Items Similar to Sin título I (Hase/Schmundt 19), Société internationale d'art XXe siècle

Henry Moore - The Cavern: abstract black drawing based on Auden poetry and Yorkshire landscape

Henry Moore - Bridge: abstract black drawing based on Auden poetry and Yorkshire landscape

Henry Moore - Split Stone: abstract drawing based on Auden poetry and Yorkshire landscape

Henry Moore - Sketches of Auden: black drawing based on Auden poetry and Yorkshire landscape

Henry Moore - Lullaby Sketches: black white drawing based on Auden poetry and Yorkshire lands

Henry Moore - Thin-lipped Armourer I: W. H. Auden poetry with Henry Moore, Yorkshire landscape

Want more images or videos?

Request additional images or videos from the seller

1 of 6

Giuseppe Capogrossi
Sin título I (Hase/Schmundt 19), Société internationale d'art XXe siècle
1958

Name: Sin título I (Hase/Schmundt 19), Société internationale d'art XXe siècle
Brand: Giuseppe Capogrossi
Price: 999.17 CHF
Availability: InStock
Rating: 4.9 (68 reviews)

$1,195

£909.12

€1,063.04

CA$1,671.26

A$1,877.47

CHF 999.17

MX$23,215.66

NOK 12,174.99

SEK 11,771.46

DKK 7,929.29

Shipping

Retrieving quote...

The 1stDibs Promise:

Authenticity Guarantee,

Money-Back Guarantee,

24-Hour Cancellation

About the Item

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Hase-Schmundt, Ulrike von, and Giuseppe Capogrossi. Capogrossi : Das Graphische Werk. Erker, 1982, illustration 19. Notes: From the album, XXe siècle, Nouvelle série, XXe Année, N° 10 (double) Mars 1958, Cahiers d'Art publiés sous la direction de Gualtieri di San Lazzaro, 1958. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Mourlot Frères, Paris, 1958. Additional notes: Excerpted from the academic article, “Promoting Original Prints, The Role of Gualtieri di San Lazzaro and XXe Siècle” by Valerie Holman, published in Print Quarterly, XXXIII, 2016, 2, Until recently very little has been written on the Italian author and art publisher Gualtieri di San Lazzaro (1904-75), yet for 50 years he chronicled the life and work of contemporary artists, produced monographs of exceptional quality, and disseminated original prints by modern painters and sculptors through his best-known periodical, XXe Siècle. Although still a relatively unfamiliar figure in the United Kingdom, San Lazzaro is one of the half-dozen great art publishers of the mid-twentieth century who, together with his exemplar, Ambroise Vollard (1866-1939), and those of his own generation, Christian Zervos (1889-1970), Tériade (1889-1983) and Albert Skira (1904-73), chose to base himself in Paris, seeing it throughout his life as the centre of the art world….XXe Siècle, an illustrated periodical, was launched in 1938 and printed in editions of approximately 2,000, each issue containing both photographs and four-colour separation reproductions across a wide spectrum of visual imagery ranging from masterpieces of Western painting to popular prints from the Far East. Its large format, lively design, and close integration of text and image, were immediately striking, but its most innovative feature, introduced at the suggestion of Hans Arp (1886-1966), was the inclusion of original prints by contemporary artists in every issue. With obvious appeal for collectors, XXe Siècle was also designed to introduce a wider, international public to contemporary painting and sculpture through good quality colour reproductions and the immediacy of original prints. Comparable in price to Cahiers d'Art, early issues of XXe Siècle sold out rapidly. While San Lazzaro's own aesthetic preferences tended towards lyric abstraction, he made clear that XXe Siècle was non-partisan [publication ceased during World War II]….in 1951, San Lazzaro relaunched XXe Siècle with thematic issues that were materials based, or centred on a topic of current interest in the visual arts, particularly in Europe: concepts of space, matter, monochrome, mark-making and the sign.' A defining feature of the new series was Italy's artistic dialogue with France for, while San Laz-zaro had originally concentrated on Paris-based painters and sculptors, his aim was to create an international network, to make known the work of French artists in Italy and Italian artists in France, and subsequently extend this bilateral axis to the English-speak-ing world. The artists represented in No. I by an original print were all best known as sculptors: Arp, Laurens, Henry Moore (1898-186) and Marino Marini, San Lazzaro not only sought to show readers the full range of an artist's work, but to encourage the production of prints, a stimulus much appreciated, for example, by Magnelli…. Suffering from failing health, in 1968 San Lazzaro lost overall control of XXe Siècle to Léon Amiel, a printer-publisher who had provided financial backing and helped with distribution in America." Thematic issues now ceased and were replaced by a 'panorama' of the year, but San Lazzaro was still active as a publisher of books and albums of prints….Shortly after his death, San Lazzaro himself was the subject of two exhibitions: 'Omaggio a XXe Siècle' in Milan in December 1974 centred on graphic work by those artists closest to him late in life, while 'San Laz-zaro et ses Amis' at the Musée d'Art Moderne de la Ville de Paris in 1975 featured work by all those whose work he had promoted for more than 50 years: Arp, Calder (1898-1976), Capogrossi, Chagall, Sonia Delau-nay, Dubuffet, Estève, Lucio Fontana (1899-1968), Gili-oli (1911-77), Magnelli, Marini, Miró, Moore and Poliakoff. This exhibition was seen by one of his closest colleagues as an indirect portrait of San Lazzaro, a complex man whose modesty and reserve masked his unremitting drive to extend international appreciation of contemporary art, and to bring the reading public closer to its making through the medium of print. GIUSEPPE CAPOGROSSI (1900-1972) was an Italian painter. After obtaining a degree in law in 1923–1924, he decided to study painting with Felice Carena at Accademia di Belle Arti di Roma. In 1927 Capogrossi embarked on a formative trip to Paris together with fellow artist and acquaintance Fausto Pirandello. In the 1930s Capogrossi participated to many group exhibitions in Rome, Venice and Milan and Paris, usually as associate to the so-called "Scuola romana" ("Roman school"). In 1930 he was invited to show at the 23rd edition of the Venice Biennale; In 1933 he signed with Emanuele Cavalli and others the "Manifesto del Primordialismo Plastico" (The Plastic Primordialism Manifest) and in 1934 he was one of the artists invited to the exhibition the "Exhibition of Contemporary Italian Painting" at the Western Art Museum in San Francisco. In the years following World War II, Capogrossi's work changed in favour of a more abstract style. His work was part of the painting event in the art competition at the 1948 Summer Olympics.[1] In 1950 he was one of the founders of Gruppo Origine, together with Mario Ballocco, Alberto Burri and Ettore Colla in Milan. The group rented a gallery space in Rome where they had their only exhibition in January 1951. The show wasn't successful and the four disbanded a few months later. Capogrossi subsequently became one of the main exponents of Italian informal art, together with Lucio Fontana and Alberto Burri. Capogrossi participated in the Premio Bergamo in 1939, 1940 and 1942, and in exhibitions such as the first edition of Documenta in Kassel (1955) and the third and fifth São Paulo Art Biennial in 1955 and 1957. In 2012, his work was the subject of a retrospective at the Peggy Guggenheim Collection in Venice. On December 3, 2023, a painting by Giuseppe Capogrossi, Superficie 106, sold for $479,100 USD at Bonhams Cornette de Saint Cyr, setting a world record for the artist.

Creator:

Giuseppe Capogrossi

Creation Year:

1958

Dimensions:

Height: 12.4 in (31.5 cm)Width: 9.65 in (24.52 cm)

Medium:

Lithograph

Movement & Style:

Modern

Period:

1950-1959

Condition:

Gallery Location:

Auburn Hills, MI

Reference Number:

1stDibs: LU1465216502112

This darkly-shaded portrait of two figures is one of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist lower right in pencil; numbered lower left in pencil. Printed in inky black, Thin-lipped Armourer features two figures subsumed in crosshatched shadow. The figure on the left can barely be seen, and the hollows of his eyes recall a skull. Numerous Moore prints from this series include two heads, perhaps relating to the first lines of Auden’s poem Lullaby. Lullaby was the first poem Moore read for this project, which begins: “Lay your sleeping head, my love / Human on my faithless arm; / Time and fevers burn away Individual beauty from / Thoughtful children, and the grave / Proves the child ephemeral: / But in my arms till break of day / Let the living creature lie, / Mortal, guilty, but to me / The entirely beautiful.” This print evinces Moore’s fascination with light and dark – what he called a “…bias towards the blackness and mysterious depths.” Moore was inspired by the prints of Rembrandt and the drawings of Seurat, and even drew on his memories of viewing the Altamira cave paintings, recalling how some of the images used the shadow of candlelight on the rough surface of the rock to model light. Shortly before starting work on this series of lithographs, Moore had fallen ill, leaving him aware of his own mortality. His mood pervaded these prints with a sense of danger and foreboding. The Auden/Moore limited edition book and portfolio were exhibited on publication at the British Museum, London, with an accompanying catalogue. Thin-lipped Armourer I is one of a group of lithographs...

Category

Late 20th Century Modern Abstract Prints

Materials

Lithograph

Henry Moore
Thin-lipped Armourer I: W. H. Auden poetry with Henry Moore, Yorkshire landscape, 1973

$1,200

Giuseppe CapogrossiSin título I (Hase/Schmundt 19), Société internationale d'art XXe siècle1958

About the Item

More From This Seller

1970s Modern Abstract Prints

Guillaume Cornelis van BeverlooLe Divan Bleu, Guillaume Cornelis van Beverloo, Corneille, 1979

1970s Modern Abstract Prints

Guillaume Cornelis van BeverlooA Languies, Guillaume Cornelis van Beverloo, Corneille, 1979

1970s Modern Abstract Prints

Guillaume Cornelis van BeverlooLa Chambre En Luminance, Guillaume Cornelis van Beverloo, Corneille, 1979

1980s Modern Abstract Prints

Guillaume Cornelis van BeverlooComplicite with Pussycat, Guillaume Cornelis van Beverloo, Corneille, 1980

1970s Modern Abstract Prints

Guillaume Cornelis van BeverlooLe Conversation, Guillaume Cornelis van Beverloo, Corneille, 1979

1970s Modern Abstract Prints

Guillaume Cornelis van BeverlooLes Deux Amies, Guillaume Cornelis van Beverloo, Corneille, 1979

You May Also Like

Late 20th Century Modern Landscape Prints

Henry MooreThe Cavern: abstract black drawing based on Auden poetry and Yorkshire landscape, 1973

Late 20th Century Modern Landscape Prints

Henry MooreBridge: abstract black drawing based on Auden poetry and Yorkshire landscape, 1973

Late 20th Century Modern Abstract Prints

Henry MooreSplit Stone: abstract drawing based on Auden poetry and Yorkshire landscape, 1973

Late 20th Century Modern Abstract Prints

Henry MooreSketches of Auden: black drawing based on Auden poetry and Yorkshire landscape, 1973

Late 20th Century Modern Abstract Prints

Henry MooreLullaby Sketches: black white drawing based on Auden poetry and Yorkshire lands, 1973

Late 20th Century Modern Abstract Prints

Henry MooreThin-lipped Armourer I: W. H. Auden poetry with Henry Moore, Yorkshire landscape, 1973

Giuseppe Capogrossi
Sin título I (Hase/Schmundt 19), Société internationale d'art XXe siècle
1958

Guillaume Cornelis van Beverloo
Le Divan Bleu, Guillaume Cornelis van Beverloo, Corneille, 1979

Guillaume Cornelis van Beverloo
A Languies, Guillaume Cornelis van Beverloo, Corneille, 1979

Guillaume Cornelis van Beverloo
La Chambre En Luminance, Guillaume Cornelis van Beverloo, Corneille, 1979

Guillaume Cornelis van Beverloo
Complicite with Pussycat, Guillaume Cornelis van Beverloo, Corneille, 1980

Guillaume Cornelis van Beverloo
Le Conversation, Guillaume Cornelis van Beverloo, Corneille, 1979

Guillaume Cornelis van Beverloo
Les Deux Amies, Guillaume Cornelis van Beverloo, Corneille, 1979

Henry Moore
The Cavern: abstract black drawing based on Auden poetry and Yorkshire landscape, 1973

Henry Moore
Bridge: abstract black drawing based on Auden poetry and Yorkshire landscape, 1973

Henry Moore
Split Stone: abstract drawing based on Auden poetry and Yorkshire landscape, 1973

Henry Moore
Sketches of Auden: black drawing based on Auden poetry and Yorkshire landscape, 1973

Henry Moore
Lullaby Sketches: black white drawing based on Auden poetry and Yorkshire lands, 1973

Henry Moore
Thin-lipped Armourer I: W. H. Auden poetry with Henry Moore, Yorkshire landscape, 1973