Null PIRANESI. Prospettiva della Nuova Piazza in Padova.
Etching, 1550x600 mm. M…

Descrizione

PIRANESI. Prospettiva della Nuova Piazza in Padova. Etching, 1550x600 mm. Margins. I/III state. Drawn by Giuseppe Subleyras. Brownings and small defects..

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PIRANESI. Prospettiva della Nuova Piazza in Padova. Etching, 1550x600 mm. Margins. I/III state. Drawn by Giuseppe Subleyras. Brownings and small defects..

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Stima 7 000 - 8 000 EUR

ROBERT FRANK (Zurich 1924 - Nova Scotia 2019) "Rainy day", c. 1955. Gelatin silver on Agfa paper. Signed in ink in lower left corner. Provenance: Christie's Paris, Photographies 10/11/2020, Lot 107. Measurements: 41 x 30 cm; 66,5 x 58 cm (frame). Robert Frank was a Swiss photographer and documentary filmmaker, who also became an American citizen. His most notable work is the 1958 book The Americans, which earned Frank comparisons to De Tocqueville because his photography provided a fresh and nuanced view of American society from the outside. Critic Sean O'Hagan, wrote in The Guardian in 2014, that The Americans "changed the nature of photography, what it could say and how it could say it. It remains perhaps the most influential photography book of the 20th century." Frank later explored other fields such as film and video and experimented with photo manipulation and photomontage. Robert Frank was born in Zurich, Switzerland, into a Jewish family. Frank and his family remained safe in Switzerland during World War II. He trained with several photographers and graphic designers before creating his first handmade photography book, 40 Photos, in 1946. Frank emigrated to the United States in 1947 and got a job in New York City as a fashion photographer for Harper's Bazaar. In 1949, Camera magazine's new editor, Walter Laubli (1902-1991), published a substantial portfolio of Jakob Tuggener's photographs taken at high-class shows and in factories, along with the work of the 25-year-old Frank, who had just returned to his native Switzerland after two years abroad. He soon left for South America and Europe and created another book of handmade photographs he took in Peru. He returned to the United States in 1950 where he met Edward Steichen, and participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA). Although initially optimistic about American society and culture, Frank's perspective quickly changed when confronted with the fast pace of American life, which he saw as an overemphasis on money. It was then that his images began to show America as an often desolate and lonely place. Frank's own dissatisfaction with the control that editors exerted over his work also undoubtedly influenced his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines such as McCall's, Vogue and Fortune. By associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has called the New York School of photographers during the 1940s and 1950s. In 1955, Frank achieved further recognition with Edward Steichen's inclusion of seven of his photographs in the Museum of Modern Art exhibition. In 1955 Frank was awarded a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation to travel the United States and photograph society. The cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. He took his family with him for part of his series of road trips over the next two years, during which time he took 28,000 photos of which only 83 were selected by him for publication in The Americans. He had his first solo show at the Art Institute of Chicago, and a year later exhibited a second time at MoMA. In 1972 the Kunsthaus Zürich held a major retrospective of his work.

Stima 80 - 120 EUR

Giovanni Battista Piranesi (copia da) Part of the Forum of Nerva etching, 151 x 282 mm, counterpart copy of Piranesi's etching from the 'Antichità Romane' series, one of the series of copies published by Francis Vivares in the second half of the 18th century. Printed on laid paper. In good condition. With frame and double glass (30 x 42.5 x 1 cm)

Stima 100 - 150 EUR

Fredo Bley, Hof Dr. Polster Mylau Damp backyard with old woman and laundry hung up to dry, according to the previous owner probably motif "Hof Dr. Polster" from Bley's hometown of Mylau, the motif was captured by Fredo Bley in 1956 from a different perspective, impasto painting in restrained colours, oil on plywood and chipboard, monogrammed and dated "FB [19]60" lower left, unframed, dimensions approx. 29.5 x 23.5 cm. Artist information: actually Fredo Robert Bley, German painter and graphic artist. Painter and graphic artist (1929 Mylau in Vogtland to 2010 Reichenbach), 1943-46 together with Wolfgang Mattheuer trained as a lithographer with Carl Werner in Reichenbach in order to avoid compulsory service in the Wismut uranium mines, 1946-48 worked as a farm and forestry labourer in Thuringia, 1948-56 apprenticeship and work as a decorative and lettering painter, inspired by the painter Walter Löhner, largely self-taught, Member of the Association of Visual Artists (VBK) of the GDR since 1952, worked in parallel as a brickmaker and construction worker from 1957-64 due to material constraints, freelance from 1966, worked in parallel for a time under a contract with VEB Baumechanik Lengenfeld and until 1990 as a circle leader for painting at "NEMA" Netzschkau, organised numerous exhibitions, including in 2002 in the new Federal Chancellery in Berlin, worked in Mylau, from 1960 in his own home in Buchwald, source: AKL, Eisold "Künstler in der DDR", Frank Weiß "Malerei im Vogtland" and Wikipedia.

Stima 4 500 - 5 500 EUR

JAUME PITARCH (Barcelona, 1963). "Entropía de Jackson".2009. Mixed media (collage on cardboard". Provenance: Gallery dels Àngels of Barcelona. Measurements: 77 x 107 cm. This piece was part of an exhibition of the same name by Jaume Pitarch at the Àngels Barcelona gallery, in which the theme of time was treated from a new perspective both as a concept and as a plastic development. As the press release read: "Pitarch transforms mundane objects and work rituals into instruments for critical reflection. Frequently, his work consists of obstinate actions that lead to apparently absurd, unproductive, invisible or unimaginable results. This absurdity is not, however, self-indulgent: it questions the identity, socializing, and behavioral relations between man and his material production. For Pitarch, this is simply the consequence of the angst of a man lost in a web of constantly mutating social structures to which he derives all his energy in a failed attempt to belong, "to insert himself into them". The theme of time (time as that which constantly leaves us out of the game) is therefore a constant in his work. A Virilian time that is sometimes alluded to, stopped or converted into an invisible ally called process". Currently based in Barcelona, Jaume Pitarch studied Fine Arts at the Chelsea College of Art and the Royal College of Art in London. His language is based on the decontextualization of man-made elements, which he dismantles and reconstructs in a completely different way, stripping them of their original meaning and value. Throughout his career as an artist, Jaume Pitarch has held numerous exhibitions nationally and internationally, highlighting: Àngels Barcelona (2013, 2009, 2004,1997); Galería Fúcares, Madrid (2013, 2008); Spencer Brownstone Gallery, New York (2013, 2009, 2006) or in Galerija Vartai, Lithuania, 2011. Likewise, his work has been selected for group exhibitions in international galleries and institutions. His work is part of public and private collections such as the MACBA collection, the Vila Casas Foundation, the La Caixa collection, Artium, the Bergé collection, the Patio Herreriano Museum or the collection of the Royal College of Art in London, among others.

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