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Preisdatenbank abonnierenBella Figura - A contemporary high end designer gilt metal chandelier of bell shaped form having ten slender arms with each having light fitting to the end with drip trays below. Labels present for Bella Figura Lighting. Light fixture atop with all terminating to a ball finial. Measures approx; 110cm x 94cm diameter.
John Dugdill & Co - A vintage 20th Century 1930's Art Deco industrial engineers articulated multi positional mountable desk lamp light. The lamp having a brass shell shade with all raised on two adjustable arms with brass COG joints with all raised on a circular mount base. Impressed and raised makers marks to the base 'Dugdill AP9101'. Measures approx fully extended; 97cm long.
Max Schumaker - Schroder Lobenstein - A vintage 20th Century German telescopic industrial wall / desk mountable lamp light. The lamp finished in grey having a pendant shade with cooling holes to the rim supported by a single adjustable arm upon a crank base. All upon a triangular mountable base. Measures approx; 77cm.
George Carwardine & Kenneth Grange - Anglepoise Lighting - An original retro vintage mid 20th Century 1960's work desk lamp light having a black plastic shade on adjustable arm over a black cast metal circular base. Label present. Some minor age related marks but overall in good condition. Measures approx; 70cm tall.
Bernard Buffet ( French born 1928 - died 1999), "Matador", 1958. Framed and glazed mid-Twentieth century (circa 1960) print on board of a matador dressed in full black and cobalt blue traditional gown with hat on a light blue background. Artist`s signature on the top left side of the image. Approx. frame size 86cm x 31cm. Approx. print size 77cm x 22.5cm.
An extra large contemporary floor standing anglepoise lamp light finished in vibrant orange colourway with pendant shade supported by adjustable spring loaded arms. All raised and support on a weighted circular base with blue cord and push button switch. Measures approx; 183cm x 33cm diameter at the base.
A retro mid 20th century West German, fat lava, studio art pottery table lamp light. Amphora shaped with pierced decorations on the upper section and a textured pattern on the base of the object. A twisted rope is passed through four loops on the sides of the vase as handles. Measure approx. 46cm height without light bulb. Appears in good conditions with no signs of major visible damage, some minor wear to base commensurate with age.
Porta Romana - Ribbon Lights - A matching set of six contemporary high end designer double sconce wall light sconces / lamps with each having twin light fittings with Romana shades. Brushed gold finish to each with ribbon tapering stems. Makers marks present. Each measures approx; 62cm x 26cm.
John Dugdill & Co - A vintage 20th Century Art Deco industrial engineers articulated multi positional mountable desk lamp light. The lamp having a green enamel shade with white finished interior with all raised on two adjustable arms with all raised on a circular mount base all finished in grey. Raised makers marks to the base 'Dugdill RTM'. Measures approx fully extended; 88cm long.
Jamie Reid (British, b.1947) - Free Pussy Riot - A framed and glazed digital print on paper depicting Putin wearing a balaclava with wording to the edge reading "Putin says he's seen the light and he sold his soul for punk". Courtesy of the John Marchant Gallery. Frame measures approx; 53cm x 43cm.
A retro 20th Century 1970's Italian wrought iron designer standard lamp light having a thick frosted glass shade with greek key decoration to the rim. Below a serpent style scrolled stem support with all raised on a weighted circular base. Sold as untested by ourselves. Measures approx; 169cm x 36cm.
John Dugdill & Co - A vintage 20th Century 1930's Art Deco industrial engineers articulated multi positional mountable desk lamp light. The lamp having a green enamel shade with white finished interior with all being raised on two adjustable arms with brass COG joints with all raised on a circular mount base. Impressed makers marks to the base 'Dugdill AP17014'. Measures approx fully extended; 93cm long.
A retro vintage mid 20th Century 1960's Tretchikoff era chalkware Hawaiian girl lamp light being polychrome decorated with hand painted facial features. The female holding a twin handled vase with light fitting section above with the girl having blue flowers in her hair. Measures approx; 37cm x 36cm x 10cm.
ANTONY GORMLEY (B. 1950)BREATHE 2016 signed, titled and dated 2016 on the reversecrude oil, linseed oil and petroleum jelly on paper256 by 134 cm.100 13/16 by 52 3/4 in. This work is from a series of 12 unique monoprints taken directly from the artist's body. Footnotes:ProvenanceAlan Cristea Gallery, LondonAcquired directly from the above by the present owner in 2016ExhibitedLondon, Alan Cristea Gallery, Antony Gormley: CAST, 2016, p. 33, no. 10, illustrated in colour LiteratureMartin Caiger-Smith, Antony Gormley, New York 2017, p. 407, illustrated in colourLe Gallerie degli Uffizi, Antony Gormley ESSERE, Florence 2019, p. 71, no. 3, illustrated in colour Born in London in 1950, Antony Gormley is not only widely acclaimed for his sculptures, installations, and public artworks, but also for a truly remarkable body of drawings. Not unlike a modern-day Leonardo Da Vinci, his drawings are tinged with washes, varnishes, dyes, oil, earth and even blood amongst more traditional media and they serve as much more than just a way to record his surroundings. Always with a workbook at hand, Gormley's drawings form an artistic corpus in its own right and whilst there are visual parallels with his larger three-dimensional work, they go far beyond mere preparatory studies. He is 'going places in the drawing that are not possible in life or sculpture: outer space or deep water' ('BODY AND LIGHT, 1990 – 1996', www.antonygormley.com, 22.02.2022), the process of drawing itself becoming a meditative as well as creative exercise. Gormley draws the viewer in, makes them both spectator and participant in his work by questioning and exploring where human beings as a whole and the human body in particular stand in relation to the space in which they exist; be it a small room, nature, or the cosmos. This was perhaps nowhere more palpable than in his recent critically acclaimed solo show at the Royal Academy where he filled the institution's thirteen vast main galleries with astonishing larger-than-life sculptures and installations. An entire room there was dedicated to drawing, showing the sheer diversity, range, and importance of this part of his oeuvre.Perhaps best known for Angel of the North near Gateshead, Gormley is a monumental figure, both in eminence and stature. His own 6ft 4in tall frame functions as a mould for his sculptural work and as a brush in his drawings which often involve the physical activity of the entire body. Works like the Clearing drawings convey considerable speed and velocity used in their creation, and in life-sized, ethereal Body Prints such as the present work, Gormley himself becomes the painting apparatus. The series of unique works was developed for the exhibition CAST at Alan Cristea Gallery in London in 2016, which explored how our own physical freedom and imaginative potential is progressively more conditioned by the environment we have built and the dependencies we have constructed around us. A number of large woodblock prints based on seven distinct body poses that reinterpreted anatomy in the language of architecture were interspersed with a series of crude oil and petroleum jelly Body Prints. Titles ranged from OPEN to FEEL, SEE, SHOW and the present work, BREATHE. Whilst the woodblock prints relate to Expansion Field (2014) a work which 'applies the principles of an expanding universe to the subjective space of the body' ('CAST, ALAN CRISTEA GALLERY, LONDON, ENGLAND, 2016', www.antonygormley.com, 22.02.2022), the use of crude oil in the artist's body prints has an avowedly political context. To create the transfer, Gormley covered himself in crude oil, linseed oil and petroleum jelly and, with the help of two assistants and two long poles, he would fall onto the handmade paper, the weight of his body creating a corresponding, ghost like imprint. As the 'blood of the earth' slowly seeps into the fabric of the sheet, a kind of halo forms around the figure, imbuing the work with a sacral feel. Having grown up in a devoutly Catholic home, Gormley turned away from the church at the age of eighteen towards Buddhism and became interested in vipassana meditation which he often uses in his artistic practice. The use of 350-million-year-old carboniferous Texan crude mixed with North Dakota oil to perfect the colour shade and effect is meant to highlight our dependency on petrochemicals. The oil represents the planet's DNA, its solar memory, a result of age-old photosynthesis in a time where we have our own capacity to harness the power of the sun and perform a sort of industrialised photosynthesis. The Body Prints act as a memorial to a time in which our dependency on fossil fuels was on the ebb though still pronounced. Antony Gormley was awarded the Turner Prize in 1994, the Praemium Imperiale in 2013 and has been a Royal Academician since 2003. In 1997 he was made an Officer of the British Empire (OBE) and was made a knight in the New Year's Honours list in 2014. Gormley's work has been widely exhibited throughout the UK and internationally with recent exhibitions at National Gallery Singapore, Singapore (2021); the Royal Academy of Arts, London (2019): Delos, Greece (2019); Uffizi Gallery, Florence (2019) and the Philadelphia Museum of Art, Philadelphia (2019). Permanent public works around the globe include the Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Inside Australia (Lake Ballard, Western Australia), Exposure (Lelystad, The Netherlands) and Chord (MIT - Massachusetts Institute of Technology, Cambridge, MA, USA). Highly political in much of his oeuvre, he uses the strength of his market and public popularity to highlight injustice and confront us with our own needs, our relationship to the planet, other lifeforms and the cosmos.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
FERNANDO BOTERO (B. 1932)La Casa de Rosalba Correa 2001 signed and dated 01oil on canvas179.2 by 192 cm.70 9/16 by 75 9/16 in.Footnotes:ProvenanceCollection of the artist, EuropePrivate Collection, Turkey (acquired from the above in 2013)Acquired directly from the above by the present ownerExecuted in Fernando Botero's distinctively voluptuous signature style, La Casa de Rosalba Correa from 2001 is a magnificently complex and distinctive painting by one of the most important Colombian modern artists of our day. Having studied under Roberto Longhi, a renowned authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that transfuses his work. The canon of art history, especially the European one became a rich source of inspiration whilst studying Italy's Renaissance frescoes, Spain's Golden Age masters and France's turn-of-the-century School of Paris on his travels in the 1950's. Profoundly influenced by these masterworks, Botero embarked on a quest to critically re-interpret iconic paintings, paying homage to the great artists of the past whilst finding true originality doing so. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, the artist painted an image of a mandolin resting on a table and decided to place a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born. Well known for subjects ranging from the Old Masters to circus scenes, bullfights, domestic life and political satire, the present work falls into a theme of brothel scenes and bacchanalia that the artist revisited throughout his career. 'There was a red-light district in Medellín at the time,' the artist recollects of his adolescence in Colombia. 'It was an easy-going place; class lines blurred in a sort of never-ending carnival, a permanent street party.' If he sometimes 'felt like [he] was the local Toulouse-Lautrec,' a sensitive observer of brothels and their late-night habitués, he began to see beauty in all the vagaries of the human body and humour, as well, in its fleshy flamboyance and grandiosity (the artist in: Ana María Escallón, 'From the Inside Out: An Interview with Fernando Botero', Botero: New Works on Canvas, New York 1997, p. 13). Art historically, Botero's brothel scenes are inspired by the lush, arresting depictions of courtesans by the medieval master Lucas Cranach and he has revisited the theme both in painting and sculpture throughout his career. The vibrant, candy coloured La Casa de Rosalba Correa shares clear characteristics with earlier depictions of the theme, notably La casa de Raquel Vega, from 1975 in the collection of Mumok, Vienna, House Mariduque from 1977 and The House of Amanda Ramírez of 1988 which is in the permanent collection of the Museo de Antioquia in Medellin. The latter, shows a similar rudimentary structure of the room, the stage if you will, whilst the protagonists and distinct elements of the scene differ. We appear to be privy to the final stages of a debauched evening in a room that seems too small to hold its curvaceous inhabitants. The smell of tobacco and stale alcohol lingers in the air, and a swarm of flies' buzzes around a lone lightbulb. Much of the night's events have unfolded but some protagonists are still awake and active. A nude couple shares a large bed in the centre of the room. They have fallen asleep in a loose embrace and only a half-eaten plate of food at the man's feet and the green bottle clutched tightly in his hand hint at the preceding evening. He wears a wedding band suggesting an act of infidelity. Two men, one apparently passed out under the bed not unlike the array of discarded clothes around the room, the other taking a large swig from a bottle, along with a further empty bottle and cigarette buds strewn all over the floor tie in with the theme of a raucous party. In the foreground, a man has swept up a somewhat dispassionate woman in a luscious green dress and clutches her tightly in his arms. The only protagonist of the scene to look straight out that the viewer, to acknowledge our peeping eye without judgement, is a cat reclining elegantly in the lower right corner. Symbolic for femininity and domesticity, cats feature in much of Botero's work, often accompanying a dominant matriarch or a sensual nude and in La Casa de Rosalba Correa, it is easy to draw on comparisons with Manet's famous masterpiece Olympia. Despite the scene drawing up questions of male prerogative, Botero's female protagonists tend to be strong, self-alert characters, in control of their situation and playing with their allure. The black feline with its piercing green eyes makes us keenly aware that we are trespassing into this scene, the viewer has become a voyeur, an active participant and we have been spotted. Using humorous and exaggerated elements in his work, Botero breaks with the established classical tradition of eternalizing the classically heroic and brave and adds a fresh approach to age old themes. Botero shifts classical art historical topics into the realm of the common and trivial, the realm of day-to-day life, often infused with a melange of his own lived experiences and the air of his native Colombia.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
JULIAN OPIE (B. 1958)Wooden Painting 16 2006 signed on the reverseenamel on wood90 by 61.2 cm.35 7/16 by 24 1/8 in.This work was executed in 2006.Footnotes:ProvenanceAcquired directly from the artist by the present owner in 2007Contemporary British artist Julian Opie is widely recognised for his distinctive depictions of figures, portraits, and landscapes. Born in London in 1958, Opie graduated from Goldsmiths College in 1982, studying under Michael-Craig Martin, and was quickly associated with the New British Sculpture movement. From the 1980s into 1990s he transitioned from painted steel sculptures inspired by Pop Art and Minimalism into a simpler graphic style, which he employs across a diverse range of media, from paintings to animation, continually pushing the boundaries of traditional artistic practice.Opie plays with ways of seeing through reinterpreting the vocabulary of everyday life; his reductive style evokes both a visual and spatial experience of the world around us. Alongside his clear influence in Pop aesthetics, particularly the work of Andy Warhol and Roy Lichtenstein, Opie draws further inspiration from classical portraiture, Egyptian hieroglyphs, Greek mythology, Japanese woodblock prints, as well as public signage, information boards, traffic signs and even the Tintin cartoons by Hergé. Through connecting the clean visual language of modern life with the fundamentals of art history, Opie has produced a distinctive and unique style in his body of work which have appeared in cities and sculpture parks around the world.Perhaps more widely recognised for his portraits and figurative studies, Opie reduces his subjects to essential lines created by thick black outlines and filled in with solid areas of flat, vibrant colour. His figurative subjects are de-personalised; he either chooses to render a featureless face using just a blank circle, or otherwise only depicts very basic facial features using dots and lines in the simplest expression of form. He chooses to differentiate his figures through colour of backgrounds, hairstyles, position of head, light reflected in the eyes and accessories. This depersonalised style creates an ambiguous sense of subjectivity in the sitter and provokes the viewer to question what makes a portrait of a person distinct and how they can relate to it. Bonhams are delighted to be offering three works by Julian Opie - two figurative pieces and a dynamic digital landscape of Lake Kawaguchi in Japan. Aniela 2, executed in 2011, is a portrait of the artist's wife. Set against a vibrant red background, Aniela is not submitting to the viewer; she appears to us in the nude, loosely holding a piece of drapery, captured in a private moment. Aniela was a regular sitter for the Opie and resulted in a series inspired by Renaissance and neoclassical paintings of Greek goddesses such as Aphrodite. In this series, Opie portrayed his wife in the nude occasionally wrapped in drapery which has been reduced to its most essential elements or holding a Grecian urn. Indeed, in this present work we can draw parallels to classicism and his interest in interpreting Greek mythology. Julian Opie's style increased in popularity after he designed the cover of English Britpop band Blur's best of album which was released in 2000.The four-part portrait is not only one of the most famous album covers to be produced but is considered as an iconic artwork. The portraits of the four band members of Blur were bought by the Art Fund in 2001 and now reside in the collection of the National Portrait Gallery in London. Today, Julian Opie is considered one of the leading contemporary artists in the world and his work is exhibited extensively in galleries and museums around the world, including in the Essl Collection, Vienna, the Stedelijk Museum, Amsterdam, Israel Museum, Jerusalem, Takamatsu City Museum of Art, Japan, Museum of Modern Art, New York, Institute of Contemporary Arts, Boston, among many others.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Johnson (Samuel) The Works of the English Poets, 75 vol., engraved portraits, occasional faint offsetting, vol. 5, 24 and 71 with light occasional spotting, contemporary tree-calf with black, green and red morocco labels to spine, some light wear, mainly to joints, overall a handsome set, small 8vo, printed by John Nichols, 1790.
Binding.- Scrope (William) The Art of Deer Stalking, first edition, additional pictorial title (dated 1839), frontispiece and 10 lithograph plates, light foxing and browning, including to additional title and plates, ink ownership inscription front endpaper, half morocco, spine gilt, two small instances of wear to spine, extremities lightly scuffed, 1838 § Voltaire. Candide, illustrations by Étienne Calo, illustrations with hand-colouring, 7 etched plates at rear, full green morocco, spine gilt, a little toned, presentation card slipcase, 1945 § Brontë (Emily) Wuthering Heights, translated by Henri Picard, colour illustrations by Jacques Camus, half morocco, spine a little toned, 1948; and 55 others bound in leather, v.s. (58)
World.- Tyndale (William) Below the Cataracts, one of 150 copies, signed by the author, 60 colour plates by the author, tipped-in, with captioned tissue guards (1 lacking), occasional light uniform browning or scattered spotting, original cream buckram, gilt, spine toned, some light soiling, uncut, 1907 § Lear (Edward Lear) Views in the Seven Ionian Islands, from a limited edition, 21 coloured illustrations, original green cloth, gilt, 1979 § de Loutherbourg (P. J.) Scenery of England and Wales, from a limited edition, 19 colour illustrations, half morocco, gilt, presentation cloth box, 1979; and 2 others British topography and 2 small engraved maps of Ireland (framed), 4to and folio, (5)
NO RESERVE Card game.- The XIXth Century. A New Game, 1 set of 50 portrait cards and 1 set of 50 biography cards, light green backs, some staining, including occasionally from green backs, little chipping to backs here and there, lacking rules sheet (provided in a copy), housed in original colour printed box, split to 1 joint, stained, cards 76 x 54mm., John Jacques & Son, [c.1875].⁂ Includes explorers, writers, artists and scholars.
Britain.- An account of the constitution and present state of Great Britain, together with a view of its trade, policy, and interest, respecting other nations, & of the principal curiosities of Great Britain and Ireland, first edition, engraved frontispiece, title and 7 plates, publisher's advertisement at end, ink ownership inscription dated 1762 to front free endpaper, small hole to N4, affecting a couple letters, occasional very light foxing, hinges cracked but covers holding firm, contemporary speckled calf, rubbed, joints split with small loss along upper joint, [Roscoe J1 (1)], 12mo, for J Newbery, [1759].
James (Henry) The Princess of Casamassima, 3 vol., first edition, half-titles, advertisement leaf at end of vol. 2 and 3, vol. 1 and 3 ink stamp to title, very occasional spotting, vol. 1 upper hinge beginning to crack at head, vol. 2 bookplate, lower hinge starting to crack, original blue/green cloth, vol. 2 spine lightly toned, tears along joints and suggestion of label having been removed from upper cover, each vol. house in protective cloth wraparound slipcase, presentation slip case with morocco spines, single stain and light wear to spine ends, [Edel & Laurence A29; Sadleir 1282; Wolff 3576], 8vo, London & New York, Macmillan and Co., 1886.⁂ Despite the faults mentioned, a very good copy of the first of James' 'political novels', of which 750 copies were printed in the first edition. 1886.
Gaskell (Elizabeth C.) Cranford, frontispiece and illustrations by Hugh Thomson, very occasional light spotting, upper hinge starting, slight shelf-lean, 1892 § Ashdown (Charles H.) British Castles, frontispiece and 31 coloured plates, illustrations, occasional light foxing, endpapers toned, 1911, half-titles, embossed stamp of Neatham Mill Library to rear free endpapers, original pictorial cloth, gilt, lightly rubbed, spine ends chipped; and c.80 others, pictorial cloth, 4to & 8vo (c.80)
Menpes (Mortimer) War Impressions, one of 350 copies, signed by the author, 97 colour plates, with captioned paper guards, 6 letters in facsimile, folding map (loose), gutter split at p.66 and 115 (interim section loose or coming loose), original decorative cloth, gilt, spine very lightly toned, some light finger soiling to covers, t.e.g., others uncut, 4to, [1901]
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