Null ANTONI ROCA MARISTANY (1895-1977). "BULL AND BULLFIGHTER", 1931.
Gouache on…

Description

ANTONI ROCA MARISTANY (1895-1977). "BULL AND BULLFIGHTER", 1931. Gouache on paper. Signed and dated. On the reverse it still has part of the cardboard sheet to which it was attached on the corners. 23.5 x 29 cm (unframed). This lot will not be included in our post auction sale.

892

ANTONI ROCA MARISTANY (1895-1977). "BULL AND BULLFIGHTER", 1931. Gouache on paper. Signed and dated. On the reverse it still has part of the cardboard sheet to which it was attached on the corners. 23.5 x 29 cm (unframed). This lot will not be included in our post auction sale.

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Estim. 250 - 300 EUR

OPERA - GIACHETTI-CARUSO - Autograph letters signed, partially printed document signed - Lot of 9 autograph letters Lot of 9 autograph letters and one partially printed official document by the family Giachetti-Caruso. Autograph letters of the soprano (2) Ada (1873 - 1946), her sister (5) Rina Giachetti (1880 - 1959), (1) Giuseppina Giachetti-Guidalotti (mother of the two singers), (1) Rodolfo Caruso (1898-1951). A document signed by Rina Giachetti and countersigned by the prime minister of Italy during WWI Antonio Salandra (1853 - 1931) stating that she participated to the “Prestito Nazionale di Guerra del MCMXVI”. For a total of 21 pp. in-4, in-8 and on postcard. We report a few extracts as samples. A. Rina to Ada. 31.05.1907: “…Vedo che hai una gran tristezza? Perché? Che cosa hai ? Tu invidi me e perché? Dici che ho una grande distrazione – la Carriera – è vero dà delle grandi soddisfazioni – ma non conti le contrarietà ? Le continue lotte – Non ci pensi - i palpiti, tutto quello che soffriamo alle recite? Vuoi forse paragonarla alla vita tranquilla della Casa della famiglia ? Ada mia non ti lamentare. Accogli la tua fortuna col sorriso e dalle la ben venuta…”. B. Ada to her mother Giuseppina. 12.1.1908: “…Dopo tanto tempo ti scrivo una letterina, non pensare che tu mi sia stata lontana dal cuore, ma in viaggio non avevo il tempo di farlo e qui nei giorni passati ho avuto tanto da fare per cercare la casa che tutto il giorno ero in giro. (…) Ho ricevuto oggi un telegramma dall’agente che ha spedito i … mi ha dato l’indirizzo dove devo rivolgermi per ritirarli…”. C. Rina to Enrico Caruso. n.d. “…Senti caro vuoi sapermi dire quali sono e dove sono gli oggetti antichi che il mio caro cugino mi ha fatto pagare ? Puoi domandare a Vecchiettini il conto che si è fatto pagare, e così potrai farmi sapere…”. ...

Estim. 24 000 - 36 000 EUR

Fritz Behn, Black Panther Design from the creative period after the 2nd World War. The bozzetto for this sculpture was given to the Heinz Mocnik foundry by the artist's family for casting and was made in the same year by the foundry manager as a gift for his wife and placed in the private driveway of his house in Salzburg, Behn was dismissed from his post at the Vienna Art Academy after the Second World War due to his prominent position under National Socialism. The now more precarious financial situation forced Behn to cast his designs in plaster or cement rather than bronze, as was the case with this sculpture, a stylistically typical, minimally abstracted work with a smooth surface design and dynamic lines, still without the cubist influences of his late creative phase. World War II, rectangular plinth, tiny traces of weathering and dots of verdigris, a small abrasion on the edge of the plinth, dimensions L 143 cm, W 31 cm, H 44 cm. Sources: Hugo Schmidt, Fritz Behn als Tierplastiker, Hugo Schmidts Kunstbreviere, vol. 1, Munich 1922; J. Zeller, Wilde Moderne - Der Bildhauer Fritz Behn (1878-1970), Nicolai Verlag, Berlin 2016; Salzburgwiki website. We would like to thank Mrs Thaler-Klein (the former partner of the art foundry Heinz Mocnik) and the Kunstgießerei München (formerly Mocnik) for kind information, images of the work will be included in the holdings of the art archive of the Germanisches Nationalmuseum Nuremberg as a compendium of Fritz Behn's estate, artist information: German sculptor (1878 Klein Graben). Sculptor (1878 Klein Grabow to 1970 Munich), 1898-1900 studied at the Academy of Fine Arts Munich as a pupil of Adolf von Hildebrand and Wilhelm von Rümann, Prince Regent Luitpold acted as Behn's patron, 1907-09 travelled to Africa and South America to make anatomical drawing studies of large game and to produce plaster casts of hunted game, 1905, 1907 and 1909 took part in the Venice Biennale, from 1910 member of the Munich Secession, 1910 awarded the title of "Royal Bavarian Professor", worked at the universities of Munich and Stuttgart and at the Weimar Academy of Art, 1911-12 stay in Paris and visit to Auguste Rodin, travelled to Italy and London, won the tender for the erection of the German colonial war memorial in 1913 - the memorial was not executed, 1913 exhibition together with Franz Marc at the Tannhäuser Gallery in Munich, Publication of the essay "Für Fritz Behn" by Thomas Mann, enlisted as a war volunteer in 1914, contact with Adolf Hitler from 1921, lived in Buenos Aires/Argentina from 1923 to 1925, elected President of the Munich Artists' Association in 1927, contributor to the feature section of the Völkischer Beobachter from 1927, initiator of the National Socialist Kampfbund für deutsche Kultur in 1928, travelled to Africa again from 1931 to 1932, 1940 appointed director of the Academy of Fine Arts in Vienna, a position he held until the end of National Socialism, 1943 awarded the Goethe Medal for Art and Science by Adolf Hitler, included in the list of those honoured by the Nazis, presented himself as an opponent of the regime after the end of the Nazi dictatorship, received a pension from the Federal Republic of Germany, 1968 awarded the Senate Plaque of the City of Lübeck, source: Thieme-Becker and Wikipedia.

Estim. 110 - 165 EUR

Kurt Meyer-Eberhardt, Vier Zirkuspudel dressed poodles before their performance in the circus ring, gouache monogrammed CME, matted and framed under glass, folded dimensions 18 x 23 cm. Artist information: actually Kurt Ernst Meyer, called himself Curt Meyer-Eberhardt from 1916, German animal painter and etcher (1895 Leipzig - 1977 Munich), studied at the Weimar Academy under Max Thedy, Theodor von Hagen and Walter Klemm, briefly studied at the Bauhaus under Lyonel Feininger, member of the Reichsverband Bildender Künstler Deutschlands, active in Munich, source: Thieme-Becker, Vollmer, Dressler and Internet.

Estim. 12 000 - 13 000 EUR

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Red and black composition", circa 1962. Oil and gouache on lithographed paper mounted on canvas. Attached is a certificate issued by the Antoni Clavé Archives. The work is registered in the Antoni Clavé Archives, Paris. No : 62TMPMT18. Signed in the lower right corner. Size: 57 x 77 cm; 67 x 87 cm (frame). On a dark background the intensity of the red stands out, reaching a contrast of colours, which brings vivacity to the composition and awakens the spectator's gaze. Through the play between red and black, a resource often used by Antoni Clave, the artist deploys a whole set of elements, apparently random, which come together to form a baroque composition. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

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