Ru van Rossem (1924-2007)
Wouldn't it be too bad if Christ was black, color etch…

Description

Ru van Rossem (1924-2007) Wouldn't it be too bad if Christ was black, color etching dated 1974, 23/35/50x70 cm, outside size is 66x91 cm

6159

Ru van Rossem (1924-2007)

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Estim. 150 - 225 EUR

Max Ackermann, Abstraction in White and Black Structures reminiscent of a pipe system against a black background, woodcut on paper, mid-20th century, signed "Max Ackermann" in pencil below the image on the right, image dimensions approx. 32.2 x 24 cm, sheet dimensions approx. 46.5 x 35 cm. Artist info: important German painter and graphic artist. Painter and graphic artist (1887 Berlin - 1975 Unterlengenhardt/Black Forest), pioneer of abstract art in Germany, childhood in Ilmenau/Thuringia, from 1903 trained as a porcelain modeller in a porcelain factory in Ilmenau, 1906-07 studied with Henry van de Velde at the Weimar art school on a grand ducal scholarship, Hans Olde, Ludwig von Hofmann and Sascha Schneider, 1908-09 studies at the Dresden Academy under Richard Müller and Gotthardt Kuehl, 1909-10 studies at the Munich Academy under Franz von Stuck, from 1912 studies at the Stuttgart Academy and pupil of Adolf Hölzel, 1915-17 military service in the First World War, from 1920s onwards, freelance work. World War I, freelance work in Stuttgart from the 1920s and foundation of a "training workshop for new art" in 1921, study trip to Paris in 1926, member of the Reich Association of German Visual Artists, maintained numerous contacts with important artists, including Piet Mondrian, Adolf Loos, Wassily Kandinsky and George Grosz, foundation of the seminar for "Absolute Painting" at the Stuttgart Adult Education Centre in 1930, 1936-45 ostracised as "degenerate", banned from teaching and exhibiting and some of his works confiscated, relocated to Hornstaad on Lake Constance and spent time painting in Hemmenhofen, his studio in Stuttgart destroyed in 1943, lecturer at the Stuttgart Adult Education Centre from 1946, awarded the title of professor and moved to Stuttgart in 1957, guest of honour at the German Academy in Rome Villa Massimo in 1964, received numerous honours, including the Ströher Prize in 1950. including the Ströher Prize for non-objective art in 1950 and the Federal Cross of Merit in 1972, worked in Stuttgart, Lake Constance and Bad Liebenzell, source: Vollmer, AKL, "Franz von Stuck und seine Schüler", matriculation of the Munich Academy, Dressler and Internet.

Starting price 1500 EUR

MAUPASSANT (Guy de). L.A.S. "Guy de Maupassant", Paris (24 rue Boccador), October 4, 1891, 2 pp. and ½ on GM monogrammed paper, rare and severe political letter about Russia: "I have long found that we have done far too much for Russia, and the tremendous 4-franc drop in the Emprunt Russe is a terrible exemplaie. There is enough French gold in Russia. [...] We have our poor, let's take care of them. [...] I'm working for France, which doesn't need any help. All the other peoples of Europe are poor, except the English, who could quickly be hit by a catastrophe because they have no army. So, sir, I absolutely refuse to take part in your work. I am not Don Quixote [...]". Attached is a L.A.S. from Henri TROYAT, December 29, 1989, 1 p. and ½ in-8 on Académie française letterhead, to a lady about this letter from Maupassant: "What a pity I didn't know about this surprising letter from Maupassant before publishing my book! I would certainly have included it [...] as testimony to the bad character of an otherwise brilliant writer. There is in these lines all the violence and arrogance of the Maupassant of the last years.

Estim. 2 000 - 4 000 EUR

A RARE AND EARLY PAIR OF CARVED WOOD 'BAKU' ARCHITECTURAL ELEMENTS, 14TH-16TH CENTURY A RARE AND EARLY PAIR OF CARVED WOOD 'BAKU' ARCHITECTURAL ELEMENTS, 14TH-16TH CENTURY Japan, late Kamakura (1185-1333) to Muromachi period (1336-1573) The architectural supports, sometimes also called corbels, are finely carved as the heads of two baku, one with his mouth wide open to reveal tongue and teeth, the other with his mouth closed. Both with prominent tusks and ears, showing a fierce expression marked by slanted eyes with thick brows. LENGTH 40 cm (each) Condition: Good condition with natural age cracks, splits, and holes due to insect activity. Minor chipping and small losses. Remnants of pigment. Provenance: From a noted private collection in New York City, USA. Each applied with an old paper label reading: 唐獅子、鎌倉時代 “Karashishi, Kamakura jidai” [Chinese lions, Kamakura Period]. Each with an associated metal stand. Baku are Japanese supernatural beings that are said to devour nightmares. According to legend, they were made from the spare pieces that were left after the gods had finished creating all other animals. Baku heads are commonly placed under the eaves of Japanese Buddhist temples and Shinto shrines to ward off bad spirits. They are protectors against evil, devour nightmares, but cannot be summoned without caution, because - as legend tells - when baku is not satisfied after consuming the nightmares, he may devour one’s hopes and dreams too. The open-mouthed baku scares off demons and the closed-mouthed shelters and keeps in good spirits.

Estim. 3 500 - 4 000 EUR

GEORGE NELSON (United States, 1908 - 1986) for VITRA. Set of four "Perch" office chairs, ca. 1990. Dark brown leather seat and back, chrome base, Height adjustable and swivel seat. In good condition, practically new. Measurements: 70 x 70 x 102 cm. Pair of office chairs "Perch" raised on black plastic wheels supporting a five-spoke chromed steel base. Seat and backrest upholstered in black leather, height adjustable and swivel. George Nelson graduated in architecture from Yale University (1928), and later studied art in Rome. He specialized in industrial, interior and exhibition design, and was, along with Charles and Ray Eames, one of the founding fathers of American modernism. While in Italy he traveled the length and breadth of Europe, meeting a number of pioneers of the modern movement, including Mies van der Rohe. In 1935 he joined the editorial staff of "Architectural Forum", a magazine of which he would first become associate editor until 1943, and then editorial advisor until 1949. During this period he worked with Frank Lloyd Wright on a special issue of the magazine, which marked Wright's return to the scene at the time. Nelson defended, sometimes fiercely, the principles of the modern movement, even irritating many of his colleagues who, as industrial designers, made, according to Nelson, too many concessions to the commercial forces of industry. The American believed that the work of a designer should serve to improve the world because, in his view, nature is already perfect, and man spoiled it by creating things that did not really follow natural rules. In 1945 Nelson began working for the firm Herman Miller, and it was then that he really began to design furniture, occupying the position of design director. That same year Nelson's first collection for the firm was published, beginning a collaboration that would result in some of the most famous furniture designs of the 20th century. Today his designs can be seen in the Vitra Museum of Design (he began collaborating with the firm in 1957) and the MoMA in New York, among many other public and private collections.

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