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The year 1890 was a watershed moment in Claude Monets lifehe turned fifty, bought property for the first time and negotiated the purchase of Édouard Manets Olympia and its ensuing placement in the French national collection (see fig. 1). Any of these could have been the most notable occurrence of that period, but 1890 was also the year that Monet painted the most definitive artistic series of the nineteenth centuryhis Meules. This acclaimed series found its inspiration in the fields adjacent to
A Magnesite or Crystalline Limestone Figure of a Lioness, Elam\n, circa 3000-2800 B.C., A Magnesite or Crystalline Limestone Figure of a Lioness, Elam\nOf powerful form and monumental conception, striding with the left leg advanced, the broad-shouldered upper body turned fully to the right with the paws clasped to the abdomen, the head with finely incised detail, and wide-set eyes with circular pupils, four holes on the back for insertion of a tail, two holes on the crown of the head perhaps for
At any given point in Picassos life, a veritable menagerie could be found in his home and studio. Dogs of all shapes and sizes, a variety of felines, doves, a parrot, an owl, a goatindoors and out of doors these animals would appear, disappear, reappear. Later in life a bird would drop dead in its cage in the studio at Notre Dame de Vie. Jacqueline, Picassos second wife, would spirit the cage away until a replacement could be found to ensure an ever-present appearance of life.The inclusion of a
Alberto Giacometti (1901-1966)\nGrande tête mince\nsigned and numbered 'Alberto Giacometti 3/6' (on the front); inscribed with the foundry mark 'Susse Fondeur' (on the back)\nbronze with dark brown patina\nHeight: 25½ in. (65 cm.)\nConceived in 1954 and cast in 1955
Trapped as if manacled to an electric chair, the ludicrously drag-attired subject is jolted into involuntary motion by external forces or internal psychoses. The eternal quiet of Veláquezs Innocent is replaced by the involuntary cry of Bacons anonymous, unwitting, tortured occupant in the hot seat. One could hardly conceive of a more devastating depiction of postwar existential angst or a more convincing denial of faith in the rea that exemplified Nietzsches declaration that God is dead. (Hugh M
Emitting a transcendent aura of luminescent hue, Untitled, 1960 stands as a profound testament to Mark Rothkos extraordinary evocation of the sublime within pure, unadulterated abstraction. Executed at the apex of the artists career, this exquisite painting triumphantly embodies the ultimate creative crescendo and full maturation of Rothkos extraordinary artistic practice. Personally selected by Rothko himself for the San Francisco Museum of Modern Art. Untitled, 1960 bears a prestigious provena
THE MAGNIFICENT FLORENTINE PIETRA DURA, EBONY AND ORMOLU CABINET MADE FOR THE 3RD DUKE OF BEAUFORT\nBY THE GRAND DUCAL WORKSHOPS (GALLERIA DEI LAVORI) AND BACCIO CAPPELLI, THE BRONZE FIGURES OF THE FOUR SEASONS BY GIROLAMO TICCIATI, CIRCA 1720-1732\nThe cabinet of massive architectural form, the main part in three sections divided by crisply profiled stepped mouldings, fitted with ten cedar-lined drawers surrounding a central door enclosing a removable section with three smaller purpleheart and
When I looked at your Venice paintings with their admirable interpretation of the motifs I know so well, I experienced a deep emotion . I admire them as the highest manifestations of your art. Paul Signac in a letter to Claude Monet\n\nMonets paintings of Venice all set water between him and the citys structures that he viewed from different distances. This maximised the Adriatic light as it both bounced back off the surface and reflected within it the buildings beyond.\nRichard Thomson in Mon
Louise Bourgeois (1911-2010)\n\nSpider\n\nstamped with the artist's initials, number and cast date 'L.B. 2/6 1997' (on the interior of the body)\n\nbronze\n\n128 ½ x 298 x 278 in. (326.3 x 756.9 x 706.1 cm.)\n\nConceived in 1996, cast in 1997. This work is number two from an edition of six with one artist's proof and one unique bronze variant, plus one unique sculpture in steel.
Francis Bacon (1909-1992)\nVersion No. 2 of Lying Figure with Hypodermic Syringe\n\nsigned ‘Francis Bacon’ (on the stretcher); titled and dated ‘Version No. 2 of Lying Figure with Hypodermic Syringe 1968’ (on the reverse)\n\noil on canvas\n\n78 x 58in. (198 x 147.5cm.)\n\nPainted in 1968
Willem de Kooning (1904-1997)\nClamdigger\nincised with signature 'de Kooning' and stamped with number 'AP' (on the right foot); incised with date and initials '1972 D.C' (lower center)\nbronze\n59 1/2 x 29 5/8 x 23 3/4 in. (151.1 x 75.2 x 60.3 cm.)\nExecuted in 1972. This work is artist's proof number one from an edition of seven plus three artist's proofs.
Francis Bacon\nSeated Woman\n1961\noil on canvas\n64 7/8 x 55 7/8 in. (165 x 142.2 cm)\nSeated Woman has been requested for inclusion in the upcoming exhibition "Francis Bacon, Monaco and French Culture", which will open at the Grimaldi Forum, Monaco, on July 2nd 2016, per the request of Martin Harrison, Curator and Editor of the Francis Bacon Catalogue Raisonné.
Louise Bourgeois (1911-2010)\nSpider\nstamped with artist's initials, foundry insignia, number and cast date 'L.B. 3/6 MAF 1997' (on the inside of the body)\nbronze\n128 1/2 x 298 x 278 in. (326.3 x 756.9 x 706 cm.)\nConceived in 1996, cast in 1997. This work is number three from an edition of six with one artist's proof and one unique bronze variant, plus one unique sculpture in steel.
EILEEN GRAY (1878-1976)\nFAUTEUIL AUX DRAGONS, VERS 1917-1919\nDe forme arrondie, gainé de cuir brun postérieur, le dossier capitonné, la structure en bois laqué brun orangé à inclusions de feuilles d'argent patinées, à motif en léger relief de nuages stylisés laqués brun, figurant deux dragons, les têtes sculptées dans les accotoirs, les yeux laqués noir sur fond blanc, les corps se prolongeant dans la base sinueuse à l'arrière du siège\nHauteur : 61 cm. (24 in.) ; Largeur : 91 cm. (35¾ in.) ;
AN EXCEPTIONAL EGYPTIAN PAINTED LIMESTONE STATUE FOR THE INSPECTOR OF THE SCRIBES SEKHEMKA\nOLD KINGDOM, DYNASTY 5, CIRCA 2400-2300 B.C.\nDepicted seated, wearing a tight-fitting wig with rows of carefully-cut curls, his expressive face beautifully carved with subtly modelled brows, his eyes looking slightly downward, with a short nose and a softly modelled mouth, the slightly smiling lips outlined by a raised vermillion line, wearing a short pleated kilt with a knotted belt and a pleated tab an
Le Principe du plaisir (The Pleasure Principle), painted in 1937, showcases several enduring and recognizable themes from Magrittes oeuvre: visual and cerebral paradox, an uncanny alteration of the familiar and the tension between the visible and the hidden. The painting is a portrait of Edward James, an English heir to an American railroad fortune turned eccentric poet and influential patron of Surrealist art. After Dalí introduced James to Magritte in 1937, James immediately invited the artist
Joan Miro (1893-1983)\nPainting-Poem ("le corps de ma brune puisque je l'aime comme ma chatte habillée en vert salade comme de la grêle c'est pareil")\nsigned and dated 'Miró.1925.' (lower right)\noil on canvas\n51¼ x 38 in. (130.2 x 96.5 cm.)\nPainted in 1925
ZAO WOU-KI (ZHAO WUJI, FRANCE/CHINA, 1920-2013)\n29.01.64\n\nsigned in Chinese, signed ‘ZAO’ (lower right); signed, titled and inscribed ‘Zao Wou-Ki 29.1.64 260 x 200. ne pas vernir’ (on the reverse)\n\noil on canvas\n\n260 x 200 cm. (102 3/8 x 78 6/8 in.)\n\nPainted in 1964
Jeff Koons (B. 1955)\nBalloon Monkey (Orange)\nsigned and dated 'Jeff Koons 2006-2013' (on the underside of the head)\nmirror-polished stainless steel with transparent color coating\n150 x 235 x 126 in. (381 x 596.9 x 320 cm.)\nExecuted in 2006-2013. This work is one of five unique versions (Blue, Magenta, Orange, Red, Yellow).