68. ONLINE Auction; Contemporary, Modern and Classical Art
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Burhan Doğançay (1929 - 2013)
Click for Artist Information"dot PE"
Real Objects and Painted Shadows: Doğançay uses many different expressions and ways of painting tor render walls. Some have the rugged and worn look of old walls and torn and decaying posters. Others are more graphic, with large fileds of bright, sharply-contoured colors, of fragments of large letters and numbers, sometimes from familiar logotypes, in clear, unmixed fields of color that fill the canvas: Johnson & Humphrey II (1967) and Composition: Torn Poster (1970) or From Walls 70: No. 45 (1970) and Double O (1970), which seem closer to the almost cartoon-like style of American Pop artists such as James Rosenquist and Roy Lichtenstein or even the work of a proto – Pop artist like Stuart Davis. A stipend to train at the Tamarind Lithography Workshop in Los Angeles in 1969 inspired him to work with this more graphic and clear from of composition. The results are visible in the series Breakthrough (1972- 1977) and Ribbons (1972).
Klaus Albrecht Schröder and Elsy Lahner, “Burhan Doğançay”, Hirmer Publishers, 2017, page 32.
Gouache on cardboard
71 x 57 cm
Early 70's, signed
This work has a certificate signed by Mr. Yahşi Baraz.
Estimated:500.000TL - 700.000TL
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Burhan Doğançay (1929 - 2013)
Click for Artist Information"Ribbon Series"
Ribbons versus Calligrams: The individual Ribbons usualy appear as a single, more or less centered composition. The highly abstract calligraphic renderings then become an allusion of – and thus an homage to – calligrams, one of the most characteristic calligraphic genres in the Ottoman World. Their three – dimensional quality can take on a more complex or playful dimension in calligrams, through the way they are composed as an identifiable image and/or the way letters and words are intertwined to create various layers of depth and dimesions. Given the artist’s interest in the play of light and volüme, the question arises whether the artist actively looked to calligrams for inspiration . A comparison between the ottoman tughra and certain of the artist’s Ribbons shows visual parallels. For example : two, sometimes three parallel torn papers that form lines reminiscent of the tugra’s three vertical letter shafts; or two to three large curves that recall the saz- like forms found on the left side of tughra.
Klaus Albrecht Schröder and Elsy Lahner, “Burhan Doğançay”, Hirmer Publishers, 2017, page 49.
Gouache on paper
76 x 56 cm
1981, signed
This work has a certificate signed by Mr. Yahşi Baraz.
Estimated:500.000TL - 650.000TL
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Burhan Doğançay (1929 - 2013)
Click for Artist Information"Trident"
About Doğançay's Ribbon Series:The Attack Series see Doğançay’s transformation from observing artist to speaking artist. For Ribbon Series, he definitively leaves covered wall surfaces; he begins to work in solid colors such as gray or light blue and white or black surfaces representing light and shadow. In these deceptively regular and disciplined works, Doğançay plays with light and shadow in a convincing way; however, at the heart of these works, the artist’s observation on the walls lies although his works seem to be more refinedand abstract. “Reality is not surface anymore but what lies behind it; objects that come out of the walls occupy the space we inhabit.” “Throughout his career, he’s been interested in tactile painting level where the objects reach up the audience’s space.” In Ribbon Series, works extending ahead of the surface present the struggle of volume in a powerful and afficient way. A large number of torn paper strips that come out of jagged tear hole at the background into our space or ribbons themselves or shadows create elegant patterns evoking the calligraphy. Soft-edged tears that Doğançay’s observed on the walls are pretty important for him; they bring the image in characteristic and depth. Just like the previous series by him, Ribbons Series is also can be considered as "trompe l’oeil" collage; it resembles collage but there are optical illusions. "Trompe l’oeil" is a technique to measure the talents of real painters and the way he applies this technique is the proof of his talent. Along with the metal shadow sculptures that he did in 80’s, Aubusson, Ribbons Series provide a basis for mural carpets.
Clive Giboire, “Kent Duvarlarının Yarım Yüzyılı”, İstanbul Modern, 2012, Sayfa: 142
Gouche on paper
75 x 56 cm
1978, signed
This work has a certificate signed by Mr. Yahşi Baraz.
Estimated:500.000TL - 650.000TL
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Burhan Doğançay (1929 - 2013)
Click for Artist Information"Little Big Elephant"
1970-74: Changeable Forms: Doğançay started to analyze those visual conclusions attained through various experiments in an “abstact” language which had no counterpart in the real world. It was then that he started to delve into abstract-changeable forms. The point not to be missed here is that Doğançay didn’t interpret walls with their intrinsic “abstact” and “real” elements as a primary motif. That is why his paintings are hard to categorize. But he has created a theme that has an antirety despite the differences brought about by the visual breaks in his series of paintings. Red and black dominate this work, and a poster, as if torn right from the center, was depicted with its torn parts and the shadows of those torn parts. The relation of the oxidized yellow to the red formed the most striking aspect of this painting, while the images that were formed by the shadows were non-existent either in nature or on walls. The “fictional shadows” in this compositions were not formed by real three-dimensional space; the feeling of depth was created through “illusion”. But the shadows, as well as the other visual elements reached beyond the canvas to be completed in the mind of viewer, thus presenting a “painting with open ends”.
Necmi Sönmez, “Burhan Doğançay, Retrospektif”,Eczacıbaşı Publishers, 2001, Page: 90, 92
Gouche on paper
56 x 56 cm
1974, signed
This work has a certificate signed by Mr. Yahşi Baraz.
Estimated:450.000TL - 600.000TL
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Kemal Seyhan (1960 - )
Click for Artist Information"Purple Abstract "
Oil on canvas
120 x 150 cm
2023, signed
Estimated:140.000TL - 200.000TL
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Ali Elmacı (1976 - )
Click for Artist Information"Inheritance Passes From Father To Son IV"
Oil on canvas
190 x 140 cm
2011, signed
Estimated:200.000TL - 300.000TL
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Erro (1932 - )
Click for Artist Information"The Pope's Bodyguard"
A well-known work printed in books of Gudmundur Erro, one of the pioneers of European Pop Art, whose works are exhibited in all the important contemporary art museums of the world such as MoMa, LACMA, Guggenheim, Tate Modern, Pompidou etc...
1891-1950
Acrylic on Canvas
100 x 90 cm
2009, signed
This work is on the page 43 of the book "Erro, Catalogue Général, 2007-2012" published by Edition Hazan in 2012.
Provenance: Gallery Ernst Hilger, Vienne
Estimated:160.000TL - 220.000TL
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Chintan Upadhyay (1972 - )
Click for Artist Information"Indian Adventure"
One of India's best-known mid-generation contemporary artists... The artist, whose works are exhibited in the world's leading contemporary art museums, received the Charles Wallace Foundation award in England in 2012.
Acrylic on Canvas
122 x 153 cm
2014
Estimated:80.000TL - 120.000TL
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Peter Kogler (1959 - )
Click for Artist Information"Die Welt"
Peter Kogler, who reveals the perception of space by using graphic, architectural and new media techniques, is one of the most important and world-renowned contemporary artists of Austria...
Mixed technique on aluminum
70 x 100 cm
2002, signed
Estimated:70.000TL - 100.000TL
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Ergin İnan (1943 - )
Click for Artist Information"Long Letter"
Ergin İnan or Focusing on Detail: Visual communication is essentially a dialogue we establish with ourselves, starting from what is visible; At best, the artist gives us some clues in this direction; Thus, the definition of communication based on the principle of reciprocity has lost its validity to some extent. However, the general tendency to relate to the work of art as a means of communication resists this to the end; Because in the final analysis, every work of art is a meeting point that takes place through someone else, even if the addressee is the viewer's own self. Inan, on the other hand, is pushing this communication opportunity downhill and running into difficulties, not because the code he sees is mysterious and closed, but because it is so open - the viewer has silently fallen into the trap of obviousness. Accordingly, the free movement space we have when interpreting a deformed object is automatically narrowed in the public repetition of the same thing with a realistic representation; in interpretation; At least a special effort is required not to ignore the syntactic concern that constitutes the other half of the picture, otherwise the story has slowly taken the place of interpretation. In fact, nothing is as foreign to İnan as the desire to hide behind the password; However, this is exactly why he finds himself behind an encrypted world; At least for us, this is the case... Believe me, leaving the audience to their own devices proves the privilege of being creative. As long as a form is considered picturesque, it can well be abstracted from its realistic context, even if it clearly refers to the outside world, because contemplation has already bypassed and canceled out its meaning.
Mehmet Ergüven, “Ergin İnan”, YKY Yayınları, 1996, Sayfa: 3, 4
Oil and mixed media on wood
220 x 26 cm
2006, signed
Estimated:600.000TL - 800.000TL
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Ergin İnan (1943 - )
Click for Artist Information"I'm Lost in You"
Mixed media on Hahnemuhle paper pasted on canvas
101 x 130 cm
2016, signed
The work has a certificate of authenticity prepared by Ergin İnan.
Estimated:70.000TL - 90.000TL
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Devrim Erbil (1937 - )
Click for Artist Information"Variations on the Passion of Istanbul XVII"
Mixed media on hahnemushle paper
81,5 x 80 cm
2018, signed
The work has a certificate of authenticity prepared by Devrim Erbil.
Estimated:50.000TL - 70.000TL
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Mustafa Ata (1945 - )
Click for Artist Information"Figurative Composition"
Ata's Confrontation With Figures: Ata has tries to express the changeability of life and the dynamism of human body by synthesizing them with colors so far. In addition, he makes use of the light shadow of George La Tour, one of the colors by Matisse. What is depicted here is the questioning of life and an endless motion that has been in man’s soul between life and death. Of course the artist is confronting with the figures and the own being. Therefore, just like he says, we can observe every aspect of life in these figures. The origin of his paintings is the German expressionists emerged during the beginning of 20th century. Using every data from colors to strengthen his expression, he actually uses an old language in terms of technique. However, what he expresses has to do with today and the self-assimilation act of contemporary human.
Esra Aliçavuşoğlu (Radikal Gazetesi, 26 Aralık 2000), “Mustafa Ata Retrospektif 2012”, Beltaş Yayınları, 2012, Sayfa: 296, 297
Oil on canvas
97 x 130 cm
1987, signed
Provenance: Old Alber Shaul Collection
Estimated:350.000TL - 450.000TL
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Mehmet Güleryüz (1938 - )
Click for Artist Information"Figurative Composition"
Mix media on textile
27 x 18 cm
signed
Estimated:100.000TL - 150.000TL
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Devrim Erbil (1937 - )
Click for Artist Information"Istanbul Old Peninsula and Birds (D)"
Serigraphy Ed. 19/25
69 x 98 cm
2021, signed
Estimated:9.000TL - 13.000TL
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Hakan Onur (1965 - )
Click for Artist Information"Exemption Exam"
Mixed media on canvas
200 x 145 cm
2008
Estimated:30.000TL - 40.000TL
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Turan Aksoy (1964 - )
Click for Artist Information"Purified"
Acrylic on canvas
195 x 142 cm
2012, signed
Estimated:25.000TL - 35.000TL
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Jeff Koons (After) (1955 - )
Click for Artist Information"Balloon Dog (Orange)"
Cold cast resin, Ed. 100/999
30 x 30 x 12 cm
This work has a certificate.
Estimated:10.000TL - 15.000TL
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Saim Bugay (1934 - 2008)
Click for Artist Information"Donkey"
Wood and steel
32 x 35 x 5 cm
signed
Estimated:50.000TL - 65.000TL
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Çağdaş Erçelik (1983 - )
Click for Artist Information"Eve's Room"
Composite, wood and mixed media
80 x 70 x 30 cm
Estimated:70.000TL - 90.000TL
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Şenol Bora (1987 - )
Click for Artist Information"Bird and Birds Baby"
Wood
48 x 24 x 11 cm
2024, signed
Estimated:20.000TL - 28.000TL
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Mehmet Gün (1956 - 2014)
Click for Artist Information"Yes I Know"
Mixed media on cardboard
100 x 70 cm
1986, signed
Estimated:16.000TL - 22.000TL
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Mehmet Gün (1956 - 2014)
Click for Artist Information"A Lady"
Mixed media on cardboard
69 x 49 cm
1984, signed
Estimated:10.000TL - 15.000TL
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İsmet Doğan (1957 - )
Click for Artist Information"Sphinx"
Gravure E.A
32 x 24 cm
1981, signed
Estimated:3.500TL - 5.000TL
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Devrim Erbil (1937 - )
Click for Artist Information"Birds in Istanbul (A)"
Serigraphy Ed.16/25
70 x 100 cm
2022, signed
Estimated:9.000TL - 13.000TL
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