Null Item: +/-154 cut flints from Murs (Chatemuye) France Mousterian including f…

Description

Item: +/-154 cut flints from Murs (Chatemuye) France Mousterian including flakes, scrapers, tools.

361

Item: +/-154 cut flints from Murs (Chatemuye) France Mousterian including flakes, scrapers, tools.

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Estim. 150 000 - 200 000 EUR

Alberto SAVINIO (1891-1952) Machine for fertilizing trees, 1929 Oil on canvas signed and dated lower left. Small chips and missing parts, restoration. 81 x 65 cm Provenance: Jeanne Castel collection, Paris; private collection, Paris Bibliography: Fagiolo, 1980, p. 221; Vivarelli, catalogo Verona, 1990-1991, p.154?; Pia Vivarelli, Alberto Savinio, catalogo generale, Electa, Milano, 1996 reproduced and described p. 65, no. 1929 7. We would like to thank the Archivio Alberto Savinio for confirming the authenticity of this work. A certificate from the Archivio Alberto Savinio will be given to the purchaser. "The Parisian sojourn: at Savinio's first exhibition, inaugurated on October 20, 1927, at the Galerie Jacques Bernheim in Paris, no less than twenty-six paintings and an unknown number of drawings were presented... The first Savinio exhibition was well received. However, it was not until 1929 - a year of intense work, with no less than sixty-six paintings, almost all dated by the artist - that Savinio's works were exhibited in Paul Guillaume's personal collection, in group exhibitions of artists around Léonce Rosenberg, at the L'Effort Moderne gallery, and in exhibitions of Italian painters, at the Zak and Bonaparte galleries... Finally, there is no documentary evidence of a solo exhibition, also in 1929, at Galerie Jeanne Castel, which is indicated by several sources: an information sheet, dated December 15, 1932, written by Savinio himself and sent to the Venice Biennale (Venice A.S.A.C.) and in the biographical note included in Costantini's 1934 essay. Although it is highly probable that the gallery owner with whom the artist had an exclusive contract organized a solo exhibition of his paintings, no trace of it has been found in the art magazines of the time, either at the date of 1929 or later ....?" in Alberto Savinio, catalogo generale, Pia Vivarelli, Electa, Milano, 1996. "From 1928 onwards, Savinio's narrative tension for a complex, primordial world and, in accordance with the Heraclitean principle, a world in continuous becoming, became clearer. In the rich iconography of his Parisian production, characterized by polymorphous imagery and shifting, fantastical apparitions, the theme of toys appears in 1927-1928. The cycle is variously treated in the 1930s and beyond as an accumulation of objects abandoned in the forest or on the beach, a pyramidal monument of dubious stability assembled on rocks and platforms, a funerary monument, precious pirate booty abandoned at sea, a universal machine or a tree-fertilizing machine" in Nicoletta Cardano, Alberto Savinio, la Comedia dell'Arte, Milano Palazzo Reale, 2011, cat. "Jeanne Castel, secretary to gallery director Paul Guillaume and herself an art dealer, was one of the first art dealers in Paris to take an interest in Savinio's paintings. She and Savinio concluded a contract at the end of 1927, which is documented in a letter Savinio wrote to Lionello Fiumi on November 5 of the same year (published in Realtà, November-December 1954)" in Alberto Savinio, paintings and drawings, 1925-1952, Accademia Italiana delle Arti e dellle Arti Applicate, London, 1992, cat.

Estim. 14 000 - 16 000 EUR

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009). "Atanor", 1989. Acrylic on canvas. Signed, dated and titled on the back. Presents a label of the gallery Soledad Lorenzo. Measurements: 150 x 150 cm; 154 x 154 cm (frame). The term "Atanor" has clear alchemical connotations. By using it as a title, Ràfols-Casamada may be suggesting an internal and spiritual transformation, a process of creation and change that vertebrates both art and life. On a brown background with sienna strokes different conduits and small orifices describe a cryptic cartography that may evoke the system of tubes, crucibles and clay atanores used by alchemists. Ràfols Casamada's abstraction is soaked here with lyrical cadences, and awakens deep emotions with the minimum elements. The earthy, sienna and amber colors interrupted by mottled blues refer us to the idea of alchemical combustion and the fire that transmutes and purifies the materials. Painter, educator, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. The post-impressionist paternal influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he will elaborate a poetic abstraction, amorphous in its configuration, free and intelligent, the result of a slow gestation and based on environments, themes, objects or graphics of everyday life. Ràfols Casamada works with these fragments of reality, of life, in a process of disfigurement, playing with the connotations, the plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a scholarship to travel to France, and settled in Paris until 1954. There he became acquainted with post-cubist figurative painting, as well as the work of Picasso, Matisse, Braque and Miró, among others. These influences were joined in his painting to that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona, he embarked on his own artistic path, with a style characterized by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of color in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the Premio de las Artes de la CEOE in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the National Art Museum of Catalonia. His work can be found in the most important museums around the world: the Reina Sofia in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and the Tate Gallery in London, among many others.

Starting price 90 EUR

Gabriel BELOT Gabriel Belot Illusions, 1922 Original woodcut Signed in pencil Numbered /154 copies On vellum 32.5 x 25.5 cm Published for the Imagier de la Gravure sur Bois Originale (3rd year) and bearing the publisher's dry stamp (Lugt 1140a). Excellent condition Mandatory shipping, up to 5 Lithographs in your parcel for €14.76 incl. VAT in Metropolitan France, and €29.64 incl. VAT for Europe (Transport insurance not included, see CGE).

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