Null Maier, Irmela
1956 Bad Waldsee. Studied at the Stuttgart Art Academy and at…

Description

Maier, Irmela 1956 Bad Waldsee. Studied at the Stuttgart Art Academy and at the Académie des Beaux-Arts in Paris, worked in Ettlingen. Oil/cardboard. 'Animal'. Signed in pencil lower right a. 88(19) dat. 36 x 22 cm. (60 x 48 cm). Pass. R. Lit.: 1.

871

Maier, Irmela 1956 Bad Waldsee. Studied at the Stuttgart Art Academy and at the Académie des Beaux-Arts in Paris, worked in Ettlingen. Oil/cardboard. 'Animal'. Signed in pencil lower right a. 88(19) dat. 36 x 22 cm. (60 x 48 cm). Pass. R. Lit.: 1.

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Estim. 300 - 600 EUR

Rolf Müller-Landau, 1903-1956 Bad Bergzabern, portrait of Hermine Müller, oil/painting cardboard, upper left monogr., approx. 26x22cm, frame

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Léonard de Géréon, La Rampe et les Coulisses. Esquisses biographiques des directeurs, acteurs et actrices de tous les théâtres. Paris, chez les marchands de nouveautés, 1832. In-8, 292p. An interesting work for the study of theater people of this period. Provenances: Henri Espirac (1890-1950), baritone and bibliophile; sale Anne-Marie Meininger (Tajan, March 15, 2007, no. 188). Bradel half parchment, title page, untrimmed. Paper yellowed, small tear at head of upper spine. Petite biographie des acteurs et actrices des théâtres de Paris. Avec l'âge de ces dames. Published in Paris, Marchands de Nouveautés, 1832-1833. Small In-16, 108p. Bradel, smooth white parchment spine, brown title-piece with gilt title, year of edition at tail. Contemporary binding. Some scattered foxing. A good copy. Petite biographie des acteurs et actrices des théâtres de Paris. Paris, Lemoine, 1826. In-16, 133p, paperback. Alphonse Karr, Les Guêpes. Paris, Au bureau du Figaro, 1840. In-32, 96-96-94p. First edition, gathering in 1 volume the 3 issues of May, June and July 1840: 96, 96 and 94 pages. Frontispiece repeated at the head of each issue, wood-engraved by Verdeil (no longer engraved from August 1840). With the publication of the July 1840 issue of "Les Guêpes", Balzac launched his "Revue Parisienne". Balzac, in association with DUTACQ, founded this magazine in the hope of achieving similar success to that of "Les Guêpes". The astute Dutacq was already publishing Alphonse Karr's successful magazine under the same conditions, with a monthly circulation of 20,000. We know that Balzac's Revue Parisienne was not as successful as expected (only 3 issues from July to September 1840), whereas Les Guêpes was published for ten years, from 1839 to 1849. Attractive period binding, red basane, spine with 3 nerves decorated with gilt motifs, 3 cold irons, gilt pallets and roulettes. 2 corners slightly dulled. Alexandre Laya, Etudes historiques sur la vie privée, politique et littéraire de M. A. Thiers - histoire de quinze ans. : 1830-1846. Paris, Furne & Paulin, 1846. 2 vol. in-8, XV-416-XLIIp & IV-215-CCLXXIIIp. Attractive half-basane, speckled edges, scattered foxing. Armand Dayot, Journées révolutionnaires - 1830 - 1848. Paris, Flammarion, sd. Oblong folio. Important work reproducing documents from the period: paintings, sculptures, drawings, autographs, etc. Prize book, full percaline with the coat of arms of the city of Paris. Joints worn at ends, corners worn.

Estim. 10 000 - 15 000 EUR

HELMUT NEWTON (Germany, 1920- California, 2004). "Domestic Nude 7, Los Angeles, 1992. Gelatin silver, copy 9/15. Signed, titled, dated and numbered in pencil. Provenance: Maurizio Siniscaldo Gallery, Naples, Italy. Measurements: 45,2 x 36,2 cm (image). The series "Domestic Nude" that Helmut Newton carried out in Los Angeles in 1992 represented another turn of the screw for artistic and fashion photography. In it, he places women in provocative poses and in unusual domestic spaces: in the doghouse, leaning against the refrigerator.... They are not shown languidly as odalisques but empowered and defiant, without modesty and without admitting easy voyeurism. In "Domestic Nude" she explores the boundaries between the private and the public, between women as subject and object. Newton also carefully plans her compositions to maximize visual impact. 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.

Starting price 2000 EUR

Jessen, HedwigSammlung von 12 Original-Zeichnungen mit Darstellungen angolanischer Kunst. Um 1930-1931. Überwiegend Feder über Aquarelle, eine Tuschzeichnung. Motivmaße von 12 x 10,5 cm bis 47 x 30 cm. Je in Bleistift monogrammiert. Je auf Unterlage und unter Passepartout montiert. Afrika - Angola Jessen, Hedwig Sammlung von 12 Original-Zeichnungen mit Darstellungen angolanischer Kunst. Um 1930-1931. Überwiegend Feder über Aquarelle, eine Tuschzeichnung. Motivmaße von 12 x 10,5 cm bis 47 x 30 cm. Je in Bleistift monogrammiert. Je auf Unterlage und unter Passepartout montiert. Verso auf den Passepartouts jeweils mit Beschriftungen die den Ursprungsort preisgeben. Ein Großteil der Zeichnungen entstand in der Umgebung der Hauptstadt Huambo, eine Zeichnung im Dorf Dunduma bei Quingenge und eine weitere in Quibala. Sie geben angolanische Ritzzeichnungen wieder, die sich u.a. an Hüttenwänden befinden. Als Grund wählte die Künstlerin Aquarellfarben in Erdtönen, auf die sie in schwarzer Feder tanzende Figuren zeichnete. Die Sammlung entstand im Rahmen einer Angola-Reise in den Jahren 1930-31. Die Bildhauerin und Graphikerin Hedwig Jessen (geb. Müller, 1899-1956) nahm an den Ausstellungen der Stuttgarter Secession 1924 und 1928 teil. Im Jahr 1926 heiratete sie den Geographen Otto Jessen (1891-1951), welcher 1929 einen Lehrauftrag für Physische Geographie an der Universität zu Köln bei Franz Thorbecke wahrnahm. Auf Anregung Thorbeckes unternahm Jessen in Begleitung seiner Künstler-Frau ab 1930 eine lang andauernde Reise nach Angola, die er in seinem 1936 in Berlin bei Reimer erschienen Werk "Reisen und Forschungen in Angola" dokumentierte. Die Zeichnungen dienten neben dem persönlichen Interesse ihrer Schöpferin an einer Kunst, die sowohl graphische als auch bildhauerische Technik miteinander vereint, wohl auch der Illustration des Werkes ihres Mannes. - Passepartouts und Blattränder etwas stockfleckig. Blattecken etwas leimschattig. Motive in sehr gutem Zustand. Africa - Angola - Collection of 12 original drawings with depictions of Angolan art. Pen and ink over watercolour, one ink drawing. Each monogrammed in pencil. Each mounted on backing and under passepartout. - Each with inscriptions on the verso of the passepartouts revealing the place of origin. The majority of the drawings were created in the surroundings of the capital Huambo, one drawing in the village of Dunduma near Quingenge and another in Quibala. They depict Angolan carvings that can be found on the walls of huts, among other places. The artist chose watercolours in earth tones as the background, on which she drew dancing figures in black pen. The collection was created during a trip to Angola in 1930-31. The sculptor and graphic artist Hedwig Jessen (née Müller, 1899-1956) took part in the Stuttgart Secession exhibitions in 1924 and 1928. In 1926, she married the geographer Otto Jessen (1891-1951), who took up a teaching position for physical geography at the University of Cologne under Franz Thorbecke in 1929. At Thorbecke's suggestion, Jessen, accompanied by his artist wife, undertook a long journey to Angola from 1930, which he documented in his work "Reisen und Forschungen in Angola" (Travels and Research in Angola), published in 1936. In addition to their artist's personal interest in an art that combines both graphic and sculptural techniques, the drawings also served to illustrate her husband's work. - Passepartouts and margins somewhat foxed. Sheet corners somewhat glue-stained. Motifs in very good condition. Dieses Werk ist regelbesteuert. Auf den Zuschlagspreis fallen 23,95% Aufgeld sowie auf den Rechnungsendbetrag 7% (Bücher) bzw. 19% Mehrwertsteuer in der Europäischen Union an. This work is subject to the regular margin scheme. There is a 23.95% buyer's premium on the hammer price and 7% (Books) or 19% VAT on the final invoice amount in the European Union.

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