Null "Vercors", intimate images, Roberto Neumiller, Ed. Glénat, 2006

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"Vercors", intimate images, Roberto Neumiller, Ed. Glénat, 2006

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"Vercors", intimate images, Roberto Neumiller, Ed. Glénat, 2006

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Schätzw. 500 - 600 EUR

KATSAKAWA SHUNSHO (Japan, ca. 1750-1821). "The kite." Ukiyo-e woodcut. Signed in plate. Presents some faults in the frame, dampness and dirt. Measurements: 24 x 35 cm; 66 x 59 cm (frame). The versatility and skill with the drawing of Katsukawa Shuncho is patent in this composition in which elegant ladies with kimono take the tea and observe their small one to play with a kite, that one of the servants prepares to make fly. It is an intimate and delicate image of a garden, characteristic of the work of this important Japanese artist. Katsukawa Shuncho was a Japanese artist of ukiyo-e, a genre of woodblock prints. His legacy encompasses various forms of artistic expression, standing out as an engraver, painter and illustrator. His work, developed during the Edo period, is distinguished by his technical mastery and his contribution to the depiction of actors, beautiful women and other traditional subjects. Katsukawa began his career as a disciple of Katsukawa Shunsh? but his style evolved under the influence of prominent artists of the time, including Torii Kiyonaga, Kubo Shunman and Kitagawa Utamaro. Katsukawa's reputation is highlighted in the Katsukawa school, where the rarity of his depictions of actors is appreciated, as well as his ability to create outstanding works in genres such as hashira-e, sanmai-tsuzuki and paintings of women. Katsukawa's artistic legacy is manifested in a series of remarkable works in which his skill in genres such as actor portraiture, consecutive images and depictions of nude women are evident, leaving a lasting impact on the history of ukiyo-e.

Schätzw. 12 000 - 15 000 EUR

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981). "Space2," Providence, Rhode Island, 1976. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 17 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 13.5 x 13.5 cm (image); 26.2 x 21.5 cm (paper). Francesca Woodman made this series in Providence, where she was a student, after having spent some time in Rome (on a scholarship). In the "Space2" series, Woodman photographs herself interacting with architectural spaces, often dilapidated or abandoned. She uses these spaces not only as settings, but as active elements of the composition. Walls, doors and windows become an integral part of the images, interacting with her body in symbolic and visual ways. Woodman uses spaces that evoke a sense of abandonment that contrast with her physical presence, adding a layer of tension and vulnerability to the images. Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both visual artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

Schätzw. 7 000 - 7 500 EUR

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) "Self portrait", N3017.1. New York, 1979-80. Gelatin silver print. Later printed by Igor Bakht, stamp on verso. Signed by George and Betty Woodman, annotated "I B" "N3017.1" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 13.7 x 13.7 cm (image); 26 x 21 cm (paper). This photograph, in which Francesca Woodman is shown foreshortened and quartered, belongs to the last stage of the artist's short life. At the time, she was living in New York. Woodman had spent the summer of 1979 in Stanwood, Washington to visit her partner, Benjamin Moore. It was there that she created a photographic series on domestic subjects. When she returned to New York, she tried to make her work known and managed to have exhibitions at the Daniel Wolf Gallery. In the advertising and fashion industry she discovered the work of Deborah Turbeville, who was characterized by placing models in gothic-melodramatic settings, such as in desolate or dark buildings or corridors. Woodman imbibed this style, which she then reflected in her future photographs. In the summer of 1980 he experimented with his own body in order to deal with themes of something higher, according to the letter he wrote to his friend Suzanne Santoro, who lived in Rome. At this time, his artistic creation became more meticulous and he elaborated more methodically the composition, starting from previously created sketches, to work out the narrative of his images. Although she put a lot of effort into her artistic work, she was never convinced of it. What really drove her to suicide was a mediocre public response to her photography and a broken romance. Her father suggested that the reason for the suicide was a failed application for funding from the National Endowment for the Arts. She was too far ahead of her time. All this caused Francesca Woodman to fall into a depression and finally, a few days after launching her book, on January 19, 1981, she decided to take her own life at the age of only 22, jumping out of a loft window on the Lower East Side of Manhattan, New York. Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both visual artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

Schätzw. 7 000 - 7 500 EUR

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) Untitled, from "Angels series", Rome, 1977-1978. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 297 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 15.5 x 15.5 cm (image); 26 x 21 cm (paper). This photograph belongs to Woodman's Roman period. The blurring of the body, the ghostly presences, the night and the specters make up a suggestive print in which the artist herself is the protagonist. Woodman delves into the hidden part of her own being, trying to make visible what is essentially invisible. In this series, the photographer employs long exposure techniques to capture movement, resulting in blurred figures that seem to fade or merge with their surroundings. This effect creates a sense of dynamism and evokes the idea of ethereal beings or ghosts. He made this series (Angels) in Rome. Between 1975 and 1979, while studying at Providence College of Fine Arts, where Francesca Woodman excelled in her artistic abilities, she was awarded an Honors Program scholarship that allowed her to live for a year in the school's facilities at Palazzo Cenci in Rome. She met and joined a group of artists linked to the Maldoror Gallery and Bookstore. Its owners Giuseppe Casetti and Paolo Missigoi were attracted to all those related to the avant-garde movements, more specifically, those related to futurism, surrealism and symbolism. It was the owners who managed to include Woodman in an exhibition of five young artists at the Ugo Ferranti Gallery, where she was the only American to participate. This became her first solo exhibition. It was in Rome that she produced some of her best known works to this day, such as "On Being an Angel", "Glove Series", "Self-deceit". Her photographs reformulate the image of women, Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from the Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both fine artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

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