64. ONLINE Auction; Contemporary and Modern Art
- Category: Painting
Burhan Doğançay
Click for Artist Information"Blue Entry"
Gouche on hardboard
43 x 28 cm
1972, signed
Estimated Value: 160.000-240.000 TL
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Burhan Doğançay
Click for Artist Information"Orange Under Blue"
Gouche on paper
39 x 27 cm
1970, signed
Provenance: Vaus Roger Collection, Ambassador of France to Turkey
Estimated Value: 130.000-200.000 TL
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Burhan Doğançay
Click for Artist Information"Walls V"
One of the lithographs that Doğançay printed at the "Tamarind Atoyle" was the beginning of his printing works.
This artwork is on page 254 of the book "Burhan Doğançay Retrospective" published by Duran Ofset.
Litography, Color Trial Proof
52.5 x 44.5 cm
1969, signed
Estimated Value: 20.000-30.000 TL
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Burhan Doğançay
Click for Artist Information"Wall 70"
One of the lithographs that Doğançay printed at the "Tamarind Atoyle" was the beginning of his printing works.
This artwork is on page 254 of the book "Burhan Doğançay Retrospective" published by Duran Ofset.
Part of the signature and the edition number remained under the passepartout. "
Lİtography
76 x 55 cm
1970
Estimated Value: 20.000-30.000 TL
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Adnan Çoker
Click for Artist Information"From the Domes Series"
Lithography Printing Ed. 17/100
90 x 70 cm
signed
Estimated Value: 7.000-10.000 TL
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Adnan Çoker
Click for Artist Information"Abstract Composition"
Mixed media on cardboard
20 x 21,5 cm
1957, signed
Estimated Value: 14.000-20.000 TL
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Devrim Erbil
Click for Artist Information"Istanbul in Red"
Oil on canvas
130 x 130 cm
2010, signed
Estimated Value: 700.000-1.000.000 TL
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Devrim Erbil
Click for Artist Information"Istanbul, Galata and Birds"
Mixed media on print on hahnemuhle paper
94.3 x 79.4 cm
2019, signed
This work has a certificate.
Estimated Value: 50.000-65.000 TL
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Devrim Erbil
Click for Artist Information"İstanbul, Haydarpaşa (B)"
Serigraphy Ed. 9/25
70 x 100 cm
2020, signed
Estimated Value: 6.500-9.000 TL
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Devrim Erbil
Click for Artist Information"İstanbul, Mavi Yorum (C)"
Serigraphy Ed. 15/25
100 x 70 cm
2022, signed
Estimated Value: 6.500-9.000 TL
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Mehmet Gün
Click for Artist Information"Look Okay"
Mixed media on cardboard
69 x 49 cm
1986, signed
Estimated Value: 8.000-11.000 TL
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Mehmet Gün
Click for Artist Information"A Lady"
Mixed media on cardboard
69 x 49 cm
1984, signed
Estimated Value: 8.000-11.000 TL
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Ergin İnan
Click for Artist Information"Butterfly Inscription IV"
This artwork is on page 179 of the book "Ergin İnan 50. Sanat Yılı" published by Ekol Sanat.
Oil on wood
180 x 110 cm
2016, signed
Estimated Value: 700.000-1.100.000 TL
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Ergin İnan
Click for Artist Information"Faces Etched with Color"
Mixed media and print on paper
104 x 134 cm
2019, signed
This work has a certificate.
Estimated Value: 65.000-80.000 TL
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Komet
Click for Artist Information"Avantgarde"
Mixed media and oil on wood
100 x 70 cm
signed and dedicated
Estimated Value: 70.000-110.000 TL
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Adem Genç
Click for Artist Information"Abstract Composition"
Oil on canvas
160 x 196 cm
2009, signed
Estimated Value: 70.000-100.000 TL
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Mark Brusse
Click for Artist Information"Le Corbeau et La Tomate"
Mixed media on paper
70 x 140 cm
1997, signed
Estimated Value: 50.000-70.000 TL
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Salar Ahmedian
Click for Artist Information"Calligraphic Abstraction"
Oil on canvas
173,5 x 173,5 cm
signed
Estimated Value: 35.000-45.000 TL
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Ali Atmaca
Click for Artist Information"Figurative Composition"
Acrylic on canvas
117 x 150 cm
2003, signed
Estimated Value: 20.000-30.000 TL
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Halil Akdeniz
Click for Artist Information"Culture Symbol"
Oil on canvas
180 x 200 cm
2012, signed
Estimated Value: 50.000-70.000 TL
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Selim Turan
Click for Artist Information"Abstrait Orange-Marron"
A MUSEUM MASTERPIECE OF SELIM TURAN, ONE OF THE IMPORTANT REPRESENTATIVES OF THE FRENCH ECOLE OF TURKISH CONTEMPORARY ART...
Selim’s rendition of the abstract within the ruins of World War II, took place in the aftermath of the artists who searched for the “essential disengagement from the accord” to the struggle to throw away the visual burden of all the images of the outer world from the painting. The artist concentrated on unspotted abstract thinking during this period. Black, painted on one layer after another creates stratified painting blocks, not only does it capture its own painting’s reality but takes it over and at the same time dominates even the most minute area till the very end. In the assembly of the composition the “crucified Jesus motive” can be interpreted as an “antithesis” developed by Selim. Because the training in the Academy and especially the teachings of Leopold Levy, led Selim Turan into learning and developing the “thesis”s of modern art closely. When the artist came to Paris he realised in order to survive in the art environment, he needed to struggle with the 21.st century art ethics and go beyond reality. This could happen in two different methods; finding your identity and simultaneously losing your identity and following the popular movement. Selim, regardless of all the difficulties decided to choose after finding his own identity and especially during 1948-1955 he developped polymorphic shapes. He defied the borders of Abstract expression by defining shape, and perspective as much as he can on a surface with no deepness. The paintings from these years, are full of dazzling examples of Selim’s own guide towards the depth of painting. Compositions that have the crucification of Jesus motive are not descriptive but imaginative. Following his paintings after his educational period, the Artist has developed an approach that magnifies daily life with his own “thesis” beyond the teachings and readily made prescription for, Impressionism, Cubism, and Surrealism. He was after creating his own voice, his own breathe when he was painting about nature, city life and depicting those living close to him. His struggle for construing an “interpretation” and as an “antithesis” borrowing from Christian iconographic motives, forces him to put aside all that he has learned before and to burn all the ships for the second time never to return. Regardless of the main paranthesis that has been defined around abstract art, Turan’s “antithesis” holds a mystical understanding of the world at heart, which suggests a fiction with color collectivity that will not disintegrate at a glance. Necmi Sönmez, “Tez-Antitez-Sentez Selim Turan’ın Sanat Serüveni”, 2016, Page: 45, 46.
Oil on canvas
131 x 162 cm
1960s, signed
Provenance: Private Collection, Noyon, France
Estimated Value: 750.000-1.250.000 TL
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Abidin Dino
Click for Artist Information"Atibes" Series
A MASTERPIECE FROM THE "THREE CITIES" (ANTIBES-PARIS-ISTANBUL) SERIES BY ABIDIN DINO, ANOTHER IMPORTANT REPRESENTATIVE OF THE FRENCH ECOLE TURKISH CONTEMPORARY ART...
Abidin, was never one who believed in a single understanding of painting. At the same time a painting that is accepable on all four surfaces of the earth, in the East, in the North, in the South, or a sense of art was out of the question for Abidin. The artist in Paris or for that matter the artist in Istanbul could follow a competely different path. In 1962in a discussion with Melih Cevdet Anday this is what had wrote: “ A different painting in Paris, and another in Çemişkezek how can that be? I think it can be. An artist consumed by the color of the environment, from shapes to the society they live in, fuly enwrapped with the different indistinct effects of life. It’s difficult for him to show the same reaction in Konya as in Cannes. If i didn’t fear so much from Melih I would even say that the paintings in Smatya are different then the ones in Kavaklar.”Abidin, was basing his opinion examlifying his creative activities, not corporate, (for as long as I’ve known he has always ran away from these types of theories). For him painting, was an activity in the whole meaning and sense of the world. It was a creative, personal action, a revolutionary one, a societal movement. He wanted to express himself, his existence, thought, beliefs, instincts, and one love through his paintings. Being as it is, he chose a multipathed art apprecation for himself, without criticising those artists giving them credit who d’rather ptoceed in a single pathall their lives. All these paths aare going in the same direction and no matter how different the language of the painting is, they were all leaning towards one purpose. In these three cities there is a totaly different language of Abidin’s painting. The Antibes paintings that he made between 1954-61 are on the verge of abstracticism, suficing with less color, but relying more on texture. He will open a solo exhibition in his own mother country after a long interval in 1966-67 with his watercolor and gouche Istanbul paintings. These paintings were made in Paris a product of twent years of longing. It seemed as if these multicolored, moving paintings were made by abidin, with his eyes closed during a dream of Istanbul painted onto paper. The acrylic in the 1980’s in his Pairs paintings isolated the city he lived in from people, streets even from the light and details painted as if a night view. We can say that East and West meet in these paintings of three cities. Ferit Edgü, “Abidin Dino - Üç Şehir”, Yapı Kredi Kültür Sanat Yayınları, 1996. Sayfa 2,3 5,6.
Oil on canvas
65 x 80 cm
signed
Provenance: Private Colelction, Noyon, France
Estimated Value: 180.000-325.000 TL
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Abidin Dino
Click for Artist Information"Three City" (Istanbul-Paris-Antibes) Series
Gouche on hardboard
23 x 49 cm
signed
Estimated Value: 45.000-65.000 TL
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Nuri İyem
Click for Artist Information"Abstract Composition"
This work is on page 72 of the first volume of the 2-volume "From Past to Tomorrow, Nuri İyem", a Catalog Raisonneé published by Evin Art Gallery in 2002.
Oil on canvas
65 x 92 cm
1950s, signed
Estimated Value: 200.000-320.000 TL
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Eren Eyüboğlu
Click for Artist Information"Landscape Abstraction"
Oil on cardboard
19 x 21 cm
signed
Estimated Value: 14.000-22.000 TL
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