Miguel Angel Ibartz

Autograph Happy Easter Card by Miguel Angel Ibartz - 1959

1959

Autograph Happy New Year Card by Uberto Maria Casotti to the Countess Anna Laetitia Pecci-Blunt. Christmas 1966 and New yaer 1967 . In 24°. In Italian. Excellent condition: As good...

Merry Christmas Card Signed by Vittorio Rieti to the Countess Anna Laetitia Pecci-Blunt. New York, December 20th 1956. In Italian. Excellent condition,...

Autograph Postcard Signed by Giuseppe Santomaso (Venice, 1907 - 1990) to the Capogrossi family. May, 11, 1955. Dated. In Italian On the front, a colored reproduction of Capogrossi'...

Litho and Autograph Postcard Signed by Mimi Quilici Buzzacchi to Silvio Perina. Rome, July 22nd 1958. In Italian. On the front, a black and white lithograph "Tetti di Roma" "Roman...

Manuel Victorio (Spain, 1958) 'Jardín azul', 1997 silkscreen on canvas 21.3 x 28.8 in. (54 x 73 cm.) Edition of 75 ID: VIC1221-001-075 Unframed Hand-signed by author

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Walter Helbig (1878 Falkenstein - 1968 Ascona), Adoration of the Magi, 1918. Hand-colored linocut, 30 cm x 22.5 cm (depiction), 50 cm x 35 cm (sheet size), signed “W.[alter] Helbig” in pencil lower right, inscribed “Adoration of the Magi” lower left and dated “1918”. Below this a handwritten dedication “with heartfelt Christmas greetings”. - Paper somewhat darkened and with slight creases, thumbtack holes in the corners - The Rider of the Sun - The 'apocalypse' of World War I brought about a return to sacred art. Walter Helbig belonged to the circle of the 'Brücke' and the 'Blauer Reiter'. With his reinterpretation of religious themes in an expressionist formal language, Helbig shaped an avant-garde neo-sacred art. This is symbolically expressed in the silhouette of the rider against the sun-like yellow background. It refers to the awakening initiated by the Blue Riding, which is now linked back to the sacred. The rider and horse "look" at Mary and the Christ Child, who occupy the entire field. Opposite them are the three kings, the eldest of whom kneels before Christ and offers him a gold-filled casket. The expressionist lines give rise to a tower that rises into the "sun", so that the gift has become a Gothic church, expressing the hope that the fallen world will be resurrected in the name of Christ. This dimension of meaning is emphasized by the magical effect of the color scheme. About the artist In 1895, Walter Helbig began studying at the Dresden Academy of Art, where he became friends with the future Brücke artist Otto Müller, with whom he lived in Dresden from 1903 to 1905. While studying in Italy from 1897 to 1899, he met Arnold Böcklin and Adolf von Hildebrand. After completing his studies, he first worked for Otto Gussmann, painting churches. From 1905 to 1909 he worked as a freelance painter in Hamburg. In 1909, through the mediation of Otto Müller, Helbig made the acquaintance of artists from the 'Brücke'. In 1910 he exhibited at the founding exhibition of the Berlin 'Neue Sezession'. In the same year, he moved to Switzerland, where, together with Hans Arp and Oscar Lüthy, he founded the 'Moderne Bund' in Weggis, to which Cuno Amiet and Giovanni Giacometti also belonged. At the second exhibition of the 'Moderne Bund' in Zurich in 1911, Henri Matisse and Robert Delaunay were represented alongside artists from the 'Blauer Reiter'. In 1913, Helbig traveled to Paris with Arp and Lüthy. After the dissolution of the 'Moderne Bund', Helbig was represented at the first Dada exhibition in Zurich in 1914. In 1919, he joined the Berlin 'Novembergruppe'. After the devastation of World War I, Helbig turned increasingly to religious themes in his work. In 1924, like many other artists of his time, he moved to Ascona for financial reasons, where he became a naturalized citizen in 1938. There he founded the artists' association "The Great Bear", to which Marianne von Werefkin...

Joan-Pere Viladecans (Spain, 1948) 'Entrebanc 10', 1974 lithograph on paper 22.1 x 30 in. (56 x 76 cm.) Unframed ID: VIL1324-008-000 Hand-signed by author