Lot Essay
Dr Andreas Neufert a confirmé l'authenticité de cette oeuvre.
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Sans titre
Details
Wolfgang Paalen (1905-1959)
Sans titre
signé des initiales et daté 'WP 45' (en bas à droite)
huile et fumage sur papier d'amate mexicain (indigène)
48.7 x 28 cm.
Peint en 1945
signed with the initials and dated 'WP 45' (lower right)
oil and fumage on Mexican (indigenous) Amate paper
19 1/8 x 11 in.
Painted in 1945
Sans titre
signé des initiales et daté 'WP 45' (en bas à droite)
huile et fumage sur papier d'amate mexicain (indigène)
48.7 x 28 cm.
Peint en 1945
signed with the initials and dated 'WP 45' (lower right)
oil and fumage on Mexican (indigenous) Amate paper
19 1/8 x 11 in.
Painted in 1945
Provenance
Gigi Richter (Irmingard Emma Antonia Crompton), Londres (acquis auprès de l'artiste).
Puis par descendance au propriétaire actuel.
Puis par descendance au propriétaire actuel.
Special Notice
Artist's Resale Right ("droit de Suite").
If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Further Details
Gigi Crompton died on 12th January 2020 at her Home in Swaffham Bulbeck Cambridgeshire her husband David died in October 2007.
Gigi Irmingard Richter (b.1922) is the daughter of the American art historian, Dr George Martin Richter (1875-1942), and his wife, Amely, from Munich. Her father’s book on Andrea Del Castagno was published posthumously in 1943. Gigi Richter settled in England in 1945 and married David H. Crompton in 1949 in the City of Westminster. She became a leading botanist in Cambridgeshire.
Richter went to school in England from 1929. She studied in Berlin in 1936 and at Westminster Art School, London, 1938-9, according to her CV (‘Roberts Commission - Protection of Historical Monuments’. She took an apprenticeship as a picture restorer under Sheldon Keck at the Brooklyn Museum, 1940-2, later working there as a laboratory assistant in 1944 (letter from Mrs Sheldon Keck to Huntington Cairns, 19 June 1945, see "Roberts Commission - Protection of Historical Monuments".
Richter worked as a restorer for the London Gallery in Brook St in 1947 (James King, Roland Penrose: The Life of a Surrealist, 2016, p.298). She cleaned Gwen John’s Girl with a Cat (5744) for the Tate Gallery in 1947/8, and other works, 1949-50 (Tate archive, TG 18/1/1/4; National Gallery archive, NG13/1/14). She worked part-time as a freelance conservator at the Walker Art Gallery, Liverpool, 1958-62.
Gigi was very friendly with many artists and she either bought paintings and items from them (see email concerning Henry Moore) or on many occasions they gave her paintings.
Here is a story about a John Craxton Painting.
He brought it into her to be relined but when he came to collect it he thought the £37 was too much so he said to Gigi " Here Gigi you keep it" and wrote on it "To my Gigi June 1948 Craxton" Nobody knew of the existence of this painting until recently. She gave the painting to me several years ago and told me the story.
We also have 2 paintings by S W Hayter, when I spoke to Gigi about these she said she had engraving lessons from him. I asked her where but she could not remember. I have since found entries in her diaries for lessons with Hayter, in October 1945 in New York just before she returned to England. So again, did he give her the paintings? I think so. Sonja Sekula also went for lessons at S W Hayter's soon after Gigi left. We have a letter from Bill (S W Hayter) to Gigi telling her this. There are also entries in her diary of meetings ith Sonja Sekula.
From the information I have found she appeared to obtain most of her paintings between 1940 and 1960.
Soon after this she changed her profession completely began working on field studies for the Cambridge Botany School in the early 1960s.
Gigi Irmingard Richter (b.1922) is the daughter of the American art historian, Dr George Martin Richter (1875-1942), and his wife, Amely, from Munich. Her father’s book on Andrea Del Castagno was published posthumously in 1943. Gigi Richter settled in England in 1945 and married David H. Crompton in 1949 in the City of Westminster. She became a leading botanist in Cambridgeshire.
Richter went to school in England from 1929. She studied in Berlin in 1936 and at Westminster Art School, London, 1938-9, according to her CV (‘Roberts Commission - Protection of Historical Monuments’. She took an apprenticeship as a picture restorer under Sheldon Keck at the Brooklyn Museum, 1940-2, later working there as a laboratory assistant in 1944 (letter from Mrs Sheldon Keck to Huntington Cairns, 19 June 1945, see "Roberts Commission - Protection of Historical Monuments".
Richter worked as a restorer for the London Gallery in Brook St in 1947 (James King, Roland Penrose: The Life of a Surrealist, 2016, p.298). She cleaned Gwen John’s Girl with a Cat (5744) for the Tate Gallery in 1947/8, and other works, 1949-50 (Tate archive, TG 18/1/1/4; National Gallery archive, NG13/1/14). She worked part-time as a freelance conservator at the Walker Art Gallery, Liverpool, 1958-62.
Gigi was very friendly with many artists and she either bought paintings and items from them (see email concerning Henry Moore) or on many occasions they gave her paintings.
Here is a story about a John Craxton Painting.
He brought it into her to be relined but when he came to collect it he thought the £37 was too much so he said to Gigi " Here Gigi you keep it" and wrote on it "To my Gigi June 1948 Craxton" Nobody knew of the existence of this painting until recently. She gave the painting to me several years ago and told me the story.
We also have 2 paintings by S W Hayter, when I spoke to Gigi about these she said she had engraving lessons from him. I asked her where but she could not remember. I have since found entries in her diaries for lessons with Hayter, in October 1945 in New York just before she returned to England. So again, did he give her the paintings? I think so. Sonja Sekula also went for lessons at S W Hayter's soon after Gigi left. We have a letter from Bill (S W Hayter) to Gigi telling her this. There are also entries in her diary of meetings ith Sonja Sekula.
From the information I have found she appeared to obtain most of her paintings between 1940 and 1960.
Soon after this she changed her profession completely began working on field studies for the Cambridge Botany School in the early 1960s.
Brought to you by
Valérie Didier Hess