1 / 2

Description

Photo of a study with Riemerschmid furniture View into a bourgeois study of the 1920s in the furnishing style around 1910 with bookshelves and desk and the famous music room chairs designed in 1898/99 by Richard Riemerschmid (1868-1957) at the round table in the foreground, bottom right embossed stamp of Fotografische Kunstanstalt Rehse & Co. Munich, monochrome silver bromide print of the period, inconspicuous scratch and other slight traces of age, dimensions approx. 29 x 36 cm. Artist information Richard Riemerschmid: important German artist. German representative of the reform movement and Art Nouveau, architect, craftsman and painter (1868 Munich - 1957 Munich), studied from 1888 at the Munich academy under Gabriel Hackl and Ludwig von Löfftz, 1897 co-founder of the "Münchner Werkstätten für Handwerkskunst" and 1907 co-founder of the Deutscher Werkbund, 1912-24 director of the Kunstgewerbeschule München, 1926-31 professor and director of the Kölner Werkschulen, participation in the "Deutsche Werkstätten Dresden-Hellerau", received numerous honours, a. o. 1914 appointment to the "Deutsche Werkstätten Dresden-Hellerau". including appointment as Royal Bavarian Privy Councillor in 1914, Privy Government Councillor in 1924, Grand Federal Cross of Merit in 1952 and honorary doctorate in 1955, member of the Reichsverband Bildender Künstler Deutschlands, Bund Deutscher Architekten, Deutscher Künstlerbund and the Munich Secession, active in Munich, source: Thieme-Becker, Vollmer, Dressler, matriculation records of the Munich Academy and Internet, among others.

Traduit automatiquement par DeepL. Seule la version originale fait foi.
Pour voir la version originale, cliquez-ici.

2692 
Aller au lot
<
>

Photo of a study with Riemerschmid furniture View into a bourgeois study of the 1920s in the furnishing style around 1910 with bookshelves and desk and the famous music room chairs designed in 1898/99 by Richard Riemerschmid (1868-1957) at the round table in the foreground, bottom right embossed stamp of Fotografische Kunstanstalt Rehse & Co. Munich, monochrome silver bromide print of the period, inconspicuous scratch and other slight traces of age, dimensions approx. 29 x 36 cm. Artist information Richard Riemerschmid: important German artist. German representative of the reform movement and Art Nouveau, architect, craftsman and painter (1868 Munich - 1957 Munich), studied from 1888 at the Munich academy under Gabriel Hackl and Ludwig von Löfftz, 1897 co-founder of the "Münchner Werkstätten für Handwerkskunst" and 1907 co-founder of the Deutscher Werkbund, 1912-24 director of the Kunstgewerbeschule München, 1926-31 professor and director of the Kölner Werkschulen, participation in the "Deutsche Werkstätten Dresden-Hellerau", received numerous honours, a. o. 1914 appointment to the "Deutsche Werkstätten Dresden-Hellerau". including appointment as Royal Bavarian Privy Councillor in 1914, Privy Government Councillor in 1924, Grand Federal Cross of Merit in 1952 and honorary doctorate in 1955, member of the Reichsverband Bildender Künstler Deutschlands, Bund Deutscher Architekten, Deutscher Künstlerbund and the Munich Secession, active in Munich, source: Thieme-Becker, Vollmer, Dressler, matriculation records of the Munich Academy and Internet, among others.

Estimation 300 - 450 EUR
Mise à prix 300 EUR

* Hors frais de vente.
Reportez vous aux conditions de vente pour calculer le montant des frais.

Frais de vente : 32.13 %
Déposer un ordre
S'inscrire à la vente

En vente le Friday 30 Aug : 10:00 (CEST)
plauen, Allemagne
Auktionshaus Mehlis GmbH
+493741221005
Voir le catalogue Consulter les CGV Infos vente

Livraison à
Modifier votre adresse de livraison
La livraison est optionnelle.
Vous pouvez recourir au transporteur de votre choix.
Le prix indiqué n’inclut ni le prix du lot, ni les frais de la maison de vente.

Vous aimerez peut-être

MALIVEL Jeanne (1895-1926) "Young boy with a sandwich". Oil on canvas signed lower left. In a large rustic molded wood frame with nails (Minor accidents, wear, canvas slightly distended, varnish dirty, stains). Height 53.5 cm x W 41.5 cm Provenance: Estate of Julien Bacon (1892-1980), by descent in the family. Jeanne Malivel (1895-1926), a figure of the Breton artistic revival at the beginning of the 20th century, unfortunately only had a very short production period. Although she died at the age of thirty-one, this multi-dimensional artist nevertheless produced a substantial body of work in ten years, inspired by Art Deco and animated by the spirit of Breton folklore. Originally from Loudéac in the Côtes d'Armor, this energetic young woman moved to Paris in 1916 to train at the Académie Julian, then at the Beaux-Arts. A committed artist and convinced Breton citizen, she also took courses in Celtic literature at the Collège de France and Breton lessons at the Cercle Celtique. Jeanne was very sensitive to the message of painter Maxime Maufra, who urged artists to participate in Breton creation. She also met Maurice Denis and Georges Devallières, with whom she shared a taste for religious painting and medieval aesthetics. She joined them in the Art Sacré studio in Paris. In 1919, she joined the Breton regionalist group Unvaniez Yaounkiz Breiz, which brought together Breton artists living in Paris, including René Quillivic, James Bouillé and Suzanne and René-Yves Creston. In 1922, Jeanne published "Histoire de notre Bretagne", a partisan work hailed by Breton nationalists. Initially intended for children, the book was illustrated with some 72 woodcuts, a remarkable graphic work that was emulated by her students at the École des Beaux-Arts in Rennes. In the summer of 1923, Jeanne Malivel joined a group of enthusiastic militants who founded the "Seiz Breur" (Seven Brothers) movement. The group's ambition was to modernize Breton art, purifying it by adopting a clear line and unity of style in the manner of Quimper faience motifs. Alongside the Seiz Breur, Jeanne Malivel succeeded in presenting a set of furniture for "l'Osté", the Upper-Brittany common room, at the Exposition Internationale des arts décoratifs industriels modernes in Paris in 1925. This dining room combines the main characteristics of the Breton decorative style of the interwar period: modernity of form, simplicity, robustness and the desire to conceal nothing of the furniture's structure. Shortly afterwards, Jeanne married and gradually distanced herself from the movement. She settled in Vitré, where she died in 1926. The "Seiz Breur" movement (liquidated in 1947) celebrated its centenary last year. Our work is both a painting and an object of decorative art. The touching portrait of this fierce-looking child is set in the center of a wooden panel, worked and embellished with decorative nails. The piece features a small shelf at the top, probably intended for a votive statue. This work, unique in its unity and coherence, is one of the few pieces by the artist to bear witness to his talent, while at the same time reflecting a regional style. In July 2023, Jeanne Malivel's work was the subject of the exhibition "Jeanne Malivel (1895-1926), une artiste engagée" at the Forney Library in Paris. https://www.paris.fr/evenements/jeanne-malivel-1895-1926-une-artiste-engagee-32508

JEANLOUP SIEFF (Paris, 1933-2000). "Yves Saint Laurent, Paris, 1971. Gelatin silver. Signed and dated in ink (in the margin). With artist's stamp on the reverse. Provenance: private collection O'Hara New York. Measurements: 30 x 31 cm (image); 40,7 x 31 cm (paper). The photograph of Yves Saint Laurent taken by Jeanloup Sieff in Paris (1971) was taken during a period of great creativity in fashion and photography. Yves Saint Laurent was already a prominent figure in the fashion world, known for his revolutionary designs, and Sieff was already a renowned portraitist of great personalities. Jeanloup Sieff was known for his ability to capture the elegance and sensuality of his subjects. His distinctive style includes a masterful use of black and white playing with light and shadow. In this photograph, Sieff uses these techniques to highlight Saint Laurent's figure and character. By showing the designer nude, this image conveys the subject's vulnerability and his stripping of pretense, offering an intimate look at the man behind the fashion icon. Jeanloup Sieff was a French photographer, his work has been recognized for his portraits of show business personalities and politicians, but also for his reportage, landscape and nude photographs. He was born in Paris on November 30, 1933 to parents of Polish origin. His studies after high school were brief: he studied Letters for two weeks, journalism for ten days, photography at the Vaugirard School in France for a month and then in Vevey Switzerland for seven months. His love for photography made him start as an "amateur" photographer at the age of fifteen, gradually raising his photographic quality to debut as a photojournalist in 1954. A year later he joined the magazine Elle, where he first made reports and then fashion photography until he left the magazine in 1959. That year he began working for Réalités and Le Jardin des Modes. He also left the Magnum agency to work on his own. He was awarded the Niépce Prize in 1959 for photographic excellence. In 1961, he settled in New York, where he collaborated with Look, Esquire, and mainly Harper's Bazaar. He had brief stays in Europe where he worked for Twen, Vogue and Queen. In 1967, she decided to move to Paris, where she worked for Vogue, Femme, Nova and other publications. He exhibited nationally and internationally and several of his works were acquired by various museums around the world. In 1971 she received the gold medal of the museum of modern art in Skopje and that same year she donated several collections to the National Library of Paris, which at that time did not have the funds to buy photographs by French authors. The most outstanding characteristic of his work is the use of black and white, mainly wide-angle shots and his dramatic hallmarks in the laboratory. His style shows the influence of surrealism and new objectivity. His work has received international awards from Japan to the United States and is distributed in different parts of the world. Among the awards he has received are the Niépce Prize in 1959 and the Grand Prix National de Photographie in 1992. He was named Knight of the Legion of Honor. HELP Bidding by Phone 932 463 241 Buy in Setdart Sell in Setdart Payments Logistics Remember that bids placed in the last few minutes may extend the end of the auction, thus allowing enough time for other interested users to place their bids. Remember to refresh your browser in the last minutes of any auction to have all bidding information fully updated. Also in the last 3 minutes, if you wish, you can place consecutive bids to

RENÉ BURRI (Zurich, 1933 - 2014). "Che Guevara." Havana, Cuba, 1963. Gelatin silver. Later printing. Signed, titled and dated in ink (in the margin). Provenance: Cortez private collection, New York. Measurements: 22.5 x 32.5 cm (image); 30.5 x 40 cm (paper). René Burri did not know that he was photographing one of the characters who would become one of the most iconic martyrs of the 20th century. It shows Che Guevara smoking a Havana cigar, in an attitude that reveals a strong personality. The Swiss photographer would say of that moment: "Che's proud face is actually one of anger. I was in his office in Cuba, sent by 'Magnum' and he was fighting with an American journalist who had traveled with me. He looked like a caged tiger and didn't even notice me, so I was able to take all the photos I wanted!". The image, which would become one of Che's most iconic, was taken in the office of the then Cuban Minister of Industry. René Burri was a Swiss photographer and filmmaker. He studied at the "Zurich School of Decorative Arts" (1950-1953), where he learned to compose with light and to consider light in relation to shadows. The "Burri touch" was born from these classes, which shaped his look: the refined elegance of a composition, the subtle, open and meaningful play of the solid lines of an image. He ascribes to the "humanist photography" dominant in Paris in the fifties and there he photographs special and delicate moments, in the style of Izis and Doisneau. However, taking Cartier-Bresson as a model, Burri began to search for documentary photographs that were denser than the reflection of simple anecdotes. As Ernest Hininger's camera assistant, he also began to shoot small documentaries. In 1955 he joined the Magnum Agency and began to travel around the world, shooting portraits, landscapes, political and social reportage, architecture and industry photography, etc. In 1982 he opened the Magnum Gallery in Paris, together with Bruno Barbey. Since 1988 he has been artistic director of the magazine Schweizer Illustrierten. Among his most famous photographs are a photo of the city of São Paulo (Brazil) and a photo of Che Guevara.

Original Signed Photo HARRIET TANNIN (1929-2009) - 13" x 19" VIEW OF COOPER LAKE. Provenance from a collector in RI. Portrait of Rolph Scarlet. Harriet Tannin, photographer, painter, sculptor, political activist, writer and lecturer was born April 26, 1929. She is best known for her modernist, pioneer work with woven photography and her non-objective oil paintings. She is considered the first woman artist in America to weave modern art photography, thus making her the leader in this unique medium. Tannin holds a BA from New York University, 1951 and a Masters of Fine Art, State University of NY, New Paltz, 1975. She studied photography with the internationally famous photographer Ansel Adams and painting with a modern master, Rolph Scarlett. Scarlett was the first American artist to exhibit abstract art works next to Kandinsky's art in the original Guggenheim museum, The Museum of Non-Objective Art in New York City. Each of these talented artists had a profound effect on Tannin's work, it was this synthesis of styles and her allegiance to political activism that led to the creation of her "woven wonders." Tannin remembers: "I was participating in a group exhibit and was approached by one of the artists who derided most of the participating women artists in the exhibit. He callously went on to expand on his theory that women were inferior in art as well as most other areas. Irritated, I told him, what, it should be like when boys played stickball on the streets and the girls sat on the curb watching while weaving pot holders? Tongue in cheek, I added, In those days, women knew their place. The idea struck me all at once, and immediately upon returning to my studio I started to cut my photographs into strips and to weave them just the way I made potholders on the street for fun when I was a child. I did, and was delighted with the results and the liberating experience these works imparted."These cutting edge woven photographs can be viewed as seminal artistic/political statements that capture the essence of childhood, feminist independence and mastery over the medium of modern art photography. This lot is located in Boca Raton, Fl and its shipment will be made directly by Artelisted. Shipping insurance is the responsibility of the buyer. Ask us if you want to add insurance cost. Note that if there is loss or damage due to bad handling by the transporter, this loss will be assumed only by the buyer. Enquires are welcome, do not hesitate to contact us at your convenience, we are looking to providing you with an excellent service.