Michel Guino Sold at Auction Prices

MICHEL GUINO (1926-2013) SCULPTURE, 1954 Avec base : 116 cm / with base :

MICHEL GUINO (1926-2013) SCULPTURE, 1954 Avec base : 116 cm / with base : 45 5⁄8 in

Michel Guino (French, 1926-2013) Untitled

Michel Guino (French, 1926-2013) Untitled metal inscribed Guino Height: 33 inches.

MICHEL GUINO (1926-2013) Sans titre

MICHEL GUINO (1926-2013) Sans titre Métal soudé / welded metal 50 x 39 x 31 cm. / 19 5/8 x 15/3/8 x 12/1/4 in.

Michel GUINO (1926-2013) - VALPARAISO, 1956

Michel GUINO (1926-2013) VALPARAISO, 1956 Bronze à patine dorée Signé de façon tapuscrite à la base 59 x 78 x 15 cm - 23.22 x 30.70 x 5.90 in. Bronze with golden patina Typescript signature at the base Provenance - Vente Hôtel Drouot, Me Binoche, 3 mars 1999 - Collection particulière, Belgique (acquis lors de la vente précitée) Exposition - 5 jeunes sculpteurs de la Nouvelle Ecole de Paris, Galerie Saint-Augustin, Paris, Exposition en 1958 Bibliographie - Meubles et décors, journal de l’ameublement, août-septembre 1960. Œuvre reproduite dans l’ouvrage Cette œuvre est répertoriée dans le Catalogue Raisonné de l’artiste, établi par la bouquinerie de l’Institut, Paris, sous le numéro 1956-020 Numéroté 2/4 Numbered 2/4

Michel Guino (born 1926) Bronze Sculpture

Titled: Silent Butler. Signed In The Lower Right Corner Of The Base. Numbered 7/8. Measures Approximately 47”x27”x14”. Good Used Condition Some Scratches And Paint Chips, See Photos. Very Heavy. Tm5075

Michel Guino (1926-2013) Explosion Metal Sculpture

Michel Guino is best know for his ww2 shrapnel and military debris found objects sculptures and this piece exemplifies that period for the artist's work..This sculpture consists mainly of spent artillery shell casings and ww2 era fighter plane motor valves. This wonderful piece sits on a patinated steel pedestal and retains a plaque with theartist name. C.1960 and the sculpture is 1 of 1. Provenance: the Victor Ostrovsky estate Artist: Michel Guino (1926-2013) Title: ExplosionMedium: Metal Sculpture Year or Era: 20th Century Signature Type: Plate Signed Approx. Measurement: 61 in x 34 in x 15 in Keywords: Art; Ref: JE13073

Michel Guino (1926-2013) Silent Butler Sculpture

Optimization the modern art movement of the 1960's this painted and patinated bronze shows the remarkable vision of Paris artist 'Michel guino'. This heavy and wellconstructed piece is number 7 in a series of 8 and is signed and numbered on the base.. Provenance: from the estate of 'Victor Ostrovsky' Good condition with a minor scuff to thearm. Artist: Michel Guino (1926-2013) Title: Silent Butler Medium: Sculpture Year or Era: 20th CenturySignature Type: Hand Signed Signature Location: Base Edition Number: 7/8 Approx. Measurement: 36 in x 27 in x 14.5 in Keywords: Art; Ref: JE13073

Michel Guino (1926-2013) Propeller Sculpture

Michel Guino is best know for his found WWII object sculptures, and this work ?Propeller? epitomizes the height of his career from his Paris Studio. This 1/1 Sculpture 6?6? talland maybe the largest scale work done by the artist. The main body of the sculpture is one half of a WWII fighter prop with applied motor parts. This fine example comes from the private collection of renowned art dealerand writer Victor Ostrovsky. Artist: Michel Guino (1926-2013) Title: Propeller Medium: Sculpture Year or Era: c. 1960Signature Type: Hand Signed Signature Location: Base Approx. Measurement: 80 in x 17 in x 17 in Keywords: Art; Ref: JE13073

Michel Guino (1926-2013 French) Shrapnel Wall Sculpture c. 1970

A stunning piece made of spent and mutilated shell casings from WWII France, Mounted on acrylic panel. From the estate and private collection of Victor Ostrovsky.Year/Century: c. 1970 Approx Measurements: 26"x21"x4" Approx. Ship Weight: 20lbs. French sculptor born September 28, 1926, it is in the workshop of his father (the Catalan sculptor Richard Guino) that Michel Guino comes into contact with the world of art and forms. After attending the Académie de la Grande Chaumière, he entered the École des Beaux-Arts in Paris in 1944 where he met César, Albert Féraud and Philippe Hiquily, then like him in Marcel Gimond's studio. In 1946, Michel Guino folds with some artists in a village of Vaucluse, Oppède, where had stayed during the years of war, among others, Stahly, Etienne-Martin, Zwobada. There, in default of marble or bronze too expensive for his beginner career, Guino works especially the stone he finds in abundance, and plaster, inexpensive. Driven by the same concern for economy, he begins to wonder about the materials of recovery. In 1951, taking his first studio, he approaches the sculpture of metal and gradually departs from figuration. The discovery of Gonzales - again the Catalan influence! - illuminate and stimulate. The first sculptures are born: copper, hammered lead, iron and later stainless steel. "Metal," wrote Guino, "allows us a new space, a more cosmic conception of form and light, which remains the real matter to handle." "Attracted by the opening of the form and the games of transparency brought about by the introduction of light and space into the work, he first creates allusive characters, made of copper or hammered lead." Modern Sculpture in France since 1950 "Editions ARTED, 1982). "Largely figurative at the beginning, the works are quickly lightened, purified, ethereal, while remaining marked for a long time by obvious references to human morphology" (Jean-Luc Epivent, Profil, 1978). Then the artist lets more clearly his taste for the forms inherited from the factory, a combination of rigor and vigor. In particular, he was one of the first to use propellers and jet vanes from which, by a clever transmutation, the petals freshness. It also introduces parts and engine blocks. When he does not use the mechanical elements, he takes again their forms in iron and stainless steel, which he cuts with the shears and hammers before welding the irregular and curved plates in aerial architectures. In "The Tribute to Vasco da Gama" (Copper, 1962) forty years later responds to "Space Petals" (fins, 2004). "At Guino, play and chance are subject to his intuitive knowledge of the material tamed by an infallible craft" (Lydia Harambourg, 2004). Michel Guino won the Critics' Prize at the 1st Biennial of Paris in 1959 and the André Susse Prize at the 2nd Biennial of Paris in 1961. He also won the Grand Prix de Sculpture of the City of Marseille. Thanks to the encouragement of a friend from Casablanca, the artist will also question the necessary relationships to be established between architecture and sculpture. "I have always wanted to place a sculpture in a modern ensemble," says Guino, "not just as a furnishing object but as a sign close to the man". Witness numerous monumental works. uino is not the man of a process, of a routine. Thus, after having extensively surveyed the fields of abstraction, has the artist once again come closer to figuration: he creates robots seemingly ready to start - "The Man Who Walks" (bronze, 1975), accumulates fragments of reorganized antique molds - "Selected Pieces" (plaster, 1973-74), invents play sculptures, toy sculptures or is interested in electric automatons. He thus creates, in the words of the art critic Lydia Harambourg, a baroque and futuristic universe. By borrowing elements from science and technology - and more recently from the electronic world in which he feels very solicited - that he reorganizes in his own way, he tries, beyond certain technical barriers, "to create possibilities unsuspected often borrowed worry. Moreover, for Michel Guino, engraver, draftsman, creator with multiple talents, sculpture, which he has never detached, represents in his eyes "the most worried art". What strikes Guino, despite the plurality of avenues of research, is the maintenance of the unity of style: verticality, subtle balance between strength and lightness, elegance and dislocation, Michel Guino is above all a poet of the form that has made an ally of the light: "I put myself in front of bits of materials and materials, I question them and I make them dance". Big and strong, it is a work that questions rather than affirms. For several years, Michel Guino was eclipsed to work on the disclosure of this unique episode in the history of sculpture that is the collaboration of his father Richard Guino with the painter Auguste Renoir. In 2004, an exhibition at the Bouquinerie of the Institute in Paris presenting old and new pieces helped to rediscover the work of Michel Guino. Keywords: Art; Ref: JE13073

Important and Monumental "Michel Guino" (1926-2013 French) Floor Sculpture c.1960

Michel Guino is best know for his found WWII object sculptures, and this work “Propeller” epitomizes the height of his career from his Paris Studio. This 1/1 Sculpture 6’6” talland maybe the largest scale work done by the artist. The main body of the sculpture is one half of a WWII fighter prop with applied motor parts. This fine example comes from the private collection of renowned art dealerand writer Victor Ostrovsky. Signed on base. Approx Measurements: 79"x20"x23". French sculptor born September 28, 1926, it is in the workshop of his father (the Catalan sculptor Richard Guino) that Michel Guino comes into contact with the world of art and forms. After attending the Académie de la Grande Chaumière, he entered the École des Beaux-Arts in Paris in 1944 where he met César, Albert Féraud and Philippe Hiquily, then like him in Marcel Gimond's studio. In 1946, Michel Guino folds with some artists in a village of Vaucluse, Oppède, where had stayed during the years of war, among others, Stahly, Etienne-Martin, Zwobada. There, in default of marble or bronze too expensive for his beginner career, Guino works especially the stone he finds in abundance, and plaster, inexpensive. Driven by the same concern for economy, he begins to wonder about the materials of recovery. In 1951, taking his first studio, he approaches the sculpture of metal and gradually departs from figuration. The discovery of Gonzales - again the Catalan influence! - illuminate and stimulate. The first sculptures are born: copper, hammered lead, iron and later stainless steel. "Metal," wrote Guino, "allows us a new space, a more cosmic conception of form and light, which remains the real matter to handle." "Attracted by the opening of the form and the games of transparency brought about by the introduction of light and space into the work, he first creates allusive characters, made of copper or hammered lead." Modern Sculpture in France since 1950 "Editions ARTED, 1982). "Largely figurative at the beginning, the works are quickly lightened, purified, ethereal, while remaining marked for a long time by obvious references to human morphology" (Jean-Luc Epivent, Profil, 1978). Then the artist lets more clearly his taste for the forms inherited from the factory, a combination of rigor and vigor. In particular, he was one of the first to use propellers and jet vanes from which, by a clever transmutation, the petals freshness. It also introduces parts and engine blocks. When he does not use the mechanical elements, he takes again their forms in iron and stainless steel, which he cuts with the shears and hammers before welding the irregular and curved plates in aerial architectures. In "The Tribute to Vasco da Gama" (Copper, 1962) forty years later responds to "Space Petals" (fins, 2004). "At Guino, play and chance are subject to his intuitive knowledge of the material tamed by an infallible craft" (Lydia Harambourg, 2004). Michel Guino won the Critics' Prize at the 1st Biennial of Paris in 1959 and the André Susse Prize at the 2nd Biennial of Paris in 1961. He also won the Grand Prix de Sculpture of the City of Marseille. Thanks to the encouragement of a friend from Casablanca, the artist will also question the necessary relationships to be established between architecture and sculpture. "I have always wanted to place a sculpture in a modern ensemble," says Guino, "not just as a furnishing object but as a sign close to the man". Witness numerous monumental works. uino is not the man of a process, of a routine. Thus, after having extensively surveyed the fields of abstraction, has the artist once again come closer to figuration: he creates robots seemingly ready to start - "The Man Who Walks" (bronze, 1975), accumulates fragments of reorganized antique molds - "Selected Pieces" (plaster, 1973-74), invents play sculptures, toy sculptures or is interested in electric automatons. He thus creates, in the words of the art critic Lydia Harambourg, a baroque and futuristic universe. By borrowing elements from science and technology - and more recently from the electronic world in which he feels very solicited - that he reorganizes in his own way, he tries, beyond certain technical barriers, "to create possibilities unsuspected often borrowed worry. Moreover, for Michel Guino, engraver, draftsman, creator with multiple talents, sculpture, which he has never detached, represents in his eyes "the most worried art". What strikes Guino, despite the plurality of avenues of research, is the maintenance of the unity of style: verticality, subtle balance between strength and lightness, elegance and dislocation, Michel Guino is above all a poet of the form that has made an ally of the light: "I put myself in front of bits of materials and materials, I question them and I make them dance". Big and strong, it is a work that questions rather than affirms. For several years, Michel Guino was eclipsed to work on the disclosure of this unique episode in the history of sculpture that is the collaboration of his father Richard Guino with the painter Auguste Renoir. In 2004, an exhibition at the Bouquinerie of the Institute in Paris presenting old and new pieces helped to rediscover the work of Michel Guino. Keywords: Metal Sculpture; Ref: JE13073

MICHEL GUINO (1926-2013) ENSEMBLE DE DEUX DESSINS, PAYSAGES"

MICHEL GUINO (1926-2013) ENSEMBLE DE DEUX DESSINS, PAYSAGES" Mine de plomb sur papier L’un mesure 21 x 27 cm - 8.2x 10.6 in. L’autre mesure 20 x 25,5 cm - 7.8 x 10.03 in." Pencil on paper Provenance: - Don de l'artiste Willy Mucha au propriétaire actuel.

Michel GUINO (Né en 1926)

Michel GUINO (Né en 1926) Collier pendentif en cuivre argenté Dédicacé « Pour Simone », signé et daté 61 BIBLIOGRAPHIE : Antagonisme 2 l'objet, catalogue d'exposition, Musée des Arts décoratifs, 1962, modèle reproduit page 59

Michel GUINO (né en 1926) Sans titre

Michel GUINO (né en 1926) Sans titre Acier soudé, sculpture signée sur la terrasse. Pièce unique 51 x 76 x 34 cm Provenance : Collection particulière, Paris

Michel GUINO (né en 1926) SANS TITRE Acier soudé

Michel GUINO (né en 1926) SANS TITRE Acier soudé Signature frappée au dos sur une pièce metallique Pièce unique h: 23 w: 42 d: 7 cm

A British Modernist Cast Silver Sculpture, of

A British Modernist Cast Silver Sculpture, of figure-eight design, mounted on ebonised plinth, maker's marks 'AR' and assay marks for London 1974, 35.5cm., (high) (including plinth): 49.5cm., (high): A Mid-20th Century Enamelled Copper Abstract Sculpture, of swollen-branched form, mounted on an ebonised plinth, 50cm., (including plinth): Michel Guino, French b.1926- Standing figure, metal sculpture on integral base, 41cm: After Jens Harald Quistgaard, Danish 1919-2008 for Dansk Designs, a set of six silver plated taper holders, 6cm., (high) (ea): Elkington, England, after a design by Lino Sabatini, an silver-plated flower holder of flattened elongated section pierced with ovoid shaped holes, impressed marks, 34.5cm., (long) 5cm., (high): Keinzle, Germany, a brass mantle clock of modernist design, 17cm., (high): WMF Ikora, Germany, a silver plated copper bowl with abstract organic design, stamped factory mark for 1925-1950, 25cm., (dia): After Robert Welch RDI, British 1929-2000, for Old Hall Ltd., a stainless steel tureen and cover, stamped marks: Interdesign Craft Inc., Ohio, USA, designed mid-late 1970s, a red plastic desk tidy, moulded marks, 13cm., (high): British School, c.1900, a rectangular Arts and Crafts brass tray with repousee floral decoration, 65cm long 32cm wide 2cm high: Paco Rabanne, France, a contemporary stainless steel wristwatch in cylindrical metal presentation case: After Wilhelm Wagenfeld, German 1900-1990, for WMF, Germany, a Cromargan marmalade set in glass and stainless steel with tongs, stamped marks: together with a small collection of mid-late 20th century metal ware, stainless steel and wood ware, including a set of eight Swedish wooden dinner plates, (a lot) (may be subject to Droit de Suite)

GUINO Michel (né en 1926). Mécano Tendre S

GUINO Michel (né en 1926). Mécano Tendre S culpture en acier soudé, signée sur la base. H . : 80 cm - L. : 100 cm.

Michel GUINO (1926) Composition Fer soudé. H. 46 ccm

Michel GUINO (1926) Composition Fer soudé. H. 46 ccm

Michel GUINO (né en 1926) L'HOMME QUI MARCHE OU MACHIN-CHOSE, circa 1973 Bronze à patine brune

Michel GUINO (né en 1926) L'HOMME QUI MARCHE OU MACHIN-CHOSE, circa 1973 Bronze à patine brune Signé et numéroté sur la terrasse "GUINO" 2/8, cachet du Fondeur "Tivernon" h: 36 cm

MUNCH Bernard (1921) Composition Aquarelle et

MUNCH Bernard (1921) Composition Aquarelle et crayon gras sur papier, signée en bas à gauche, 17 x 26 cm. On y joint Michel GUINO (1926), Personnage, encre de Chine et aquarelle sur...

Michel GUINO (né en 1926) TABLE Sculpture en acier galvanisé et son plateau en verre

Michel GUINO (né en 1926) TABLE Sculpture en acier galvanisé et son plateau en verre signé à la base "Guino" Diamètre : 140 cm Sculpture in galvanized steel and glass plate signed on the base "Guino" Diam.: 140 cm H.: 71 W.: 90 cm h: 71 w: 90 cm

MICHEL GUINO (NE EN 1926) - SANS TITRE

MICHEL GUINO (NE EN 1926) - SANS TITRE

Michel GUINO (né en 1926) SANS TITRE, circa 1960 Acier soudé monté sur un socle de pierre noire

MICHEL GUINO (Né en 1926) MACHIN-CHOSE, 1970

MICHEL GUINO (Né en 1926) MACHIN-CHOSE, 1970 Épreuve en bronze à patine brune Sans marque ni cachet de fondeur Justificatif de tirage, numérotée 1/8 Signée, datée Haut. : 36, 5 cm Estimation : € 1,000-1,200

Michel Guino

Michel Guino (b. 1926) Bronze sculpture, signed. Ht (total): 14 3/4", W: 33"