Null Stoll, Artur
1947 Freiburg - 2003 Norsingen. Studied at the art academy in …

Description

Stoll, Artur 1947 Freiburg - 2003 Norsingen. Studied at the art academy in Karlsruhe. Oil on canvas. Broom and shovels leaning against a wall. Signed lower right. 71 x 100 cm. Ref.: 1.14.

878

Stoll, Artur 1947 Freiburg - 2003 Norsingen. Studied at the art academy in Karlsruhe. Oil on canvas. Broom and shovels leaning against a wall. Signed lower right. 71 x 100 cm. Ref.: 1.14.

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Estim. 20 - 40 EUR

[Balzac et ses amis] Lot of 8 books: A Augustin-Thierry, La princesse Belgiojoso. Paris, Plon, 1926. Fair condition. Mme Surville, Le compagnon du foyer. Stuttgart, Hallberger, 1855. Half basane, spines split. Ruxton, La dilecta de Balzac. Paris, Plon, 1909. Half-chagrin. Boschot, La jeunesse d'Hector Berlioz. Paris, Plon, 1906. Half-maroquin with corners, gilt head. Pizzagalli, L'Amica Clara Maffei e il suo salotto nel Risorgimento. Milan, BUR, 2004. Hommage à George Sand, revue de l'Académie du Centre, 1975. Echinard et Jessula, Léon Gozlan. Collection IMMAJ, 2003. Arrigon, Balzac et la "contessa". Paris, Les portiques, sd. [Balzac et ses amis] Set of 4 books: Bondy, une femme d'esprit en 1830 - madame de Girardin. Lafitte, 1928. EO one of 17 hollande, second paper. Turquan, La duchesse d'Abrantès. Montgredien, 1901. Séché, Delphine Gay. Mercure, 1910. Longhi, L'educazione esemplare - Zulma Carraud un'amica di Balzac scrive per l'infanzia. Schena, 1984. We enclose 6 books. A Hertor Berge, Le commis banquier. Bordeaux, 1856. Rare curiosity. Biré, Houvelles causeries historiques et littéraires, 1927. Excerpt from the volume, only the article on Lovenjoul. Dore Ashton, A fable of Modern Art, Thames and Hudson, 1980. The author quotes Balzac as much as Picasso or Cézanne. Wages and the cost of living in various periods up to 1910. Photocopy of 1911 edition. Guide du voyageur du chemin de fer de Paris à Tours. Photocopy of 1846 edition. Considérations sur l'histoire médicale et statistique du Choléra-Morbus. Photocopy of the 1832 edition. Balzac et son temps, Set of 12 volumes: Burnand, La vie quotidienne en France en 1830. Hachette, 1947. Paperback. Pelletan, De 1815 à nos jours. Charavay-Mantoux-Martin, 1891. Publisher's hardback. La Gorce, Louis Philippe 1830-1848. Plon, 1931. paperback, one of 30 copies on pur fil lafuma. Charassin, Dictionnaire des racines et dérivés de la langue française. Héois, 1842. Half-basane, lacking on spine. Toledano, La vie de famille sous la restauration et la monarchie de juillet. Albin-Michel, 1943. Paperback. Henriot, Les romantiques. Albin-Michel, 1953. Linda Kelly, The young romantics Paris 1827-1837. London, Sidney, Toronto, The Bodley Head, 1976. d'Ariste, La vie et le monde du Boulevard. 1830 - 1870. A dandy: Nestor Roqueplan. Tallandier, 1930. Bory, La Révolution de juillet - 29 juillet 1830. Gallimard, 1972. Paperback. Anquetil, Histoire de France. Jubin, 1829-1831. Volumes 12 to 15, 4 volumes. A.-F. Teulet and Urbain Loiseau, Les Codes. Preceded by Memento de l'étudiant en Droit. Paris, Videcocq, 1840 - In -12 of XXXVI + 815 p. 2-column printing. Bookplate from the library of H. Hottinguer. Half-bound in green calf, smooth spine decorated with gilt fleurons. A good copy. F. Raymond, Dictionnaire Français augmenté d'environ 15000 mots relatifs aux sciences, aux arts, aux métiers, a la médecine, a la chirurgie, pharmacie, chimie etc.. de plus qu'aucun dictionnaire de ce format. Paris, Ladrange, 1837. In-16, 438 p, printed on 2 columns. Armorial bookplate of Louis François Bertrand du Pont d'Aubevoye, comte de Lauberdière, with his motto: "Virtute et Labore". Full tan basane binding, smooth spine with 5 faux-nerfs, spidering on the first cover.

Estim. 9 000 - 10 000 EUR

CARMELA GARCÍA (Lanzarote, 1964). "Women", 2000. Photograph. Provenance: Important Spanish Collection. Size: 130 x 150 cm. As a central element of her works, in "Women" Carmela Garcia presents us with the need to rethink the world from a gender perspective which does not only imply the possibility of a different future, but also means in the first instance, a scenario of vindication around the consideration of the feminine where, in the words of the artist, it is necessary "A kind of deconstruction of what patriarchal society has established about what women are and should be, and a reconstruction of a feminist ideal of the world, where they are liberated from constraints". In this case, the powerful symbolism of the image with the iconic Barbie doll subjected to the scorching fire of a kitchen cooker directly questions the spectator in relation to the role in which women have traditionally been pigeonholed in a pejorative way, at the same time as it launches a message about the need to put an end to the dictatorship of beauty canons that are increasingly disconnected and distant from the reality of women. Born in Lanzarote in 1964. Carmela Garcia began her studies of photography in Madrid and Barcelona, until 1998, when she began to show her work to the public. From the beginning, she has combined her social interests in photography, through literary, plastic and audiovisual references, creating an artistic corpus about the stereotyped image of women in society and the need to rethink and reformulate their role in the world. After producing series as representative as "Chicas, deseos y ficción" or "Constelación", Garcia was selected in 2005 among the hundred best Spanish photographers in the list elaborated by Exit, something that confirmed the tendency of growing importance in the works elaborated in the last years. In recent years she has been working on video works to revise various stereotyped images of women. She has become the most recognised Canarian artist of the last decade thanks to a profoundly feminist discourse, through which she represents an idealised world where men are absent and women remain outside the traditional male gaze. Her work has been shown at the Centro de Arte Reina Sofía in Madrid (Espacio Uno), the Centro de Fotografía de Coímbra, the MUSAC in León, the Centro Atlántico de Arte Moderno CAAM in Gran Canaria, the IVAM in Valencia, in the group exhibition El real viaje Real /The Real Royal Tryp at PS1, Contemporary Art Center at MOMA (New York) curated by Harald Szeemann,3 at the MOT Kanazawa in Japan, the University of Salamanca and the European House of Photography in Paris, among others.4567. He has exhibited at the Juana de Aizpuru galleries in Seville and Madrid, and in 2003 at the Altamira Gallery in Gijón.8910 Together with the Juana de Aizpuru gallery, he has attended international fairs such as Arco Madrid, Art Basel, Paris Photo, Frieze London, etc.

Estim. 3 000 - 3 500 EUR

GEORGES ROUSSE (Paris, 1947). Untitled. Barcelona, 2003. Photographic paper, copy 12/30. Signed, numbered, traced and dated by hand. Exhibited at the Carles Taché gallery, Barcelona, 2003. Size: 52 x 41 cm; 75 x 63 cm (frame). Since the early 1980s, Georges Rousse's work has been characterised by the relationships he has established between photography, painting, sculpture and architecture. The photographic language, however, is the backbone of the others, dialoguing with them and playing with spatial effects. This was seen in the exhibition held at the Carles Taché gallery in Barcelona, of which this work was part. Ever since he received a Kodak Brownie Flash as a Christmas present when he was 9 years old, the camera has never left Georges Rousse's hands. While studying medicine in Nice, he decided to learn the techniques of photography and printing from a professional, and then set up his own architectural photography studio. Increasingly, his passion led him to devote himself entirely to the artistic practice of this medium, following in the footsteps of the great American masters Edward Steichen, Alfred Stieglitz and Ansel Adams. It was with the discovery of the works of Land art and Kasimir Malevitch's Black Square on a White Background that Georges Rousse chose to intervene in the field of photography, establishing a relationship between painting and space. He appropriates abandoned places that he has always liked, transforms them into pictorial spaces and builds there a unique and ephemeral work that only photography can reproduce. In order to allow the spectator to share his experience of Space, he has been presenting his images in large format prints since the early 1980s. This strong and singular work, which shifts the boundaries between traditional media, immediately imposed itself on the contemporary art scene. Since his first exhibition in Paris, at the Galerie de France in 1981, Georges Rousse has continued to create his installations and show his photographs all over the world, in Europe, Asia (Japan, Korea, China, Nepal), the United States, Quebec and Latin America. He has participated in numerous biennials (Paris, Venice, Sydney) and received many prestigious awards: 1983: Villa Medicis hors les murs, New York City 1985 -1987: Villa Medicis, Rome 1988: International Center of Photography Award, New York 1989: Salon de Montrouge Drawing Award 1992: Romain Roland Fellowship, Calcutta 1993: Grand Prix National de Photographie 2008: Succeeded Sol LeWitt as associate member of the Royal Belgian Academy. He is represented by several European galleries and his works are included in many important collections around the world.

Estim. 280 - 560 EUR

ARTUR BUAL (1926-1999), SERIGRAFIA Serigrafia sobre papel da obra de Artur Bual, assinada e numerada:n PA 3/20. Dim. Mancha: 56,5x42 cm; Dim. Suporte: 76x55,5 cm. # Artur Bual (1926-1999), foi um dos maiores pintores portugueses da segunda metade do século XX, pioneiro da pintura gestual no nosso país, escultor e ceramista. Frequentou a Escola de Artes Decorativas António Arroio e em 1947 iniciou a sua carreira como pintor. Foi bolseiro da Fundação Calouste Gulbenkian em Paris, nos anos 1959/60. A sua primeira exposição individual foi no início dos anos 50, tendo posteriormente exposto em vários espaços entre Portugal, Holanda, Espanha e até mesmo na China. Está representado em diversas coleções nacionais e estrangeiras, nomeadamente no Palácio de Justiça de Lisboa, no Centro de Arte Moderna na Fundação Calouste Gulbenkian, no Museu Nacional de Arte Moderna e no Museu Nacional de Arte Contemporânea. Recebeu diversos prémios como: Prémio Nacional Sousa Cardoso, na I Bienal de Paris; o 1º Prémio do Salão de Arte Moderna da Junta de Turismo da Costa do Sol; o Prémio Artes Plásticas 1983. E, em 1997, foi distinguido com o Prémio Carreira da MAC (Movimento de Arte Contemporânea).

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