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JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Défilé de Mannequins a Istanbul," 1969. Lithograph on paper. Copy 19/75. It presents humidity in the upper and lower area of the right side and transverse wrinkle in the center. Signed in the lower right corner. Justified in the lower left corner. Measurements: 122 x 82 cm; 141 x 101 cm (frame). The "Mannequin Parade" series exemplifies Miró's mastery of printmaking and his ability to communicate complex ideas through playful imagery. It offers a glimpse into his personal visual language while prompting viewers to reflect on themes of individuality, urban life and the joy of existing.Joan Miró was one of the great figures of 20th century art internationally. He was trained in Barcelona, first at the Escuela de la Lonja and later at the Academia Galí, with a more renovating spirit. At that school and at the Cercle Artístic de Sant Lluc, also in Barcelona, the young Miró met some of his great friends, such as the critic Sebastià Gasch, the poet J.V. Foix, the painter Josep Llorens Artigas and the artistic promoter Joan Prats. Thus, since his formative years he was directly related to the most avant-garde circles of Barcelona, and already in the early date of 1918 he held his first exhibition in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. These would be the crucial years of his artistic career, in which Miró would discover his personal language. In Paris he became friends with André Masson, around whom the so-called Rue Blomet group, the future nucleus of surrealism, was grouped. Thus, under the influence of surrealist poets and painters, with whom he shared many of his theoretical approaches, his style matures; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. From the thirties onwards Miró became one of the most outstanding figures of the international art scene, as well as one of the key creators of the twentieth century. It was precisely at this time that the artist, a non-conformist by nature, entered a phase he called the "murder of painting", in which he voluntarily renounced being a painter and experimented with other media, such as collage, drawing on paper of different textures or the construction of "objects" with found elements, his first approach to sculpture. Thus, although he soon resumed painting, Miró never abandoned his desire to experiment with all kinds of materials and techniques, including ceramics, bronze, stone, graphic techniques and even, since 1970, tapestry. He returned to Spain in 1941, and that same year the Museum of Modern Art in New York dedicated a retrospective to him, which was to be his definitive international consecration. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington or the MNAM in Paris. It presents humidity in the upper and lower area of the right side and transverse wrinkle in the center.
Estim. 10 000 - 12 000 EUR
Live in progress
Original strip in 3 panels of the 100th gag featuring Monsieur SPLAF: "100ème Splaf" - n°100- Indian ink on heavy paper - approx. 14.4 x 29 cm- signed - originally published in the weekly magazines "AGRI 7" and "AMISCOOP" in 1971-1973. The complete series was published in an album in 2011 with 180 strips. The word "SPLAF" must appear in the gag.
Estim. 20 - 30 EUR
Live in progress
August Graf von Bismarck (1849 - 1920) - an honorary membership document of the "Verein Deutscher Trabrennstallbesitzer und Traberzüchter zu Berlin", 1912 Calligraphically designed document with colored depictions of horses and a trotter with sulky, surmounted by the Berlin and German coat of arms with eagle, in the center the Bismarck coat of arms. Signed in ink by the chairman Reinhold Herrmann, the secretary Oscar Kargel and the rendant Franz Krause, dated "Berlin, d. 24. Febr. 1912". Cardboard with thread stitching. In a green leatherette folder with the name of the association embossed in gold under a horseshoe and silk ribbed lining on the inside (partially detached). Dimensions 45 x 32.5 cm. August Wilhelm Julius Count von Bismarck, third cousin of Chancellor Otto von Bismarck, distinguished himself as a young lieutenant in the German War of 1866 in Baden service, transferred to Prussian service in 1867 and took part in the War of 1870/71 in the 2nd Westphalian Hussar Regiment No. 11. In addition to his military service, he successfully ran a horse breeding farm at Gut Lilienhof and, as a Catholic, was allowed to travel to Rome in 1888 to notify the Holy See of Emperor Wilhelm II's accession to the throne. In 1914 he volunteered and was deployed as a lieutenant colonel in Alsace and Belgium. Condition: II -
No estimate