Null 拉迪斯拉斯-基诺（1921-2012）
构图，约 1965 年
木板混合技术
下方签名
100 x 72.6 厘米

木板上的混合媒介
左下方有签名
…

描述

拉迪斯拉斯-基诺（1921-2012）构图，约 1965 年木板混合技术下方签名 100 x 72.6 厘米木板上的混合媒介左下方有签名 39 3/8 x 28 5/8 英寸出处特别收藏一份日期为 2006 年 10 月 23 日的艺术家证书将寄给收购者。

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拉迪斯拉斯-基诺（1921-2012）构图，约 1965 年木板混合技术下方签名 100 x 72.6 厘米木板上的混合媒介左下方有签名 39 3/8 x 28 5/8 英寸出处特别收藏一份日期为 2006 年 10 月 23 日的艺术家证书将寄给收购者。

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起始价格 350 EUR

基诺-拉迪斯拉斯（1921-2012）和平的骑士丝网印刷壁挂、背面有 Bolduc 字样，标题为 "V/XX"，艺术家签名并注明工作室出处，éditions Combat pour la paix, 35 rue de Clichy 75009 Paris 150 x 100 厘米 - 画布背面有雀斑。

估价 100 - 150 EUR

一对无赖约 1900 年，一个鞋匠的男孩，维克多-海因里希-塞弗特，约 1900 年，背面有签名，深棕色青铜，位于蛇形基座上，青铜高 13 厘米，总高 20 厘米；一个虱子男孩，瓦茨拉夫-什切布勒夫斯基，1889 年，青铜 Garanti au titre L. V. Deposée，编号 3915。V. Deposée，编号 3915，棕色青铜，吹口哨的男孩身着简单的时代服饰，头戴懒散的帽子，光脚站在一个圆形基座上，安装在一个大理石底座上，青铜器高 21.5 厘米，总高 23.5 厘米。艺术家信息：德国雕塑家（1870 年出生于维也纳 - 1953 年出生于柏林），是园艺检查员弗朗兹-塞弗特和弗朗兹斯卡-塞弗特的儿子，曾在维也纳和慕尼黑的学校就读，在装饰艺术博物馆和柏林艺术学院学习，是恩斯特-赫特、路德维希-曼泽尔和彼得-布鲁尔的学生、曾游历巴黎、意大利、布鲁塞尔和伦敦，Dressler 的《艺术手册》第 2 卷第 945 页称其为教授，1930 年居住在柏林 W 区 Lietzenburger 大街 31 号，是 Künstler-Genossenschaft 和 Künstlerverein der Bildhauer 的成员，资料来源：Thieme-Becker/Voll：资料来源：Thieme-Becker/Vollmer, Allgemeines Lexikon der Bildenden Künstler, Verlag Seemann Henschel GmbH & Co.KG. 和 Wikipedia.de。艺术家信息：实际上，瓦茨瓦夫-伯纳德-什切布利夫斯基（Wacław Bernard Szczeblewski）是波兰画家和雕塑家（1888-1965 年，佩尔普林-格丁尼亚），毕业于佩尔普林的 Marianum 学院，1908-1918 年在其教授的资助下在德累斯顿皇家美术学院学习，并从那里前往伦敦、巴黎和维也纳等重要城市、1922 年在市图书馆创办了私立波美拉尼亚艺术学校，1930 年之前还在一所师范学院教授素描和油画，是卡舒比青年运动的成员之一，也是卡舒比协会的组织者之一，1933 年随学校迁至格丁尼亚，举办过多次展览，作品多次获奖。克梅尔诺教堂和驻军教堂的内部装饰中使用了卡舒比图案，但该教堂已不复存在。资料来源：维基百科波兰：维基百科波兰。

估价 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.

估价 7 000 - 8 000 EUR

SOL LEWITT (Connecticut, 1928 - New York, 2007). "Not straight lines", 2003. Set of 6 etchings, issue 19/20. Hand signed and numbered by the artist. Measurements: 25 x 25 cm (u.c.); 41 x 41 cm (frames). In the "Not Straight Lines" series, LeWitt develops parallel irregular lines that play with the ambiguity between improvisation and meticulous study of patterns. Using minimalist techniques, LeWitt creates compositions that may appear simple at first glance, but reveal a complexity in the interplay of forms and spaces. LeWitt dedicated his entire oeuvre to delving conceptually and graphically into the exploration of patterns and systems through geometry and repetition. The broken lines convey a sense of fluidity and energy that we visually associate with the pulse of the hand and the emotions involved in creation. These lines thus become a kind of seismograph, a device metaphorically associated with creative intuition. An artist linked to several movements, among them conceptual art and minimal, Sol LeWitt expressed himself mainly through painting, drawing, photography and structures. Born into a Jewish family of Russian immigrants, after receiving a BFA from Syracuse University in 1949 he began a series of trips around Europe, where he was influenced by the great masters of painting. Settling in New York in the fifties, he focused his interest on graphic design, working for Seventeen Magazine. During the following decade the artist worked at the MoMA in New York, another experience that would mark the development of his work. During these years, LeWitt became one of the main representatives of conceptual art, which emphasizes that the idea, and not its physical form, is fundamental. He was one of the pioneers of this movement, as well as one of its most prominent theoreticians, and his work has also been related to minimalism. From 1965 LeWitt will be the subject of hundreds of solo exhibitions in museums and galleries around the world. His works include two- and three-dimensional works, from wall paintings (more than 1,200) to photographs, drawings and sculptures of all kinds, including towers, pyramids, geometric forms and progressions. Sol LeWitt frequently used open, modular structures based on the cube, a key form in the development of his language. In 1978, the Museum of Modern Art in New York dedicated his first retrospective exhibition to him. LeWitt is currently represented in that museum, as well as in the Guggenheim in New York and Bilbao, the Kunstmuseum in Basel, the Palazzo Forti in Verona, the SMAK in Ghent, the Tate Gallery in London, the Hirshhorn Museum and Sculpture Garden and the National Gallery in Washington, the Metropolitan in New York and the National Gallery of Australia, among many others.

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