- JOSEF ALBERS "EMERAUDE" SOFT EDGE-HARD
JOSEF ALBERS "EMERAUDE" SOFT EDGE-HARD EDGE, 1965 Josef Albers (German-American, 1888-1976) "Emeraude" from the 'Soft Edge-Hard Edge' portfolio, 1965, color screenprint, signed and dated in pencil lower right, edition 32 / 50, house under glass in a Kulicke frame. Image: 16.75" H x 16.625" W; frame: 17.25" H x 17" W.
- JOSEF ALBERS GALERIE MELKI EXHIBITION
JOSEF ALBERS GALERIE MELKI EXHIBITION POSTER, 1973 Josef Albers Galerie Melki (Paris) gallery exhibition poster, with image of "Homage to the Square," 1973. Image: 33" H x 21.5" W; frame: 33.5" H x 22.25" W.
- JOSEF ALBERS, COLOR SCREENPRINT, 1966
JOSEF ALBERS, COLOR SCREENPRINT, 1966 Josef Albers (American/German, 1888-1976),"Variant VII" (from Ten Variants), pencil initialed, titled, dated and numbered 169/200 lower margins, framed under glass, 10"h x 14"w (image), 18"squ (frame)
- JOSEF ALBERS, COLOR SCREENPRINT, 1966
JOSEF ALBERS, COLOR SCREENPRINT, 1966 Josef Albers (American/German, 1888-1976),"Variant V" (from Ten Variants), pencil initialed, titled, dated and numbered 169/200 lower margins, framed under glass, 10"h x 14"w (image), 18"squ (frame)
- JOSEF ALBERS, COLOR SCREENPRINT, 1966
JOSEF ALBERS, COLOR SCREENPRINT, 1966 Josef Albers (American/German, 1888-1976),"Variant X" (from Ten Variants), pencil initialed, titled, dated and numbered 169/200 lower margins, framed under glass, 10"h x 14"w (image), 18"squ (frame)
- FRANZ STUCK (1863-1928) EXHIBITED OIL
FRANZ STUCK (1863-1928) EXHIBITED OIL ON PANELIMPORTANT :: NEW INFORMATION: Click Here for a third party condition report by an expert on panel paintings.Franz Von Stuck (1863-1928)Lauschende Faune (Listening Fauns), BelauschtThe important oil on panel signed Franz Stuck lower right front is displayed in its original frame of the artist's design produced by Hans Irlbacher of Munich. Hans Irlbacher's original label remains verso, as does part of an exhibition label from The Metropolitan Museum of Art.Franz Stuck was an influential artist of the 19th century and co-founder of the Munich Secession movement. As art instructor his students included Paul Klee, Hans Purrmann, Wassily Kandinsky, Alf Bayrle and Josef Albers, most of whom were involved in the Munich Secession as well. This important early work from the artist's oeuvre was only recently re-discovered in a Kansas City, Missouri home after a 100-year absence from exhibition or publication. Until now, the painting was known only by black and white images in early 20th century art journals and exhibition catalogs.TITLE OF THE WORK:The Art Loss Register lists the title of this work as Lauschende Faune (Listening Fauns).The German art journal Die Kunst, 1904, pictures this work on page 38 and lists the title as Belauscht (Overheard or Eavesdropping).The International Studio - An Illustrated Magazine of Fine and Applied Art, August 1909, illustrates this painting and lists the title as Listening Fauns.The exhibition catalog for the Dallas Art Association's First Annual Exhibition: Contemporary International Art,' November 18-27, 1919 also lists the title as Listening Fauns.EXHIBITION:Metropolitan Museum of Art 1909 (remains of the Metropolitan Museum of Art exhibition label remain verso)Chicago Institute of Art 1909.Copley Society Boston 1909.Dallas Art Association's First Annual Exhibition: Contemporary International Art, 1919.PROVENANCE:Art Loss Registry lists the succession as beginning with Galerie Heinemann, Franz Stuck's primary dealer, 09 August 1899 acquired for RM 9000 (inventory number 4612) and sold to Hugo Reisinger on 14 August 1899 for RM 9000. Then Hugo Reisinger until at least 1908.The International Studio · An Illustrated Magazine of Fine and Applied Art for August of 1909 includes an image of this painting as part of a nine-page piece titled THE COLLECTION OF HUGO REISINGER I GERMAN AND AMERICAN PICTURES. BY CHRISTIAN BRITON, confirming the owner as Hugo Reisinger in 1909.The painting was exhibited at The Metropolitan Museum of Art in January, 1909 and again identified in the exhibition catalog as being the property of Hugo Reisinger.As an aside, Hugo Reisinger was a banker, businessman and serious art collector. He married the 18-year-old daughter of St. Louis, Missouri brewer Adolphus Busch in 1890.In 1919, the exhibition catalog for the Dallas Art Association's First Annual Exhibition: Contemporary International Art,' November 18-27, 1919 marks a change by listing the owner of this painting as Edward A. Faust, a prominent St. Louis, Missouri restaurateur and close friend of Adolphus Bush.As an aside, Edward A. Faust was close friend to Adolphus Bush who brewed a lager named for him. Their families were later connected by marriage. In 1878 Faust went to the Paris Exposition where he purchased his own electric power plant for $15,000 and installed it in his restaurant, establishing the first electric illumination in St. Louis.For the next 100 years the whereabouts of this painting are not precisely known. It was never again exhibited or published and went unrecognized by survivors of the couple who owned it most recently, Colonel and Mrs. S.D. Slaughter of Kansas City, Missouri.When this lost work by Franz Stuck was re-discovered inside the Slaughter's Kansas City, Missouri mansion in 2021, another painting was found there as well. This other painting, a large equestrian scene by a British artist, was accompanied by documentation confirming that it had been purchased by the Colonel and his wife in St. Louis, Missouri in 1964. No receipts for the work by Stuck were found. The city of St. Louis, Missouri is 348 miles from Kansas City.Through descent, this work by Franz Stuck is being offered by two brothers who confirm its existence in the home of their grandparents, Colonel and Mrs. S.D. Slaughter, beginning sometime in the 1960s.ALTERNATE SPELLING:The artist's alternate spelling of Franz Von Stuck marks his receiving the Order of Merit of the Bavarian Crown in 1906 after which he was known as Franz Ritter von Stuck.Overall framed size measures 45 x 47.25 inches.Very good condition, apparently untouched but for an old over-varnish that has darkened and in some areas, shows some drips and thickness.There are no areas or bits of touch-up or inpainting indicated under UV light examination.There is a 2.5 inch diameter area of deterioration of the medium that shows as a cluster of fine, irregular, vertical lines of white medium exposed in a cluster just to the left of the figure, and scattered to a far lesser degree just below the figure and to the left quadrant. There are no other issues of loss, no major scratches, chips, dents, gouges, flakes, cupping, rubs or other issues.The frame displays scattered chips overall as shown and heavy wear to the painted laurel running vertically along each long side.
- JOSEF ALBERS (GERMAN, 1888-1976) Intaglio
JOSEF ALBERS (GERMAN, 1888-1976) Intaglio print. "Intaglio Duo B". 1958. Signed and dated lower right. No. 15 from an edition of 30. From a New York, NY collection. Dimensions: 22" high x 30" wide Condition: Staining. Toning. Framed behind glass, not examined out of frame.
- JOSEF ALBERS (GERMAN, 1888-1976). Screenprint.
JOSEF ALBERS (GERMAN, 1888-1976). Screenprint. Wide Light. From a New York, NY collection. Dimensions: 17.25" high x 17.25" wide Condition: Toning. Minor buckling. Framed behind plexiglass, not examined out of frame
- JOSEF ALBERS (GERMAN, 1888-1976). Full
JOSEF ALBERS (GERMAN, 1888-1976). Full page from the Formulation: Articulation portfolio, 1972. Screenprint on Mohawk Superfine Bristol. Double page. Unsigned. Printed copyright and text verso. Title page from the portfolio accompanies this lot. From a private collection. From a private collection. Dimensions: 15" h x 40" w. Condition: Scattered stains. Unframed.
- MISCELLANEOUS GROUP OF ART BOOKSIncluding:
MISCELLANEOUS GROUP OF ART BOOKSIncluding: Human Concern / Personal Torment by Robert Doty, Whitney Museum of American Art, 1969; Love and Joy About Letters by Ben Shaw, Grossman Publishers, 1963; Victorian Photographs of Famous Men and Fair Women by Julia Margaret Cameron, The Hogarth Press, 1973; La Collezione edited by Peggy Guggenheim, for the Guggenheim Collection; Era of Exploration: The Rise of Landscape Photography in the American West 1860–1885 by Weston J. Naef, Buffalo Fine Arts Academy, Albright-Knox Art Gallery, and The Metropolitan Museum of Art, 1975; Motif 8 edited by Ruari McLean, Shenval Press Ltd London, Winter 1961; Je suis le cahier: The Sketchbooks of Picasso by Arnold Glimcher, Atlantic Monthly Press, 1996, first edition in original plastic wrapping; Claes Oldenburg: Drawings and Prints with an introduction by Gene Baro, Chelsea House Publishers, 1969; Raoul Duffey 1877–1953 , a catalogue from Hirschl and Adler Galleries, Inc. and Honolulu Academy of Arts, 1996; Josef Albers: Despite Straight Lines by François Bucher and Josef Albers, Yale University Press, 1961; Picasso: An American Tribute edited by John Richardson, Public Education Association, 1962; Mapplethorpe, 1993 Diary photographs by Robert Mapplethorpe, Neues Publishing Co., 1992; Robert Mapplethorpe with photographs by Robert Mapplethorpe, translated by Eric Wilfert, Stedelijk Museum, 1988, signed and dated 1988, in German; Menschenbilder from the Komitee Därstädler Gerprach, 1968, in German; Sweet Pea: A Black Girl Growing Up in the Rural South by Jill Kermentz, Harcourt, Brace and World Inc., 1969, first edition; and A View of One's Own: Three Women Photographers in Rome photographs by Esther Boise Van Denman, Georgina Masson, and Jeanette Montgomery Barron, American Academy in Rome, 2016 (16).
Condition
All with wear consistent with age and use. Individual condition reports not available for this lot.
Notwithstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- JOSEF ALBERS "STRUCTURAL CONSTELLATION"
JOSEF ALBERS "STRUCTURAL CONSTELLATION" (SCULPTURE CA. 1970)Josef Albers
(German/ American, 1888-1976)
Structural Constellation , circa 1970
Etched glass, aluminum encasement, light
14 3/4" x 15 1/4" x 4"
A rare and exceptional light sculpture by the prominent Bauhaus artist and educator, created as part of his ongoing Structural Constellation series begun in 1950. Albers' Structural Constellations are linear compositions engraved with mathematical precision, studies of the perception of space. Though the vast majority of works in the series were two-dimensional in nature (drawings on paper or engraved forms on opaque Vinylite boards), Albers' use of glass for this sculpture literally adds a dimension of interest-- observable from opposite sides-- to say nothing of the added layer of fascination offered by the light element. Glass as a medium also represents a scarce late-career return for Albers to the artistic discipline that launched his career: not only was a glass piece his first commission, it was his also his glass expertise that initially earned him an instructor role at the Bauhaus.
This sculpture was featured on the Antiques Roadshow, original air date 3/31/2014, filmed in Kansas City, MO, appraised by Betty Krulik, Betty Krulik Fine Arts, Ltd. (New York). Artist-signed with an "A" monogram to the bottom corner. Includes a vintage custom-made case.
Provenance : A private Kansas City area collection, thence by descent, acquired as a gift from the Carborundum Company circa 1976, thence from the artist.
Condition
Good condition, noting mild wear to the aluminum and a couple of minor stray scratches to the glass. The light element is fully operational. As the glass slides are presently situated, one side of the sculpture shows the optical phenomenon of Newton's rings (a reflective pattern sometimes observable with two flat panes of glass in close proximity).
- JOSEF ALBERS (AFTER) "HOMAGE TO THE
JOSEF ALBERS (AFTER) "HOMAGE TO THE SQUARE" (SERIGRAPH)Josef Albers (after)
(German/ American, 1888-1976)
Joy: Homage to the Square , after a 1962 painting
Serigraph on paper
8 3/4" x 8 3/4" (image)
Not signed. The glazed frame measures 18 3/4" x 18 3/4". From the personal collection of artists Nick and Luella Vaccaro.
Condition
Very good condition.