Maurice Esteve, Bougri, 1974

Maurice Esteve 1904-2001

Culan, Cher 1904-2001(French)

Bougri, 1974, Original Hand Signed and Numbered Lithograph in colours on Arches vellum paper.

Maurice Esteve was renowned amongst the School of Paris artists as one of the leading fathers of the movement Tachisme. Praised for his excellent use of colour, combined with the ability to mix various organic interweaving shapes together on the canvas, Esteve truly embodied this style of French abstract painting during the 40s and 50s. Influenced early on by the works of Cezanne, Esteve later dabbled in various artistic movements, briefly experimenting in Surrealism during the late 1920s. He held his first solo exhibition in 1930. However Esteve was not only a painter but also created textile designs, murals and collages, spanning a wide range of media to express his colours and patterns. In 1970 he was awarded the Grand Prix National des Arts and much of his work can now be seen in the Esteve Museum in Bourges, which was opened in 1987 after Esteve donated many of his works to the French city. 

Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches vellum paper

Paper Size: 52 x 45 cm / 20.5 x 17.7 in

Image Size: 31.5 x 24.5 cm / 12.4 x 9.6

Additional Information: This original lithograph is hand signed in pencil by the artist "Esteve" in the lower right margin. It is hand numbered in pencil "37/50" in the lower left margin.

The work was printed in 1974 in a limited edition of 50 signed and numbered impressions. There were a further 25 artist proofs. This lithograph was later chosen to be one of the 4 prints in G. di San Lazzaro "Hommage à Maurice Esteve".

Literature: Prudhomme-Estève, Monique & Moestrup, Hans. 1986. Maurice Estève. L’Ouvre Gravé. Catalogue raisonné. Copenhague.

Reference: Prudhomme & Moestrup No. 76.

Condition: Excellent condition. Very minor small fold in the lower left corner.

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

 '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.

Exhibitions:
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. 

Bacon and Picasso Bullfighting

FRANCIS BACON 1902-1992
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.
 Literature:
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.

PABLO PICASSO 1881-1973
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

 LAPADA Art & Antiques Fair 2012

With just over a month left, the preparations for the LAPADA art and antiques fair are well underway at Gildens Arts Gallery!

The LAPADA Art & Antiques Fair is held annualy Berkeley Square, regarded as the historic heart of the vibrant fine art arena that is Mayfair. Held over 6 days with 95 premiere UK art and antique dealers participating, the fair attracts a wide range of audiences and collectors both locally and internationally, and there are equally a wide range of exhibitors and experts. The wide range of disciplines cover everything from medieval works of art, furniture, contemporary art, jewellery, sculptures and many more.

Quality and authenticity are ensured by the fact that every piece exhibited in the fair is vetted by a team of experts, and exhibitors are under close scrutiny to abide by regulations set by the vetting commitee as members of LAPADA, the UK’s largest trade association for professional art and antiques dealers.

Since its inception in 2009, The LAPADA Art & Antiques Fair has earned its reputation as one of the most important art and antique fairs in the UK. It will be the first major antiques fair of the autumn during London's busy design season, and this year will see the largest LAPADA fair yet with increased floor space (and more exhibitors).

The appeal of the LAPADA Fair lies in its excitingly diverse array of fine art and exceptional objects of all periods, at a wide price range from under £500 to over £500,000, making it an event accessible to those venturing in to buying fine works of art for the first time, as well as serious collectors.

Here at Gilden's Arts Gallery we are incredibly excited to be taking part for the first time at such a presitgious event that provides a platform for our beautiful variety of original prints by the modern art masters such as Picasso, Miro, Dali, Chagall to name a few. This is just one of the many original prints that we will be exhibiting:

Ubu's Childhood, 1975 - Joan Miro

(Hand signed and numbered lithograph)

For more information on the artists we have works by please visit our website http://www.gildensarts.com. The fair will take place from the 19th-23rd september 2012, we look forward to seeing you at our stand (A9)!

The LAPADA website provides information for visitors aswell as a twitter and facebook page. An iphone app for the fair is also available for downloading on the app store, with which you get complimentary invitations for 2 people! (normal entry price is £15).http://www.lapadalondon.com/index.pl?id=2207;

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

Title: Ubu's Childhood / L'Enfance d'Ubu, 1975
Technique: Original Hand Signed and Numbered Lithograph in colours on Arches paper
Paper Size: 32.1 x 50.5 cm / 12.6 x 19.8 in

Additional Information: This original lithograph is hand signed in pencil by the artist "Miro" at the lower right corner of the image. It is also hand numbered in pencil "108/120". The work was part of a portfolio entitled "L'Enfance d'Ubu" (Ubu's Childhood) realised by the artist in 1975. It was printed by Mourlot, Paris and published by Tériade Editeur, Paris. Our print is one of the few impressions realised for the front cover of the portfolio.

Ubu Roi (Ubu the King) is a play by Alfred Jarry, premiered in 1896. It is a precursor of the Theatre of the Absurd and Surrealism. It is the first of three stylised burlesques in which Jarry satirises power, greed, and their evil practices—in particular the propensity of the complacent bourgeois to abuse the authority engendered by success. It was followed by Ubu Cocu (Ubu Cuckolded) and Ubu Enchaîné (Ubu Enchained), neither of which was performed during Jarry's 34-year life.

Père Ubu first appeared in 1888 in a collaboration between Alfred Jarry and a fellow student at the Rennes Lycée, but his first public appearance came in 1893 when Jarry published some of prose works in an avant-garde review, the Minutes de Sable Mémorial. His triumph, however, was on the stage when the director of the Theâtre de l'Oeuvre, Lugne-Poe staged a production of Ubu Roi. The audience received the play with screams, whistles, fist-shaking, the critics took up the cudgels and the play became infamous and its author an avant-garde hero

Joan Miró used Ubu Roi as a subject of his most famous series made of 50 1940 lithographs known as "the Barcelona Series". These pictures could be Ubu Roi but they also satirise General Franco and his generals after he had won the Spanish Civil War.

He revisited this subject many times in in oeuvre.

Literature: 1. Patrick Cramer, Weber Genf, 1992, Miro: The Lithographs, Vol.5.

Reference: Cramer 1014

2. Patrick Cramer, Cramer Edition, 1989, Miro Catalogue des Livres Ilustrés.

Reference: Cramer 204