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Cesar

France (1921 -  1998 )
CESAR  Compression De Tonneaux

Phillips, De Pury & Luxembourg /Jun 29, 2017
282,901.45 - 339,481.73
Not Sold

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Variants on Artist's name :

Baldaccini César

Baldaccini Cesar - Cesar

César

 

Artworks in Arcadja
2660

Some works of Cesar

Extracted between 2,660 works in the catalog of Arcadja
 Cesar -  Poule À Ailettes

Cesar - Poule À Ailettes

Original 1980
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Lot number: 73
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César (1921 - 1998) Poule à Ailettes (Winged Hen) incised with the artist's signature, number and foundry mark 'César Bacquel Fondeur 2/2 H.C.' (on the base) bronze height: 28 3/8in. (72cm.) Executed in 1980, this work is the second hors commerce cast, beside the edition of eight plus four artist's proofs
 Cesar - Untitled

Cesar - Untitled

Original 1974
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Lot number: 237
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César (1921-1998) Untitled signed and dated 'César 1974' (lower right) oil pastel and pencil on tissue paper, feathers and found paper collage on paper 29 ½ x 22 ½in. (75 x 57cm.) Executed in 1974 Provenance Private Collection. Acquired from the above by the present owner in 1988. Lot Notes λ Please see Section K of our Conditions of Sale for definitions of cataloguing symbols. Please note this lot is the property of a private collector
 Cesar - Compression Evian

Cesar - Compression Evian

Original 5155
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Lot number: 3510
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Description: CÉSAR (CÉSAR BALDACCINI) (Marseille 1921 - 1998 Paris) Compression Evian. 1990. Compression with differend platic bottles. Signed on a Evian label lower centre: César. 30 x 21 x 21 cm. Unique. With the written confirmation of authenticity by the artist (copy) as well as with the written confirmation of authenticity by the Archives Denyse Durand-Ruel, Paris. This work is recorded there under the number: 5155. We thank the Archives Denyse Durand-Ruel for their support. Provenance: - Artist's studio. - Purchased directly from the artist by the present owner, since then private collection Switzerland. --------------- CÉSAR (CÉSAR BALDACCINI) (Marseille 1921 - 1998 Paris) Compression Evian. 1990. Kompression mit unterschiedlichen Plastikflaschen. Unten mittig auf Evian Etikett signiert: César. 30 x 21 x 21 cm. Unikat. Mit der schriftlichen Bestätigung der Authentizität des Künstlers sowie mit einer Bestätigung der Authentizität der Archives Denyse Durand-Ruel, Paris. Dieses Werk ist dort unter der Nummer: 5155 registriert. Wir danken den Archives Denyse Durand-Ruel für ihre Unterstützung. Provenienz: - Atelier des Künstlers. - Vom jetzigen Besitzer direkt vom Künstler erworben, seitdem Privatsammlung Schweiz.
 Cesar - Compression De Tonneaux

Cesar - Compression De Tonneaux

Original 1969
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Lot number: 25
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César Compression de tonneaux signed 'César' lower edge compressed metal 126 x 61 x 61 cm (49 5/8 x 24 x 24 in.) Executed in 1969, this work is accompanied by a certificate of authenticity signed and dated by the artist and is registered in the Denyse Durand-Ruel Archives under no. 7840. This work will be included in the forthcoming catalogue raisonné which is being prepared by Denyse Durand-Ruel. ♠ Provenance Private Collection, Germany Acquired from the above by the present owner Catalogue Essay A pivotal member of the Nouveau Réalisme movement, César\’s pioneering sculptural work shocked his contemporary audiences through the scale of his totemic sculptures and seemingly unyielding artistic materials. His seminal Compressions series challenged existing notions of sculpture; focusing on materials plucked from the urban and industrial environment which enveloped him and his contemporaries, the artist subverted traditional expectations of medium, form and representation. Created in 1969, the present work was executed one year after César\’s influential trip to London, during which he twice visited a scrap yard in Wood Lane, crushing and compressing forty to fifty car doors, alloys, wheel-hubs, bumpers and bonnets. A selection of these works were exhibited at Tate and remain housed in the museum\’s permanent collection. The present work is a monumental example of César\’s bales of twisted and distorted metal, quintessentially celebrating his continued exploration of scrap as a medium throughout his larger oeuvre. Scouring Parisian scrap yards for urban detritus, César sought to utilise discarded materials, which in their former life had commanded an integral purpose in the quotidian lives of their previous owners. In 1960, during an expedition to a salvage yard to find material for his sculptural practice, César first witnessed a hydraulic compressor squashing and packing colossal metal parts. Friend and founder of the Nouveau Réalisme movement, Pierre Restany, remarked, \‘In a factory for the salvaging of metals in the suburbs of Paris I saw César in front of one of the latest American compressors, supervising the movements of the cranes, proportioning the heterogeneous loads eagerly awaiting the result of each operation. Together we admired these calibrated bales weighing nearly a ton which are the product of the compression of a small lorry, a pile of bicycles or of a gigantic set of kitchen scales\’ (Pierre Restany quoted in Denyse Durand-Ruel, César. Catalogue Raisonné. vol I: 1947-1964, Paris, 1994, p. 266). In the same year, César exhibited three compressions created from cars and automobiles at the 16th Salon de Mai, sparking huge interest in his monolithic sculptures. Engaging directly with reality, César and his fellow Nouveau Réalists, as well as his American artistic contemporaries such as John Chamberlain, sought to continue the dialogue surrounding the \‘ready-made\’. However, they created an entirely new sculptural syntax through their progressive urban and industrial inquiry. Contorted, bent and twisted, Compression de tonneaux\’s heavy mass is unwavering in its imposing presence. Substantial and seemingly immovable, César manipulates the history of the object without eradicating it entirely. Challenging the idea of mass production and throw-away culture, César\’s panels of primary coloured metals remind us of slick, polished advertising boards and panels, spray painted and veneered to perfection. Ridges and deep folds create a profound gestural tension, torsion coursing through the solidity of the compression. \‘More awesome than funny, these strangely expressive totems do something to lift the sense of oppression which our efficient, functional environment breeds in our hearts\’ (Sam Hunter in Denyse Durand-Ruel, César. Catalogue Raisonné. vol I: 1947-1964, Paris, 1994, p. 288).
 Cesar - Femme

Cesar - Femme

Original 1963
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Lot number: 162
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PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION César FEMME 1921 - 1998 signed, numbered 6/8 and inscribed with the foundry mark bocquel bronze 240 x 150 x 98 cm; 94 1/2 x 59 x 38 9/16 in. Conceived in iron in 1963 and executed in 1991 in bronze, this work is number 6 from an edition of 8 plus 2 artist's proofs and 1 hors commerce. Kassel, Documenta III, 1964; catalogue, no. 2, p. 216, illustrated (original iron) Paris, Musée des Arts Décoratifs, Trois Sculpteurs, César, Roël d'Haese, Tinguely, 1965; catalogue, no. 21, n.p., illustrated (original iron) Amsterdam, Stedelijk Museum, César, 1966; catalogue, no. 21, n.p., illustrated (original iron) Duisburg, Wilhelm Lehmbruck Museum, César, 1966; catalogue, no. 20, n.p., illustrated (original iron) Marseille, Musée Cantini, César Rétrospective, 1966; catalogue, no. 26, n.p., illustrated (original iron) Arles, Cloître Saint-Trophine, César, 1973; catalogue, no. 2, n.p., illustrated (original iron) Milan, Rotonda Besana, César Rétrospective, 1974; catalogue, no. 3, n.p., illustrated (original iron) Geneva, Musée Rath; Grenoble, Musée de Peinture et de la Sculpture; Knokke-le-Zoute, Casino; Rotterdam, Museum Boyams-van Beuningen; Paris, Musée d'Art Moderne de la Ville de Paris, Rétrospective des sculptures, 1976; catalogue, no. 25, p. 39, illustrated (original iron) Antibes, Musée Picasso, César, La question de la sculpture, 1978; catalogue, no. 16, p. 26, illustrated (original iron) Perpignan, Fondation Château de Jau, Arman & César, 1979; catalogue, n.p., illustrated (original iron) Liège, Musée Art Moderne, César, 1982; catalogue, no. 25, p. 34, illustrated (original iron) Tokyo, Seibu Museum of Art, César, 1982; catalogue, no. 26, p. 44, illustrated (original iron) Paris, Pavillon des Arts, César, 1983 Jouy-en-Josas, Fondation Cartier pour l'Art Contemporain, Les fers de César, 1984; catalogue, p. 69, illustrated (original iron) Dunkerque, Musée d'Art Contemporain, César 1955-1985, 1985; catalogue, n.p., illustrated (original iron) Marseille, ARCA Centre Art Contemporain, Jardin Secret, 1986; catalogue, p. 57, illustrated (original iron) Sète, Musée Paul-Valéry, César, Les bronzes, 1991; catalogue, p. 25, illustrated (original iron) Marseille, Musée Vieille Charité, Rétrospective César, 1993; catalogue, p. 105, illustrated (original iron) Monte Carlo, Festival International des Arts, Marisa del Re Gallery, César à Monte-Carlo, 1994; catalogue, n.p., illustrated (original iron) Vence, Galerie Beaubourg, Portraits de femmes, 1994; catalogue, p. 19, illustrated (original iron) Pierre Volboudt, César: l'Oeuvre récente, XXème siècle, 1963, no. 22, p. 83, illustrated (original iron) L'Arte Moderna no. 107, Vol XII, Milan, 1967, p. 315, illustrated (original iron) Pierre Restany, César, Paris, 1975, no. 41, p. 59, illustrated (original iron) Pierre Restany, César, New York, 1976, no. 41, p. 59, illustrated (original iron) Annexions, "Alternes/1", 1980, p. 70, illustrated (original iron) Pierre Restany, César, Paris, 1988, p. 191, illustrated (original iron) Pierre Restany, César, Milan, 1988, no. 22, p. 35, illustrated (original iron) Jean-Charles Hachet, César ou les métamorphoses d'un grand art, Paris, 1989, no. 28, p. 29, illustrated (original iron) Denyse Durand-Ruel, César, Catalogue Raisonné, Volume I, 1947-1964, Paris, 1994, no. 521, pp. 391, 395, illustrated in colour (original iron)
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