Null λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959), PICCANINNY
λ SIR JACOB E…

Description

λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959), PICCANINNY λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959)PICCANINNYBronze with green patina 22.3cm (8¾in.) High exc. baseConceived in 1940. Literature:R. Buckle, Jacob Epstein Sculptor, London, 1963, p.254, pl. 390Evelyn Silber, The Sculpture of Epstein, with a complete catalogue, Oxford, 1986, p.188, no. 310, another cast illustrated The present lot illustrates the daughter of Marie Tracey who was a model used by Epstein for his war time study series including catalogue no. 297, executed in 1938.

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λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959), PICCANINNY λ SIR JACOB EPSTEIN (AMERICAN /BRITISH 1880-1959)PICCANINNYBronze with green patina 22.3cm (8¾in.) High exc. baseConceived in 1940. Literature:R. Buckle, Jacob Epstein Sculptor, London, 1963, p.254, pl. 390Evelyn Silber, The Sculpture of Epstein, with a complete catalogue, Oxford, 1986, p.188, no. 310, another cast illustrated The present lot illustrates the daughter of Marie Tracey who was a model used by Epstein for his war time study series including catalogue no. 297, executed in 1938.

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Estim. 15 000 - 18 000 GBP

JOSÉ GUERRERO (Granada, 1914 - Barcelona, 1991). Untitled, 1985. Oil on lithographic background. Signed and dated. Bibliography: Baena, Francisco; Guibault, Serge; Ramírez, Juan Antonio; Romero Gómez, Yolanda; Vallejo Ulecia, Inés, Catalogue Raisonné Vol. II. 1970-1991, ed. Centro José Guerrero, page 1090, nº 1133. Measurements: 68 x 48 cm; 82 x 64 cm (frame). Spanish painter and engraver nationalized American, José Guerrero developed his work within the abstract expressionism. He began his training at the School of Arts and Crafts in Granada, and soon moved to Madrid to continue his studies at the Escuela Superior de Bellas Artes de San Fernando, where he was a student of Daniel Vázquez Díaz. In 1942 he obtained a scholarship from the Casa de Velázquez, and in 1945 he moved to Paris thanks to a new scholarship, this time granted by the French government. In the French capital he got to know first hand the European avant-garde, and came into contact with the Spanish painters of the School of Paris. Since then, his work is full of avant-garde echoes and Picasso's signs, clearly visible in this work, features that he will abandon in the fifties, when he discovers abstract expressionism in New York. He arrived in that city in 1950, encouraged by his wife, the New York journalist Roxana Pollock, whom he had married a year earlier. In 1954 he exhibited with Joan Miró at the Art Club of Chicago, an exhibition that meant his definitive international projection. His dealer was Betty Parson, one of the most important gallery owners in New York at the time. Guerrero's style then changed completely, showing a profound influence of Rothko and Kline; he definitively abandoned figuration and built compositions where a marked tension between spaces, colors and unrecognizable objects was evident. He returns to Spain in 1965, and participates in the creation of the Museum of Abstract Art in Cuenca. He soon returned to New York, although he continued to make trips to Spain. His production, which continues to be characterized by the power of masses of color, planes and lines, is influenced at this time by Clyfford Still and Barnett Newman. Today, José Guerrero is recognized as one of the most outstanding Spanish painters of the New York School. He achieved early recognition, being named Knight of the Order of Arts and Letters by the French government in 1959. Likewise, in 1976 his first anthological exhibition was held in his hometown. In 1984 he received the Gold Medal of Fine Arts, and in 1989 he was decorated by the Rodriguez Acosta Foundation. In 2000 the art center that bears his name was inaugurated in Granada, created from the donation made by his widow to the Provincial Council. He is also represented in various museums and collections, including the Guggenheim Museum, the MOMA and the Metropolitan in New York, the Reina Sofia in Madrid, the British Museum and the Patio Herreriano in Valladolid.

Estim. 1 500 - 3 000 GBP

SHUSAI: TWO PARTS FROM THE HEXAPTYCH OF YOKAI APPEARING IN A DREAM TO THE RETIRED EMPEROR GO-TOBA SHUSAI: TWO PARTS FROM THE HEXAPTYCH OF YOKAI APPEARING IN A DREAM TO THE RETIRED EMPEROR GO-TOBA By Shusai (active 1860-1880), Signed oju Shusai utsusu Japan, dated 1865 Color woodblock print on paper. Each signed oju Shusai utsusu, censor’s seal ushi san aratame; publisher Tsukiji Daikin (Daikokuya Kinnosuke, in the Tsukiji district, Tokyo). The distorted demons walk in a chaotic parade similar to Hyakki Yagyo, carrying banners and instruments, festooned in fantastical outfits and depicted with comical expressions. SIZE of the sheet 37 x 24.6 cm (each) Condition: Good condition and great colors, with trimmed margins, very minor material loss and creasing. Firmly mounted at the upper part to a paper mat. Provenance: Galerie Wansart, Brussels, 15 February 1949. Collection of Robert and Isabelle de Strycker, acquired from the above. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France’s post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven’s museum for an exhibition titled Oude kunst in Leuvens Privébezit (‘Old Art in Private Collections in Leuven’), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen (‘Japanese Art in Belgian Private Collections’). This pair of prints is part of a hexaptych depicting the story of Emperor Go-Toba’s dream, where he was visited by yokai and oni while suffering from severe illness. Upon waking, the emperor discovered he had been cured of his ailment by the dream. The story is strongly influenced by the folk legend of the Hyakki Yagyo (Night Parade of One Hundred Demons) as can be seen in the many monsters prancing about, some of which are identical to those in the Hyakki Yagyo. Hyakki Yagyo (Night parade of one hundred demons) refers to a parade of supernatural creatures, oni and yokai, who walk the streets of Japan at night. It is used as an idiom to refer to the chaos when the supernatural and natural world collide. It is similar to the English ‘pandemonium,’ which references the chaos which ensued at the opening of Pandora’s box. The night parade was a popular theme in Japanese visual art. One of the oldest and most famous examples is the 16th-century handscroll Hyakki Yagyo Zu located in the Shinju-an of Daitoku-ji, Kyoto. Museum comparison: Compare identical prints in the collection of the Fukuoka City Museum, Japan, collection number FCM2011P00750 and FCM2011P00749. A complete set of the hexaptych is in the collection of the Waseda University Library, call no. チ05 04399.

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