Null Tableau aborigène
FIRE DREAMING, Adam Reid 2014
Contemporary Aboriginal pai…

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Tableau aborigène FIRE DREAMING, Adam Reid 2014 Contemporary Aboriginal painting Acrylic on Canvas Certificate 109x88cm

164

Tableau aborigène FIRE DREAMING, Adam Reid 2014 Contemporary Aboriginal painting Acrylic on Canvas Certificate 109x88cm

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Estim. 180 - 270 EUR

Charles Jones, Glen Etive in the Scottish Highlands The motif is typical for Jones, a qualitatively appealing nuanced study of the rough, rocky landscape of the Highlands, here the painter gives an impression of the valley Glen Etive, from which James Bond looked at the place "Skyfall" in the film of the same name, partly glazed oil painting on canvas with dominant earth and green tones, 2nd half 19th century, with the typical ligatured artist's monogram "CJ" lower right and indistinctly dated, signed again in lead on the reverse and also inscribed "Glen Etive" in a barely legible manner by the artist, label with annotations on the artist and work as well as label of the company for painting and drawing utensils "Charles Robertson London", small loss of colour in the upper left area of the painting, in a contemporary magnificent frame with bumping, folded dimensions approx. 29.5 x 38.5 cm. Artist information: also known as "Sheep Jones", English animal and landscape painter of Welsh origin (1836 Cardiff to 1892 ?) active in Barnham (Sussex) and London, frequently exhibited at the Royal Academy in London in 1861-91, among others, won a gold medal at an annual exhibition at the Crystal Palace Gallery in 1890, member of the Royal Cambrian Academy and the Society of British Artists, among others, source: Thieme-Becker.

Estim. 600 - 800 EUR

Michel Potage (1949-2020) 4 Oil and sand on canvas (mixed technique) monogrammed and dated on back 38 x 46 cm Michel Potage is a painter through and through: he paints in the solitude of the sacred place that is his studio, having waited a long time for inspiration... and, when it comes, he becomes frenetic, relentless, virtuoso. He paints the subject to the point of exhaustion, hence his serial work: the Aborigines, the correspondence between Van Gogh and his brother Theo, the Gypsies, the mythical Trees series... In the late 1990s, Michel Potage began a cycle of writing and signage. This was accompanied by texts, giving his work an increasingly poetic dimension that draws its inspiration directly from the street.

Estim. 12 000 - 15 000 EUR

FORD BECKMAN (Columbus, 1952-Tulsa, 2014). "Black wall painting," 1990-1991. Acrylic, enamel, wax and industrial varnish on canvas. Exhibitions: 2009 (March 26-May 17), "Private Life. Representations of contemporary tragedy and banality", MUBAG, Alicante. Bibliography: "La vida Privada. Representations of contemporary tragedy and banality", Ed. MUBAG, Alicante 2009, p. 83. Measurements: 200 x 205 cm. The first thing that comes to mind when contemplating this painting is Malevich's "Black square on white". Malevich believed that art should not imitate the real world, but create its own reality. The black square has been read in an infinite number of ways in the course of art history: as an idea of infinity, as nothingness or emptiness in the Eastern sense, as pure energy, or as the impossibility of representation. Ford Beckman takes up the reflection on the nature of art and the limits of representation, but introduces a particular twist. In "Black wall painting", technical experimentation is evident in the unusual combination of materials (acrylic, enamel, wax and industrial varnish), resulting in a work that, although in dialogue with the Suprematist tradition and its derivatives (hard-edge painting, geometric abstraction), does not seek to conceal the brushstroke or hide the human trace, but on the contrary emphasizes the importance of the support and gives the drips and imperfections an aesthetic patina. Having initially trained in the field of advertising and fashion, Ford Beckman developed a pictorial work free from pre-established precepts of what contemporary artistic practice is supposed to be. This allowed him to explore abstraction with complete freedom, but also to delve into the exploration of an unconventional figuration. Ford Beckman was a successful fashion designer in New York in the 1980s before devoting himself entirely to the fine arts in the 1990s, especially painting. In the late 1980s, Beckman moved into a Manhattan studio and held his first solo exhibition in New York in 1988. In 1992, Beckman opened his first solo show in Europe at the Hans Mayer Gallery in Düsseldorf. Ford Beckman's works were acquired in Europe by collector Giuseppe Panza and the Essl Collection, among others. Beckman was a friend of Cy Twombly. His was a blazing career. Beckman moved to Tulsa, Oklahoma, where he died at the age of 62. Solo exhibitions (selection): 1990: Tony Shafrazi Gallery, New York; 1992: Hans Mayer Gallery, Düsseldorf; 1996: Kestnergesellschaft, Hannover.

Starting price 1200 EUR

TJAMITJINPA Ronnie (1943-2023) Tingari cycles acrylic on canvas prepared in black signed lower center 92 x 122 cm PROVENANCE: Number 1 Company Ply Ltd - African Muse Gallery - Private collection This lot is presented by Stéphane Jacob-Langevin Ronnie Tjampitjimpa (c.1940-2023) is one of the great names in Aboriginal desert painting. Originally from Kintore, west of Papunya in the central desert, he has been painting since 1971, in other words, since the beginnings of "contemporary" Aboriginal painting, when under the impetus of Geoffrey Bardon - an art teacher based in the region - Aborigines began to reproduce on their school walls, then on plywood sheets and finally on canvas, the paintings they had previously produced for ritual purposes. Ronnie draws his inspiration from the myths associated with the Tingari Men, the great ancestors of the Dreamtime that the Pintupi still celebrate today. These mythical men roamed the Australian territory accompanied by their wives and young apprentices. They would initiate them as they went along. The initiations took place at sites they created, which still exist today: it is here that the Aborigines commemorate their memory during ceremonies in which they paint motifs on the ground evoking the Dreamtime. More often than not - and this is the case here - the works inspired by the Tingari ancestors retrace in stylized form the paths they once followed in the desert. Highly geometric in inspiration, these "tracks" often have the appearance of more or less complex labyrinths that structure the clan territories of central desert communities. They are depicted as if seen from the sky, but there is no particular way of reading such canvases: neither right nor left, neither up nor down. Collections:- Musée du Quai Branly, Paris- Aboriginal Art Museum, Utrecht, Holland- National Gallery of Australia, Canberra - National Gallery of Victoria, Melbourne - Museum & Art Gallery of the Northern Territory, Darwin - Art Gallery of Western Australia, Perth, etc.

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