Brocant

This was in my mega job lot of books I’d never heard of the Pestalozzi Children’s Village. Apparently still in existence today

Think someone is moving out on the block, found six of these along with lots of other things so down to the Mind shop they will go once I get my act together happy Friday workers

Splendor!

Daum Vase flower

Max Ernst and Dorothea Tanning with his sculpture, Capricorn, 1947, by John Kasnetsis

Dorothea Tanning, peintre, muse, forma avec Max Ernst "le couple le plus extraordinaire du surréalisme". Il la rencontra en 1942 dans son studio new-yorkais, vit "Birthday", autoportrait mystérieux et sombre, et resta jouer aux échecs. Ces deux peintres partagèrent 34 années de vie d'artiste, de l'Arizona à la France, de Paris à la Touraine et en Provence. Sa disparition, le 31 janvier à New York, dans son sommeil à 101 ans passés, marque la fin d'une époque inouïe.
(lefigaro)

Salvador Dalì, Flowers, 1948

Unfinished Head of Nefertiti, reign of Akhenaten, ca. 1353-1336 BC, Egyptian Museum, Cairo

Marc Chagall

Gerda Roosval-Kallstenius (Swedish painter) 1864 - 1939
En Blå Hyacinth i Paris. Självporträtt (A Blue Hyacinth in Paris. Self Portrait), 1894
oil
private collection

She made nature studies, outdoor painting but also figurines, decorative compositions and portraits.
Roosval-Kallstenius was married to the painter and art professor Godfrey Kallstenius and mother of the artist Evald Kallstenius. She was the sister of the art historian Johnny Roosval and journalist Albin Roosval.
Roosval-Kallstenius resided in Villa Kallstenius in Storängen, Nacka, at the current Krokvägen 1B.

Jane Peterson (American painter) 1876 - 1965
The Garden of Louis Comfort Tiffany at Oyster Bay, Long Island, s.d.
oil, gouache and black ink on masonite
45.7 x 45.7 cm. (18 x 18 in.)
signed Jane Peterson, l.l.; titled The Garden of Louis Comfort Tiffany at Oyster Bay, Long Island on the reverse
private collection
© photo Sotheby's

Peterson was born in Elgin, Illinois, on November 12, 1876 as the daughter of an Elgin Watch Company employee and a homemaker. Though she was born as Jennie Christine she changed her name to Jane right after she graduated from high school, in 1894.ref name=foxvalleyarts"Fox Valley Arts Hal of Fame". Retrieved 4 February 2015./ref She didn't receive any formal art training as a child, but knew intuitively how to paint everything she saw.
Peterson married a corporate lawyer M. Bernard Philipp, when she was fifty years old. After four years of her husband's death, she married to a New Haven physician James S. McCarty in 1939. Their marriage life only lasted for less than a year.
During her lifetime, Peterson was featured in more than 80 one-woman exhibitions before her death on August 14, 1965.

Peterson taught in Elmira, New York, as a drawing supervisor of public school teachers in Boston, Massachusetts, and the Maryland Institute in Baltimore for three years. In 1907, she extended her artistic career by taking a grand tour in Europe, which was the best way for her to learn from the masters as a young artist. Peterson gained expert knowledge for painting techniques and composition from Frank Brangwn in Venice and London, Joaquin Sorolla in Madrid, and Jacques Blanche and Andre L' Hote in Paris. She was living during the time of Fauvism, Expressionism, Impressionism, and at the beginning of Cubism.
Peterson started to exhibit her works in 1908 at the Societe des Artistes Francais in Paris France. She exhibited at the St. Botolph Club in Boston, Massachusetts, the Knoedler Gallery in New York City, and at the Bandann's Art Gallery in Baltimore, Maryland. From 1910 to 1914 Peterson had her own exhibitions at the Art Institute of Chicago, Illinois. She also participated in many group shows such as the American Watercolor Society and the New York Society of Painters both in New York City and the Baltimore Watercolor Club in Maryland.
In 1912 Peterson started teaching watercolor at the Art Students League and became the Drawing Supervisor of the Brooklyn Public Schools. In 1916 she joined Louis Comfort Tiffany for a transcontinental painting exhibition in his private railway car. Peterson travelled widely, painting from Maine to Florida and as far north as British Columbia. She annually visited Europe and spent six months in Turkey in 1924.

Source: WIkipedia

René Jules Lalique (né le 6 avril 1860 à Aÿ dans la Marne et mort le 1er mai 1945) est un maître verrier et bijoutier français.
Il s'est rendu célèbre par ses créations étonnantes de bijoux, puis de flacons de parfum, de vases, chandeliers, horloges et, à la fin de sa vie, de cabochons de voitures. L'entreprise qu'il a fondée fonctionne toujours. Son nom est resté attaché à la créativité et la qualité, car il a toujours su dessiner des objets fastueux mais restant discrets.
https://fr.wikipedia.org/wiki/Ren%C3%A9_Lalique
*****
René Jules Lalique (6 April 1860, Ay, Marne — 1 May 1945, Paris) was a French glass designer known for his creations of glass art, perfume bottles, vases, jewellry, chandeliers, clocks and automobile hood ornaments.
https://en.wikipedia.org/wiki/Ren%C3%A9_Lalique
*****
René Jules Lalique (ur. 6 kwietnia 1860 w Ay, we Francji, zm. 1 maja 1945 w Paryżu) – artysta tworzący w szkle, jubiler.
Zajmował się wyrobem butelek na perfumy, waz, wazonów, świeczników, zegarków, biżuterii i podobnych form sztuki użytkowej.
Lalique rozpoczął w roku 1872 naukę rysunku i rzemiosła artystycznego w Paryżu w Collège Turgot. Kontynuował studia w Ecole des Arts Décoratifs. W roku 1876 rozpoczął pracę w zakładzie jubilerskim, kontynuując studia w Ecole des Arts Décoratifs. 1878-1880 studiował w Sydenham College w Londynie.
Po powrocie do Francji pracował dla przedsiębiorstw jubilerskich, m.in.: Cartier, Boucheron. W roku 1884 założył wraz z jubilerem Varenne przedsiębiorstwo Lalique & Varenne. W następnym roku założył własne przedsiębiorstwo produkujące wyroby według jego własnych projektów. Oprócz złota i szlachetnych kamieni stosował kość słoniową, emalię, kamienie półszlachetne i szkło. Od roku 1889 dostarczał anonimowo wyroby do sklepu jubilerskiego Vever et Boucheron, a w roku 1890 założył sklep jubilerski. Do jego klientów należała aktorka Sarah Bernhardt. W końcu XIX i na początku XX wieku tworzył w stylu secesji – Art Nouveau.
W roku 1908 rozpoczął produkcję flakonów do perfum dla przedsiębiorstwa François Coty. Od roku 1911 zaczął tworzyć wyłącznie w szkle. W zakładzie w Combs-la-Ville zajął się produkcją opakowań szklanych dla przemysłu farmaceutycznego. W roku 1921 uruchomił fabrykę w Wingen-sur-Moder.
Po I wojnie światowej zajął się projektowaniem elementów wystroju wnętrz architektonicznych.
W roku 1920 zaczął tworzyć biżuterię w stylu art déco.
Zmarł w 1945 roku, został pochowany na cmentarzu Père-Lachaise.
https://pl.wikipedia.org/wiki/Ren%C3%A9_Lalique

💚Another very sweet garden shed...💚

A Work of Art

Sarah Bernhardt brooch, by Georges Fouquet, Paris, c. 1895

Joaquín Sorolla (Spanish painter) 1863-1923
Known as the 'master of light' for his iridescent canvases.

Joyeuses Pâques, 1950

Tove Jansson (Finnish novelist, painter, illustrator) 1914 - 2001
Moomin and the Mymble Paint an Easter Egg, s.d.
mixed media
14 x 10 cm. (5.51 x 3.94 in.)
signed Tove low right
private collection
© photo Bukowskis

Tove Marika Jansson was a Swedish-speaking Finnish novelist, painter, illustrator and comic strip author. For her contribution as a children's writer she received the Hans Christian Andersen Medal in 1966.

Brought up by artistic parents, Jansson studied art from 1930 to 1938 in Stockholm, Helsinki and then Paris. Her first solo art exhibition was in 1943. At the same time, she was writing short stories and articles for publication, as well as creating the graphics for book covers and other purposes. She continued to work as an artist for the rest of her life, alongside her writing.
Jansson is best known as the author of the Moomin books for children. The first such book, The Moomins and the Great Flood, appeared in 1945, though it was the next two books, Comet in Moominland and Finn Family Moomintroll, published in 1946 and 1948 respectively, that brought her fame.
Starting with the semi-autobiographical Bildhuggarens dotter (Sculptor's Daughter) in 1968, she wrote six novels and five books of short stories for adults.

Source: Wikipedia

Pablo Picasso

Lucinda Bunnen : Man in Window, New York City, 1978

A pectoral that belonged to King Sheshonq I, the founder of the 22nd (Libyan) Dynasty. He reigned circa 945-924 BCE. It is made of gold encrusted with lapis lazuli, carnelian, feldspar, and glass paste. This piece (JE 72171) is now in the Museum of Egyptian Antiquities, Cairo, Egypt. Photo (edited for size): Christoph Gerigk / Franck Goddio / Hilti Foundation / The British Museum.

We see an image of a solar barque sailing across the primordial waters below a starry heavenly vault. A solar disc is shown in the center of the boat with a depiction of the goddess Maat standing beside the god Amun-Ra-Horakhty seated on a throne.

At the right end of the barque stands Maat while at the other end stands the goddess Hathor. With winged arms outstretched towards the sun disc, each deity holds in her right hand a plume (a symbol of truth, justice, harmony, morality, righteousness, order, and cosmic balance). In the left each holds a hieroglyph composed of the nefer sign (a symbol of perfection or completeness), the Wadjet-eye (a symbol of eternal rebirth), and the neb basket (the word used for 'all' or 'every', and 'lord' or 'master').

On the right side of the pectoral the sky is supported by the heraldic plant of Lower Egypt: papyrus, while on the left it is supported by that of Upper Egypt: lotus. Two crowned Horus falcons stand in the upper corners above the sky while upside-down lotus flowers (four inflated and four buds are preserved) hang from a hinge at the bottom of the pectoral.

Leonora Carrington (British-born Mexican artist) 1917 - 2011
The Giantess, 1947
tempera on wood panel
117 x 68 cm. (46.06 x 26.77 in.)
private collection of Miguel Escobedo

Leonora Carrington was a British-born–Mexican artist, surrealist painter and novelist. She lived most of her adult life in Mexico City, and was one of the last surviving participants in the Surrealist movement of the 1930s.

Carrington was born in Clayton Green, Chorley, Lancashire, England. Her father was a wealthy textile manufacturer, and her mother, Maureen (née Moorhead), was Irish. She had three brothers: Patrick, Gerald, and Arthur. Educated by governesses, tutors, and nuns, she was expelled from two schools, including New Hall School, Chelmsford, for her rebellious behaviour, until her family sent her to Florence where she attended Mrs Penrose's Academy of Art. Her father opposed her career as an artist, but her mother encouraged her. She returned to England and was presented at Court, but according to her, she brought a copy of Aldous Huxley's Eyeless in Gaza (1936) to read instead. In 1935, she attended the Chelsea School of Art in London for one year, and with the help of her father's friend Serge Chermayeff, she was able to transfer to Ozenfant Academy in London (1935–38).

In 1927, at the age of ten, she saw her first Surrealist painting in a Left Bank gallery and met many Surrealists, including Paul Éluard.[9] She became familiar with Surrealism from a copy of Herbert Read's book, 'Surrealism' (1936), which was given to her by her mother. She received little encouragement from her family to forge an artistic career. Matthew Gale, a curator at Tate Modern, singled out the Surrealist poet and patron Edward James as the only champion of her work in Britain. James bought many of her paintings and arranged a show in 1947 for her work at Pierre Matisse's Gallery in New York. Some works are still hanging at his former family home, currently West Dean College in West Dean, West Sussex.

Seeing Max Ernst's work in the 1936 International Surrealist Exhibition in London, Carrington was immediately attracted to the Surrealist artist before she even met him. In 1937, Carrington met Ernst at a party held in London. The artists bonded and returned together to Paris, where Ernst promptly separated from his wife. In 1938, leaving Paris, they settled in Saint Martin d'Ardèche in southern France. The new couple collaborated and supported each other's artistic development. It has been noted that these two artists collaborated and created sculptures of guardian animals (Ernst created his birds and Carrington created a plaster horse head) to decorate their home in Saint Martin d'Ardèche. In 1939, Carrington painted a portrait of Max Ernst, as a tribute to their relationship.

With the outbreak of World War II, Ernst was arrested by the French authorities for being a "hostile alien" (being German). With the intercession of Paul Éluard, and other friends, including the American journalist Varian Fry, he was discharged a few weeks later. Soon after the N**i invaded France, Ernst was arrested again, this time by the Gestapo because of the type of art he created was considered decadent by the N**is. He managed to escape and leaving Carrington behind, fled to America with the help of Peggy Guggenheim, who was a sponsor of the arts.

After Ernst's arrest, Carrington was devastated and fled to Spain. Paralyzing anxiety and growing delusions culminated in a final breakdown at the British Embassy in Madrid. Her parents intervened and had her institutionalized. She was given "convulsive therapy" with cardiazol, a powerful anxiogenic drug that was eventually banned by some authorities, for instance U.S. Food and Drug Administration (FDA). In addition to Cardiazol, she was also given Barbiturate Luminal.

After being released into the care of a nurse who took her to Lisbon, Carrington ran away and sought refuge in the Mexican Embassy. Meanwhile, Ernst had been extricated from Europe with the help of Peggy Guggenheim, whom he married in 1941. That marriage ended a few years later. Ernst and Carrington had experienced so much misery that they were unable to reconnect. Three years after being released from the asylum and with the encouragement of André Breton, Carrington wrote down the events of her psychotic experience in her novel Down Below. She also looked to creating art to depict her experience as can be seen in her Portrait of Dr. Morales and Map of Down Below.

Following the escape to Lisbon, Carrington arranged passage out of Europe with Renato Leduc, a Mexican Ambassador. Leduc was a friend of Pablo Picasso, and agreed to marry Carrington just for the travel arrangements. Events from that period would inform her work, perhaps forever. She lived and worked in Mexico after spending part of the 1960s in New York City. While in Mexico, she was asked to create a mural which she named El Mundo Magico de los Mayas, in 1963. It was influenced by folk stories from the region she lived in. The mural is located in the Museo Nacional de Antropología.

"I didn't have time to be anyone's muse... I was too busy rebelling against my family and learning to be an artist." --Leonora Carrington, 1983
She later married Imre Weisz (also known as Emerico, or by the nickname "Cziki"), a photographer and the darkroom manager for Robert Capa during the Spanish Civil War. They had two sons: Gabriel, an intellectual and a poet, and Pablo, a doctor and Surrealist artist.

Leonora Carrington died at age 94, in a hospital in Mexico City (25 May 2011) due to complications from pneumonia.

The first important exhibition of her work appeared in 1947, at the Pierre Matisse Gallery in New York City. Carrington was invited to show her work in an international exhibition of Surrealism, where she was the only female English professional painter. She became a celebrity almost overnight. In Mexico, she authored and successfully published several books.

The first major exhibition of her work in UK for twenty years, took place at Chichester's Pallant House Gallery, West Sussex, from 17 June to 12 September 2010, as part of a season of major international exhibitions called Surreal Friends. These were taken place celebrating women's role in Surrealist movement. Her work was exhibited alongside pieces by her close friends; the Spanish painter Remedios Varo (1908–1963) and the Hungarian photographer Kati Horna (1912–2000).

In 2013 Carrington was the subject of a major retrospective at the Irish Museum of Modern Art, Dublin. Titled The Celtic Surrealist it was curated by Sean Kissane and looked at Carrington's Irish background to illuminate many cultural, political and mythological themes present in her work.

In Carrington's artwork, one can see her depiction of horses within her Self-Portrait (Inn of the Dawn Horse) or within her painting The Horses of Lord Candlestick. During her childhood, Carrington's fascination with drawing horses was even prevalent. She incorporated the use of horses in her writings as well. Within her first published short story, The House of Fear, Carrington places the horse in the role of a psychic guide to a young heroine. In 1935, Carrington's first essay Jezzamathatics or Introduction to the Wonderful Process of Painting was published before The Seventh Horse. In addition to her enjoyment of depicting horses and writing, Carrington also commonly used codes of words to dictate interpretation in her artwork. "Candlestick" is a code that she commonly used to represent her family, and the word "lord," for her father.

Camille Claudel (French sculptor) 1864 - 1943
La Petite Châtelaine, 1892-96
marble
34 cm. (13.39 in.) high
Musée Rodin, France
© photo Musée Rodin

At the height of their affaire, Claudel and Rodin shared the Château de l'Islette, a romantic spot in the Tours region. Here Claudel executed a bust of La Petite Châtelaine, Marguerite Boyer, the owners's six-year-old granddaughter. The child was obliged to sit for nearly sixty-two hours of posing, in exchange for which Claudel bought her a doll.

The motionless, studied pose of the figure fully conveys little Marguerite's concentration. Hypnotized, she watches the sculptor's every gestures. Several plasters were cast; in 1895 and 1896, Claudel sculpted four marbles, one of them was owned by Claude Debussy.

Jeanne Mammen (German painter and illustrator) 1890 - 1976
Ausweg, ca. 1930
Döpping/Klünner A 366
watercolour and pencil drawing on wove paper
44.6 x 36.7 cm. (17.5 x 14.4 in.)
signed lower right
private collection
© photo Ketterer Kunst

Catalogue Note Ketterer Kunst
As early as in 1997, the year of the first retrospective of Jeanne Mammen's work, the belated appreciation of the artist, who had died more than 20 years before, was referred to as her "resurrection". But especially today, another 20 years later and in the course of a comprehensive re-evaluation of the contributions female artists made to art history, the work of the Berlin native once again moves into the focus of museums, institutions and the art trade. In 2008 the Paula-Modersohn-Becker-Museum in Bremen dedicated a solo exhibition to her, followed in 2017 by a large retrospective at the Berlinische Galerie in Berlin, in which the work presented here was also prominently exhibited. The artist is considered a chronicler of the Berlin society in the Weimar Republic of the 1920s and early 1930s. With keen observation, irony, empathy and humor, as well as with a little mocking exaggeration, she portrays the people of the big city, their weaknesses, their strengths and their relationships with one another. She finds her main subject mostly in the role of the modern woman, which she often - as in the work offered here - almost typifies, with a fashionably short cut, black-dyed bob, elaborately made-up"cat eyes" and red lips.
Mammen depicts the young lady in a lemon-yellow swimsuit, trudging through the sand so self-confidently, in stark contrast to the beige-veiled spectacle wearer who accompanies her, with his standard hairstyle he- unlike her - doesn't seem to fit into the contemporary chic Berlin. Mammen spent most of her youth in Paris and Brussels. Due to the events of the First World War, the German family Mammen had to leave France and relocated to Berlin. Her father's fortune was confiscated and so Jeanne earned a living with illustrations and drawings, initially for fashion magazines, later also for the magazines "Uhu", "Ulk", "Querschnitt" and "Simplicissimus". The works from the Berlin period around 1930, to which the present work belongs, coined the artist's reputation up until today. "Their artistic and intellectual historical significance is largely due to the fact that they provide precise information about the German mentality of the thirties and forties, without sentimentality, rather on the edge of sarcasm, but without deviating from the truth in the depiction of the events." (Eberhard Roters, in: Jeanne-Mammen-Gesellschaft (ed.), Jeanne Mammen 1890-1976, Stuttgart 1978, p. 63). In our work, too, the artist captures the zeitgeist of the society of the time on paper with clear lines, finely coordinated colors of pale pastel tones and strong color accents as well as the usual mocking humor. During this time, Jeanne Mammen liked to visit German and Belgian beach resorts like Ostende and De Panne, where she observed bathers from all walks of life trying to escape everyday life a little in view of the increasing political radicalization and worsening economic situation, looking for light-heartedness, pleasure and happy moments spent together outdoors. It is obvious that Mammen's works from these days are far less political than the works of her male colleagues. She expresses her criticism in a much quieter, more subtle manner - in the depiction of joyless, tense interpersonal relationships, as well as through the almost caricature juxtaposition of modern big city coolness and the ugliness of the oversaturated bourgeoisie.

* * *

Jeanne Mammen was a German painter and illustrator of the Weimar period. Her work is associated with the New Objectivity and Symbolism movements. She is best known for her depictions of strong, sensual women and Berlin city life.

Jeanne Mammen was born in Berlin, the daughter of a successful German merchant. She was raised and educated in Paris, and studied painting in Brussels and Rome. Her early work, influenced by Symbolism, Art Nouveau, and the Decadent movement, was exhibited in Brussels and Paris in 1912 and 1913.

In 1916 she and her family fled Paris to avoid internment. While her parents moved to Amsterdam, Mammen chose instead to return to Berlin. She was now financially on her own for the first time, as the French government had confiscated all of her family's property. For several years Mammen struggled to make ends meet, taking any work she could find, and spending time with people from different class backgrounds. These experiences and newfound sympathies are reflected in her artwork from the period.

In time she was able to find work as a commercial artist, producing fashion plates, movie posters, and caricatures for satirical journals such as Simplicissimus, Ulk, and Jugend. In the mid-1920s she became known for her illustrations evoking the urban atmosphere of Berlin. Her drawings were often compared to those of George Grosz and Otto Dix. Throughout the late 1920s and early 1930s she worked mainly in pencil with watercolor washes, and in pen and ink.

In 1930 she had a major exhibition in the Fritz Gurlitt gallery. Over the next two years, at Gurlitt's suggestion, she created one of her most important works: a series of eight lithographs illustrating Les Chansons de Bilitis, a collection of le***an love poems by Pierre Louÿs.

Apparently her portrayals of women were disturbing to the N**is. In 1933, following her inclusion in an exhibition of female artists in Berlin, the authorities denounced her motifs and subjects as "Jewish", and banned her lithographs for Les Chansons de Bilitis. The N**is shut down most of the journals she had worked for, and she refused to work for those that complied with their cultural policies. Until the end of the war she practiced a kind of "inner emigration". She stopped exhibiting her work and focused on advertising. For a time she also peddled second-hand books from a handcart.

In the 1940s she began experimenting with Cubism, a risky move given the N**is' condemnation of abstract art as "degenerate". After the war she took to collecting wires, string, and other materials from the streets of bombed-out Berlin to create reliefs. In the late 1940s she began exhibiting her work again, as well as designing sets for the Die Badewanne cabaret. She created abstract collages from various materials, including candy wrappers. In the 1950s she adopted a new style, combining thick layers of oil paint with a few fine marks on the surface.

In the 1970s there was a resurgence of interest in Mammen's early work as German art historians, as well as art historians of the women's movement, rediscovered her paintings and illustrations from the Weimar period. In 2013 her later, more abstract work was featured in "Painting Forever!", a large-scale exhibition held during Berlin Art Week. In 2017-18, the Berlinische Galerie mounted a major exhibition of Mammen's work, titled, "Jeanne Mammen: Die Beobachterin: Retrospektive 1910-1975" (Jeanne Mammen: The Observer: Retrospective 1910-1975), which included more than 170 works in various media, covering the period from the 1920s to her late work in the 1960s and beyond. The show was conceived as an update to a show mounted by the Galerie at the Martin Gropius Bau in 1997, which featured primarily works from the 1920s.

Source: Wikipedia

Irma Kukhianidze Art
https://www.facebook.com/irma.kukhianidze.5

Shaharah footbridge in north-eastern Yemen

Fumio Fujita, Almost Spring, 1963

Josef Sudek : Morning Trolley, Prague, 1924