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Wed 12 Jun

⊕ LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) - GOING TO THE MATCH signed in pencil L.S.Lowry lower right margin; with the Fine Art Trade Guild stamp lower left margin offset lithograph 52 x 68cm; 20 1/4 x 26 3/4in 74 x 86cm; 29 x 33 3/4in (framed) Property from a Private Collection, Cambridgeshire Provenance Acquired by the aunt of the present owner in the early 1970s. Printed in 1972 in an edition of 300, the present work is the limited edition lithograph Lowry produced of one of his most popular oil paintings from 1953 of the same title. Lowry had originally entered his oil painting Going to the Match into a competition held jointly by the Football association and the Arts Council of Great Britain in 1953. The entries had to make a connection between art and football. Lowry's Going to the Match won first prize. The work depicts crowds of his iconic ‘matchstick men’ swarming to a football match at the stadium at Burnden Park, the former home of Bolton Wanderers, at the time one of the leading clubs in the country. Lowry was in fact a Manchester City fan but the Bolton ground was close to Pendlebury where Lowry lived (the stadium was demolished in 1999). In the work Lowry is an outside observer of human life and not part of the crowd he depicts as in many of his works. Lowry focuses on the fans attending the match rather than the game itself, combining his most popular subjects: the industrial landscapes of the north of England, the role of sport in the everyday lives and the weekly rituals of those who worked in the mills and factories. Lowry's 1953 oil was sold at Christie's London on 19th October 2022 where it was purchased by the Lowry Arts Centre, Salford (with the help of the Law Family Foundation), for £7.8 million. The painting had been loaned to the Centre for 22 years when it was put up for auction by the then owners, The Professional Footballers' Association.

Estim. 25 000 - 35 000 GBP

Wed 12 Jun

EDWARD CLIFFORD (BRITISH 1844-1907) AFTER EDWARD COLEY BURNE-JONES (BRITISH 1833-1898) - MERLIN AND NIMUE with monogram and dated EBJ / 1861 (in a cartouche, lower left) watercolour and bodycolour on paper mounted on the artist's prepared stretcher 65 x 52.5cm; 25 1/2 x 20 1/2in 109 x 89cm; 43 x 35in (framed) Property from a Private Collection, Cumbria Provenance Sale, Sotheby's, London, 6 November 1995, lot 210 Mr Carl Laszlo, Basel Sale, Sotheby's, London, 13 July 2017, lot 16 (purchased by the present owner) Literature William Waters, Burne-Jones Catalogue Raisonne, online edition (catalogued as After Edward Coley Burne-Jones, By Edward Charles Clifford) Edward Clifford painted several faithful copies of Burne-Jones' works from the 1860s including the present watercolour of Merlin and Nimué which Burne-Jones had completed in 1861 (Collection of the Victoria & Albert Museum, London). Clifford summed up his admiration for Burne-Jones' original in glowing terms: 'Well, to return to the five pictures of 1864 [sic]. The largest was Merlin and Nimué, quite a different design from the picture which was exhibited some years later in the Grosvenor Gallery, and which is known by the etching of it and by Mr Hollyer's photographs... I was greatly impressed by this picture when I was only a student, but when I saw it three or four years ago in the collections of Mr Leathart of Gateshead-on-Tyne, I found it so beautiful that I almost lost command of myself for a few moments. The subject and the fine dramatic treatment of it are interesting, the greatest virtue of the picture lies in its ineffable and overwhelmingly lovely colour.' (quoted in Broadlands as it was by Edward Clifford, London, 1890 pp. 52-54). Clifford was not alone in his idolization of the work of Burne-Jones, but one of a group of admirers led by Robert Batemen (1842-1922). Waters notes that Clifford seems to have had access to Burne-Jones's studio, but that there is no suggestion in Clifford's biography or his writings that he was actually an assistant there, commenting that if he was an assistant along side Thomas Matthews Rooke and Charles Fairfax Murray, then it has yet to come to light. (William Waters, Burne-Jones Catalogue Raisonne, online edition). Born in St John's Wood, the son of an artists' materials supplier, Clifford taught painting at the Berry F. Berry Art School in Swiss Cottage. He showed his work in London at the Royal Society of British Artists, The Royal Institute of Painters in Watercolours, The Royal Academy, and the Royal Institute of Oil Painters. Further afield his work was exhibited at the Manchester Academy of Fine Arts and the Walker Art Gallery, Liverpool.

Estim. 3 000 - 5 000 GBP

Wed 12 Jun

KAREL APPEL (Netherlands, 1921 - Switzerland, 2006). Untitled, 1966. Acrylic and oil stick on paper. Signed and dated in the lower right corner. Framed with museum glass. Enclosed certificate signed by Guy Pieters and Mr. Nieuwenhuizen-Segaar. Measurements: 49 x 65,5 cm; 64,5 x 80 cm (frame). This work stands out for the violence of the gesture and the color, for the material pastiness and the most genuine primivist claim. We see a strange creature with three reptilian faces that look at us with eyes whose terrifying aspect is belied by the use of a deliberately naïff expressionist language. It is precisely these elements (primitivism, childish and naïve art, rejection of the civilizing reason that had led to war...) that vindicated this post-war artist, co-founder of the CoBrA group. Appel's language, which flirted with abstraction but was essentially figurative, was based on the combination of expressionist aggressiveness and childlike simplicity linked to surrealism. Karel Appel was a painter, sculptor and graphic artist, and is currently considered the most vigorous artist of the post-war generation in his country. In 1948 he founded, together with Corneille, Jorn and Alechinsku, the CoBrA International Group, which was decisive in the development and expansion of European automatism between the 1940s and 1950s. During the Nazi occupation of Holland, Apple wandered around the country to avoid being sent to work in Germany. In 1946 he had his first solo exhibition in Groningen, in which the imprint of Dubuffet, with whom he would come to share certain theoretical concepts, was already visible. His first sculptures, pioneering in the assembly of waste materials, date from 1947. Some artists, rejecting the rigor and sectarianism of the surrealist organization, founded the CoBrA group (abbreviations for Copenhagen, Brussels and Amsterdam, cities from which Appel, Corneille and Constant, who signed the inaugural manifesto together with Jorn, Noiret and Dotremont, came from). The CoBrA painters pursued a more spontaneous work, catering to local cultural traditions and collecting fantastic imagery. The group soon disbanded in 1951, but some of its members, notably Appel, Jorn and Alechinsky, maintained its spirit in the following decades. Their painting is characterized by a great expressionist charge linked to the figures of Max Pechstein and Edward Munich, two of the great Nordic expressionists. His work is made with dense impasto and violent color games, which denote the agitated character of Nordic expressionism. Later, his language evolved in a softer line, approaching Hand Edge Painting. Appel was a tireless artist who explored multiple languages, from sculpture, ceramics, mural painting, stained glass or engraving. During his long artistic career he received numerous awards and collaborated with artists from other disciplines such as the poet Allen Ginsberg or the choreographer Min Tanaka. His first successes came in 1953, with the exhibition at the Palais des Beaux Arts in Brussels and his participation in the Biennial of Sao Paulo (he would return in 1959 and win the international prize for painting), and in 1954, when he received the UNESCO prize at the Venice Biennale and exhibited in Paris and New York. Appel is represented at the Guggenheim Museum and MoMA in New York, the Bilbao Fine Arts Museum, the Tate Gallery in London, the Albertina in Vienna, the Thyssen-Bornemisza, the Peggy Guggenheim Collection in Venice and the Fine Arts Museum in Dordrecht, among many others.

Estim. 45 000 - 55 000 EUR

Wed 12 Jun

TOM WESSELMANN (Ohio, 1931-New York, 2004). "Still Life with Flowers," 1988. Liquitex on paper. Signed and dated lower right. Attached is a certificate from the Wesselmann Estate signed by Claire Wesselmann stating that it is in the archives. With stamp on the back of the Laurent Strou. of Paris. The protective methacrylate has some scratches. Measurements: 119 x 140 cm; 133 x 154 cm (frame). Just as his nudes became pop-art icons of the sixties, in his still lifes of flowers (which he produced mainly in the eighties) Tom Wesselmann revisits the history of art in a very particular way. The nods to Matisse and Fauve art are evident, while radicalizing the legacy of pop-art. He uses primary colors to break down the flowers to their most essential forms. The use of a lighthearted and naïff style in the classic genre of still life introduces biased comments on decorativism and art. Tom Wesselmann was an American pop-art painter. He was one of the last great American pop-art masters, most popular for his bold and striking female nudes. He enrolled for a degree in psychology in 1951, but the following year he was drafted for the Korean War. However, he was eventually stationed at Fort Riley, Kansas. He created comic strips about military life, and later diversified his subjects.2 He left the Army (1954), resumed a career in psychology, and graduated in 1956. It was then that he moved to New York to devote himself to comics. He studied at the Cooper Union School of Art and Architecture until 1959. His first attempts as a painter, under the influence of Willem de Kooning, moved in the abstract expressionism then in vogue. In 1959 he produced his first abstract collages, but soon became interested in the figuration of Matisse, Van Gogh and Modigliani, and the following year he painted his first figurative works, including landscapes. His first solo show, at the Tanager Gallery in New York, took place in 1961. That same year he began his extensive cycle of Great American Nudes. The first were collages in small format, but the later ones were made in oil (Latin oleum oil) and with acrylic colors in large formats. In some of them he incorporated real objects. A canvas from this series, Nude No. 1, 1970, hangs in the Thyssen-Bornemisza Museum in Madrid. Later, he produced series on smokers, as well as huge still lifes with elements of everyday life, such as household appliances, bottles, ice cream. He experimented with sculpture, using cut-out plates. His graphic production is extensive and covers several techniques (lithography, serigraphy, aquatint). An important anthology was dedicated to him in Japan in 1993-94. In 1980 he wrote an autobiography under the pseudonym Slim Stealingworth.

Estim. 240 000 - 260 000 EUR

Wed 12 Jun

ROBERT RAUSCHENBERG (Texas, USA, 1925 - Florida, USA, 2008). "Goat House (Passes)," 1988. Acrylic and silkscreen ink on handmade paper. Signed at bottom center. Attached certificate issued by Guy Pieters Gallery stating that it is registered with the Robert Rauschenberg Foundation. With labels on the back: - "New York on paper" exhibition, June-October 1993, Galerie Beyeler Basel. - Exhibition "Poetry in Motion", June-September 2007, Galerie Beyeler Basel. - M. Knoedler & Co. Measurements: 55 x 77 cm; 63.5 x 85 x 4 cm (frame). The 1980s marked a period of transformation and experimentation in Robert Rauschenberg's prolific career. After an established career in Neo-Dadaism and Pop Art, the artist embarked on an exploration of new languages, defying expectations with combinations of techniques that integrated painting, printmaking, photography and collage. The result gave the impression of a visual and conceptual palimpsest that in works such as "Goat House" shocks our subconscious and spurs our associative capacity. In these works, Rauschenberg experimented with photographic transfers, incorporating images from everyday reality and the press into his works, questioning the relationship between the real and the imagined. The trellis of the house and the face of an African man challenge us and awaken our critical sense, but the artist plays with metaphor and enigma without trying to communicate a closed idea. Likewise, the allusion to the "goat" in the title could be a nod to his most emblematic work of the fifties, "Monogram", with which he inaugurated his shocking combinatory games. Painter, sculptor and graphic artist, pioneer of pop art in his early works, Robert Rauschenberg worked in all types of media, including photography, engraving and performance. He received outstanding awards such as the National Medal of Art of the United States in 1993, as well as the Leonardo da Vinci World Award of Arts in 1995. He began his career in Pharmacy and joined the Army, but finally decided to devote himself to art, developing his training at the Kansas City Art Institute and the Académie Julian in Paris. Finally he will extend his studies in the Black Mountian College of North Carolina, where he had as a teacher Josef Albers, one of the founders of the Bauhaus. Between 1949 and 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League in New York, where he met Knox Martin and Cy Twombly. Throughout his career, Rauschenberg's work underwent remarkable changes due to various influences, including Marcel Duchamp. He exhibited his work in leading galleries in the United States and Europe, beginning with his first solo exhibition in 1951. In early 1963 he had his first retrospective exhibition at the Jewish Museum in New York, and the following year he became the first American artist to win the Grand Prize at the Venice Biennale. More recently, he has had retrospectives at prominent venues such as the Solomon R. Guggenheim Museum in New York, and has also held exhibitions at MoMA in New York, the Tinguely Museum in Basel, and others. He is currently represented at the Guggenheim Museums in New York, Berlin and Bilbao, the Art Institute of Chicago, the Metropolitan and MoMA in New York, the Tate Gallery in London and other important collections around the world.

Estim. 100 000 - 120 000 EUR

Wed 12 Jun

PIERRE ALECHINSKY (Brussels, 1927). "Vile Instinct", 1974. Acrylic on paper adhered to canvas. Signed in the lower right corner. Signed, dated and titled on the back. Attached certificate signed by the artist and by Guy Pieters. Measurements: 114 x 154 cm; 115,5 x 155,5 cm (frame). Pierre Alechinsky had founded with Karel Appel and other artists the group CoBrA in the fifties. The desire to overthrow the rationalism and purism that had dominated certain avant-garde currents is maintained in the work that Alechinsky developed in the following decades. The aggressiveness of the gesture, the fiery palette, the violent stroke and the rejection of realism are searches to which Alechinsky remains faithful in this painting of 1974. The Belgian artist used to choose titles that referred to states of the soul or abstract concepts and that, with the symbolism of color, texture and impetuous gestures, he translated into subjugating compositions such as the one we are dealing with here. The "vile instinct" is thus captured in a lacerating symphony that stirs us from within. A lithographer, painter and theorist, Pierre Alechinsky trained at the École Nationale Supérieure d'Architecture et des Arts Décoratifs de la Cambre in Brussels, showing both talent and interest in illustration and typography. In 1945 he discovered the work of Michaux, Dubuffet and the surrealists, at which time he also became friends with the art critic Jacques Putman. He began painting in 1947, beginning a career that would mix certain characteristics of Expressionism with others of Surrealism, both accompanied by a very personal style. In the late 1940s he met the poet Christian Dotremont, one of the founding members of the CoBrA group (an acronym for Copenhagen, Brussels and Amsterdam), and Alechinsky joined the group in 1949. Along with Alechinsky, the group included Karel Appel, Christian Dotremont and Asger Jorn, among others. He also participated in the group's first international exhibition in Amsterdam and collaborated on canvases with Karel Appel and other members. After the dissolution of CoBrA, Alechinsky moved to Paris, where he experimented with printmaking at the popular Atelier 17. There he met Giacometti, Bram van Velde and Victor Brauner. In 1954 he had his first solo exhibition at the Nina Dausset Gallery in Paris, where he was able to meet the painter Walasse Ting, who was to exert an important influence on him. In 1956 he made "Central Park", an acrylic painting that included "marginal observations", leitmotif in much of his production. The first retrospective of his work took place in 1969, at the Palais des Beaux-Arts in Brussels. In 1966, André Breton chose this piece for the international exhibition of the surrealist movement. His work has been exhibited in Amsterdam, London, the Venice Biennale, New York, etc., and is kept in important private collections and institutions such as the Marion Lefebre Collection in Los Angeles, the Galerie Leolong in Paris, the Museo Centro de Arte Reina Sofía in Madrid, the MoMA, etc.

Estim. 150 000 - 200 000 EUR

Wed 12 Jun

PIERRE ALECHINSKY (Brussels, 1927). "Iran & Caspian Sea", 1980-1990. Acrylic on paper adhered to canvas. Signed, dated and titled on the back. Signed on stretcher frame. Attached certificate issued and signed by the artist. Measurements: 108 x 146 cm; 124 x 162 cm (frame). Using as a base a geographical map centered on the area of Iran and the Caspian Sea, Alechinsky unfolds his imaginary and intervenes in it in a simplified way, delimiting certain zones and figuratively "flooding" others. This work belongs to his "marginal observations" series, small vignettes in the margins of the painting that will become a cardinal feature of his production. The series can be understood by taking into account that it comes from a vocabulary related to printing. "Engravers who had to draw with burin or drypoint on a copper plate tested their tool on the margin of the plate; by letting themselves go, they often sketched a small image. For my part, this sometimes explains what is at the center of the work, other times it accompanies it, it takes on more importance...", explains the artist himself. He continues, "The artist is not aware of it at the time, but by framing the central figure with other smaller drawings, he establishes an authentic pictorial device that assumes the limit of the painting and protects it, attracts our gaze and retains it". A lithographer, painter and theorist, Pierre Alechinsky trained at the École Nationale Supérieure d'Architecture et des Arts Décoratifs de la Cambre in Brussels, showing both gifts and interest in illustration and typography. In 1945 he discovered the work of Michaux, Dubuffet and the surrealists, at which time he also became friends with the art critic Jacques Putman. He began painting in 1947, beginning a career that would mix certain characteristics of Expressionism with others of Surrealism, both accompanied by a very personal style. In the late 1940s he met the poet Christian Dotremont, one of the founding members of the CoBrA group (an acronym for Copenhagen, Brussels and Amsterdam), and Alechinsky joined the group in 1949. Along with Alechinsky, the group included Karel Appel, Christian Dotremont and Asger Jorn, among others. He also participated in the group's first international exhibition in Amsterdam and collaborated on canvases with Karel Appel and other members. After the dissolution of CoBrA, Alechinsky moved to Paris, where he experimented with printmaking at the popular Atelier 17. There he met Giacometti, Bram van Velde and Victor Brauner. In 1954 he had his first solo exhibition at the Nina Dausset Gallery in Paris, where he was able to meet the painter Walasse Ting, who was to exert an important influence on him. In 1956 he made "Central Park", an acrylic painting that included "marginal observations", leitmotif in much of his production. The first retrospective of his work took place in 1969, at the Palais des Beaux-Arts in Brussels. In 1966, André Breton chose this piece for the international exhibition of the surrealist movement. His work has been exhibited in Amsterdam, London, the Venice Biennale, New York, etc., and is kept in important private collections and institutions such as the Marion Lefebre Collection in Los Angeles, the Galerie Leolong in Paris, the Museo Centro de Arte Reina Sofía in Madrid, the MoMA, etc.

Estim. 100 000 - 150 000 EUR

Thu 13 Jun

ANTONIO SAURA (Huesca, 1930 - Cuenca, 1998). Belonging to the folder "Aphorisms", 1972. Silkscreen, copy 38/45. Signed and justified by hand. Measurements: 70 x 50 cm; 83 x 61,5 cm (frame). Self-taught, Antonio Saura began to paint and write in Madrid in 1947. Three years later he held his first individual exhibition at the Libros bookstore in Zaragoza, showing a series of experimental works ("Constelaciones" and "Rayogramas"), created during the long illness that kept him immobilized since 1943, for a period of five years. In 1952 he held his first exhibition in Madrid, at the Buchholz bookstore, where he exhibited his youthful, dreamlike and surrealist works. That same year he visited Paris for the first time, settling in the city. There his work was influenced by artists such as Miró and Man Ray, and he dedicated himself to making paintings on canvas and paper of an organic nature, using various techniques. The break with the surrealist group allows him to open up to other ways of creation, where he begins to show the evolution that his work is undergoing, which moves towards an instantaneous painting of gestural strokes and reduced palette of selective character, where informalism plays the misleading between suggestive expressions of line and color. He made his debut in Paris in 1957, at the Stadler Gallery, the same year he founded the El Paso group. The following year he participates in the Venice Biennale in the company of Chillida and Tàpies, and in 1960 he receives the Guggenheim Prize in New York. In 1963 the first retrospectives are dedicated to him, in the Stedelijk Museum of Eindhoven, the Rotterdamsche Kunstring and in the museums of Buenos Aires and Rio de Janeiro (works on paper). Saura's retrospective exhibitions are repeated throughout his career, both in Spain and in Europe and America. In 1966 he exhibits at the Institute of Contemporary Arts in London, and participates in the Biennial of Engraving "Bianco e Nero" of Lugano, obtaining the Grand Prize. The following year he settled in Paris, although he worked and spent every summer in Cuenca, a fundamental pillar of his production since his early years. In 1968 he abandoned oil painting to devote himself exclusively to works on paper. In 1979 he was awarded a prize at the First Biennial of engraving in Heidelberg, in 1981 he was named Knight of the Order of Arts and Letters in France, and the following year he was awarded the Gold Medal of Fine Arts. He has exhibited all over the world and is represented in the most important national and international contemporary art museums, including the Neue Nationalgalierie in Berlin, the Guggenheim in Bilbao, the Museo Nacional Centro de Arte Reina Sofía, the Albright-Knox Art Gallery in Buffalo, the Guggenheim and the Metropolitan in New York, the Centre Georges Pompidou in Paris and the Tate Gallery in London.

Estim. 1 600 - 2 000 EUR
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