65. ONLINE Auction; Contemporary and Modern Art
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Mübin Orhon (1924 - 1981)
Click for Artist Information"Abstrait Flamme"
HIS FIRST PERSONAL EXHIBITION AT THE DURAND GALLERY IN 1960 MADE MÜBİN ORHON KNOW AND GET FAMOUS IN PARIS...
“ABSTRAIT FLAMME” IS A WORK BELONGING TO MÜBİN ORHON'S POETIC-EXPRESSIONIST PERIOD, WHICH IS CONSIDERED HIS MOST IMPORTANT PERIOD, MADE ONE YEAR AFTER HIS EXHIBITION AT DURAND GALLERY...
LYRICAL-EXPRESSONIST ABSTRACTION: 1961,1970
Lyrical-Expressonist Abstraction: 1961,1970: It is observed that since the early 1960s, Mübin Orhon has added the features that come to the fore as the material flows from top to bottom into his fiction, after thinning the paint and applying it to the painting surface, especially in his compositions made with gouache and acrylic techniques. The paint is in light tones in the first area where it is applied to the canvas surface, and gradually becomes darker as it flows downwards, giving the paintings a dynamism and fluidity. Thus, this tendency of the artist, who pursues different visual painting tastes that can be evaluated within the framework of "Poetic/Expressionist Abstraction", stems from the close relationships he established with his contemporaries. The bleeding technique, which was frequently observed in the works of the American painter Sam Francis, who lived in Paris until 1957 and was well known to Mübin Orhon, was used by the artist in his painting setup. The visual values created by the leakage of paint from top to bottom show their presence in Mübin Orhon's paintings not by chance but fictionally. "Fluid linearity" realized with agile rhythmic hand movements, which is one of the influences that Francis and other painters living in France brought to their works from the Far Eastern calligraphy tradition to a certain extent, appears as a method used in Mübin Orhon's transformation of color into "image". It is observed that the artist tried to control instantaneous hand movements in the drawings he made since 1959, and tried to reveal the desired effect "in one fell swoop" when he picked up the brush. The artist, who first researched the effects of bleeding on his canvases for a long time, added the experiences he gained to his own fictional world that would make him unique, opening the doors of a new era in his painting. Therefore, the holistic structure ("allover" character) previously seen in Mübin Orhon's paintings is falling apart. Every line, every color is like a note of a visual relationship that has been broken and lost.
Necmi Sönmez, “Mübin Orhon”, Milli Reasürans Sanat Galerisi, 2001, Sayfa: 13, 14
Oil on canvas
100 x 81 cm
1961, signed
Provenance: French film writer Françoise (1923-2017) and his wife famous journalist Pierre Dumayet (1923-2011) Collection
Estimated Value:550.000TL - 850.000TL
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Selim Turan (1915 - 1994)
Click for Artist Information"Abstrait Vert "
BETWEEN 1950-55 IS THE MOST IMPORTANT AND ORIGINAL PERIOD WHERE THE "LOGIC OF VERTICAL EDITING" ESTABLISHED IN SELIM TURAN'S WORKS, WHICH ARE CONSIDERED THE BEGINNING OF THESIS-ANTHYTHESIS-SYNTHESIS PAINTINGS...
IN THE WORKS OF THIS PERIOD, ROUGHLY FULL PAINT LAYERS ON THE CANVAS OVERLAP, GIVING THE FEEL LIKE WOOD...
Thesis, Antithesis, Synthesis: 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.“Tez-Antitez-Sentez Selim Turan’ın Sanat Serüveni”, 2016, Sayfa: 45, 46
Oil on canvas
81 x 65 cm
signed
As in most of these works, the address of Selim Turan's workshop is located behind the canvas.
Estimated Value:300.000TL - 450.000TL
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Abidin Dino (1913 - 1993)
Click for Artist Information"Antibes"
FROM THE "THREE CITIES" SERIES (ISTANBUL-PARIS-ANTIBES) BY ABIDIN DINO, ANOTHER IMPORTANT REPRESENTATIVE OF THE FRENCH SCHOOL TURKISH CONTEMPORARY ART
Abidin was not one of those who believed in a single understanding of painting. For Abidin, there was no painting, or rather an understanding of art, that could be valid all over the world, in the West, in the East, in the North and in the South, in the same period. The artist in Paris could have followed a different path, the one in Istanbul could have followed a completely different path. In a discussion with Melih Cevdet Anday in 1962, he wrote: “Can there be one kind of painting in Paris and another in Çemikezek? I think it will. The painter is entangled with life, from the colors and forms of an environment to the various imperceptible effects of the society in which he lives. It is difficult for him to show the same reactions in Konya and Cannes. "Forget that, if I were not afraid of Melih, I would even say that a different kind of painting could be done in Samatya and a different kind of painting in Kavaklar." Abidin exemplified and based this view not institutionally, but with his creative action. For him, painting was an action in the broadest sense of the word. He wanted to express both his creative being and his thoughts, beliefs, intuitions, and loves. This being the case, he chose an approach to art to follow a single path throughout his life. All of these paths followed the same path, and no matter how the language of the paintings changed, they all led to a single goal. For this reason, Abidin's paintings of these three cities have a very different visual language. The Antibes paintings he painted between 1954 and 1961 are on the border of the abstract, with very little color and an emphasis on texture. The Istanbul paintings he made in 1966-67 for his first exhibition in his hometown after a long time are gouache and watercolor. These paintings, made in Paris, are the pictures of a longing of approximately twenty years. Abidin wrote these multicolored, very active paintings as if he closed his eyes and dreamed of Istanbul, and in his acrylic paintings of the 1980s, he depicted the city he lived in as a night panorama, abstracting from people, streets, all details, and even its light. It can be said that East and West meet in the paintings of these three cities.
“Abidin Dino - Üç Şehir”, Yapı Kredi Kültür Sanat Yayınları, 1996. Sayfa 2,3 5,6.
Oil on canvas
100 x 130 cm
signed
Provenance: Private Collection, Noyon, France
Estimated Value: 350.000TL - 550.000TL
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Abidin Dino (1913 - 1993)
Click for Artist Information"Antibes"
ANOTHER ANTIBES ARTWORK FROM THE "THREE CITIES" SERIES (ISTANBUL-PARIS-ANTIBES) BY ABIDIN DINO...
Oil on canvas
60 x 81 cm
signed
Provenance: Private Collection, Noyon, France
Estimated Value:180.000TL - 280.000TL
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Abidin Dino (1913 - 1993)
Click for Artist Information"Composition Au Verre "
AN EXTRAORDINARY WORK BY ABIDIN DINO...
Oil on canvas
34,5 x 27 cm
signed
Provenance: Famous French director Pierre Biro's collection that has received many international awards in the early 1960s. Following the death of Pierre Biro in 2007, this work moved to the French actor Eude Panel Collection.
Estimated Value:80.000TL - 140.000TL
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Nejad Melih Devrim (1923 - 1995)
Click for Artist Information"Flower Abstraction"
Watercolor on paper
29,5 x 14,5 cm
1970, signed
Estimated Value:30.000TL - 40.000TL
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Fikret Mualla (1903 - 1967)
Click for Artist Information"Homme et Femme avec un Verre"
The Bar Paintings of Mualla : Bars and Bistros, are one of the most important themes of Fikret Mualla. When he is broke he visits familiar bar and bistros owners and managers and in exchange for a few drinks he gives them paintings, these are places that he frequents, therefore he can reflect the actual environment. He has painted hundreds of bistro paintings, but no bistro painting is a variation of the other. Bars are Fikret Mualla’s first choice to visit when he feels lonely. Fikret has spent each earned penny on alcohol, has never tried drinking at home when it would have been less expensive. The first thing he would do as soon as he has some cash would be to run to the bar, order the most epensive food, drink and buy for others too. This way not only has he socialized but he would escape the problems of his life for a couple of hours. Fikret Mualla defines the difference between the bar counter and the crowd, at the same time, he uses the mutual grounds that interconnect these two realms and brings them to the forfront of the painting. In some examples he shakes the core of the rules of perspective by one look acknowledging the different depths. In some paintings, he spreads the red fov around the place, and at the same time would draw the three dimensional table such as Matisse’s in a single dimension without causing any illusion. The black musicians are actually playing fast music but they are posing in stillness.
Yalın Alpay & Prof Dr.Emre Alkin, “Moualla’nın Sanatı”, Sosyal Yayınları, 2016, Sayfa: 98, 99
Gouche on paper
20 x 26 cm
1954, signed
Provenance: Monique Fischer Collection, Fikret Mualla's close friend and the rightful owner of his works after his death.
The work will be included in the second volume of the Fikret Mualla Catalog Raisonnée, which is currently being prepared by Kerem Topuz and Marc Ottavi.
Estimated Value:180.000TL - 280.000TL
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Fikret Mualla (1903 - 1967)
Click for Artist Information"Femme Accoudée"
A Fresh Tribute To Fikret Mualla: Every artist who sees the human figure as the main theme of his art (As Fikret Mualla did) either works from memory or from the model in front of him; some, like Giacometti, were unable to move a brush or spatula without a live model to look at, while others like Picasso could, in the blinking of an eye, take in an image of the model in front of them and retrieve it years later at will, to decipt in whatever form they fancied. Fikret Mualla was somehow a combination of the two, though nearer to the latter type, to Picasso.
Veysel Uğurlu, “Fikret Mualla” ,Yapı Kredi Kültür Sanat Yayıncılık, 1999, Sayfa: 5
Gouche on paper
23 x 10 cm
1954, signed
Provenance: Monique Fischer Collection, Fikret Mualla's close friend and the rightful owner of his works after his death.
The work will be included in the second volume of the Fikret Mualla Catalog Raisonnée, which is currently being prepared by Kerem Topuz and Marc Ottavi.
Estimated Value:100.000TL - 160.000TL
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Sabri Berkel (1907 - 1993)
Click for Artist Information"Abstract Composition"
Oil on duralite
28 x 36 cm
signed
Estimated Value:60.000TL - 90.000TL
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Zeki Faik İzer (1905-1988)
Click for Artist Information"Abstract Composition"
Mixed media on paper
68 x 48 cm
1967, signed
Estimated Value:16.000TL - 22.000TL
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Zeki Faik İzer (1905-1988)
Click for Artist Information"Nude"
Ink on paper
42 x 52 cm
1965, signed
Estimated Value:12.000TL - 18.000TL
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Zeki Faik İzer (1905-1988)
Click for Artist Information"Nude"
Ink on paper
42 x 52 cm
1965, signed
Estimated Value: 12.000TL - 18.000TL
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Avni Arbaş (1919 - 2013)
Click for Artist Information"Patricia's Portrait"
Watercolor on cardboard
64 x 48 cm
1949, signed
Estimated Value:50.000TL - 80.000TL
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Avni Arbaş (1919 - 2013)
Click for Artist Information"People with Umbrellas on the Beach"
Oil on canvas
27,5 x 35 cm
1975, signed
Estimated Value:45.000TL - 65.000TL
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Avni Arbaş (1919 - 2013)
Click for Artist Information"Girl"
Oil on canvas
33 x 13 cm
signed
Estimated Value:35.000TL - 50.000TL
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Necdet Kalay (1932 - 1986)
Click for Artist Information"Train Station"
Oil on paper
26 x 68 cm
1976, signed
Estimated Value:40.000TL - 60.000TL
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Necdet Kalay (1932 - 1986)
Click for Artist Information"Geneve"
Oil on duralite
33 x 27,5 cm
1985, signed
Estimated Value:20.000TL - 30.000TL
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Necdet Kalay (1932 - 1986)
Click for Artist Information"Man"
Oil on duralite
19 x 13,5 cm
1975, signed
Estimated Value:9.000TL - 13.000TL
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Muhsin Kut
Click for Artist Information"Gas Tanker"
Oil on canvas
100 x 56,5 cm
2020, signed
Estimated Value:90.000TL - 140.000TL
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Mustafa Pilevneli (1940 - )
Click for Artist Information"Man ve Dog"
Watercolor on paper
13,5 x 21,5 cm
1978, signed
Estimated Value:13.000TL - 17.000TL
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Mustafa Pilevneli (1940 - )
Click for Artist Information"Village Landscape"
Watercolor on paper
9,5 x 19 cm
signed
Estimated Value:8.000TL - 12.000TL
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Necdet Kalay (1932 - 1986)
Click for Artist Information”Cats"
Pencil on paper
17 x 23 cm
1957, signed
Estimated Value:1.800TL - 2.600TL
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Necdet Kalay (1932 - 1986)
Click for Artist Information"Street in Paris"
Pencil on paper
23,5 x 17 cm
signed
Estimated Value:1.800TL - 2.600TL
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Necdet Kalay (1932 - 1986)
Click for Artist Information"Kadıköy" - "Man" (two sided)
Pencil on paper
17 x 23,5 cm
1958, signed
Estimated Value:1.800TL - 2.600TL
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Avni Arbaş (1919 - 2013)
Click for Artist Information"Workshop"
Ink on paper
20 x 27 cm
signed
Estimated Value:4.000TL - 6.000TL
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