Thursday, 25 October 2012

We would like to share with you this special piece from the Vollard Suite to celebrate Picasso's birthday today! : )

Friday, 19 October 2012

 'Art is nothing but humanized science'. Gino Severini

Gino Severini 1883-1966
Cortona 1883-1966 Paris (Italian)
Composition, 1955

Technique: Original Hand Signed and Numbered Lithograph in colours on BFK Rives paper
Paper size: 55.6 x 38 cm / 21.8 x 14.9 in
Plate size: 48.2 x 32 cm / 18.9 x 12.5 in

This stunning lithograph by Severini demonstrates wonderfully the artists use of colour and composition to create a work that moves all over the paper, giving life to the whole scene. Initially introduced to Futurism by his friends Umberto Boccioni and Giacomo Balla, Severini fully embraced the movements idea of conveying speed and movement within their paintings and used this idea many times to paint various dancers, ball rooms, scenes from busy urban life and the human form in action. This feeling of dynamism within art is so perfectly demonstrated in this lithograph of 1955. During this time Severini returned to many of his early Futurist subjects after experimenting with Divisionism and Cubism during the early 1900s.

This original lithograph is hand signed in pencil by the artist "Gino Severini" in the lower right margin. It is also numbered in pencil "197/200" in the lower left margin. This lithograph was published in a limited edition of 200 signed and numbered impressions by Editore Guilde de la Gravure, Pully Lausanne in 1955.
The paper bears the "Rives" watermark on the lower right margin and the dry stamp of the publisher in the lower left margin next to the numbering. This lithograph was inspired by a pastel drawing.

Gino Severini, Musee National d'Art Moderne, Paris, France, July-October 1967.
VII Biennale dell' incisione italiana contemporanea, presentazione di Roberto Salvini, Opera Bevilacqua La Masa, Venezia, 1-30 July 1968.
Gino Severini en Suisse, by Charles Journet and Pierre Fasel, Chateau de Romont, Romont, 15 july-1st September 1974.
Literature: Meloni, Francesco, 1982. Gino Severini: Tutta L’Opera Grafica. Reggio Emilia: Prandi.
Ref: Meloni 28

Condition: Very Good Condition. One light stain in the bottom margin. 

Wednesday, 10 October 2012

Bacon and Picasso Bullfighting

Dublin 1902- 1992 Madrid (Irish/ British)

Title: Study for a Bullfight - Centre Panel, 1987/1989

Technique: Hand Signed and Numbered lithograph on Arches Vellum paper

Paper Size: 94.5 x 68 cm / 37.25 x 26.75 in

Image Size: 68.5 x 50.5 cm / 27 x 19.9 in

Additional Information: This lithograph is hand signed in pencil by the artist "Francis Bacon" at the lower right margins, and also hand numbered in pencil in the lower left margins "130/180". The work was printed and published in 1989 by Galerie Lelong, Paris in a limited edition of 180 hand signed and numbered impressions. It is based on the centre panel of the oil painting "Triptych 1987" which is now part of the estate of Francis Bacon. However, unlike the oil painting, this lithograph was never printed as part of a triptych but was printed as an individual work.
1.TACOU Alexandre, Francis Bacon: Estampes, Berville Editions
Reference: Tacou 27
2. SEBASTIER Bruno and Batache Eddy. 2012. Francis Bacon : Oeuvre Graphique / Graphic Work, Catalogue raisonné. France: JSC Modern Art Gallery
Reference: Sebastier 25.

 'Picasso is the reason why I paint. He is the father figure, who gave me the wish to paint.'
Francis Bacon

 Bacon, like many British artists of his time, was undoubtedly influenced by the works of Pablo Picasso. From forms of expression to even subjects, Bacon could not escape the allure of Picasso's primitive creations of animals. This work by Bacon demonstrates his own interpretation of a bullfight by using aggressive swirling movements of flesh he evokes the body of the bullfighter. Bare and exposed to the viewer, the bullfighters legs are strongly contrasted with the bright orange and blue background that surrounds him. Compared to Picasso's interpretation of a bullfighting seen below, Bacon's image seems very raw and focused on the human form of the fighter taking on the movements of the bull.
However Picasso's plate is similar to Bacon, in the sense that both use this warm and inviting orange to draw the viewer into the work, then contrasting this with bold black outlines, though Picasso focuses more on the primitive and static movements of the animal rather than the bullfighter himself.

Málaga 1881-1973 Mougins (Spanish)

Title: Bullfighting Scene / Scène de Tauromachie,1957

Technique: Original Stamped, Numbered and Incised Terracotta Ceramic Plate

Diameter: 23 cm / 9 in

Additional Information: This original circular ceramic plate was realised by the artist, Pablo Picasso. It was incised "Edition Picasso/Madoura" and numbered "19/500. It was also stamped  "Edition Picasso/Madoura"This work was conceived on 22 January 1957 and executed in an edition of 500.

In 1946 Picasso in Golfe Juan with his friend Louis Fort, decided to visit the pottery exhibition in Vallauris. He took a particular interest in the Madoura stand and asked to be introduced to the owners - Suzanne and Georges Ramié. They invited him to their Madoura Pottery workshop in Vallauris. There he made three pieces which he left to dry and bake. A year later Picasso returned to see how the pieces had turned out. He was delighted with the quality of the work and asked if he could make more. They agreed and an area of the workshop was arranged especially for him. Immediately, he began to work, inspired by his portfolio of sketches. So began a long and very productive partnership between Picasso and Madoura. The whole Madoura team became part of the creative process. They made sure Picasso had all the materials he needed and assisted in producing perfectly finished works of art. Suzanne Ramié shared her vast experience, teaching him all the secrets of ceramics.The ceramics ranged from vases, sculptures, plaques to even a complete dinner service. The familiar themes included bullfighting scenes, portraits and nature - goats, birds, and fish. In 24 years over 633 pieces were created in limited editions all engraved with the Madoura stamp.

Literature: Ramié, Alain, 1988, Picasso, Catalogue of the Edited Ceramic Works 1947-1971, Madoura.
Reference: Ramie 393

Joan Miro: For the Love of Gaudi

JOAN MIRO 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: Gaudi XXI, 1979

Technique: Original Hand Signed and Numbered Aquatint on Arches paper with Collage

Paper Size: 115 x 71,5 cm / 45.2 x 28.1 in

Additional Information: This original aquatint is hand signed in white pencil by the artist "Miro" in the lower right corner of the image.
It is also Hand Numbered in white pencil at the lower left corner of the image "37/50".

 Miró greatly admired Gaudi, the Catalan Modernist architect, considering his work among his sources of inspiration.Today, The Fundació Pilar i Joan Miró holds all the original designs Miro used as a starting point for his Gaudi series, as well as a large number of plates and color proofs. After Miró has established his printing studio in his Son Boter studio in 1975, he was able to start his major project: a series dedicated to the great Catalan architect Antoni Gaudí. The Gaudí series comprises 21 prints in which Miró’s used all conceivable resources, ranging from traditional techniques to the most innovative methods, such as etching, sugar-lift aquatint, carborundum, embossing, and collage. The creative process for this series took place at the Son Boter studio beginning in 1976. The series was printed in Barcelona in 1979, in an edition of 50.
The result of this process is a gallery of images in which the sobriety of the black hues contrasts with the palette of blues, reds, yellows, and greens. All these colours often configure a sort of multi-shaped, uneven grid whose changing geometry suggests the kaleidoscopic, irregular mosaic work used by Gaudí to envelop his architectural elements.

Literature: : Dupin, Jacques, Lelong-Mainaud, Ariane. 2001. Miró Engraver: 1961-1973, Vol. IV. Paris: Lelong/Alan Wofsy Fine Arts.
Reference: Dupin 1080