m c escher, Signiert (8 Ergebnisse)

Edition unknown, signed by the artist in pencil lower left, written "eigen druk, linoleum snede, Rimpoling" lower right. At a symposium in 1986 Escher's oldest son George told the story of how his father came up with the idea for this print. He described how his father always went for a daily walk in the forest near his house in Baarn: "One bright winter day he found himself standing at the edge of a pitch-black pond surrounded by the majestic trees in the forest. As he looked at the quiet pond he became fascinated by the perfect reflection of the moon and the silhouettes of the trees on the still surface of the water. As usual, he bent his head to the side slightly in order to see the reflection from below. Then he turned his back to the pond and bent forward so he could gaze at the water from between his knees. Using his hands to conceal the bottom part of his view so he could no longer see the foreground, it was easy to imagine that he was standing upright and staring at the sky. Here I am with my head down, he mused, grinning to himself. Yet my senses tell me I'm looking upwards! While he stood there a squirrel in one of the trees overhead dropped an acorn into the pond, which shattered the surface of the water. As the pond slowly settled again, his father stood there riveted by what he saw. "How amazing!" he thought. "A few little ripples tell me that I'm looking at a body of water and not at a tree!" This incident in the forest resulted in Rippled surface. However, in order to see the scene as Escher first saw it, the print needs to be rotated 180 degrees." Bool/Kist/Locher/Weird 367. Original linocut in black and grey from two blocks, on light wove paper. Image size: 26 x 32 cm. Sheet size: 30.2 x 37.7 cm. Framed size: 40.2 x 47.7 Excellent condition. Presented in a white wooden frame.

Unknown edition, signed by the artist in pencil lower left. The image depicts a dodecahedron merged with a glass sphere, reflecting broken and disorderly objects. Escher's work explores the concept of impossible geometry used frequently in fantasy and science fiction, from notable early examples such as E. A. Abbott's Flatland (1884) to later works such as those by Jorge Luis Borges in which the "construction of the fourth dimension in their literary creation can find analogy in the magic mirrors of M. C. Escher" (Zeng). Escher's works have likewise provided a visual language for many subsequent illustrations of the weird, including the works of H. P. Lovecraft. Bool/Kist/Locher/Weird 366; Bruno Ernst, The Magic Mirror of M. C. Escher, 1976; Hong Zeng, The Semiotics of Exile in Literature, 2010. Original lithograph on smooth wove paper. Image size: 28 x 28 cm. Sheet size: 31.9 x 31.5 cm. Framed size: 52.2 x 51.2 cm. Excellent condition. Presented in a white gold frame with museum acrylic glazing.

Laren, the artist, 1970. Handwritten letter in black pen, dated "Laren, 27-XII-'70", written on a folded postcard featuring Escher's "Cycle", produced in 1970 by The Vorpal Galleries in San Francisco, CA. = Letter by the Dutch artist Maurits Cornelis Escher (1898-1972) to "Dear Mr and Mrs van Gelder" (Han van Gelder and An Melissen), signed "Met vriendelijke groet, hoogachtend" ["With kind regards, sincerely yours"] M.C. Escher" on the inside pages. Han van Gelder (1923-2012) was a Dutch director, who made a short film on Escher titled Adventures in Perception, which was nominated for an Oscar. "Highlight was a film that Van Gelder made in 1969 on behalf of the Ministry of Foreign Affairs about the graphic artist Maurits Cornelis Escher: Adventures in Perception, or With an Eye to Adventure. The film received prizes and honourable mentions at various film festivals and was nominated for an Oscar in 1972. Escher himself was especially surprised to see in the film how his six-legged Wentelteefje or Rolpens, (Wheel-Weevil, or Roll-Up) really started to walk, roll and stop again" (Wikipedia). The Wheel-Weevil, "Pedalter-norotandomovens centroculatus articulosus", was invented by Escher because of his dissatisfaction with nature never having invented the wheel. The letter deals with this documentary: "I regret that I will not be able to attend the 'Première' of my film: in early or mid-January I will have to undergo, again, minor surgery (.). There are 2 more critical remarks: 1) Several of my friends have pointed out to me that the part of the film in which I myself appear is too red: 'you don't have such a brick-red face', they say Is there what to do about it? (.) I wish you both the very best in the new year 1971!". Original printed card with the lithograph Kringloop, or Cycle (Bool 305) on the front side, and an explanation, in English, on the rear side. Provenance: a member of the Van Gelder family. Together with: a very rare flyer for the film, the first in the series, The Living Arts in the Netherlands. Also included in the lot are two original photos of Han van Gelder, both showing him holding a copy of Escher's lithograph Klimmen en Dalen (Ascending and Descending; Bool 435), which features prominently in Van Gelder's film. Postcard paper a bit toned and very slightly soiled, otherwise in excellent condition. Letters by Escher are very scarce. Bool 374, 375 (Wentelteefje).

Baarn, M. C. Escher, 1944. Lithography on oblong Van Gelder paper (45.9 x 56.7 cm; printed surface 34.1 x 46.5 cm), with watermarks VGZ and Holland; signed in pencil by the artist. = A very fine print designed and privately printed by the world-famous Dutch graphic artist Maurits Escher (1898-1972). This print, Ontmoeting (Encounter), was made in 1944, the year in which Escher helped with saving artwork made by his teacher and mentor, the Dutch artist and engraver Samuel Jessurun de Mesquita (1868-1944), shortly after De Mesquita's arrest and murder by the Nazi German occupiers. Encounter shows a pessimist and an optimist going in opposite directions but ending up shaking hands. As with many Escher prints, Encounter was produced and sold in a limited edition of 30 copies - the last sold in 1946 - and then individually, i.e., not as part of a numbered edition. A total of 123 copies were sold during Escher's lifetime (Hazeu). Bool records a copy numbered 13/10 (i.e., reversing usual practice), and an edition of 200, sold to the art rental programs Arta (Europe) and IGAS (United States). The present copy, however, is one that was sold individually. Some slight abrasion, in the margins on the verso only, otherwise in pristine condition. Escher's signature in the lower left corner of the printed area. Bool 331; Hazeu, W. (1998) M. C. Escher. Een biografie, p. 288. This print is subject to 4% resale royalties (droit de suite) and 21% Dutch VAT, which is included in the price here. Outside the Netherlands the VAT may be different or even nihil.

Erzählungen. Illustr. OKart. von M. C. Escher (lichtrandig, Cellophan löst sich etwas). 129 SS., 1 Bl. Sprache: Deutsch, Erste Ausgabe. - Das experimentelle Erstlingswerk des Baseler Autoren. - Jeske 357 f. Kosch IX, 796. - Frisches Exemplar, noch mit der beiliegenden Verlagswerbung. - Vortitel von Jürg Laederach signiert und dat. Graz der dreissigste Oktober Neunzehnhundert sechsundsiebzig.

(Frankfurt am Main), Suhrkamp, (1974). 132 S. OKart. mit VDeckel-Illustr. Erste Ausgabe der ersten Buchveröffentlichung des Schweizer Schriftstellers. - Vom Verfasser SIGNIERT, datiert Graz, 5. Mai 1978. - Enthält 42 kurze Prosastücke, die in assoziativem Zusammenhang stehen. Deckel-Illustration nach M. C. Escher ("Tag und Nacht"). - Einband partiell gebräunt, Folienkaschierung an den Rändern tlw. gelöst; sonst gutes Exemplar.

Gerabronn und Crailsheim, Hohenloher Druck- und Verlagshaus, 1993, Gr.-8°, 51 S., mit Illustrationen, illustrierter Original-Pappeinband in guter Erhaltung (minimal gebräunt) *Mit handschriftlicher Signatur und Datierung der Verfasserin auf dem Titelblatt / signiert.

320 x 250 mm. (12 1/2 x 9 3/4"). 69, [5] pp.; [2] leaves, followed by plates. One volume and one portfolio. STRIKING KHAKI BROWN CALF BY RENAUD VERNIER (stamp-signed on front doublure), front cover with jagged "split" down the middle, connected by four entrelac "straps" interlacing three times, the olive drab suede free endpaper visible beneath this entrelac, rear cover with edges of "split" cut on front cover tooled in thin black lines, smooth spine with title embossed in vertically stacked letters, khaki brown calf doublures, olive drab suede endleaves, all edges gilt on the rough. Original embossed wrappers bound in. Housed in the matching calf-backed chemise and slipcase. Tan linen clamshell box housing second suite of plates. With 30 ORIGINAL ETCHINGS in the text, AND TWO ADDITIONAL "EXPERIMENTAL SUITES," one bound in and one in a separate clamshell box, all SIGNED in pencil by the artist. Short, faint scratch to spine, but in near-mint condition. These 30 "ramblings of an engraver" cover subjects ranging from the letter "S" and double-"E's" to icosidodecahedrons and openwork walls--like that on the front cover of the binding by Maître d'Art Renaud Vernier. Each rambling is illustrated with a complex interlacing design by engraver, historian, teacher, and humanist intellectual Albert Flocon; variations on these designs, with colors and other additions, appear in the additional suites of plates. Born near Berlin as Albert Mentzel, Flocon (1909-94) was drawn to the Bauhaus movement in the 1920s, and studied with Josef Albers, Paul Klee, and Wassily Kandinsky. In the 1930s, he and his Jewish wife fled the anti-Semitism of Germany, settling in France, where he found work in advertising and became intrigued by the Surrealist movement. During German occupation in World War II, his wife and eldest daughter were deported to Auschwitz and murdered; his two younger children, hidden by neighbors, fortunately survived. Flocon decided to renounce his German surname and adopt that of his French grandmother. He exhibited with the Surrealists in 1947, and began teaching drawing at the École Estienne in 1954. In 1964, he was named to the chair in Perspective at the École des Beaux Arts. His friendships with contemporary philosophers and scientists led him to explore the topic of perspective in various disciplines; he was particularly passionate about the links between art and geometry. He shared this interest with his friend and brother in art, M. C. Escher; the "experimental suites" here call to mind Escher's work. Binder Renaud Vernier enrolled at the École Estienne in 1968 to study bookbinding. After graduating in 1972, he did work for P.-L. Martin, Georges Leroux, Monique Mathieu, Germaine de Coster, and Michel Richard before establishing his own studio in Paris. He moved his workshop to Aix-en-Provence in 1983, remaining there until his 2012 retirement. Known for his purity of decoration and for harmonizing his bindings to the contents of the book, Vernier was sought after by bibliophiles. He was named a Master of Art in 2000, both for his bookbinding and for his teaching; his pupils included binders Anne Dorgeuille and Louise Bescond. FIRST EDITION. No. 29 OF 110 COPIES, with ONE OF 24 "EXPERIMENTAL SUITES" OF SIGNED ETCHINGS (Copy S), printed on various papers, bound in, plus an unbound SECOND "EXPERIMENTAL SUITE" OF 30 ETCHINGS printed on paper in various shades, ALL MARKED "SUITE ESSAI" ["Test Suite"] IN PENCIL AND SIGNED BY FLOCON.