图片文件尺寸 : 3895 x 5222px
Hernan Bas:Comus in a Drunken Stupor, 2013
Softground and flatbite etching, spitbite and soapground aquatints and unique inking in colors on wove paper, initialed in pencil, dated and numbered AP 8 (an artist\'s proof aside from the edition of 25), with the blindstamp of the publisher/printer Pulson Bott Press/Sam Carr-Prindle, California, with full margins.
32 x 27in (81.2 x 68.5cm)
sheet 42 x 35in (106.5 x 88.8cm)
赫南·巴斯 醉酒后昏迷
图片文件尺寸 : 4409 x 3174px
约瑟夫·安东·科赫（Joseph Anton Koch）的《亚伯拉罕和三个天使在曼布雷谷的风景》（Landscape with Abraham and the Three Angels in the Valley of Mambre）-Joseph Anton Koch
Landscape with Abraham and the Three Angels in the Valley of Mambre--Joseph Anton Koch (奥地利, 1768-1839)
图片文件尺寸 : 5196 x 5296px
Elmer Wachtel:In San Jacinto Valley
signed with the artist\'s device \'Wachtel\' (lower left)
oil on canvas
14 x 18 in.
framed 19 x 23 in.
埃尔默鹌鹑 圣哈辛托山谷14 x 18英寸。框架19 x 23英寸。
图片文件尺寸 : 3514 x 4490px
马丁·蒙尼肯达姆（Martin Monnickendam）的《蒙尼肯达姆圣尼古拉斯克街》（St.Nicolaaskerk in Monnickedam）-Martin Monnickendam
Straatje met gezicht op de St. Nicolaaskerk te Monnickendam--Martin Monnickendam (荷兰, 1874-1943)
图片文件像素：5457 x 4998 px
草间弥生，当代艺术I-
Yayoi Kusama - Zeitgenössische Kunst I-
(born in Matsumoto, Japan 1929)
Pumpkin KKK, 2002, signed, dated and titled on the reverse, acrylic on canvas, 22.7 x 15.8 cm, in plexiglass box
This work is accompanied by a registration card issued by Yayoi Kusama Studio
We are grateful to Yayoi Kusama Inc. for confirming the registration of the work in its database
Provenance:
European Private Collection
Iconic Pumpkin
Yayoi Kusama is possibly the best known Japanese artist in the world. Her famous polka dots have become her trademark and Kusama\'s stylized pumpkins are among the most iconic masterpieces of contemporary art.
Born in the late 1920s, Yayoi Kusama grew up in the conservative confines of the small town of Matsumoto in Nagano Prefecture in Japan. She attended the Kyoto School of Arts and Crafts, and after staging her first exhibitions, through which she was ‘discovered’ by the international art world, Kusama was able to emigrate to America, where she lived and worked, primarily in New York, from 1957 to 1973. Kusama celebrated her first major success in New York in 1959 with a solo exhibition at the Brata Gallery, entitled Obsessional Monochrome. The Infinity Net Paintings exhibited there were compositions of dense networks executed with white brushstrokes on a black ground and characterised by the theme of repetition.
Grids, flashes of light and, above all, dots that repeat endlessly are the most striking characteristic of Kusama\'s works and established her fame as the ‘Polka Dot Princess’. For the artist, the dots that overgrow everything are not merely a harmless pattern. They have their origins in the hallucinations and panic attacks she has experienced since her youth, which determined her perception of the world. Growing up, she saw dot and net patterns and feared she would dissolve into them. The polka dots and their constant repetition now became an expression of the search for infinity and the desire for self-dissolution. The dots erase the image into which the artist channels her fears. With her polka dots, Kusama covers not only canvases, but also everyday objects such as tea kettles or bookshelves, clothes, giant tentacles, oversized flowers, entire rooms or herself. And pumpkins as well.
\"Pumpkin KKK\" (2002) represents another important theme in Yayoi Kusama\'s work. For Kusama, the pumpkin is associated with memories of childhood and has been a favourite motif with almost mythical status since the 1970s-1980s. The artist first saw pumpkins during walks with her grandfather, and they had a calming effect on the hallucination-stricken artist. \"I love pumpkins for their humorous shape, their warmth and their human quality,\" Kusama says. She devoted herself to pumpkins in paintings and sculptures and incorporated them into her Infinity Rooms. Bold colours characterise the pumpkins, as do the precisely placed polka dots. The colour scheme follows an inner symbolism, according to which the artist categorises unprocessed experiences. The pumpkins stand for triumph over inner struggles, their endless repetition allows the artist to find her mental balance.
Since her return to Japan, Kusama, who has never made a secret of her illness, has voluntarily lived in a psychiatric institution. In 2017, a museum dedicated solely to her opened in Tokyo and numerous international exhibitions testify to considerable on-going interest in her work. With her unconventional works, her extraordinary performances, self-dramatisations and happenings, Kusama has anticipated many trends in contemporary art.
图片文件像素：4483 x 5098 px
西格马尔·波尔克，当代艺术I-
Sigmar Polke * - Zeitgenössische Kunst I-
(Oels/Niederschlesien 1942-2010 Cologne)
Untitled, 1994, on the reverse signed, dated twice S. Polke 94, natural resin and pigments (malachite, lapis lazuli and realgar) on canvas, 95 x 75 cm, framed
We are grateful to Michael Trier, Cologne, for his scientific advice in cataloguing this work.
Provenance:
Private Collection, North Rhine-Westphalia - directly from the artist
Van Ham Kunstauktionen, Cologne, 01 December 2021, lot 301 - acquired there by the present owner
Sigmar Polke has left us an extensive oeuvre, centred first and foremost on his irrepressible interest in colour. The production of colours was of great importance to the artist, who was often described as an alchemist, and he wanted to explore it from the bottom up. With the aid of the most modern techniques and motifs he was constantly searching for the origin of painting, sometimes also with a great deal of irony. Art ought to be an experiment with an open outcome, and he, the artist, ought to elicit the hidden beauty from the material world with his works.
Polke worked with the so-called \"Schüttbilder\" from the early 1970s on, colour samples and \"Probierbilder\", in which calculated chaos is elevated to a creative principle. Ten years later, Polke\'s painting showed a change \"that was much discussed in connection with the works for the exhibition Zeitgeist in 1982, for Documenta 7 in the same year and reached a climax in his contribution to the 德国 pavilion at the 42nd Venice Biennale (1986). Figuration recedes in favour of the more gestural and process-like use of colour, its lush or veil-like overlays and fusions.\"
(Katharina Schmidt, quoted from: Sigmar Polke – Zeichnungen, Aquarelle, Skizzenbücher 1962 – 1988, exh. cat., Kunstmuseum Bonn 1988, p. 194).
The 1994 work offered here is in the tradition of the colour samples of the 1970s and refers pictorially to the colour plates from 1992, which are in the Stedelijk Museum in Amsterdam. Its presentation is very painterly and overall reminiscent of the wall painting at the Venice Biennale (1986), for which Sigmar Polke was awarded the Golden Lion.
In the present work, the artist mixed a total of three dyes with natural resin and applied them to the canvas. In the lower area, the ultramarine blue of the dark blue semi-precious stone lapis lazuli dominates. Lapis lazuli is one of the oldest pigment stones of all and was already used as pigment in prehistoric Europe. For the upper part of the picture, Polke used the powdered pigment of the semi-precious stone malachite. The coarser the grain, the more intense the shade of colour. Malachite pigment was prized in antiquity as a cold green for wall paintings. It was used in panel paintings in the Renaissance. Next to green earths, malachite was the most important green pigment until the 18th century. On the left-hand side in the central area of the canvas, Polke painted an oval with the chemical pigment realgar. Realgar, also called ruby sulphur or ruby of arsenic, has a changing hue, which depends on the grind of the pigment. The darker shades are an orange-red, the lighter ones a yellow-orange, as seen in this painting. Although there are modern alternatives, Polke seems to have found processing the colours and pigments of the old masters with an awareness of modern times highly interesting.
图片文件尺寸 : 4543 x 5136px
Banksy:Golf Sale
Screenprint in colours, 2003, on wove paper, signed and dated in black ink, numbered 11/150 in pencil, published by Pictures on Walls, London, the full sheet, in overall very good condition, framed
Sheet 341 x 490mm. (13 3/8 x 19in.)
班克西。 高尔夫销售
图片文件尺寸 : 5259 x 5722px
Maurice Braun:In the Eucalyptus Grove
signed \'Maurice Braun\' (lower right) and titled (on the reverse)
oil on canvas
28 x 26 in.
framed 40 x 38 in.
莫里斯·布劳恩 桉树林28 x 26英寸。框架40 x 38英寸。
图片文件尺寸 : 5062 x 5050px
Emil Jean Kosa, Jr.:Lunch in the Park
signed \'Emil Kosa Jr\' (lower left)
watercolor on paper
sheet 22 x 29 in.
framed 37 x 44 in.
小埃米尔·让·科萨。 公园午餐表22 x 29英寸。框架37 x 44英寸。
图片文件尺寸 : 4209 x 5451px
Mary Cassatt:Nurse and Baby Bill (No. 2) (Breeskin 109), c.1889
Soft-ground etching and aquatint in sepia on Japan paper, the second (final) state, signed in pencil, and with an inscription (possibly in another hand) l\'enfant au maillot (child in a jersey), with the collector inkstamp of Roger Marx (Lugt 2229), with full margins, framed.
8 5/8 x 5 1/2in
sheet 12 5/8 x 9 7/8in
玛丽·卡萨特 护士和婴儿比尔
图片文件尺寸 : 3895 x 5222px
Hernan Bas:Comus in a Drunken Stupor, 2013
Softground and flatbite etching, spitbite and soapground aquatints and unique inking in colors on wove paper, initialed in pencil, dated and numbered AP 8 (an artist\'s proof aside from the edition of 25), with the blindstamp of the publisher/printer Pulson Bott Press/Sam Carr-Prindle, California, with full margins.
32 x 27in (81.2 x 68.5cm)
sheet 42 x 35in (106.5 x 88.8cm)
赫南·巴斯 醉酒后昏迷
图片文件尺寸 : 4409 x 3174px
约瑟夫·安东·科赫（Joseph Anton Koch）的《亚伯拉罕和三个天使在曼布雷谷的风景》（Landscape with Abraham and the Three Angels in the Valley of Mambre）-Joseph Anton Koch
Landscape with Abraham and the Three Angels in the Valley of Mambre--Joseph Anton Koch (奥地利, 1768-1839)
图片文件尺寸 : 5196 x 5296px
Elmer Wachtel:In San Jacinto Valley
signed with the artist\'s device \'Wachtel\' (lower left)
oil on canvas
14 x 18 in.
framed 19 x 23 in.
埃尔默鹌鹑 圣哈辛托山谷14 x 18英寸。框架19 x 23英寸。
图片文件尺寸 : 3514 x 4490px
马丁·蒙尼肯达姆（Martin Monnickendam）的《蒙尼肯达姆圣尼古拉斯克街》（St.Nicolaaskerk in Monnickedam）-Martin Monnickendam
Straatje met gezicht op de St. Nicolaaskerk te Monnickendam--Martin Monnickendam (荷兰, 1874-1943)
图片文件像素：5457 x 4998 px
草间弥生，当代艺术I-
Yayoi Kusama - Zeitgenössische Kunst I-
(born in Matsumoto, Japan 1929)
Pumpkin KKK, 2002, signed, dated and titled on the reverse, acrylic on canvas, 22.7 x 15.8 cm, in plexiglass box
This work is accompanied by a registration card issued by Yayoi Kusama Studio
We are grateful to Yayoi Kusama Inc. for confirming the registration of the work in its database
Provenance:
European Private Collection
Iconic Pumpkin
Yayoi Kusama is possibly the best known Japanese artist in the world. Her famous polka dots have become her trademark and Kusama\'s stylized pumpkins are among the most iconic masterpieces of contemporary art.
Born in the late 1920s, Yayoi Kusama grew up in the conservative confines of the small town of Matsumoto in Nagano Prefecture in Japan. She attended the Kyoto School of Arts and Crafts, and after staging her first exhibitions, through which she was ‘discovered’ by the international art world, Kusama was able to emigrate to America, where she lived and worked, primarily in New York, from 1957 to 1973. Kusama celebrated her first major success in New York in 1959 with a solo exhibition at the Brata Gallery, entitled Obsessional Monochrome. The Infinity Net Paintings exhibited there were compositions of dense networks executed with white brushstrokes on a black ground and characterised by the theme of repetition.
Grids, flashes of light and, above all, dots that repeat endlessly are the most striking characteristic of Kusama\'s works and established her fame as the ‘Polka Dot Princess’. For the artist, the dots that overgrow everything are not merely a harmless pattern. They have their origins in the hallucinations and panic attacks she has experienced since her youth, which determined her perception of the world. Growing up, she saw dot and net patterns and feared she would dissolve into them. The polka dots and their constant repetition now became an expression of the search for infinity and the desire for self-dissolution. The dots erase the image into which the artist channels her fears. With her polka dots, Kusama covers not only canvases, but also everyday objects such as tea kettles or bookshelves, clothes, giant tentacles, oversized flowers, entire rooms or herself. And pumpkins as well.
\"Pumpkin KKK\" (2002) represents another important theme in Yayoi Kusama\'s work. For Kusama, the pumpkin is associated with memories of childhood and has been a favourite motif with almost mythical status since the 1970s-1980s. The artist first saw pumpkins during walks with her grandfather, and they had a calming effect on the hallucination-stricken artist. \"I love pumpkins for their humorous shape, their warmth and their human quality,\" Kusama says. She devoted herself to pumpkins in paintings and sculptures and incorporated them into her Infinity Rooms. Bold colours characterise the pumpkins, as do the precisely placed polka dots. The colour scheme follows an inner symbolism, according to which the artist categorises unprocessed experiences. The pumpkins stand for triumph over inner struggles, their endless repetition allows the artist to find her mental balance.
Since her return to Japan, Kusama, who has never made a secret of her illness, has voluntarily lived in a psychiatric institution. In 2017, a museum dedicated solely to her opened in Tokyo and numerous international exhibitions testify to considerable on-going interest in her work. With her unconventional works, her extraordinary performances, self-dramatisations and happenings, Kusama has anticipated many trends in contemporary art.
图片文件像素：4483 x 5098 px
西格马尔·波尔克，当代艺术I-
Sigmar Polke * - Zeitgenössische Kunst I-
(Oels/Niederschlesien 1942-2010 Cologne)
Untitled, 1994, on the reverse signed, dated twice S. Polke 94, natural resin and pigments (malachite, lapis lazuli and realgar) on canvas, 95 x 75 cm, framed
We are grateful to Michael Trier, Cologne, for his scientific advice in cataloguing this work.
Provenance:
Private Collection, North Rhine-Westphalia - directly from the artist
Van Ham Kunstauktionen, Cologne, 01 December 2021, lot 301 - acquired there by the present owner
Sigmar Polke has left us an extensive oeuvre, centred first and foremost on his irrepressible interest in colour. The production of colours was of great importance to the artist, who was often described as an alchemist, and he wanted to explore it from the bottom up. With the aid of the most modern techniques and motifs he was constantly searching for the origin of painting, sometimes also with a great deal of irony. Art ought to be an experiment with an open outcome, and he, the artist, ought to elicit the hidden beauty from the material world with his works.
Polke worked with the so-called \"Schüttbilder\" from the early 1970s on, colour samples and \"Probierbilder\", in which calculated chaos is elevated to a creative principle. Ten years later, Polke\'s painting showed a change \"that was much discussed in connection with the works for the exhibition Zeitgeist in 1982, for Documenta 7 in the same year and reached a climax in his contribution to the 德国 pavilion at the 42nd Venice Biennale (1986). Figuration recedes in favour of the more gestural and process-like use of colour, its lush or veil-like overlays and fusions.\"
(Katharina Schmidt, quoted from: Sigmar Polke – Zeichnungen, Aquarelle, Skizzenbücher 1962 – 1988, exh. cat., Kunstmuseum Bonn 1988, p. 194).
The 1994 work offered here is in the tradition of the colour samples of the 1970s and refers pictorially to the colour plates from 1992, which are in the Stedelijk Museum in Amsterdam. Its presentation is very painterly and overall reminiscent of the wall painting at the Venice Biennale (1986), for which Sigmar Polke was awarded the Golden Lion.
In the present work, the artist mixed a total of three dyes with natural resin and applied them to the canvas. In the lower area, the ultramarine blue of the dark blue semi-precious stone lapis lazuli dominates. Lapis lazuli is one of the oldest pigment stones of all and was already used as pigment in prehistoric Europe. For the upper part of the picture, Polke used the powdered pigment of the semi-precious stone malachite. The coarser the grain, the more intense the shade of colour. Malachite pigment was prized in antiquity as a cold green for wall paintings. It was used in panel paintings in the Renaissance. Next to green earths, malachite was the most important green pigment until the 18th century. On the left-hand side in the central area of the canvas, Polke painted an oval with the chemical pigment realgar. Realgar, also called ruby sulphur or ruby of arsenic, has a changing hue, which depends on the grind of the pigment. The darker shades are an orange-red, the lighter ones a yellow-orange, as seen in this painting. Although there are modern alternatives, Polke seems to have found processing the colours and pigments of the old masters with an awareness of modern times highly interesting.
图片文件尺寸 : 4543 x 5136px
Banksy:Golf Sale
Screenprint in colours, 2003, on wove paper, signed and dated in black ink, numbered 11/150 in pencil, published by Pictures on Walls, London, the full sheet, in overall very good condition, framed
Sheet 341 x 490mm. (13 3/8 x 19in.)
班克西。 高尔夫销售
图片文件尺寸 : 5259 x 5722px
Maurice Braun:In the Eucalyptus Grove
signed \'Maurice Braun\' (lower right) and titled (on the reverse)
oil on canvas
28 x 26 in.
framed 40 x 38 in.
莫里斯·布劳恩 桉树林28 x 26英寸。框架40 x 38英寸。
图片文件尺寸 : 5062 x 5050px
Emil Jean Kosa, Jr.:Lunch in the Park
signed \'Emil Kosa Jr\' (lower left)
watercolor on paper
sheet 22 x 29 in.
framed 37 x 44 in.
小埃米尔·让·科萨。 公园午餐表22 x 29英寸。框架37 x 44英寸。
图片文件尺寸 : 4209 x 5451px
Mary Cassatt:Nurse and Baby Bill (No. 2) (Breeskin 109), c.1889
Soft-ground etching and aquatint in sepia on Japan paper, the second (final) state, signed in pencil, and with an inscription (possibly in another hand) l\'enfant au maillot (child in a jersey), with the collector inkstamp of Roger Marx (Lugt 2229), with full margins, framed.
8 5/8 x 5 1/2in
sheet 12 5/8 x 9 7/8in
玛丽·卡萨特 护士和婴儿比尔