Voorjaarsveiling Kunst en Antiek 2017

Internationale Avant-Gardes 1960-1990

Kavel 1 Volgrecht / Droit de suite Volgrecht van toepassing

Victor Pasmore (1908-1998)

'Points of Contact No. 24'
'Points of Contact No. 25'
'Points of Contact No. 27'
all signed with the artist's monogram and dated 1974 (lower right)
3 silkscreens in colours, numbered resp. 44/70, 59/70 and 46/70, each 98x66 cm
Printed by Kelpra Studio, London. Published by Marlborough Graphics, London 1974.

Opbrengst
€ 2.000

Kavel 2 Volgrecht / Droit de suite Volgrecht van toepassing

Victor Pasmore (1908-1998)

'Points of Contact No. 17- What is the Object over There? '
signed with the artist's monogram and dated '74 in pencil (lower right)
silkscreen in colours, numbered 13/25, 76x289 cm
Printed by Kelpra Studio, London. Published by Marlborough Graphics, London 1974.

Opbrengst
€ 1.200

Kavel 3 Volgrecht / Droit de suite Volgrecht van toepassing

Victor Pasmore (1908-1998)

'Hear the Sound of a Magic Tune'
signed with the artist's monogram and dated '74 in pencil (lower right)
silkscreen in colours, numbered 4/25, 240x66 cm
Printed by Kelpra Studio, London. Published by Marlborough Graphics, London 1974.

Opbrengst
€ 1.000

Kavel 4

Robert Motherwell (1915-1991)

'Africa Suite: Africa 8' (1970)
signed with the artist’s initials in pencil (lower left), artist’s chop mark (lower right) and signed in the screen (upper left)
silkscreen printed in black and beige, numbered 17/150, 80x59 cm (103x71,5 cm).
Printed by Kelpra Studio, London. Published by Marlborough Graphics, Inc. New York.
Literature: 'Robert Motherwell. The Complete Prints 1944-1991. Catalogue Raisonné', S. Engberg & J. Banach, Ed. Walker Art Center, Minneapolis, 2003, page 108.

Opbrengst
€ 800

Kavel 5

Robert Motherwell (1915-1991)

'The Basque Suite: Untitled' (1971)
signed in pencil with the artist's initials (lower right) and signed in the screen (upper left)
silkscreen in colours, numbered 4/150, 57x43,5 cm (104x71,5 cm). Printed by Kelpra Studio, London. Published by Marlborough Graphics Inc., New York.
Literature: 'Robert Motherwell. The Complete Prints 1944-1991. Catalogue Raisonné', S. Engberg & J. Banach, Ed. Walker Art Center, Minneapolis, 2003, page 110.

Opbrengst
€ 800

Kavel 6

John Hamilton Bush (1909-1977)

'Loop series' (1971) consisting of 'Low Sun', Yellow Mark', Three and Blue Loop', 'Red M' and 'Green Loop'
5 silkscreens in colours, each signed and dated '71 in pencil (lower right) in an edition of 100 copies, numbered resp. 70/100, 37/100, 26/100 29/100 and 27/100, resp. 86x64 and 64x86 cm
Bush was born in Toronto, Ontario, in 1909. In his early stages, Bush was influenced by the work of Charles Comfort and the Group of Seven. After seeing the work of the American Abstract Expressionists in New York City, Bush's canvases changed dramatically. Bush developed his work and approach to abstraction through the 1950s. He was a member of Painters Eleven, the group founded by William Ronald in 1953 to promote abstract painting in Canada, and was soon encouraged in his art by the American art critic Clement Greenberg. Critical at first, Greenberg became a mentor to Bush and encouraged him to refine his palette, technique, and approach. As a result of Greenberg's guidance, Bush became closely tied to Colour Field Painting. He became friends with artists associated with colour-field like Jules Olitski, Kenneth Noland and also Anthony Caro. Jack Bush represented Canada at the 1967 44 São Paulo Art Biennial, and in 1976 the Art Gallery of Ontario toured a large retrospective of his work. He died in Toronto 24 January 1977.

Opbrengst
€ 7.500

Kavel 7

John Hamilton Bush (1909-1977)

'White Flip'
signed and dated '74 in pencil (lower left)
silkscreen in colours, numbered 62/100, 89x66 cm

Opbrengst
€ 2.400

Kavel 8

John Hamilton Bush (1909-1977)

'Pink Moon'
signed and dated '74 in pencil (lower left)
silkscreen in colours, numbered 58/100, 89x66 cm

Opbrengst
€ 2.000

Kavel 9

John Hamilton Bush (1909-1977)

'Cross Over'
signed and dated 1974 in pencil (lower left)
silkscreen in colours, numbered 58/100, 89x66 cm

Opbrengst
€ 1.700

Kavel 10

John Hamilton Bush (1909-1977)

'Purple Thrust'
signed and dated '74 in pencil (lower left)
silkscreen in colours, numbered 59/100, 89x66 cm

Opbrengst
€ 2.000

Kavel 11 Volgrecht / Droit de suite Volgrecht van toepassing

Lynn Chadwick (1914-2003)

'Moon Series A-F'
all signed and dated '65 in pen (lower right)
series of 6 lithographs in colours, numbered resp. 8/70, 8/70,14/70, 17/70, 24/70 and 15/70, each 50x64 cm
Lynn Chadwick was part of the Post-War generation of British sculptors known for their dramatic, welded iron works that combined often figurative subjects with expressionistic abstraction. Chadwick’s process was akin to 'drawing in space', using iron rods to build frameworks of juxtaposed polyhedrons, and later filling them in with a mixture of iron filings and plaster that could be smoothed, scored, or left with a roughly textured finish.
Simplicity of form, it seems, was a way for Chadwick to explore diversity. He designed hundreds of maquettes and fully realized pieces, all along the same lines - literally - yet each has its own unique captivating embodiment.

Chadwick's 'Moon Series' is an excellent example of his ability to translate his sculptural moon themes into two dimensional poetry.

Opbrengst
€ 1.200

Kavel 12 Volgrecht / Droit de suite Volgrecht van toepassing

William Scott (1913-1989)

‘Cup and Pan Blues’
signed and dated '70 in pencil (lower right)
silkscreen in colours, numbered 98/100, 59x88 cm (70,3x101 cm) Printed by Curwen Studio, published by Curwen Prints, London.
Literature:
'William Scott-a survey of his original prints', Archeus Editions, London 2005, p. 9, p. 22 illustrated. Archeus chronological checklist of the prints, no. 27.
‘I am an abstract artist in that I abstract. I cannot be called non-figurative while I am still interested in the modern magic of space, primitive sex forms, the sensual and erotic, disconcerting contours, the things of life’ (William Scott, quoted in William Scott: Paintings, ed. Alan Bowness, Lund Humphries, London, 1964 p.9)

'…In 1970, after a four years break, Scott once again enters the printmaking studio. Scott produced five prints which summarise the polar shift in his work that occurred in the late sixties. The plain coloured grounds were there to stay, but his pans and bowls had returned to the work, this time with a stylish simplicity. ‘Cup and Pan Blues’ and ‘Cup, Bowl, Pan, Browns and Ochres’ were probably the most flamboyant early examples in print of this new direction. Often, compositions were initially worked out and balanced by placing and toying with paper shapes, and a cast of a new pan variations dominated the arrangements. The frying pan, rotated so that the handle almost invariably pointed up as in ‘Black Pan, Beige Cup on Brown’, became a familiar motif. The ambiguity of following Scott’s visual instructions to see the frying pan from above, as if flat on a table, it at odds with the straightforward profile of the cup, properly articulated. This odd duality had, by now, become almost expected in Scott’s work, and one can instantly see that, masterfully aware of the success of these illogical arrangements, Scott was clearly in his element in this late period…'
(Brian Balfour-Oatts, in ‘William Scott-a survey of his original prints’, Archeus Editions, London 2005)

Opbrengst
€ 4.800

Kavel 13 Volgrecht / Droit de suite Volgrecht van toepassing

William Scott (1913-1989)

'White Bowl, black Pan on Brown'
signed and dated '70 in pencil (lower right)
silkscreen in colours, numbered 15/100, 58,8x77 cm (70,2x100,6 cm)
Printed by Kelpra Studio, published by Leslie Waddington Prints, London.
Literature:
'William Scott-a survey of his original prints', Archeus Editions, London 2005, p. 54.
Archeus chronological checklist of the prints, no. 29.

Opbrengst
€ 2.800

Kavel 14 Volgrecht / Droit de suite Volgrecht van toepassing

William Scott (1913-1989)

'Cup, Bowl, Pan, Browns and Ochres'
signed and dated '70 in pencil (lower right)
silkscreen in colours, numbered 17/100, 58,8x88 cm (70,2x101,2 cm)
Printed by Kelpra Studio, published by Leslie Waddington Prints, London.
Literature:
'William Scott-a survey of his original prints', Archeus Editions, London 2005, pp. 9, 54, p. 23 illustrated. Archeus chronological checklist of the prints, no. 28.

Opbrengst
€ 3.000

Kavel 15 Volgrecht / Droit de suite Volgrecht van toepassing

William Scott (1913-1989)

‘Black Pan, Beige Cup on Brown’
signed and dated '70 in pencil (lower right)
silkscreen in colours, numbered 38/100, 59,2x77,8 cm (71,5x101,2 cm)
Printed by Kelpra Studio, published by Leslie Waddington Prints, London.

Also known erroneously as ‘Black Bottle, Beige Cup on Brown’, as in the Tate Gallery collection for example, this print has had a history of incorrect titling. Familiarity with Scott’s work confirms that the black form is a stylised frying pan.
Literature:
'William Scott-a survey of his original prints', Archeus Editions, London 2005, p. 24, p. 53 illustrated.
Archeus chronological checklist of the prints, no. 25.

Opbrengst
€ 3.000

Kavel 16 Volgrecht / Droit de suite Volgrecht van toepassing

William Scott (1913-1989)

'Pan and Bowl, Blues on Green'
signed and dated '70 in pencil (lower right and on the reverse)
silkscreen in colours, numbered 91/100, 59,4x77,8 cm (71,4x101,2 cm)
Printed by Kelpra Studio, published by Leslie Waddington Prints, London.

Also known erroneously as ‘Bottle and Bowl, Blues and Green’
Literature:
'William Scott-a survey of his original prints', Archeus Editions, London 2005, p. 54. Archeus chronological checklist of the prints, no. 26.

Opbrengst
€ 2.800

Kavel 17 Volgrecht / Droit de suite Volgrecht van toepassing

Terry Frost (1915-2003)

'Black and Red and Blue'
signed in pencil and dated '68
silkscreen in colours, numbered 10/75, 69x101 cm
Painter, printmaker and teacher Sir Terry Frost RA (1915-2003) was a key figure in the development of British twentieth-century abstract art. He was also a prolific printmaker. Discovering a natural ability to capture likenesses, Frost began to explore his artistic talents as a prisoner of war. During the late 1940s, he honed and developed his artistic skills as a student at the Camberwell School of Arts and Crafts. Dividing his time between the thriving art scenes of London and St Ives during the 1950s, Frost embraced abstraction and soon established himself as a leading British artist - a reputation which is still felt today. Prints were an essential element of Frost's oeuvre - he believed that painting and printmaking were inseparable and that each medium informed the other.
(Dominic Kemp in 'Terry Frost Prints', Lund Humphries, London 2010)

Opbrengst
€ 650

Kavel 18 Volgrecht / Droit de suite Volgrecht van toepassing

Terry Frost (1915-2003)

'Red and Black Solid' (1967-68)
'Red and Black Linear' (1967-68)
both signed in pencil (lower right)
2 lithographs in colours, numbered resp. 12/65 and 40/75, 76x56 and 78x58 cm
Printed by Stanley Jones at The Curwen Studio, London, published by Leslie Waddington Prints, London.

Opbrengst
€ 600

Kavel 19 Volgrecht / Droit de suite Volgrecht van toepassing

Terry Frost (1915-2003)

'Red with Black on the Side'
signed in pencil and dated 70 (lower right)
lithograph in colours, numbered 58/75, 90x63 cm
Published by Leslie Waddington Prints, London.

Opbrengst
€ 600

Kavel 20 Volgrecht / Droit de suite Volgrecht van toepassing

Terry Frost (1915-2003)

'Moonship'
'Yellow Curtain'
both signed and dated '72 in pencil (lower right)
2 lithographs in colours, numbered resp. 36/65 and 71/75, 105x70 and 78x58 cm
Both published by Leslie Waddington Prints, London, printed at Emil Matthieu Atelier, Zürich.

Opbrengst
€ 600