Nicolas Müller Paintings & Artwork for Sale | Nicolas Müller Art Value Price Guide

Oct. 19, 2022
MULLER, NICOLÁS
Est: -
(1913-2000) "Sin tíulo" Fotografía en blanco y negro, firmada. Medidas: 38 x 28 cm
Bonanova Subastas
Jul. 12, 2022
NICOLAS MULLER - ÉPOQUE ART DÉCO BRACELET BOULES
Est: €2,000 - €3,000
NICOLAS MULLER - ÉPOQUE ART DÉCO BRACELET BOULES La monture jonc ouvert en argent est ornée de trois importantes boules en laque noire. Poinçon de maître de Nicolas MULLER. Poids brut : 50,48 gr. (trace de dorures, cheveu à l'une des boules). Longueur : 13,5 cm. Hauteur boules : 2,5 cm. An Art Deco lacquer and silver bracelet by Nicolas MULLER. Gross weight : 50,48 gr. (trace of gilding, hair line to one of the balls). Length : 13,5 cm. Balls height : 2,5 cm.
Tajan
Jul. 12, 2022
NICOLAS MULLER - ÉPOQUE ART DÉCO PAIRE DE PENDANTS D'OREILLES JADE
Est: €1,200 - €1,500
NICOLAS MULLER - ÉPOQUE ART DÉCO PAIRE DE PENDANTS D'OREILLES JADE Ils sont composés d'anneaux de jade blanc taillés dans un seul bloc et rehaussé d'une boule de corail. Un cabochon de cornaline gravé au fermoir. Monture en or jaune 18K et argent. Poids brut : 18,68 gr. Longueur : 7,4 cm. An Art Deco white jade, coral, cornelian, silver and gold pair of earrings by Nicolas MULLER. Gross weight : 18,68 gr. Length : 7,4 cm.
Tajan
Jul. 12, 2022
NICOLAS MULLER - ÉPOQUE ART DÉCO GRANDE BROCHE JADE
Est: €2,000 - €3,000
NICOLAS MULLER - ÉPOQUE ART DÉCO GRANDE BROCHE JADE Elle est en en forme de dragon en jade blanc, orné au centre de pierres décoratives telles que corail, turquoise et améthyste de différentes tailles et formes. Monture en argent. Poids brut : 46,40 gr. Dimensions : 4,6 x 6,2 cm. An Art Deco white jade, multigem and silver dragon brooch by Nicolas MULLER. Gross weight : 46,40 gr. Dimensions : 4,6 x 6,2 cm.
Tajan
Dec. 14, 2021
NICOLAS MULLER - Ramón y Cajal
Est: €400 - €800
NICOLAS MULLER Hungary 1913-Asturias 2000 Ramón y Cajal Gelatin silver Backside stamp of Nicolas Muller Studio Backside stamp Montaner y Simón Archivo Fotográfico size 23 x 17 cm
Subastas Segre
Dec. 14, 2021
NICOLAS MULLER - Potes
Est: €300 - €600
NICOLAS MULLER Hungary 1913-Asturias 2000 Pots Gelatin silver Backside stamp of the Nicolas Muller studio size 23 x 17 cm
Subastas Segre
Dec. 14, 2021
NICOLAS MULLER - San Sebastián. Port
Est: €300 - €600
NICOLAS MULLER Hungary 1913-Asturias 2000 San Sebastian. Port Gelatin silver Backside stamp of Nicolas Muller studio size 23 x 17 cm.
Subastas Segre
Oct. 26, 2021
NICOLAS MULLER - San Sebastián. La Concha
Est: €300 - €450
NICOLAS MULLER Hungary 1913-Asturias 2000 San Sebastián. La Concha Gelatin silver Back stamp of the Nicolas Muller studio Size 23 x 17 cm
Subastas Segre
Feb. 27, 2021
Nicolas Muller, Spain, c. 1950
Est: $600 - $800
Nicolas Muller, Spain, c. 1950, Vintage gelatin silver print, 9.5" x 11.75". Signed, titled, and partially dated on verso. Numbered in pencil on verso.
Keith Delellis Gallery LLC
Feb. 27, 2021
Nicolas Muller, Espana, c. 1935
Est: $600 - $800
Nicolas Muller, Espana, c. 1935, Vintage gelatin silver print, 12" x 9.5". Signed and titled on verso. Numbered in pencil on verso.
Keith Delellis Gallery LLC
Feb. 27, 2021
Nicolas Muller, Hungary, 1933
Est: $600 - $800
Nicolas Muller, Hungary, 1933, Vintage gelatin silver print, 12" x 9.5". Signed, titled, and dated on verso.
Keith Delellis Gallery LLC
Dec. 17, 2020
Nicolas Muller, Paris, c. 1930s
Est: $1,000 - $1,200
Nicolas Muller, Paris, c. 1930s, Vintage gelatin silver print, 12" x 9.5". Artist's credit stamped on verso. Notes in pencil on verso. Although little known in France, Nicolás Muller (Orosháza, Hungary, 1913–Andrín, Spain, 2000) was one of the leading exponents of Hungarian social photography. Like many of his compatriots — Eva Besnyö, Brassaï, Robert Capa, André Kertész and Kati Horna — he spent much of his life in exile: born into a bourgeois Jewish family, he left Hungary shortly after the Anschluss in 1938, spending time in Paris, Portugal and Morocco before finally setting in Spain. This experience, and the situations and people he encountered along the way, did much to shape Muller’s work. Like many of his fellow Hungarian photographers at the time, in the 1930s Muller worked in a humanist, documentary vein, evincing a strong sense of sympathy for the world of labour and the most modest members of society. His interest in the working man’s experience would remain a hallmark of his photographs. As the social and political contexts changed, he photographed agricultural labourers and dockers in the ports of Marseille and Porto, then children and street vendors in Tangiers, and life in the countryside. Later, he photographed cultural and social figures in Madrid. The exhibition at the Château de Tours – the first show in France dedicated exclusively to this photographer – brings together a hundred images and documents from the archives kept by his daughter Ana Muller. This chronologically presented selection made by curator Chema Conesa follows the career and travels of this alert, curious photographer from 1935 to 1981. Nicolás Muller was given his first camera at the age of thirteen, and immediately began to explore its capacity to express a certain idea of the world and of human beings. He maintained this passion for photography when studying law and politics at the Szeged University. His camera, and the feeling that he could use it to convey the adventure of living, were the formative constants of his life and art. “I learned that photography can be a weapon, an authentic document of reality. […] I became an engaged person, an engaged photographer.” During his four years at university he would also explore the Hungarian plains, whether on foot, by train or by bike, photographing men and women, the interiors of houses, scenes of rural life and the workers building the dykes on the River Tisza. His early work is dominated by this rural aspect of Hungary – a country that had lost a significant fraction of its territory under the Treaty of Versailles (1920). It is also influenced by the avant-garde aesthetic of the day, with its diagonal perspectives and high- and low-angle shots. When Nazi Germany annexed Austria in 1938 (the Anschluss), Hungary aligned itself with the fascist regime and Muller decided to continue his photographic career elsewhere. He came to Paris, where he was in touch with other Hungarian photographers such as Brassaï, Robert Capa and André Kertész. He found work with periodicals such as Match, France Magazine and Regards, which published his photographs of working life in Hungary and Marseille. This theme continued to occupy him during his short stay in General Salazar’s Portugal, until he was imprisoned and then expelled. Through his father, who had stayed in Hungary and had close links with Rotary Club International, Muller managed to obtain a visa for Tangiers – which, at the time, was the destination for thousands of Jews fleeing from Central Europe. The city roused him to a state of almost febrile creativity. “My eyes, my hands and my whole being are itching to go everywhere, to take photographs wherever I can.” His tireless portrayal of Tangiers also shows him learning to deal with a new challenge: intense light. In Tangiers Muller contributed photographs to a number of books, such as Tanger por el Jalifa and Estampas marroquis, and did reportage work on the towns of the “Spanish Zone” commissioned by the Spanish High Commission in Morocco. After seven years in Tangiers — “the happiest years of my life” – Muller decided to move to Madrid in order to go back to working as a photojournalist, to explore the regions of Spain, and to publish books of his work. As the reputation of his studio grew, so he frequented the writers, philosophers and poets who met at the legendary Café Gijón and around the Revista d’Occidente. An active member of Spain’s underground intelligentsia, he also made portraits of artist and writer friends, including Pío Baroja, Camilo José Cela, Eugeni d’Ors and Ramón Pérez de Ayala, and of figures such as the pianist Ataúlfo Argenta and the torero Manolete (Muller’s photo captures him not long before his death). Nicolás Muller retired at the age of 68 and moved to Andrín (Asturias), where he died in 2000. (JeuDePaume.org)
Keith Delellis Gallery LLC
Dec. 17, 2020
Nicolas Muller, Spain, 1950s
Est: $800 - $1,000
Nicolas Muller, Spain, 1950s, Vintage gelatin silver print, 12" x 9.5". Titled and dated in pencil on verso. Signed in pen on verso. Although little known in France, Nicolás Muller (Orosháza, Hungary, 1913–Andrín, Spain, 2000) was one of the leading exponents of Hungarian social photography. Like many of his compatriots — Eva Besnyö, Brassaï, Robert Capa, André Kertész and Kati Horna — he spent much of his life in exile: born into a bourgeois Jewish family, he left Hungary shortly after the Anschluss in 1938, spending time in Paris, Portugal and Morocco before finally setting in Spain. This experience, and the situations and people he encountered along the way, did much to shape Muller’s work. Like many of his fellow Hungarian photographers at the time, in the 1930s Muller worked in a humanist, documentary vein, evincing a strong sense of sympathy for the world of labour and the most modest members of society. His interest in the working man’s experience would remain a hallmark of his photographs. As the social and political contexts changed, he photographed agricultural labourers and dockers in the ports of Marseille and Porto, then children and street vendors in Tangiers, and life in the countryside. Later, he photographed cultural and social figures in Madrid. The exhibition at the Château de Tours – the first show in France dedicated exclusively to this photographer – brings together a hundred images and documents from the archives kept by his daughter Ana Muller. This chronologically presented selection made by curator Chema Conesa follows the career and travels of this alert, curious photographer from 1935 to 1981. Nicolás Muller was given his first camera at the age of thirteen, and immediately began to explore its capacity to express a certain idea of the world and of human beings. He maintained this passion for photography when studying law and politics at the Szeged University. His camera, and the feeling that he could use it to convey the adventure of living, were the formative constants of his life and art. “I learned that photography can be a weapon, an authentic document of reality. […] I became an engaged person, an engaged photographer.” During his four years at university he would also explore the Hungarian plains, whether on foot, by train or by bike, photographing men and women, the interiors of houses, scenes of rural life and the workers building the dykes on the River Tisza. His early work is dominated by this rural aspect of Hungary – a country that had lost a significant fraction of its territory under the Treaty of Versailles (1920). It is also influenced by the avant-garde aesthetic of the day, with its diagonal perspectives and high- and low-angle shots. When Nazi Germany annexed Austria in 1938 (the Anschluss), Hungary aligned itself with the fascist regime and Muller decided to continue his photographic career elsewhere. He came to Paris, where he was in touch with other Hungarian photographers such as Brassaï, Robert Capa and André Kertész. He found work with periodicals such as Match, France Magazine and Regards, which published his photographs of working life in Hungary and Marseille. This theme continued to occupy him during his short stay in General Salazar’s Portugal, until he was imprisoned and then expelled. Through his father, who had stayed in Hungary and had close links with Rotary Club International, Muller managed to obtain a visa for Tangiers – which, at the time, was the destination for thousands of Jews fleeing from Central Europe. The city roused him to a state of almost febrile creativity. “My eyes, my hands and my whole being are itching to go everywhere, to take photographs wherever I can.” His tireless portrayal of Tangiers also shows him learning to deal with a new challenge: intense light. In Tangiers Muller contributed photographs to a number of books, such as Tanger por el Jalifa and Estampas marroquis, and did reportage work on the towns of the “Spanish Zone” commissioned by the Spanish High Commission in Morocco. After seven years in Tangiers — “the happiest years of my life” – Muller decided to move to Madrid in order to go back to working as a photojournalist, to explore the regions of Spain, and to publish books of his work. As the reputation of his studio grew, so he frequented the writers, philosophers and poets who met at the legendary Café Gijón and around the Revista d’Occidente. An active member of Spain’s underground intelligentsia, he also made portraits of artist and writer friends, including Pío Baroja, Camilo José Cela, Eugeni d’Ors and Ramón Pérez de Ayala, and of figures such as the pianist Ataúlfo Argenta and the torero Manolete (Muller’s photo captures him not long before his death). Nicolás Muller retired at the age of 68 and moved to Andrín (Asturias), where he died in 2000. (JeuDePaume.org)
Keith Delellis Gallery LLC
Dec. 17, 2019
NICOLAS MULLER - Naked, Tangier
Est: -
NICOLAS MULLER Orosháza, Hungary 1913-Llanes, Asturias 2000 Naked, Tangier 1940-1996 Silver jelly on barite paper Size 27.5 x 37 cm Unique work in this size especially positive by José Manuel Castro Prieto, for the exhibitions indicated below We thank Ms. Ana Muller for her help in cataloging this work. EXHIBITIONS -1996, Sources of Memory III , La Caixa Foundation, Barcelona -2005, History of photography in Spain , Círculo de Bellas Artes, Madrid BIBLIOGRAPHY -Plubio López Mondejar, Sources of Memory III , Ed. Lunwerg, Barcelona 1996 -Plubio López Mondejar, History of photography in Spain , Ed. Lunwerg, Barcelona 2005
Subastas Segre
May. 21, 2019
NICOLAS MULLER - Desnudo, Tánger
Est: -
NICOLAS MULLER Orosháza, Hungary 1913-Llanes, Asturias 2000 “Desnudo, Tánger. 1940-1996” Silver gelatin on baryta paper Measurements 27.5 x 37 cm Unique work in this size, especially printed by José Manuel Castro Prieto, for the exhibitions indicated below We thank Mrs. Ana Muller for her help in the cataloging of this work EXHIBITIONS -1996, Fuentes de la Memoria III, Fundación La Caixa, Barcelona -2005, Historia de la fotografía en España, Círculo de Bellas Artes, Madrid BIBLIOGRAPHY -Plubio López Mondejar, Fuentes de la memoria III, Ed. Lunwerg, Barcelona 1996 -Plubio López Mondejar, Historia de fotografía en España, Ed. Lunwerg, Barcelona 2005
Subastas Segre