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TWO BOXES OF BORDER FINE ARTS AND BROOKS & BENTLEY MODELS OF ANIMALS (Qty)

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TWO BOXES OF BORDER FINE ARTS AND BROOKS & BENTLEY MODELS OF ANIMALS (Qty)

Estimate 30 - 50 GBP
Starting price 10 GBP

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For sale on Wednesday 31 Jul : 09:00 (BST)
ripon, United Kingdom
Elstob Auctioneers
+441765699200

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dimanche 28 juillet - 10:00/13:00, Elstob & Elstob
lundi 29 juillet - 10:00/16:00, Elstob & Elstob
mardi 30 juillet - 10:00/16:00, Elstob & Elstob
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ROBERT MOTHERWELL (United States, 1915-United States 1991). "Samurai", 1971 Lithograph on Japan Suzuki paper. Hand signed by the artist. Label by Brooke Alexander on the back. Measurements: 200 x 160 cm; 216 x 124 cm (frame). "Samurai" is a paradigm of Motherwell's work: an aggressive black form from which explosions and slashes radiate. It is one of Motherwell's most potent images, invoking elements of sexuality in the phallic abstract form and violence through the title. Although it is difficult to decipher the traces of figuration in Motherwell's work, he was inspired by and referenced literature, life, politics. A multidisciplinary artist, he trained at Stanford and Harvard Universities in Philosophy and at Columbia University in History and Art, under the direction of Meyer Schapiro. He was one of the leading representatives of American abstract expressionism, to whose group of founders he belongs along with Pollock, Arshile Gorky and Rothko. He also excelled as an art critic. He wrote numerous articles in avant-garde magazines and edited books such as "Documents of Modern Art" (1944-1961) or "Documents of 20th Century Art" (1971). He was a member of the editorial board of the Surrealist-linked publication "VVVV", Motherwell's main objective was to show the viewer the artist's mental and physical engagement with the canvas. He used the hardness of the color black as a basic element; one of his best known techniques consisted of diluting the paint with turpentine to create a shadow effect. His series of paintings known as "Elegies to the Spanish Republic" (Elegy to the Spanish Republic) is considered his most significant project. Among his many exhibitions, we can highlight his participation in the most important surrealist exhibition in the United States organized by André Breton, Marcel Duchamp and gallery owner Sidney Janis at the Whitelaw Reid Mansion (Manhattan-1942). Also the exhibition held at the Gallery "Art of this Century" (New York) in 1943 directed by Peggy Guggenheim; in which he participated along with Jackson Pollock and Baziotes. The following year the Museum of Modern Art in New York acquired one of his works; he was subsequently included in several exhibitions at the same Museum. In 1980, Robert Motherwell had his first exhibition in Spain at the Fundación Juan March (Madrid). In 1986, he received the Gold Medal for Merit in the Fine Arts, Spain's highest cultural award. In 1989, the National Medal of Arts of the United States, the Museum of Modern Art in Fort Worth (USA) houses the largest collection of works by Motherwell. In the Empire State Plaza (New York) you can also find some of his works. The Walker Art Center (Minneapolis, USA) has an almost exhaustive collection of his prints. In addition to the representation in numerous museums, public and private collections and in the most prestigious galleries around the world.

Christian Kröner, Roaring Stag An imposing roaring stag stands on a babbling brook at the edge of an autumnal mixed deciduous forest in a hilly landscape, its breath forming a cloud of mist in the cold air, In the background, a leaping deer crosses a meadow, another stag has already approached the deer and is attentively scrutinising the competitor from a distance, hunting painting executed in part with very fine brushstrokes, oil on wood, signed lower right "Ch. Kröner" and inscribed "D[...]" and dated "1901", illegible annotations on the frame verso, horizontal narrow tear in the support, this has already been restored in the left area of the painting, superficial soiling in the depths of the paint layer, framed, rebated dimensions approx. 18 x 26 cm. Artist information: actually Johann Christian Kröner, German hunting and landscape painter and engraver. Hunting and landscape painter and graphic artist (1838 Rinteln/Weser to 1911 Düsseldorf), apprenticed as a parlour painter, went to Munich to the Brannenburg artists' colony, where he became acquainted with Louis Hugo Becker, Wilhelm Busch, Carl Irmer and Julius Rollman, moved to Düsseldorf in 1863, joined the Malkasten artists' association there, travelled to Westphalia, Thuringia and Upper Bavaria on study trips, and trained as an autodidact, became known as a hunting painter, also gave private lessons, his pupils included Magda Helmcke (later his wife), Edmund Osthaus, Franz Gehrts and Anton Henker, received a gold medal at the Great Berlin Art Exhibition, appointed royal professor in 1893, represented at numerous world exhibitions, member of the Berlin Academy from 1885, source: Thieme-Becker and Internet.

BOSSE (Abraham). Collection of 2 works, bound in a small in-8 volume, glazed fawn calf, smooth spine cloisonné and decorated with gilded motifs with garnet-red title-piece, triple gilded fillet framing the covers with corner finials, filleted edges, inner gilded roulette, edges speckled with red; upper headband damaged, corners worn (binding circa 1700). One of France's most illustrious engravers, Abraham Bosse (c. 1604-1676), was the son of a German tailor who immigrated to Tours. Also a mathematician and geometer, he published personal works on geometry and the art of engraving, including several based on treatises by the architect and engineer Girard Desargues on perspective, sundials and stereotomy. Reunion of his two major books on perspective, one theoretical and the other practical. -Maniere universelle de MrDesargues, pour pratiquer la perspective par petit-pied, comme le geometral. Ensemble les places et proportions des fortes & foibles touches, teintes ou couleurs. AParis, de l'imprimerie de Pierre Des-Hayes. 1647 [on title-frontispieces] and 1648 [on printed title]. Small in-8, 352pp. as follows: 16pp. unnumbered, pp.1to168, 8pp. (with 2columns per page, numbered 169to184), pp.169to176 (counting as 185to192), pp.193to312, 8pp. unnumbered (counting as 313to320), pp.321to342, 2pp. unnumbered. First edition. Important copper-engraved illustration by Abraham Bosse. Off-text: title-frontispiece, portrait of Michel Larcher, and 81ff. of mostly double-sided plates (bearing a second frontispiece and 156 numbered stamped compositions, 2 of which are repeated). One of the plate leaves has been folded by the binder and attached to the outer margin of a text leaf. In the text, 2 vignettes: a dedication to Michel Larcher, illustrated with his coat of arms, and a numerical demonstration accompanying composition no. 156 (Abraham Bosse, savant graveur, Maxime Préaud and Sophie Join-Lambert dir., Paris, BnF, et Tours, musée des Beaux-Arts, pp.61-62, 244-251 et325; Berlin, no. 4716; Fowler, no. 56). A great scientific and artistic treatise. Using a rational Cartesian pedagogy, Abraham Bosse expounds and extends the theories of Girard Desargues: he deals with perspective applied to the drawing of figures and their shadows, then applied to variations in hue and color according to the distance of the objects represented, and adds to this theoretical complements including the treatise that Girard Desargues himself had published in 1636. He suggests the conformity of geometrical and perspectival drawing: "geometrical drawing" means drawing the orthogonal projection of an object on a horizontal or vertical plane, enabling builders or craftsmen to read dimensions and carry out fabrication or construction. To practice "le perspectif" (the leterme of "petit pied" means a reduced scale) is to draw an object seen from a certain point at a given distance, which falls within the liberal arts, and is the prerogative of the architect. By suggesting this conformity of the "geometrical" and the "perspectival", Abraham Bosse overturns traditional hierarchies and "gives the handicraftsmen their letters of nobility. If we add to this the aggregation of engraving and painting in what [he] calls the art of portraiture, there can be no doubt that he attempted an intellectual and social liberalization of the art of engraving" (Abraham Bosse, savant graveur, op.cit., p.244). This Manière universelle earned Abraham Bosse admission to the Royal Academy of Painting and Sculpture, where he was called upon to teach the practice of perspective, and was widely distributed in Europe: it was translated into Dutch, and inspired the first major English treatise on perspective, published in 1719 by the mathematician Brook Taylor. A teacher of Blaise Pascal and esteemed scholar of René Descartes, the architect and geometer Girard Desargues (1591-c. 1661) frequented Père Mersenne's circle and was a friend of Abraham Bosse. He is considered the founder of projective geometry, and one of the inventors of the geometric coordinate system (which, however, was given the less legitimate name of Descartes). He published four treatises, including one on perspective in 1636, a veritable Bible for Abraham Bosse, who was among those who did most to spread his ideas. Although overshadowed by Descartes and Pascal, Girard Desargues' work was rediscovered in the following century by Gaspard Monge, and developed in the 19th century by mathematicians Jean-Victor Poncelet and Charles-Julien Brianchon.