

Estim. 12 000 - 14 000 EUR

HELMUT NEWTON (Germany, 1920- California, 2004). "Shoe, Monte Carlo, 1983. Gelatin silver. Later print. Signed, titled, dated in pencil and copyright credit stamp on verso. No edition number. Provenance: McCord Collection, New York. Measurements: 36 x 24.6 cm (image); 40 x 31 cm (frame). An ankle subtly cocked and shod in a high heeled shoe occupies the entire photographic plane in this iconic image by Helmut Newton. As a place associated with glamour and luxury, Monte Carlo provides a perfect backdrop for Newton's exploration of fashion and eroticism. The fetishism of high heels and female ankles are explored by the artist in different contexts. In all of them, through daring and carefully crafted compositions, he redefines the parameters of fashion photography and eroticism, the role of women and power relations. Provocation, anti-voyeurism and female empowerment are often attributes of her photos. Newton was born in Berlin, attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from the age of 12 when he bought his first camera, he worked for German photographer Yva (Elsie Neuländer Simon) from 1936.The increasingly oppressive restrictions imposed on Jews by the Nuremberg laws caused his father to lose control of the factory; he was briefly interned in a concentration camp on Kristallnacht, , which eventually forced the family to leave Germany. Newton's parents fled to Argentina. Finally, arriving in Singapore, he found he could remain there, first briefly as a photographer for the Straits Times and then as a portrait photographer. Newton was interned by British authorities while in Singapore and was sent to Australia aboard the Queen Mary, arriving in Sydney on September 27, 1940. He was released from internment in 1942 and worked briefly as a fruit picker in northern Victoria. In April 1942, he enlisted in the Australian Army and worked as a truck driver. After the war in 1945, he became a British subject and changed his name to Newton in 1946. That same year, Newton set up a studio on Flinders Lane in Melbourne and worked in fashion, theater and industrial photography during the postwar period. He shared his first joint exhibition in May 1953 with Wolfgang Sievers,The 'New Visions in Photography' exhibition was shown at the Federal Hotel in Collins Street and was probably the first glimpse of New Objectivity photography in Australia. Newton became associated with Henry Talbot, a German Jew who had also interned at Tatura, and his association with the studio continued even after 1957, when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'. Newton's growing reputation as a fashion photographer was rewarded when he secured a commission to illustrate fashions in a special Australian supplement for Vogue magazine, published in January 1956. He won a 12-month contract with British Vogue and left for London in February 1957, leaving Talbot to manage the business. Newton left the magazine before the end of his contract and went to Paris, where he worked for French and German magazines. He returned to Melbourne in March 1959 to work with Australian Vogue. Newton and his wife finally settled in Paris in 1961. His images appeared in magazines such as the French edition of Vogue and Harper's Bazaar. He established a particular style marked by erotic and stylized scenes, often with fetishistic subtexts. In 1980 he created the "Big Nudes" series. His "Nude and Clothed" portfolio followed, and in 1992 "Domestic Nudes," which marked the pinnacle of his erotic-urban style, all of these series supported the dexterity of his technical skills. Newton also worked on more fantastical portraits and studies. He did a series of illustrations for Playboy, including illustrations of Nastassja Kinski and Kristine DeBell.

Estim. 6 000 - 8 000 EUR

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). Barcelona series, 1972. Etching, aquatint and carborundum. Copy 'Bon a tiré', 1972. Signed and inscribed in pencil. Inscribed: "Bat. Miró 6/IV/72 - 28/III/72 (6)." Ref. no. 598, p. 231, "Miró Graveur", Vol. II. Measurements: 70 x 105 cm; 87 x 122 cm (frame). Joan Miró is formed in Barcelona, and debuts individually in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

Estim. 5 000 - 6 000 EUR

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Miró, Museum of Modern Art Mexico". 1980. Lithograph on Arches vellum, copy 2/100. Signed, dedicated, dated and numbered in pencil. Publisher: Museo de Arte Moderno de México. Printer: Litografías Artística Damià Caus, Barcelona. Reproduced in Maeght Editeur "Miró Litógrafo VI", p. 148. Measurements: 76 x 56 cm; 97 x 77 x 4 cm (frame). This lithograph by Miró, limited to one hundred copies, was used for the poster announcing Joan Miró's exhibition in the Bosque de Chapultepec in the spring of 1980, at the Museum of Modern Art. Moons, stars, figures reduced to a few strokes in thick black enclosing in their interior primary colors... synthesize some of Joan Miró's soul constellations gathered in this image. Joan Miró was trained in Barcelona, and made his individual debut in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

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