W katalogu Christie’s (UK), wyprzedającej dnia 20 listopada 2013 kolekcję zmarłego kolekcjonera T. S. Elliota znalazła się praca polskiego miniaturzysty Franciszka Smiadeckiego (lot # 176). Praca sygnowana jest wiązanym monogramem. W UK miniaturzysta ten ceniony jest wysoko.
A gentleman, in white shirt tied with pink ribbon, pink cloak, long curling brown hair; sky background; signed with monogram ‘FS’ (mid-right), oil on copper, oval, 2 3/4 in. (70 mm.) high, black turned wooden frame, engraved on reverse ‘PARR’. Estimate £6,000-8,000
PROVENANCE: With Edwin and Rosalind Bucher, in 1992.
Jacek Malczewski.SELF-PORTRAIT WITH MUSE AND BUDDLEIA, 1912
Symboliczna praca Jacka Malczewskigo z 1912 roku będzie licytowana w londyńskim Sotheby’s (lot # 27) w dniu 20 listopada 2013 roku. Cena szacunkowa, 30,000-50,000 funtów, jest stosunkowo niska jak na polskie wyceny ale rzetelna jak na rynek poza-polski. Warto zwrócić uwagę na solidną proweniencję. Sprzedano za 128 5000 funtów.
SELF-PORTRAIT WITH MUSE AND BUDDLEIA, signed and dated J Malczewski 1912 Maj lower right, oil on board, 73 by 91.5cm., 28¾ by 36in.
Provenance
In the family of the present owner since 1923
Exhibited
Cleveland, Museum of Art, 1926-29 (on loan)
Detroit, Institute of Art, Polish Paintings: A Loan Exhibition, 1945
Jedno z klasycznych ‘wirujących kół‘, cenionych Polsce i na zagranicznych rynkach aukcyjnych. Praca w niemieckim Villa Grisebach 29 listopada 2013 (lot 709) z wyceną 40,000-60,000 euro. Tytuł „E 18“. Namalowana w 1966 r .
Oil on canvas. 127 x 127 cm ( 50 x 50 in.). Signed, titled and dated in black brush on the reverse: FANGOR E 18 1966. On the stretcher, a label from each of the Galerie Springer, Berlin, and the Dom Galerie, Cologne. Minor margin imperfections. [3381]. Provenienz: Private collection, Southern Germany. Ausstellung: Fangor. Ölbilder. Köln, Dom Galerie, 1966 (according to label on the reverse)
Tadeusz Kuntze. Pasterz Faustulus znajduje Romulusa i Remusa
Francuski Artcurial wystawił 13 października 2013 r. płótno Tadeusza Kuntze ‘Pasterz Faustulus znajduje Romulusa i Remusa‘ (99 x 136 cm, lot # 65). Olej wyceniony na 10,000-15,000 euro ma niebywałą proweniencję. Pracę sprzedano za 11,691 euro.
Provenance :
Ancienne collection du Comte Szembek, château de Siemianice, Pologne (1845-1896) ;
Ancienne collection de la Comtesse Jadwiga Szeptycka (après 1896) ;
En dépôt au Musée National de Varsovie (Musée Narodowe), son numéro d’inventaire au dos : ‘181863’ ;
Collection particulière, Pologne, après 1964
Commentaire : Originaire de Pologne, Tadeusz. Kuntze s’installa à Rome à partir de 1754, où il étudia à l’Académie de Saint-Luc ainsi que dans l’atelier du sculpteur Francisco Bergara. Selon le Dr. Monika Ochnio, notre tableau aurait été peint vers 1754, lors de cette première année romaine. Elle le rapproche de deux compositions allégoriques de l’artiste, ‘L’Art’ et ‘La Fortune’, datées de la même année et conservées au musée national de Varsovie. Le peintre était apparenté à la famille Szeptycki, qui fut en possession de notre tableau à la fin du XIXe siècle. Nous remercions le Dr. Monika Ochnio, ainsi qu’Aneta Bialy, spécialiste de Kuntze au Musée National de Varsovie, d’avoir confirmé l’attribution de cette œuvre d’après une photographie. Nous remercions le Pr. Giancarlo Sestieri, qui a également identifié le tableau comme une œuvre de Konicz.
W katalogu amerykańskiego Los Angeles Modern Auctions pojawiła się praca Henryka Stażewskiego (lot 203). Cena szacunkowa $10,000 – 15,000. Aukcja dnia 13 października 2013.
Cymes dla kolekcjonera polskiego współczesnego malarstwa.
Label
Henryk Stażewski. Untitled, 1961. Painted paper on hardboard relief. Retains DESA Unicum Gallery label verso; retains paper label with printed inventory number “F2003-132 (Stazewski-1)”. Image: 11″ x 14.25″; Frame: 17″ x 20.5″. Provenance: Richard Gray Gallery, Chicago; Private Collection, Chicago (acquired directly from the above, 1963); Thence by descent Illustrated: Wei, Lilly. Works on Paper: The Natalie and Irving Forman Collection. Buffalo: Albright-Knox Art Gallery, 2008. pp 78-79. Exhibited: “Works on Paper: The Natalie and Irving Forman Collection,” Albright-Knox Art Gallery, Buffalo, August 15-November 30, 2008
Estimate:$10000 – $15000
MORE INFORMATION:
Although he was in his early sixties, 1957 marked the beginning of a new age for the Polish artist and art theorist Henryk Stazewski (1894-1988). In that year, he was featured in the monumental “Précurseurs de l’art abstrait en Pologne,” the first post-war exhibition to include Polish Constructivist and Avant-garde works, at Galerie Denise René in Paris. He showed alongside artists and friends including Kazimir Malevich and Wladyslaw Strzeminski. Leading up to this point, Henryk had been forgotten for years. Most of his paintings had been destroyed during the World War II bombings of Warsaw. The Nazi and Soviet invasions of Poland in 1939 threw Henryk into a state of shock. He no longer cared to explore his thoughts on the principles of color and shape, as he often did when he was co-editor for the radical and avant-garde magazine Blok which he helped organize in 1924. It was not until the late 1950s that Stazewski experienced his awakening. At a frenzied pace, Stazewski began work on a series of abstract and geometric reliefs. In the first issue of Praesens (1926), another quarterly where the artist served as editor, Stazewski writes, “The rapprochement between painting and architecture has been brought about by a new awareness of the inseparable nature of space, colour, and matter. The impact which colour exerts on shapes in the sense of being able to alter their dimensions, creates a whole new treasury of architectural instruments…these are the main foundations on which the great style of modern art is being built…”
Tied to his powerful manifestos from the mid-1920s, Untitled (Collage) from 1961 is a miraculous three-dimensional work that not only illustrates but also validates his words. Razor-thin lines of white and black paint are meticulously applied to barrel-like shapes mounted to a rectangular board replete with lines shooting across vertical, horizontal, and diagonal axes. If one looks closely, the lines appear to swell, throb, and twist with the shift of an eye. A stationary and nonrepresentational image becomes animated and vivid when the opposing lines of the backboard meet the forms placed at the center. Like the works of the De Stijl movement’s architect, Theo van Doesburg, Stazewski’s collage promotes the idea that modern art need not be symmetrical, and that color is an organic form of expression which possesses the distinct ability to distort and alter forms when applied. Similar relief works from this critical period in the artist’s career reside in the permanent collections of major institutions such as the Brooklyn Museum and the Tate Gallery.
Polish Art Corner 