Null RAFAEL DURANCAMPS. Still life. Oil on wood
Signed
21x16 cm. Frame in mould…

Description

RAFAEL DURANCAMPS. Still life. Oil on wood Signed 21x16 cm. Frame in moulded wood and moulded stucco (with defects).

664

RAFAEL DURANCAMPS. Still life. Oil on wood Signed 21x16 cm. Frame in moulded wood and moulded stucco (with defects).

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Estim. 200 - 300 EUR

Albert Hennig, Altschedewitz Suburban houses with a person in the warm light of the fading day, pastel and felt-tip pen on wove paper, signed and dated "AHennig (19)93" lower left, mounted on cardboard, sheet dimensions approx. 19.5 x 23.3 cm. Artist info: German painter, photographer and graphic artist. Painter, photographer and graphic artist (1907 Leipzig - 1998 Zwickau), studied 1932-33 with a scholarship at the Bauhaus Dessau/Berlin under Joost Schmidt, Mies van der Rohe, Wassily Kandinsky, Paul Klee and Josef Albers, subsequently unemployed, 1935-45 conscripted as a construction worker, after 1945 founding member of the group "Bildender Künstler" at the Kulturbund Zwickau, from 1952 member of the Verband Bildender Künstler (VBK) of the GDR, worked as a concrete worker from 1952-72 due to disputes with dogmatic cultural functionaries, in his free time he created an important work in the tradition of the Bauhaus, freelance from 1972 and his work was increasingly recognised in the GDR, received numerous awards, including the Max Pechstein Prize and the Federal Cross of Merit, worked in Zwickau, source: Vollmer, Eisold "Painters in the GDR" and Internet.

Estim. 80 - 120 EUR

BERTHOD. Paris burlesque [...] où est contenu les filouteries du Pont-Neuf, les discours de la gallerie du palais, l'entretien de la grande-salle, le désordre des embarras devant le palais, une ruë en rumeur contre un homme qu'on prend pour un autre, le haut stille des secrétaires de S. Innocent, l'adresse des servantes qui ferrer la mule, l'inventaire de la fripperie, l'éloquence des harengères de la halle, & quantité d'autres choses de cette nature. Paris, Veuve Guillaume Loyson et Jean-Baptiste Loyson, 1652. In-4, [3] ff. 97-[1] pp. purple morocco, ribbed spine, gilt title, place and date, triple cold fillet framing the boards, gilt edges, int. lace (Thompson). "M. Leber, who has placed this piece in his collection of mazarinades, only rightly observes that it has no connection with political events" Moreau, Bibliographie des mazarinades, n°2691. A very fine copy. Ex-libris JM.

Estim. 700 - 800 EUR

NORMAN MAILER (New Jersey, 1923-New York, 2007) and BERT STERN (Brooklyn, 1929-Manhattan, 2013). "Marilyn Monroe." Taschen; Special Edition. 1907/1962 copy (+200 P.A). Preserves original box. Measurements: 49 x 40 cm. This book collects the photographs taken by Bert Stern of Marilyn Monroe in the session Last Sitting, which was one of the last in which the actress posed. The book is completed with the biography of Marilyn written by Norman Mailer in 1973. The last sitting is a collection of 2,571 photographs taken of Marilyn Monroe in 1962 at the Bel-Air Hotel in Los Angeles. This reportage was taken six months before her death and part of it was published in Vogue. The first edition of the book The Last Sitting was published in 1982 and in it Stern recounts the encounter in detail. Bert Stern began working as an art assistant to director Herschel Bramson. In 1951 he joined Mayfair magazine as art director and soon began collaborating with magazines such as Vogue, Squire, Look, Life, Glamour and Holiday. Among his works from that period is a 1959 portrait of Louis Armstrong taken for a Polaroid advertising campaign that was even considered too high quality for Polaroid. In the early seventies he closed his studio and moved to live in Spain until 1976. After his return to New York he dedicated himself to advertising photography and magazine collaborations. Among the famous women he has photographed are Audrey Hepburn, Elizabeth Taylor, Madonna, Kylie Minogue, Drew Barrymore, Shirley MacLaine, Claudia Cardinale, Jacqueline Bisset, Brigitte Bardot and Catherine Deneuve. He also worked for the film industry: Lolita in 1962, Appointment with a very special angel in 1987 or in American masters in 2006; as a director and producer in Jazz on a Summer's Day (with Aram Avakian) in 1958 or as the protagonist in Becoming Bert Stern in 2009. He died at his residence in Manhattan, on June 26, 2013, at the age of 83 without the causes of his death having been clarified. Original box preserved.

Estim. 3 500 - 4 000 EUR

RAFAEL DURANCAMPS I FOLGUERA (Sabadell, 1891 - Barcelona, 1979). "Outskirts of La Garriga". Oil on canvas. Signed in the lower right corner. The frame needs restoration. Measurements: 40 x 61 cm; 56 x 80 cm (frame). Under a limpid sky, a suburban landscape with houses and sown fields unfolds. Except for a cyclist sliding along the dirt road, silence seems to be palpable in this faithful representation of the suburbs of La Garriga. Rafael Duran i Camps, better known as Durancamps, was a disciple of Vila Cinca at the Industrial School of Arts and Crafts in Sabadell. He later met Joaquín Mir, with whom he established a close relationship, and whose style influenced the colourful language of Durancamps's early period. He exhibited for the first time in 1917 at the Galerías Layetanas in Barcelona, and his success encouraged him to continue painting despite his family's opposition. He spent several periods in Madrid, where he studied the masters of the Prado Museum, and then travelled to Italy. He returned to Barcelona and took part in various competitions, winning important prizes such as the Masriera medal in 1920, as well as holding several exhibitions at the Sala Parés. In 1921 he travelled to Paris for the first time. His work at this time is close to Impressionism, but also shows the influences of Zurbarán, El Greco and Venetian colourism, combining the precision of the drawing with the gravity of the colour. In 1926 he returned to France and settled in Passy, where he lived until 1939. During these years he met Picasso, who encouraged him to hold exhibitions at the Zak gallery, where he enjoyed considerable success, which increased with his successive exhibitions. He returned to Spain and settled in San Sebastián, but continued to work closely with the Sala Parés, where he continued to hold exhibitions until his death. He also held various exhibitions in Madrid, Sabadell, Bilbao, Valencia, London and Philadelphia. Although his first period was influenced by Mir, Durancamps soon evolved towards a more personal conception, giving special prominence to the constructive line and a peculiar colouring of sober beauty. His still lifes, which he treated with a profusion of line and transparency, are a prodigy of serenity and elegance, with such a personal stamp that they escape any contemporary classification. His landscapes and genre scenes, especially the "capeas" in various Spanish villages, are highly emotive. The "skies of foreboding" that express the drama of the fiesta evoke his acute lyrical sense. He is represented in the Museums of Contemporary Art in Barcelona, Madrid, San Sebastián and Buenos Aires, as well as in a large number of Spanish and foreign collections.

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