Null CASABLANCA, NEST OF SPIES

1963, French poster

Producer: Francisco Balcaza…

Description

CASABLANCA, NEST OF SPIES 1963, French poster Producer: Francisco Balcazar Director: Henri Decoin Cast: Sara Montiel, Maurice Ronet Printer : La Lithotyp Fold 120 cm x 160 cm

197

CASABLANCA, NEST OF SPIES 1963, French poster Producer: Francisco Balcazar Director: Henri Decoin Cast: Sara Montiel, Maurice Ronet Printer : La Lithotyp Fold 120 cm x 160 cm

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Estim. 4 000 - 6 000 EUR

PANHARD DYNA Z 16, 1959 1st registration: 19/06/1959 Type : VP Body : CI Serial number : 1203874 Fiscal power : Energy: ES Displayed mileage : 54 287 km (not guaranteed) With its "dolphin-nosed face", the Dyna Panhard is a concentrate of innovations. With a body made of Duralinox (a blend of aluminum, copper and manganese), it weighs no more than 650 kg, and its curvaceous shape, designed by Louis Bionier, favors aerodynamics. It features a curved windscreen (a feat of engineering by Saint-Gobain), and a unique fog lamp is fitted to the air-intake cover that doubles as the front grille. Nearly 155,000 examples were produced, all front-wheel drive, powered by an 850 cm3 air-cooled flat-twin. Our 1959 model features a steel body, the Duralinox alloy having been abandoned for economic reasons. This 1959 Panhard Dyna Z is not just a car, it's a piece of French automotive history. It embodies the craftsmanship and technical innovation for which the brand is renowned. Every line, every component transports you back to a time when driving was an art and cars were handcrafted with meticulous attention to detail. Technical specifications Engine : - Type: flat-twin, air-cooled - Displacement: 851 cm³ - Power: approx. 42 hp Performance : - Top speed: approx. 130 km/h - Acceleration: 0 to 100 km/h in around 27 seconds - Fuel consumption: approx. 5 to 6 liters per 100 km Drivetrain : - Type: front-wheel drive - Gearbox: 4-speed manual Dimensions : - Length: approx. 3.90 m - Width: approx. 1.55 m - Height: approx. 1.40 m - Wheelbase: approx. 2.35 m The engine could not be restarted, but is not blocked. Immobilized for several years in the dry, the car will need to be completely overhauled, including a check of its safety features. The paintwork has a few flaws, but is in perfect condition. Structural elements show little visible corrosion. The chromes show some pitting. The upholstery is in good condition. Belgian registration document, FFVE file to be completed. With technical inspection.

Estim. 400 - 600 EUR

Judy Garland Document Signed for I Could Go On Singing DS, 22 pages, 8.5 x 11, September 26, 1961. Agreement between Judy Garland and Millar/Turman Productions in which she agrees to "render her services as an actress to portray the role of Jenny Bowman in the motion picture photoplay tentatively entitled 'The Lonely Stage'" for fixed compensation of $200,000 plus 10% of gross receipts in excess of $3,000,000. Signed at the conclusion in blue ballpoint by Judy Garland, and countersigned by the producer. In fine condition, with light creasing and the last page detached from the staple. I Could Go On Singing stars Judy Garland in her final film performance alongside Dirk Bogarde and Jack Klugman. Directed by Ronald Neame, the 1963 musical drama was originally titled The Lonely Stage, but renamed so that audiences would know that Garland sings in it—she had not sung in a film since 1954's A Star Is Born. Reviewing the film in the New York Herald Tribune, Judith Crist wrote: 'You'll see her in close-up...in beautiful, glowing Technicolor and striking staging in a vibrant, vital performance that gets to the essence of her mystique as a superb entertainer. Miss Garland is—as always—real, the voice throbbing, the eyes aglow, the delicate features yielding to the demands of the years—the legs still long and lovely. Certainly the role of a top-rank singer beset by the loneliness and emotional hungers of her personal life is not an alien one to her.'

Estim. 3 000 - 3 500 EUR

MOISÉS VILLÈLIA (Barcelona, 1928 - 1994). "Model" 1978-1979. Bamboo and ceramic material (brick). Attached is an original sketch signed, dated, located and titled by the artist. Measurements: 60 x 45 x 20 cm. Moisés Sanmarón Puig, with the artistic name Villèlia, was a sculptor linked to the abstract movement, who initially identified himself with the artistic concerns of the Dau al Set group. He learned wood carving in the workshop of his father, a renowned craftsman, and during his childhood he received a rationalist education, interrupted by the outbreak of the Civil War. After the war, his family moved from Barcelona to Mataró. In 1945 Villèlia's interest in poetry was born, when he produced his first works, figurative wood carvings, with expressively elongated and dynamic profiles. He exhibited his work for the first time in 1949, at the Museum of Mataró. Four years later, after working with his father on the woodwork for the chapel of Santa Ana in the city, he decided to devote himself fully to sculpture. In these years he made his first non-figurative pieces, which adopted tubular forms, with longitudinal channels and Punctures. He came into contact with the Barcelona art world, especially with the poet Rabasseda and the critic Alexandre Cirici, and in 1954 he held his first solo exhibition, again at the Museum of Mataró. He presented a selection of his first works, reliefs that combined the influences of modernism and Eastern philosophies, which since his teenage readings were a constant in his life. In 1963 he devised the assemblages, pieces that could be combined according to the buyer's taste, and his growing interest in networks was awakened. With a scholarship from the French Institute in Barcelona, he moved to Paris in 1967. In the French capital he worked with perforated paper as the main material for his works. Two years later he moved to Argentina, where his brother, also a sculptor, lived, and finally settled in Quito, where he remained until 1972. When he returned to Spain, he moved to the town of Molló, in Girona, where he dedicated himself to making surrealist sculptures in which he used willow wood and assemblages of objects, which gave his works from this period a certain humorous sense. He died in 1994, and in 1999 the IVAM in Valencia dedicated a large retrospective exhibition to him. He is currently represented at the MACBA in Barcelona, the Museo Nacional Centro de Arte Reina Sofía and the Museo de Arte Contemporáneo Patio Herreriano in Valladolid.

Estim. 800 - 1 000 EUR

HENRI GÖETZ (United States, 1909 - France, 1989). "Composition", 1978. Mixed media on paper. Signed and dated in the lower left corner. Measurements: 28 x 37 cm; 30 x 39 cm (frame). French-American painter and engraver, Henri Goetz is as well known for his work as for his invention of the carborundum engraving process, a procedure that uses carbon silicide as an abrasive. Born in New York, he began to draw as a child, feeling frustrated by the clumsiness of his drawings. He later began his training at the Grand Central School of Art in New York, and after finishing his studies there, in 1930 he went to Paris to broaden his knowledge. In the French capital he attended courses at the Colarossi, Julian and Grande Chaumière Academies, where he met his wife, the Dutch painter Christine Boumeester, born in Java. During these years Goetz already developed a personal surrealist style, which influenced his wife's work. In 1934, thanks to his friend Victor Bauer, an Austrian artist, Goetz held his first solo exhibition in London. It was also at this time that he met Hans Hartung, who introduced him to his circle of friends. Through him he comes into contact with Fernand Léger and Wassily Kandinsky. In 1937 he had his first exhibition in Paris, at the Bonaparte Gallery. After the outbreak of the Second World War, Goetz and his wife will collaborate with the French Resistance printing pamphlets and posters, although their main occupation will be to create identity cards. In 1939 Goetz, Christian Dotremont and Raoul Ubac created "La Main à Plume", the first surrealist publication under the occupation. After the war, Goetz devoted himself to visiting the studio of a different artist every week, and thus met Picasso, Brancusi, Julio Gonzalez, Picabia and Max Ernst. In 1947 he became the protagonist of Alain Resnais' short film "Portrait de Henri Goetz", made for the Musée National d'Art Moderne. Two years later, he began teaching, first independently and then at the Académie Ranson. Later he will also teach at the Grande Chaumière, and finally he will found his own academy, although he never charged for his lessons. In the meantime, he continued to exhibit his work in prominent European galleries. In 1968 he accepted a teaching position at the Ecole des Beaux-Arts in Paris, but when the school closed due to student strikes two weeks later he moved to the University Paris 8. That same year his wife became ill, and three years later she died. After her death Goetz came across her diaries, which he published in a book with a foreword by himself. After being hospitalized for illness, the artist committed suicide by jumping from a window on the fifth floor of the hospital in Nice in 1989. He is currently represented at the Goetz-Boumeester Museum in Villefranche-sur-Mer, on the French Riviera, as well as at the Centre Georges Pompidou in Paris, the Miró Foundation in Barcelona, the San Francisco Museum of Art, the French State Museum, the Budapest Museum, the National Museum of Modern Art in Brussels and many others around the world.

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