Beschreibung:

Co Cordèl (Bolsward 1957) a) Still life with pharmacy bottle and mortar Signed and dated ’90 lower centre Oil on board, 40 x 22.9 cm b) Still life with glass bottles Oil on board, 40 x 23 cm (2x) * Condition report available upon request
Jan Schoonhoven (1914-1994) Formatie (Formation) (1987) Published by Bébert, Rotterdam Portfolio comprising 12 screenprints by Jan Schoonhoven and a text by Janneke Wesseling The colophon signed by both, dated ’87 and numbered 7 Each screenprint signed and dated 1987 lower right and numbered 7/100 lower left, each 49.9 x 32.4 cm Provenance: Private collection, the Netherlands * Condition report available upon request
Co Cordèl (Bolsward 1957) a) Still life with pharmacy bottle and mortar Signed and dated ’90 lower centre Oil on board, 40 x 22.9 cm b) Still life with glass bottles Oil on board, 40 x 23 cm (2x) * Condition report available upon request
Joseph Beuys (1921-1986) Das Warhol-Beuys-Ereignis (1979) Signed and annotated Braunkreuz centre right Edition of 500 Published by Free International University, Gelsenkirchen Oil on pages 16 and 17 from the publication Das Warhol-Beuys-Ereignis, 29.5 x 41.7 cm / 36 x 47 cm (framed) Provenance: - Auction Christie's, Amsterdam, 9 June 2004, lot 427 - Collection Cornelia Weijsenfeld, de Wittenberg, Garderen Literature: Schellmann 319 Note: Braunkreuz translates directly to 'Brown cross'. This wordplay name was invented by Beuys and was used to label his works that contained a very specific brown oil paint. It was a house paint that he thickened with hare's blood. Due to its simplicity and boldness, the artist treated it as if it was a sculptural expression and not just a colour. * Condition report available upon request
Co Cordèl (Bolsward 1957) a) Still life with pharmacy bottle and mortar Signed and dated ’90 lower centre Oil on board, 40 x 22.9 cm b) Still life with glass bottles Oil on board, 40 x 23 cm (2x) * Condition report available upon request
Man Ray (1890-1976) La Ballade des Dames hors du Temps (1970): a) Anna Signed lower right and numbered E.A. lower left Etching on Japon nacré, 32.1 x 28.2 cm (image size) / 67.1 x 51.6 cm (sheet size) b) Julie Signed lower right and numbered E.A. lower left Etching with aquatint on Japon nacré, 49.6 x 43.4 cm (image size) 67.1 x 51.1 cm (sheet size) c) Tony Signed lower right and numbered E.A. lower left Etching with aquatint on Japon nacré, 50 x 40.2 cm (image size) / 67.4 x 51.3 cm (sheet size) d) Natasha Signed lower right and numbered E.A. lower left Etching with aquatint on Japon nacré, 49.8 x 39.9 cm (image size) / 67.2 x 51.1 cm (sheet size) Printed by Jacques David, Paris and co-published by Leon Amiel, New York, and Société Internationale d'Art XXe Siècle, Paris Literature: Anselmino 60 Note: Including the original cloth-covered portfolio with justification page numbered EA II, title page and text by André Breton in English and French in the original paper folder with an etching on the cover. Besides the regular edition of 60 and 20 Horse Commerce on Arches paper, this portfolio is part of the edition of 20 (15 + 5) on Japon nacré, which contains a variant of one of the engravings and a separate print of the etching that was specially engraved for the cover, titled Anna. Man Ray, born Emmanuel Radnitzky, was a pioneering artist, photographer, and filmmaker whose innovative contributions played a pivotal role in shaping the Dada and Surrealist movements of the 20th century. Ray grew up in New York City where he studied architecture, engineering, and art. In 1915, Ray met French artist Marcel Duchamp. Through collaboration, the duo delved into avant-garde ideas and formed the New York Dada movement. Ray later experimented with photography, and rediscovered how to make “camera less” pictures, a technique known as “Rayographs”. Ray’s artistic versatility extended beyond photography into the realm of printmaking, including etching. 'La ballade des dames hors du temps' is a portfolio consisti