OCEAN GALLERIES CATALOG

1

2

CURATORIAL RECEPTIONS

OCEAN GALLERIES • 9618 Third Avenue • Stone Harbor, NJ 08247 • (609) 368-7777 • www.oceangalleries.com

1

PICASSO

2

PICASSO, Pablo, 1881-1973 A Los Toros: Le Picador II, 1961 Color lithograph on wove paper

A rare working proof apart from the regular book edition, “A Los Toros avec Picasso” by Jaime Sabartes. French language edition. Published by Andre Sauret, Monte Carlo. Lithographs by Mourlot, Paris. Provenance: From the Mourlot collection The suite depicts views of a bullfight from the sidelines as though Picasso had quickly sketched them while sitting in the stands. The bullfight was a subject Picasso returned to frequently, particularly from the mid-1950s, and also one of his favorite spectator sports. Bloch 1017; Cramer 113 10 x 13 in. 908316

3

PICASSO, Pablo , 1881-1973 Buste de Femme au Fichu, 1939 Aquatint and engraving on watermarked Picasso Montval laid paper

A rich, painterly impression of Dora Maar, Picasso’s lover and muse. From the rare edition of 56, printed by Lacourière in 1942. The only other edition created aside from various proofs was an edition of 50. Published by Galerie Louise Leiris. Baer 672 II B.b.; Bloch 324 17 1/2 x 13 1/4 in. 913115

6

7

PICASSO, Pablo , 1881-1973 Le Danseur (Tête de’Histrion), 1965 Linoleum cut printed in colors on Arches wove paper One of four trial proofs with a lighter brown color than the edition of 220, printed by Imprimerie Arnéra. Stamped in ink verso, ‘Imprimerie Arnéra Archives/Non signé’. This progressive proof traces the sequence, color exploration and printing process by which Picasso created his linoneum cut images, showing the development of the images into its final form. Bloch 1849; Baer 1360 A. 1. (of B.d) 29 3/10 x 23 3/5 in. 600014

8

PICASSO, Pablo , 1881-1973 Le Danseur (Tête de’Histrion), 1965 Linoleum cut printed in colors on watermarked Arches paper

Trial proof of the definitive form from before the edition of 220. A remarkably fresh impression with strong coloring. Published by Musée des Augustins de Toulouse; printed Imprimerie Arnéra, Paris. Baer records only two to three such impressions. Stamped in ink verso ‘Imprimerie Arnéra Archives/Non signé’. Bloch 1849; Baer 1360.A 25 1/4 x 20 7/8 in. 911413

9

PICASSO, Pablo , 1881-1973 Petite Infante accroupie et courtisan. La Célestine, 1968 Etching with aquatint on Richard de Bas laid paper Signed in pencil on the justification page From the book edition of 400, book numbered “5”. Printed and published by Atelier & Editions Crommelynck, Paris, in 1971. With ‘La Célestine’ watermark. Based on ‘La Tragicomedia de Calisto y Melibea’, known by the title ‘La Celestina’, a dramatized novel in 21 acts, attributed to Fernando de Rojas, who published it in Burgos in 1499. ‘La Celestina’ is one of the major works in Spanish literature. Baer 1633; Bloch 1617; Cramer 149 3 1/4 x 2 1/4 in. 904113

PICASSO, Pablo , 1881-1973 Homme à la pipe et à la canne et jeune femme nue. La Célestine., 1968 Etching with aquatint on Richard de Bas laid paper Signed in pencil on the justification page From the book edition of 400, book numbered “5”. Printed and published by Atelier & Editions Crommelynck, Paris, in 1971. With ‘La Célestine’ watermark. Baer 1771(II); Bloch 1754; Cramer 149 3 1/2 x 4 5/8 in. 904119 PICASSO, Pablo , 1881-1973 Reótre enlevant une femme pour le compte d’un cavalier. La Célestine, 1968 Etching with aquatint on Richard de Bas laid paper Signed in pencil on the justification page From the book edition of 400, book numbered “5”. Printed and published by Atelier & Editions Crommelynck, Paris, in 1971. With ‘La Célestine’ watermark. Baer 1642 (B-c); Bloch 1626; Cramer 149 2 1/4 x 3 1/4 in. 904128

10

PICASSO, Pablo , 1881-1973 Visiteur au nez bourdonien chez la Célestine., 1968 Etching with aquatint on Richard de Bas laid paper Signed in pencil on the justification page From the book edition of 400, book numbered “5”. Printed and published by Atelier & Editions Crommelynck, Paris, in 1971. With ‘La Célestine’ watermark. Based on ‘La Tragicomedia de Calisto y Melibea’, known by the title ‘La Celestina’, a dramatized novel in 21 acts, attributed to Fernando de Rojas, who published it in Burgos in 1499. ‘La Celestina’ is one of the major works in Spanish literature. Baer 1647; Bloch 1631; Cramer 149 2 1/4 x 3 1/4 in. 904132 PICASSO, Pablo , 1881-1973 Jeune prostituée et vieillard aux yeux exhorbités. La Célestine, 1968 Etching with aquatint on Richard de Bas laid paper Signed in pencil on the justification page From the book edition of 400, book numbered î5î. Printed and published by Atelier & Editions

Crommelynck, Paris, in 1971. With ‘La Célestine’ watermark. Baer 1764; Bloch 1749; Cramer 149 3 1/4 x 2 1/4 in. 904103

11

PICASSO, Pablo , 1881-1973 La Danse des Faunes, 1957 Lithograph printed in black with a beige tint stone Black ink stamped signature lower right

From the unnumbered edition of 1000, aside from the signed and numbered edition on Arches paper of 200. A very good and clear impression. With full margins. According to Mourlot, this image was published in the journal “Le Patriote” in Nice. Bloch 830; Mourlot 291; Reube 699 16 1/4 x 20 3/4 in. 910779

12

PICASSO, Pablo , 1881-1973 Colombe Volant ( l’Arc-en-Ciel), 1952 Color lithograph on paper Signed and dated in the stone Printed in 1960 with rainbow background for the Peace Movement. Printed by Mourlot, Paris, 1960. From the edition of 1000. The central image of the dove was originally created in 1952, as dated. Bloch 712; Mourlot 214; R. 598 19 3/4 x 25 1/2 in. 910288

13

PICASSO, Pablo , 1881-1973 Peintre en Demi-figure et Modèle au Chignon, 1966 Aquatint and crayon on Rives vellum paper Signed and dedicated to Aldo Crommelynck lower right in pencil One of fifteen artist’s proofs aside from the edition of 50, signed and dated on Rives vellum paper. Printed in the shop of Crommelynck. The painter and model was one of Picasso’s preferred subjects over his entire career, but particularly during the last decade of his life. Baer 1407, B/b/2; Bloch 1385 9 3/4 x 15 in. 912606

PICASSO, Pablo , 1881-1973 Scëne D’ Intérieur: L’Atelier, 1963

Aquatint on Rives vellum paper Signed and dedicated lower right

A very unique aquatint from the Crommelynck printing workshop. The second state, signed in pencil and dedicated to Aldo Crommelynck. One of 15 artist’s proofs on Rives vellum paper, aside from the edition of 50 signed and numbered. Bloch 1128; Baer 1125 II/B/b/2 17 3/4 x 21 3/4 in. 912594

14

PICASSO, Pablo , 1881-1973 La Série 156: Degas chez les Filles - La Note, 1971 Etching on BFK Rives paper Stamped signature and numbered ‘34/50’ Etching 126 from the Series 156. From the numbered edition published by Galerie Louise Leiris, Paris, 1978. Printed by Crommelynck between 1975 and 1977. There were also 15 artist’s proofs and 3 printer’s proofs aside from the edition, as well as proofs before steelfacing. Bloch 1981; Ba 1991.B.a 14 1/4 x 19 1/4 in. 911248

PICASSO, Pablo , 1881-1973 Couple avec Enfant, 1966 Aquatint with crayon on Rives vellum paper Signed lower right This aquatint is an excellent example of Picasso’s mixed media graphics. One of fifteen artist’s proofs. Aside from the edition of 50 signed and numbered on Rives vellum paper. From the workshop of Crommelynck. Dedicated to Aldo Crommelynck. Bloch 134; Baer 1406 B/b/2 16 1/2 x 19 3/4 in. 912605

15

CHAGALL

CHAGALL, Marc , 1887-1985 In the Land of the Gods: Then all poured libations from their brimming cups, and wished the bridegroom all manners of happiness, 1967 Color lithograph on Arches paper Signed and annotated ‘épreuve d’artiste 7/25’ in pencil From the series “In the Land of the Gods,” containing 12 original lithographs by Chagall. Preface by Robert Marteau. Artist’s proof aside from the edition of 75. Published by A.C. Mazo, Paris. With full margins. Mourlot 539; Cramer no. 72 17 3/4 x 12 1/2 in. 912900

16

17

CHAGALL, Marc , 1887-1985 Four Tales from the Arabian Nights: Plate 9, 1948 Lithograph printed in blue on laid paper Abdullah discovered before him and on his right and left mountains of water and solaced himself by gazing thereon and on the various sorts of fish. Some of them favoured buffaloes, others oxen and others dogs and yet others human beings... A progressive proof aside from the total edition of 111. Published by Pantheon Books, New York. With full margins. Mourlot 44; Cramer no. 18 16 13/16 x 12 7/8 in. 913923 CHAGALL, Marc , 1887-1985 Four Tales from the Arabian Nights: Plate 9, 1948 Lithograph printed in green on laid paper Abdullah discovered before him and on his right and left mountains of water and solaced himself by gazing thereon and on the various sorts of fish. Some of them favoured buffaloes, others oxen and others dogs and yet others human beings... A progressive proof aside from the total edition of 111. Published by Pantheon Books, New York. With full margins. Mourlot 44; Cramer no. 18 16 7/8 x 12 15/16 in. 913921 CHAGALL, Marc , 1887-1985 Four Tales from the Arabian Nights: Plate 9, 1948 Color lithograph on laid paper Abdullah discovered before him and on his right and left mountains of water and solaced himself by gazing thereon and on the various sorts of fish. Some of them favoured buffaloes, others oxen and others dogs and yet others human beings... A progressive proof aside from the total edition of 111. Published by Pantheon Books, New York. With full margins. In 1941, after a stay in Gordes, Marc Chagall left for the United States, at the invitation of the New York Museum of Modern Art. Among the many French friends who were there to welcome him was Jacques Schiffrin, who asked him to illustrate a book with colored lithographs. To help his friend, whose firm, Pantheon Books, was publishing French authors, Chagall agreed to make lithographs to illustrate ‘Four Tales from the Arabian Nights.’ Facing page

18

Instilled with fantastical splendor and stunning colors, ‘Four Tales from the Arabian nights’ is Chagall’s first major endeavor in color lithography. The dreamlike worlds not only echo the very essence of each tale, but also demonstrate Chagall’s ambition and capacity to capture and transcribe imaginary subjects and remarkable stories with lithography. An astounding achievement both technically and aesthetically, Chagall’s use of color brings the romantic and fantastical themes to life. The encouraging atmosphere of the Mourlot brothers’ atelier inspired Chagall to experiment with the medium with the utmost enthusiasm and tenacity. Lithography is a printing technique which allows the artist to paint directly on the prepped stone surface, resulting in more fluid and spontaneous strokes. In color lithography, a different stone is created for each color, so they can be layered on top of each other. Chagall would use up to twenty-five stones for a single composition. The progressive proofs not only demonstrate Chagallís bold selection of colors, but also his careful consideration of how each color complements one another to give the final composition its mysterious, poetic, and often romantic atmosphere. Mourlot 44; Cramer no. 18 16 7/8 x 13 in. 913920 19

CHAGALL, Marc , 1887-1985 Four Tales from the Arabian Nights: Plate 5, 1948 Color lithograph on laid paper

“So I came forth of the Sea and sat down on the edge of an island in the moonshine“... A progressive proof aside from the total edition of 111. Published by Pantheon Books,

New York. With full margins. Mourlot 40; Cramer no. 18 16 7/8 x 12 15/16 in. 913917

20

CHAGALL, Marc , 1887-1985 Four Tales from the Arabian Nights: Plate 13, 1948 Color lithograph on laid paper Then said the King in himself, “By Allah, I will not slay her, until I have heard the next of her tale”. So they slept the rest of that night in mutual embrace till day finally brake... A progressive proof aside from the total edition of 111. Published by Pantheon Books, New York. With full margins. Mourlot 48; Cramer no. 18 16 5/8 x 13 1/8 in. 913924 21

CHAGALL, Marc , 1887-1985 Le Christ au village, 1966 Monotype printed in colors on Japan paper Signed in black ink With rich, strong colors, showcasing Chagall’s mastery of color. Provenance: Editions Gérald Cramer, Geneva 1979.631 Exhibition History:

The Museum of Modern Art, “Chagall: Prints, Monotypes, Illustrated Books” November 22, 1979 - January 28, 1980 After a trial in 1961, Chagall became passionate about monotype and his process, achieving some of his best results between 1962 and 1975. A monotype is a hand-pulled print from an original drawing or painting, created by inking an entire surface like metal, copper or zinc plate; even Plexiglas or glass could be used. The image was then transferred to paper using a printmaking press. The paper had to absorb all of the ink in order to realize only one print at the time. Even though a monotype is a pulled print, it is an original, never a reproduction. The success of the process is based on a fast execution. Cramer 197 30 1/4 x 22 3/4 in. 914015

22

23

CHAGALL, Marc , 1887-1985 Daphnis and Chloé: Winter, 1961 Color lithograph on Arches paper

From the portfolio, ‘Daphnis and Chloé’, comprising 42 lithographs. A rare early proof impression prior to the edition. Held by Tériade from 1961 to 2017. Virtually impossible to duplicate, the colors extraordinarily rich and luminous, as the work has never seen the light of day. Outside the edition of 250, and the I-XX numbered edition. Printed by Mourlot. Published by Tériade, Paris. Provenance: The artist; Mourlot Atelier, Paris; Tériade, Paris From 1957 to 1960, Chagall worked on the lithographs for Daphnis and Chloé, basing them on paintings he executed in Greece. Considered by many to be one of his most important graphic series, the unrestricted use of color combined with romantic symbolism establishes this magnificent set of lithographs as a supreme artistic achievement by Chagall at the height of his powers. Mourlot 333 16 1/2 x 12 5/8 in. 914612

CHAGALL, Marc , 1887-1985 Daphnis and Chloé: Daphnis’s Dream and the Nymphs, 1961 Color lithograph on Arches paper From the portfolio, ‘Daphnis and Chloé’, comprising 42 lithographs. A rare early proof impression prior to the edition. Held by Tériade from 1961 to 2017. Virtually impossible to duplicate, the colors extraordinarily rich and luminous, as the work has never seen the light of day. Outside the edition of 250, and the I-XX numbered edition. Printed by Mourlot. Published by Tériade, Paris. Provenance: The artist; Mourlot Atelier, Paris; Tériade, Paris Mourlot 325 16 1/2 x 12 5/8 in. 914603

24

CHAGALL, Marc , 1887-1985 Daphnis and Chloé: Springtime in the Meadow, 1961 Color lithograph on Arches paper From the folio of 42 lithographs for ‘Daphnis et Chloé’ by Longus. Edited by Tériade, Paris with the lithographs printed by Mourlot, Paris. From the unsigned edition of 250 (there was also a signed and numbered edition of 60). Mourlot 314 16 1/2 x 25 in. 913704

25

CHAGALL, Marc , 1887-1985 Daphnis and Chloé: Lamon’s and Dryas’s Dreams, 1961 Color lithograph on Arches paper From the portfolio, ‘Daphnis and Chloé’, comprising 42 lithographs. A rare early proof impression prior to the edition. Held by Tériade from 1961 to 2017. Virtually impossible to duplicate, the colors extraordinarily rich and luminous, as the work has never seen the light of day. Outside the edition of 250, and the I-XX numbered edition. Printed by Mourlot. Published by Tériade, Paris. Provenance: The artist; Mourlot Atelier, Paris; Tériade, Paris Mourlot 311 16 1/2 x 12 5/8 in. 914591

CHAGALL, Marc , 1887-1985 Daphnis and Chloé: The Wolf Pit, 1961 Color lithograph on Arches paper

From the portfolio, ‘Daphnis and Chloé’, comprising 42 lithographs. A rare early proof impression prior to the edition. Held by Tériade from 1961 to 2017. Virtually impossible to duplicate, the colors extraordinarily rich and luminous, as the work has never seen the light of day. Outside the edition of 250, and the I-XX numbered edition. Printed by Mourlot. Published by Tériade, Paris. Provenance: The artist; Mourlot Atelier, Paris; Tériade, Paris Mourlot 312 16 1/2 x 12 5/8 in. 914593

Facing page

CHAGALL, Marc , 1887-1985 Daphnis and Chloé: Chloé, 1961 Color lithograph on Arches paper Signed and numbered ‘34/60’ in pencil

A beautiful, bright and vivid original lithograph from the complete portfolio, ‘Daphnis and Chloé’. There was also an unsigned edition of 250 without margins. Published by Tériade, Paris. Printed by Mourlot. From 1957 to 1960, Chagall worked on the lithographs for ‘Daphnis and Chloé’, basing them on paintings he executed in Greece. Considered by many to be one of his most important graphic series, the unrestricted use of color combined with romantic symbolism establishes this magnificent set of lithographs as a supreme artistic achievement by Chagall at the height of his powers. The story of ‘Daphnis and Chloé’, a pastoral elegy attributed to the Greek poet Longus, dates from the second century A.D. It is a classical romance involving the adventures of two foundling children raised by adopted parents who are humble shepherds in the idyllic setting of the Isle of Lesbos.

26

The discovery of the infants who have been left exposed takes place at different times, but in both circumstances their clothing and rich tokens found with them suggest the foundlings may be of noble birth. In each instance the shepherd who finds the babies is alone and tempted to steal their treasure and leave them to fate, but instead bows to the paternal instinct to nurture and raise the children as his own. As Daphnis and Chloé grow to be young adults tending their adopted parents’ sheep and goats on the sun-drenched Grecian hillsides and pastures, they discover that their friendship is turning to love but in their innocence they do not know how to proceed. Together they experience many trials and tribulations, protected throughout by the god Pan, before finally realizing their true fate. ‘Daphnis and Chloé’ has served through the ages as the inspiration for nearly every love story that has followed including Romeo and Juliet. Mourlot 339; Cramer no. 46 21 3/16 x 14 13/16 in. 913848 27

CHAGALL, Marc , 1887-1985 The Story of the Exodus: Then Moses stretched forth his

hande towarde heaven..., 1966 Color lithograph on Vélin d’Arches paper Signed in pencil on the justification page

From ‘The Story of the Exodus’, comprising 24 colored lithographs. Total edition of 285. Book number three from 250 on Vélin d’Arches paper. Published by Leon Amiel, Paris/New York. Printed by Mourlot, Paris. Mourlot 452; Cramer no. 64 20 x 14 1/2 in. 131720

CHAGALL, Marc , 1887-1985 The Story of the Exodus: Bezaleel made two cherubims of golde, 1966

Color lithograph on Vélin d’Arches paper Signed in pencil on the justification page

From ‘The Story of the Exodus’, comprising 24 colored lithographs. Total edition of 285. Book number three from 250 on Vélin d’Arches paper. Published by Leon Amiel, Paris/New York. Printed by Mourlot, Paris. Mourlot 464; Cramer no. 64 20 x 14 1/2 in. 131732

Facing page

CHAGALL, Marc , 1887-1985 The Story of the Exodus: Moses then came and called for the Elders of the people, and proposed unto them all these things, which the Lorde commanded him., 1966

Color lithograph on Vélin d’Arches paper Signed in pencil on the justification page

From ‘The Story of the Exodus’, comprising 24 colored lithographs. Total edition of 285. Book number three from 250 on Vélin d’Arches paper. Published by Leon Amiel, Paris/New York. Printed by Mourlot, Paris. In 1966, Chagall created this series of 24 original color lithographs depicting the biblical Story of the Exodus. The name Exodus means “going out” or “departure”. It refers not only to one of the most important events of the book, the Exodus of the Israelites from Egypt, but also to other highly significant events as well, such as the call of Moses and God’s covenant with the nation Israel at Sinai - an experience culminating in God’s giving of the moral law (the Ten Commandments) through Moses to the people. Portraying one of the most important stories of The Old Testament, Chagall’s Story of the Exodus is a brilliant series with vivid color illuminating the spiritual and emotional nature of the story. The Exodus lithographs were highly acclaimed at their time of release and remain one of Chagall’s most popular series due to their expert use of color and imagery.

28

Often Chagall would travel to foreign countries for inspiration for his artwork. Prior to creating the Story of the Exodus, Chagall made a journey to Palestine and present day Israel. He wanted to experience the land and culture of the birthplace of Judaism. Chagall’s time spent in the Middle East influenced all of his biblically themed works, including the Exodus Series and Bible Series. Mourlot 457; Cramer no. 64 20 x 14 1/2 in. 131725

29

CHAGALL, Marc , 1887-1985 The Bible: Moses and the Serpent, 1958 Hand-colored etching on wove paper Initialed and numbered ‘36/100’ in pencil

Plate #28 from “The Bible” series. Published by Tériade, Paris. Moses is one of the most desirable works from the Bible Series. A highly collectible piece with hand coloring.

Cramer no. 30 21 x 15 3/8 in. 122995

CHAGALL, Marc , 1887-1985 The Bible: Abraham and the Three Angels , 1956 Etching on wove paper Plate #7 from “The Bible” series. Published by Tériade, Paris. Themes from the Bible were a constant source of inspiration for Chagall. “Since my early youth, I have been fascinated by the Bible. It has always seemed to me still that it is the greatest source of poetry of all time. Since then I have sought this reflection in life and in art. The Bible is like an echo of nature and this secret I have tried to transmit.”

Cramer no. 29 14 1/2 x 12 in. 127991

Facing page

CHAGALL, Marc , 1887-1985 The Bible: Josué armé par l’éternel, 1956 Etching on Vélin paper Signed in the plate An excellent and exceptionally rare impression of the second of three states. Limited edition of probably 5 or 10 impressions. From Chagall’s ‘Bible’ series, comprised of two volumes, a total of 105 etchings. Published by Tériade Editeur, Paris. This preparatory state differs from the last and final state by the lightness in the treatment of the angel, and the remarque in the margin. These small studies engraved by Chagall do not appear in the final state of this engraving. Marc Chagall’s ‘Bible’ occupies an important place in his oeuvre because it embodies, refreshes and animates the stories, a true testament to the bond between art and literature. Sorlier 242; Cramer no. 29 17 1/4 x 13 in. 914514

30

31

DALÍ

DALÍ, Salvador , 1904-1989 Memories of Surrealism: Ultra-Surrealistic Corpuscular Galutska, 1971 Etching, drypoint and lithograph in colors on Japon paper Signed and numbered ‘F XXXVII/XL’ in pencil

Total tirage of 500. Dalí blindstamp. Published by Trans World Art, printed by Ateliers Rigal & Jobin. With full margins. Published in the portfolio of the same name. From the French edition. The lithographs were executed after collages and overprinted with an etched copperplate reworked in drypoint by Dalí. Field 71-15C; Michler & Löpsinger 496 30 x 21 1/4 in. 913473

32

33

DALÍ, Salvador , 1904-1989 Imaginations and Objects of the Future: Cyclopean Make-up, 1975 Color lithograph with etching and collage on Arches paper Signed and numbered ‘I 39/250’ in pencil From the suite ‘Imaginations and Objects of the Future’ comprising 10 lithographs with etching, six of which contain collage. There were a total of 250 in the English edition, and also a French edition of 250, with preface, title page, table of contents and text. Published/ printed by Merrill Chase Publishing Association/Ateliers Rigal, Désjobert and Chicago Serigraphy Workshop. With full margins. Field 75-11F; Michler & Löpsinger 827 30 x 22 in. 912500 DALÍ, Salvador , 1904-1989 Imaginations and Objects of the Future: Breathing Pneumatic Armchair, 1975 Color lithograph with etching and collage on Arches paper Signed and numbered ‘185/250’ in pencil From the suite ‘Imaginations and Objects of the Future’ comprising 10 lithographs with etching, six of which contain collage. There were a total of 250 in the English edition, and also a French edition of 250, with preface, title page, table of contents and text. Published/ printed by Merrill Chase Publishing Association/Ateliers Rigal, Désjobert and Chicago Serigraphy Workshop. With full margins. Field 75-11F; Michler & Löpsinger 826 30 x 22 in. 912525 DALÍ, Salvador , 1904-1989 Imaginations and Objects of the Future: Liquid and Gaseous Television, 1975 Color lithograph with etching and collage on Arches paper Signed and annotated ‘T.P.’ in pencil From the suite ‘Imaginations and Objects of the Future’ comprising 10 lithographs with etching, six of which contain collage. Lithographs by Desjobert and engravings by Rigal. This specific suite is a trial proof aside from the edition. Salvador Dalí’s fantastic and whimsical portfolio, ‘Imaginations and Objects of the Future’ (1975) includes 10 works on paper, presenting eye-catching selections of Dalí’s late work. The works show Dalí’s imaginative world as he entered a more religious and scientific phase of his life and art. After 1960, the artist became increasingly obsessed with mortality, nuclear warfare, technological advancement, and his own legacy as a creative genius. By focusing on his visions of the future and the afterlife, these works not only present central themes and motifs from Dalí’s career but also grants the viewer a glimpse into his personality. Facing page

34

‘Imaginations and Objects of the Future’ is filled with Dalí’s imaginative inventions of convenience and luxury. Using a variety of techniques, including collage, lithography and etching, Dalí draws the viewer in with explosive color and witty satire. Demonstrating his uncanny ability to predict the future, this portfolio reveals how some of Dalí’s fantasies have indeed become part of 21st-century reality. Field 75-11 C; Michler & Löpsinger 824 30 3/4 x 22 in. 912419

35

DALÍ, Salvador , 1904-1989 After 50 Years of Surrealism: L’Amour Sacré de Gala, 1974 Etching with hand coloring on BFK Rives wove paper Signed and numbered ‘F111/195’

From the French-language edition of 195. Total tirage of 460, aside from artist’s proofs and 300 lithographed posters. Published by Transworld Art, New York. Transworld blindstamp lower left corner. Text by André Parinaud. In 1974 Dalí created the portfolio titled ‘After 50 Years of Surrealism’. This portfolio serves as a documentation of important moments and events in the artist’s life, and can be seen as homage to André Breton’s ‘Surrealist Manifesto’, written 50 years earlier. Breton’s manifesto proposed a radical and systematic revision of received values, and a revaluation of the unconscious as a source of all artistic inspiration, a natural extension of ideas that Dalí had already begun to explore. The 12 hand-colored etchings that compose ‘After 50 Years of Surrealism’ display personal events in Dalí’s own life, and at the same time acknowledge his reverence for the ideals made popular by Breton, and are appropriately illustrated in the surrealist style that Dalí’s work so famously portrays. Field 74-8J; Michler & Löpsinger 674 12 3/4 x 11 7/8 in. 912289 DALÍ, Salvador , 1904-1989 After 50 Years of Surrealism: Le Musée de Genie et du Caprice, 1974 Etching with hand coloring on BFK Rives wove paper Signed and numbered ‘F111/195’ From the French-language edition of 195. Total tirage of 460, aside from artist’s proofs and 300 lithographed posters. Published by Transworld Art, New York. Transworld blindstamp lower left corner. Text by André Parinaud. Field 74-8L; Michler & Löpsinger 676 12 3/4 x 11 7/8 in. 912291

36

DALÍ, Salvador , 1904-1989 Le guerrier, 1949 Pen and India ink on paper Signed, dated and dedicated, ‘Para Edgar con un fuerte abrazo de Salvador Dalí 1949’ in ink Title pages from ‘50 Secrets of Magic Craftsmanship’, illustrated with the artist’s own drawings and dedicated. Published by Dial Press, New York, 1948. A photocertificate from Robert Descharnes dated Paris, April 1, 1986, accompanies this drawing. Dalí’s work explored his own dream life, hallucinations and fetishes in the process of objectifying the irrational elements of the unconscious. In ‘50 Secrets of Magic Craftsmanship’, he expresses his ideas of what painting should be, expounds on what is good and bad painting, offers opinions on the merits of Vermeer, Picasso, Cézanne and other artists, and expresses his thoughts on the history of painting. In a blend of outrageous egotism and unconventional humor, Dalí presents 50 “secrets” for mastering the art of painting: îthe secret of sleeping while awake, the secret of the periods of carnal abstinence and indulgence to be observed by the painter, the secret of the painter’s pointed mustaches, the secret of learning to paint before knowing how to draw, the secret of the painter’s marriage, the secret of the reason why a great draughtsman should draw while completely naked, and many other Dalíesque prescriptions for artistic success. Especially esteemed for its insights into modern art, ‘50 Secrets of Magic Craftsmanship’ was indispensable reading for any student of Surrealism or 20th century painting. 12 x 18 in. 914186

37

DALÍ, Salvador , 1904-1989 Water Tower (from Visions of Chicago), 1972 Drypoint with hand-coloring on BFK Rives paper Signed, annotated `bon à tirer’ and `premiere Èpreuve pour l’approbation du Maitre Dalí’ in red ballpoint pen From the complete set of four drypoints with hand-painted coloring on BFK Rives paper. With full margins. The ‘good to print’ impression aside from the edition of 100, 50 in Roman numerals and various artist’s proofs. Published by Merrill Chase Publishing Association, Chicago. Inscribed `Epreuve en BAT faisant partie de notre Collection Denise Rigal’ in pencil on the reverse. Authenticity confirmed by Nicholas Descharnes. Field 75-6 C; Michler & Löpsinger 531 19 5/8 x 25 1/2 in. 913845

38

DALÍ, Salvador , 1904-1989 Buckingham Fountain (from Visions of Chicago), 1975 Etching and color lithograph on BFK Rives paper Signed and numbered ‘EA’ in pencil One of 30 artist’s proofs on BFK Rives paper. Total tirage of 275. Published by Merrill Chase, Chicago. This suite embodies Dalí’s remembrances and feelings about Chicago. Dalí explained to Robert Chase that he did not see Chicago as Sandburg saw Chicago; i.e. husky, brawling city of the big shoulders; but rather, Dalí said, “Your beautiful lake shore, your river way, and skyscrapers make me think of a tall beautiful woman.” This female form appears in each of the four prints in ‘Visions of Chicago’ and represents the spirit of Chicago. The spirit figure is imprinted in sepia color to create an ethereal effect. Dalí was extremely excited about the circles of color which appear on each of the Chicago prints. He explained that on a visit to Chicago’s Art Institute years prior, he was very impressed with the great pointillist painting, ‘Sunday on the Grande Jatte’ by Georges Seurat. It was this piece executed with dots of color that first came to Dalí’s mind when Chicago was mentioned. Dalí’s unique vision enlarged Seurat’s dots to bright circles of color for the Chicago Suite. In addition to being major compositional elements, each circle of color represents characteristics which he saw in Chicago: Blue for the industry of the people and the city’s hard working character; gold for its artistic achievements and cultural values; red for the passion, the vitality, the heart of a growing metropolis; and purple for the

pride he has discerned in its people. Field 75-6 B; Michler & Löpsinger 530 25 7/8 x 19 3/4 in. 913605

39

40

DALÍ, Salvador , 1904-1989 Carmen: Don José and Carmen Flee, 1970 Color lithograph on Arches paper Signed and numbered ‘72/125’ in pencil From the portfolio ‘Carmen’, comprising 25 color lithographs from original gouaches, with complete text. Edition of 125. Inscribed ‘No. 72’ in black ink on the justification page. Introduction and libretto in English. Printed and published by Shorewood Publishers, Inc., New York. Salvador Dalí interprets Bizet’s famous opera, ‘Carmen’, and his work returns to all things Spanish and reveals his fascination with the colorful psychedelic explosion of those mind-bending times. As Sixties’ political rebellion gives way to Seventies’ decadence, we find the Spanish master undertaking his famous ‘Carmen’ series of colored lithographs, published in 1970. The brigands, gypsies, and smugglers, who form the cast of this most beloved of operas, are the perfect counterpoint to Dalí’s increasingly distracting wealth and fame. Dalí would depict the bullfight numerous times throughout his career and Bizet’s opera, set in Seville and featuring the toreador Escamillo in a primary role, provides Dalí with an ideal context in which to explore this most Spanish pastime. Field 70-1 K; Michler & Löpsinger 1316 25 1/2 x 19 3/4 in. 914117 DALÍ, Salvador , 1904-1989 Untitled [Study for étude paranoïaque-critique de la Dentellière de Vermeer and La Cène], circa 1955 Ballpoint pen drawing on sketchpad page From Dali’s personal sketchbook, this piece is a study for étude paranoïaque-critique de la Dentellière de Vermeer (1955) and La Cène (1955). Authenticated by Nicholas Descharnes, 2014 (reference number d5450).

4 x 6 in. 908202

DALÍ, Salvador , 1904-1989 Untitled [Study for La Cène], circa 1955 Ballpoint pen and pencil on sketchbook page Signed lower right

From Dalí’s personal sketchbook, this piece is a study for La Cène (1955). Authenticated by Nicholas Descharnes, 2014 (reference number d5451).

4 x 6 in. 908201

41

DALÍ, Salvador , 1904-1989 Alice’s Adventures in Wonderland: Alice, 1969 Color etching on Mandeure rag paper Signed in pencil on the title page From the complete portfolio, ‘Alice’s Adventures in Wonderland’, comprising 1 etching and 12 heliogravures in colors on Mandeure paper. Stamp numbered 1883 on justification page. From the edition 2500, with text in English. The etching and remarques were printed by Ateliers Rigal, France and the 12 illustrations were printed by M. Nourisson, France. Published by Maecenas Press - Random House, New York. With full margins. In 1969, Salvador Dalí created a special edition of illustrations using the heliogravure process, in which the image is etched upon a copper plate and then placed on a hand-turned press, where special inks transfer to dampened etching paper to produce the image. Printed by hand in limited quantities, each is considered an original. They depict the tales in Lewis Carroll’s ‘Alice’s Adventures in Wonderland.’ The 12 whimsical illustrations also contain many of the Spanish artist’s signature touches - a melting watch, butterflies, bifurcated crutches and objects out of proportion to one another. What links Carroll and Dalí in the 1969 edition is their shared fascination with the fantastic, the dream world, and their respective cultures’ reliance on space and time to order human experience. What better way to turn convention topsy-turvy than envision the world through the imagination of a child? And who better than Dalí to express the world of unconscious desire, counter-logics and alternate realities that Alice encounters on her journey? Field 69-5A; Michler & Löpsinger 321 18 1/2 x 13 in. 914326 DALÍ, Salvador, 1904-1989 Alice’s Adventures in Wonderland: The Rabbit Sends in a Little Bill, 1969 Heliogravure in colors on Mandeure rag paper Signed in pencil on the title page From the complete portfolio, ‘Alice’s Adventures in Wonderland’, comprising 1 etching and 12 heliogravures in colors on Mandeure paper. Stamp numbered 1883 on justification page. From the edition 2500, with text in English. The etching and remarques were printed by Ateliers Rigal, France and the 12 illustrations were printed by M. Nourisson, France. Published by Maecenas Press - Random House, New York. With full margins. Field 69-5E; Michler & Löpsinger 325 17 x 11 1/2 in. 914330

42

DALÍ, Salvador , 1904-1989 Alice’s Adventures in Wonderland: The Pool of Tears, 1969 Heliogravure in colors on Rives paper Signed in pencil on the title page From one of 200 deluxe double-portfolios, ‘Alice’s Adventures in Wonderland’. Aside from the regular single portfolio edition of 2500. Also included in the deluxe portfolio is the suite of one additional etching and 12 heliogravures on Japan nacré paper in a separate portfolio. Stamp-numbered ‘XCI’ on the justification page. The etching and remarques were printed by Ateliers Rigal, France and the 12 illustrations were printed by M. Nourisson, France. Published by Maecenas Press - Random House, New York. With full margins. Field 69-5C; Michler & Löpsinger 323 17 x 11 1/2 in. 914397

DALÍ, Salvador , 1904-1989 Alice’s Adventures in Wonderland: The Mock Turtle’s Story, 1969 Heliogravure in colors on Mandeure rag paper Signed in pencil on the title page From the complete portfolio, ‘Alice’s Adventures in Wonderland’, comprising 1 etching and 12 heliogravures in colors on Mandeure paper. Stamp numbered 2293 on justification page. From the edition of 2500, with text in English. The etching and remarques were printed by Ateliers Rigal, France and the 12 illustrations were printed by M. Nourisson, France. Published by Maecenas Press - Random House, New York. With full margins. Field 69-5J; Michler & Löpsinger 330 17 x 11 1/2 in. 910806

43

MIRÓ

MIRÓ, Joan , 1893-1983 Fundació Palma I, 1988 Etching, aquatint and carborundum on Guarro watermarked paper Stamp signed and numbered ‘7/80’ in pencil

One of five etchings completed before the artist’s death in 1983, and printed in 1988. From the edition of 80 on Guarro watermarked S. Gaspar, numbered and stamped, and 15 not for sale copies, stamped. Published by Sala Gaspar, Barcelona. Printed by J.J. Torralba, Barcelona. Stamped verso, ‘GRAVURE ORIGINALE CERTIFIÉE AUTHENTIQUE POUR LA SUCCESSION MIRÓ, EMILIO F. MIRÓ’, and signed by Emilio F. Miró in pencil. Dupin 1305 38 x 27 5/8 in. 913881

44

45

MIRÓ, Joan , 1893-1983 Càntic del Sol: Untitled, 1975 Etching and aquatint in colors on paper

From the complete deluxe edition of Càntic del Sol. Text in Catalan. Deluxe edition from the total edition of 273 on Guarro wove paper. This is example number 11 from the numbered portfolios from 3 to 12. Sadagcolor, Barcelona, for the text and typography. Editorial Gustau Gili S.A., Barcelona, for the etchings. Dupin 861; Cramer 196 13 3/4 x 20 in. 908665

46

MIRÓ, Joan , 1893-1983 Càntic del Sol: Untitled, 1975 Etching and aquatint in colors on wove paper

From the complete deluxe edition of Càntic del Sol. Text in Catalan. Deluxe edition from the total edition of 273 on Guarro wove paper. This is example number 11 from the numbered portfolios from 3 to 12. Sadagcolor, Barcelona, for the text and typography. Editorial Gustau Gili S.A., Barcelona, for the etchings. Dupin 857; Cramer 196 13 3/4 x 20 in. 908661

47

MIRÓ, Joan , 1893-1983 Lézard Aux Plumes D’or, 1971 Color lithograph on Arches paper Signed lower right An extremely rare printer’s proof, aside from the edition. Annotated with pencil marks and flash marks throughout. Accompanied by a letter from Miró to the printer, Fernand Mourlot, giving his edits and instructions during the printmaking process. Maeght 828 14 x 39 in. 912318

48

49

MIRÓ, Joan , 1893-1983 Le Lézard aux Plumes d’or, 1967 Color lithograph on BFK Rives paper

Signed, dated ‘27/XI/63’ and inscribed ‘Bon à tirer aprés rectifications ci-contre’ lower left and ‘B’ upper right in pencil An extremely rare, unique, prepatory work before the edition, with rich colors and contrasts. Printed by Mourlot, Paris. Published by Maeght, Paris. Maeght 528 13 7/8 x 19 5/8 in. 912818

MIRÓ, Joan , 1893-1983 Fundació Palma III, 1988 Etching, aquatint and carborundum on Guarro watermarked paper Stamp signed and numbered ‘33/80’ in pencil One of five etchings completed before the artist’s death in 1983, and printed in 1988. From the edition of 80 on Guarro watermarked S. Gaspar, numbered and stamped, and 15 not for sale copies, stamped. Published by Sala Gaspar, Barcelona. Printed by J.J. Torralba, Barcelona. Stamped verso, ‘GRAVURE ORIGINALE CERTIFIÉE AUTHENTIQUE POUR LA SUCCESSION MIRÓ, EMILIO F. MIRÓ’, and signed by Emilio F. Miró in pencil. Dupin 1307 37 7/8 x 27 3/4 in. 913883

Facing page

MIRÓ, Joan , 1893-1983 Les forestiers (bleu), 1958

Aquatint in colors on Rives BFK paper Signed, dated ‘16/7/58.’ and annotated ‘Bon à tirer pour cent épreuves’ by Miró in pencil

The good-to-print proof impression before the edition of 75. A totally unique, one-of-a-kind artwork with brilliant, rich colors. Never before presented or framed before now. Printed by Crommelynck et Dutrou and published by Maeght, Paris. With full margins. Provenance: The Artist; Maeght, Paris; Piero Crommelynck Collection, Paris (inkstamp verso) Dupin 150 26 1/8 x 19 3/4 in. 914291

50

51

INDEX PICASSO, Pablo, 1881-1973

A Los Toros: Le Picador II 3 Les Métamorphoses d’Ovide - Vertumne poursuit Pomone de son Amour​ 4 Les Métamorphoses d’Ovide - Deux Têtes de Femmes​ 4 Les Métamorphoses d’Ovide - Chute de Phaéton avec le Char du Soleil ​4 Les Métamorphoses d’Ovide – Têtes​ 5 Les Métamorphoses d’Ovide - Quatre Femmes en Fuite​ 5 Les Métamorphoses d’Ovide - Deux Têtes de Femmes​ 5​ Buste de Femme au Fichu​ 7 Le Danseur (Tête de’Histrion) 8 Le Danseur (Tête de’Histrion)​ 9 Petite Infante accroupie et courtisan. La Célestine.​ 10 Homme à la pipe et à la canne et jeune femme nue. La Célestine.​ 10 Reître enlevant une femme pour le compte d’un cavalier. La Célestine.​ 10 Visiteur au nez bourdonien chez la Célestine.​ 11 Jeune prostituée et vieillard aux yeux exhorbités. La Célestine.​ 11 La Danse des Faunes​ 12 Colombe Volant (á l’Arc-en-Ciel)​ 13 Peintre en Demi-figure et Modèle au Chignon 14​ Scène D’ Intérieur: L’Atelier​ 14 La Série 156: Degas chez les Filles - La Note​ 15 Couple avec Enfant​ 15 and wished the bridegroom all manners of happiness​ 17 Four Tales from the Arabian Nights: Plate 9​ 18 Four Tales from the Arabian Nights: Plate 9​ 18 Four Tales from the Arabian Nights: Plate 9 19 Four Tales from the Arabian Nights: Plate 5​ 20 Four Tales from the Arabian Nights: Plate 13​ 21 Le Christ au village​ 23 Daphnis and Chloé: Winter​ 24 Daphnis and Chloé: Daphnis’s Dream and the Nymphs​ 24 Daphnis and Chloé: Springtime in the Meadow 25 Daphnis and Chloé: Lamon’s and Dryas’s Dreams​ 26 Daphnis and Chloé: The Wolf Pit​ 26 CHAGALL, Marc, 1887-1985 In the Land of the Gods: Then all poured libations from their brimming cups,

52

Daphnis and Chloé: Chloé​ 27 The Story of the Exodus: Then Moses stretched forth his hande towarde heaven...​ 28 The Story of the Exodus: Bezaleel made two cherubims of golde​ 28 The Story of the Exodus: Moses then came and called for the Elders of the people, and proposed unto them all these things, which the Lorde commanded him.​ 29 The Bible: Moses and the Serpent​ 30 The Bible: Abraham and the Three Angels​ 30 The Bible: Josué armé par l’éternel​ 31 DALÍ, Salvador, 1904-1989 Memories of Surrealism: Ultra-Surrealistic Corpuscular Galutska​ 33 Imaginations and Objects of the Future: Cyclopean Make-up​ 34 Imaginations and Objects of the Future: Breathing Pneumatic Armchair​ 34 Imaginations and Objects of the Future: Liquid and Gaseous Television 35 After 50 Years of Surrealism: L’Amour Sacré de Gala​ 36 After 50 Years of Surrealism: Le Musée de Genie et du Caprice ​36 Le Guerrier ​37 Water Tower (from Visions of Chicago) ​38 Buckingham Fountain (from Visions of Chicago)​ 39 Carmen: Don José and Carmen Flee​ 40

Untitled [Study for Étude paranoïaque-critique de la Dentellière de Vermeer and La Cène]​

41

Untitled [Study for La Cène]​​ 41 Alice’s Adventures in Wonderland: Alice​ 42

Alice’s Adventures in Wonderland: The Rabbit Sends in a Little Bill​

42 43

Alice’s Adventures in Wonderland: The Pool of Tears​ Alice’s Adventures in Wonderland: The Mock Turtle’s Story​

43

MIRÓ, Joan, 1893-1983 Fundació Palma I​ Càntic del Sol: Untitled​ Càntic del Sol: Untitled​ Le Lézard aux Plumes d’or​

45 46 47

48 Le Lézard aux Plumes d’or​ 50 Fundació Palma III​ 50​ Les forestiers (bleu) ​51

53

Made with FlippingBook - Online Brochure Maker