534297 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534297 Los(e)/Seite
Los 1806
•ANTHONY FRY (1927-2016) THREE TREES Mixed media on paper 10 x 22cm.; with an oil on paper, `Yellor Roses` by Dick Lee, signed, 22 x 32.5cm.; and a watercolour, `Burnham Norton` by Sydney Sheppard, 18 x 26cm. (3) Provenance: (Fry), London, Browse & Darby, 1986; (Lee), Wells-next-the-Sea, The School House Gallery, 1992; (Sheppard), London, Sally Hunter Fine Art, 1994 ++ Each in good condition; the Sheppard with slight light staining
Los 1850
•DOROTHEA SHARP (1874-1955) VASE OF SUMMER FLOWERS ON A WINDOW SILL Signed, oil on canvas 59.5 x 49.5cm. Provenance: Toronto, Waddingtons, November 18th 2002, lot 142; London, Christies, June 6th 2003, lot 6; Penzance, W. H. Lane, February 26th 2004, lot 270; Stow on the Wold, Kenulf Fine Arts Ltd, August 2004 ++ Good condition; needs a light clean
Los 1855
•ALAN CAIGER-SMITH (1930-2020) ALDERMASTON, 1949 Signed with initials, dated 1949 and inscribed ALDERMASTON on left, also bears name and dated May 1949 verso, oil on board 37 x 49cm. * Caiger-Smith studied at Camberwell from 1947-1949 before going up to Cambridge. Although he did not begin his formal training as a potter until 1954, he established the Aldermaston Pottery in Berkshire in 1955. ++ Thickly varnished; needs a light clean
Los 1858
GEORGE RUSSELL, "AE" (1867-1935) TWO GIRLS AND CHILD WADING Signed Æ in ligature lower left, oil on canvas 52 x 80.5m. Provenance: Mrs Annabel Huth Jackson, by whom purchased from the artist, March 1919; and thence by direct descent * Russell invariably signed his work with the unusual Æ monogram, shortened from the word Æon (simultaneously the mortal incarnation of the `Word of God` and the representation of the immortal self) and meaning `the lifelong quest of mankind`. This reflected his great interest in mysticism and the metaphysical philosophies, glimpses of which he addressed in a letter to the purchaser of this picture. In a letter to Mrs Annabel Huth Jackson, dated March 29th 1919 and acknowledging receipt of £31.10.0 for three pictures, Russell writes "Might I suggest that the two grey coloured pictures were intended to be framed in a kind of cream, almost white, flat frame as it by the white or pale cream that the local colour of the picture can best be thrown out and that they should have glass over them." With timid self-effacement, he added "I hope they will not prove too tiresome a possession." Subsequently, on about April 4th 1919, he wrote again to Mrs Huth Jackson about the recommended frame colour and size: ".. to be framed in pale cream enamel almost white in a flat frame about 3 1/2 inches and the pale colours will come out ever so much better than in the conventional gold frame. I think the picture of the two girls and child wading ought to have glass over it because it was painted on a very rough canvas which I got during the year when I could get no other in Dublin and dust lodges easily on the rough surface and is difficult to get out..". Russell added modestly, presumably in response to a request about meeting his patron, "I am afraid I would be a very disappointing person to meet, most literary men are as they are really nothing except at the moment a spirit blows through them and when it is silent they are just like everybody else and they put on airs and try to look inspired when they are not they are ridiculous." On a theosophical note, he observes that "All our superficial life is unreal, a mere mask through which now and then some reality deep within us speaks and our masks are not of much importance. I believe you and I have some kind of spiritual contact, while we live and after with all who are spiritually akin to us whether we see them or not...You say you know me. Probably you do. My intention as I write is that I could write almost anything to you but that you would know it all already. ...I believe you and I have some kind of spiritual contact, while we live and after with all who are spiritually akin to us whether we see them or not... I would rather believe in the inheritance of the spirit than have millions of physical forms made inanimate." ++ Good condition; needs a light clean
Los 1863
ROMANOV INTEREST: GRAND DUCHESS OLGA ALEXANDROVNA ROMANOVA (1882-1960) A VIEW FROM THE ARTIST'S KITCHEN WINDOW, HALTON COUNTY, ONTARIO Signed and dated 1951, oil on canvas board, in a frame by William Haines, Yonge St, Toronto. 29.5 x 34.5cm. Provenance: see lot 1803 ++ Needs a very light clean
Los 3339
French white marble and gilt metal two train mantel clock garniture, the Vincenti movement striking on a bell, the 3.25" white floral painted dial within a drumhead casing supported upon two tapering columns to the shaped stepped base, 16" high; also with a pair of two light matching candelabra, 9.75" high (pendulum)
Los 214
§ Winifred Nicholson (British 1893-1981) The Piper who played the Retreat at Tobruk, circa 1952 signed, titled and inscribed (on stretcher bar), oil on canvas(70cm x 90cm (27.5in x 35.5in))Footnote: Provenance: The Estate of the Artist, and thence by descent. Exhibited: Edinburgh, The National Gallery of Scotland, The Dean Gallery, Winifred Nicholson in Scotland , 10th July - 7th September 2003, p.39, illustrated, with tour to Duff House, Banff, and Au Tuireann, Skye. Literature: Alice Strang, Winifred Nicholson in Scotland , National Galleries of Scotland, Edinburgh, 2003, p.39 (ill.col) During the late 1940s and throughout the 1950s, Nicholson spent a great deal of time in the Scottish Highlands. She frequently visited the area with the poet Kathleen Raine, a close friend, staying at a retreat at Sandaig in Ross-shire on the west coast of the mainland. Inspired by the effects of light and colour created by the ever-changing weather conditions, Nicholson felt a special, profound connection to the landscape, appreciating the quiet and outstanding natural beauty and was eager to learn its folklore, customs, and people. This is particularly evident in her painting ‘ The Piper who Played the Retreat at Tobruk (Shepherd, Sandaig) , from circa 1952. This piece exudes Nicholson’s characteristic impressionistic brushstroke in its landscape, using warm and cool colours to harmoniously balance the composition. The figure in the foreground is a local shepherd who she befriended during her time on the island. The work produced in Scotland are deeply emotive, and allowed Nicholson to express not only her fascination for light and colour, but also her love for the country.
Los 334
§ Paul Jenkins (American 1923-2012) 'Phenomena Peal of Bells Cross', 1970s 2/7, facsimile signature and numbered (to reverse), wool and cotton tapestry(142cm x 206cm (56in x 81in))Footnote: The Minneapolis Institute of Arts hold another work from the same series. Abstract Expressionist Paul Jenkins explores colour and the nature of prismatic light, using conflicting hues of colour to create movement within his work, a feature that has inspired weavers on more than one occasion, including at the most famous tapestry weaving centre in the French town of Aubusson.
Los 75
Sir Basil Spence O.M. O.B.E. R.A. (British 1907-1976) for H. Morris & Co. Allegro armchair, laminated wood and leather upholstery(87cm x 47cm x 45cm (34.2in x 18.5in x 17.7in))Footnote: Literature: Studio Yearbook of Decorative Art , 1949, p. VIII (advertised); Austerity to Affluence: British Art & Design 1945-1962 , The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27 (similar example illustrated); Long, Philip and Thomas, Jane (ed.), Basil Spence , Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig 55 (similar example illustrated). Sir Basil Spence was one of the leading British architects of the 20th century, whose monumental or 'brutalist' style came to define modern architecture in Britain. Noted commissions include designs for several exhibitions including the Sea and Ships Pavilion for the Festival of Britain (1951), Sussex University (1962), Glasgow Airport (1966), and Coventry Cathedral (1954-1962), for which he received a knighthood. In 1947 Neil Morris of manufacturers Morris of Glasgow asked Spence to collaborate on a range of plywood furniture he was working on, which was to include his Bambi chair and celebrated Cloud table. The result was the Allegro dining suite, which was awarded a diploma by the Council of Industrial Design in January 1949. In March of the same year it was exhibited at the Glasgow Today and Tomorrow, where it was commended, and an example of the armchair was commissioned by the Museum of Modern Art, New York for their collection. In September 1949 it was displayed at the Morris stand, also designed by Spence, at the Scottish Industries Exhibition. In 1951 another single armchair was commissioned for the collection of the Victoria & Albert Museum in London (V&A CIRC.183-1951). The development of plywood furniture in the 20th century is focussed on wartime innovation. The American designers Ray and Charles Eames designed prize-winning furniture for the Organic Design in Home Furnishings competition at the Museum of Modern Art in New York in 1941. Their work displayed the new technique of wood moulding, originally developed Alvar Aalto in Finland, that Eames would go on to develop in many moulded plywood products, including splints and stretchers for the US Navy during World War II. From this work many of their iconic furniture designs were developed. The manufacture of the 'Allegro' range also found its origins in wartime innovation. The Southampton-based manufacturer of helicopter Ciervarva Autogiro, had developed techniques of laminating and shaping wood to make strong and light helicopter blades - these blades were supplied by Morris of Glasgow by 1946, and the same technology was applied to this remarkable suite of furniture soon afterwards. Over one hundred layers of wood were bonded together under high frequency electrical pressure wiphenoformaldehydeyde, a synthetic resin. The wood is then shaped and carved to produce the chairs, table and sideboard. Whilst it is now acknowledged as a landmark in immediate Post-War British furniture design, the immense expense of this manufacturing process meant that it went into extremely limited production, and as a result examples are extremely rare.
Los 1145
An Edwardian inlaid walnut display cabinet. 125cm wide by 37cm deep by 185cm high. Uniform fading, central marquetry panel to frieze with losses, minor scuffs and surface scratches some bruising, small drill holes in the top right hand corner at the back where it has been fitted with LED light strips. Working lot with key, carved decoration to glass listing in part on the left hand door
Los 14
Carlton ware blue ground chinoiserie pattern lustre wares including four various dishes, the largest square dish 24cm by 24cm, and a similar canister and silver-mounted cover . Canister - with fine crazing and particularly notable wear to the rim. Dishes - light surface scratches and wear to the gilding, particularly at the edges, square shaped dish - with a fine hairline crack through the rim (visible from the underside)
Los 258
A collection of assorted silver plate, including a pair of candlesticks with Corinthian capital sockets, a pair of telescopic candlesticks, a three light candelabrum, a toast rack, two various salves, a quantity of plated flatware, various patterns, in associated oak canteen and a mahogany finish canteen, contents lacking (one box and an oak canteen)
Los 40
Otto Piene (German, 1928-2014)Lichtkugel 1971-1972 metal, electrical motor and light bulbsDiameter: 50 cm. 19 11/16 in.This work was executed in 1971-1972.Footnotes:ProvenancePrivate Collection, Germany (acquired directly from the artist)Thence by descent to the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 12
Banksy (British, b. 1975)Weston Super Mare 1999 taggedacrylic on canvas76.5 by 76.5 cm.30 1/8 by 30 1/8 in.This work was executed in 1999.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.ProvenancePrivate Collection, UKSale: Sotheby's, Olympia, Contemporary Art, 19 June 2006, Lot 560Acquired directly from the above by the present ownerLiteratureRobin Banksy, Banging your head against a brick wall, London 2001, n.p., illustratedBanksy's best works always have at their heart his distinctive, often brutal sense of humour. So much of his early work focuses on that peculiarly British characteristic that celebrates the mundane and the ordinary, in the tradition of the kitchen sink painters such as Stanley Spencer of the mid-Twentieth Century. Banksy often plays with this national personality trait, repurposing twee landscapes and inserting shocking images in the Crude Oil series, or, as in the case with the present lot, memorialising a town synonymous with drabness and faded glamour and building the composition on the image of a lonely figure sitting on a bench. The sheer unsuitability of this as a subject for a major work of art is where the humour lies and yet it also gives a glimpse into the personality of this mercurial artist. Weston-Super-Mare is a seaside town near Banksy's native Bristol and the location of his 2015 theme park Dismaland. Best known as the site of the once celebrated Tropicana Lido, closed since 2000, Weston-Super-Mare is not the obvious choice for a new amusement park and so it would have immediately appealed to Banksy's post-modern sense of irony. This is also a political choice; by celebrating the hinterland and indeed the degraded, disenfranchised figure at the heart of the composition of the present lot, Banksy is using his platform to drag focus away from traditional art world contexts. Always a self-confessed outsider, so much of Banksy's art exists to poke fun at traditional hierarchies and, in light of his astonishing success, also at himself. If everyone is fair game for mockery in Banksy's world then no one is more so than he himself and in that sense the figure on the bench can be seen as a self-portrait, revealing his own sense of ordinariness and feeding into the theme of being an imposter that features so often in his work. Weston Super Mare can therefore be seen as a work of searing honesty and self-revelation; a very personal painting that gives a clear, if very rare, insight into the artist's background and personality. Executed in 1999, this work is one of the earliest and most significant canvases by the artist to come to auction.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 37
Anselm Kiefer (German, born 1945) Sefiroth 2002 titledmixed media on photograph laid on canvas157.5 by 88.6 cm.62 by 34 7/8 in.This work was executed in 2002.Footnotes:ProvenanceGagosian Gallery, New YorkPrivate Collection, Italy (acquired directly from the above in 2002)Sale: Sotheby's, London, Bear Witness, 10 March 2015, Lot 141Acquired directly from the above by the present ownerExhibitedNew York, Gagosian Gallery, Anselm Kiefer - Merkaba, 2002, p. 49, illustated in colourAnselm Kiefer's work is a rare achievement in that it produces an immediate effect while leaving a lasting impression. Born into a landscape of rubble and irreconcilable guilt, Kiefer is part of the generation known as the Nachgeborenen, a term used for those in Germany born immediately after the war. Associated with the disparate Neo-Expressionist group, Kiefer's work was deemed controversial, signaling a return to Germany's embarrassing past, his figurative work out of place in an art world dominated by the post-painterly movement. However, it is Kiefer's bold vision that has arguably given expression to the spiritual plight of humanity in the twentieth century. First exhibited at Gagosian Gallery in 2002, Sefiroth is part of a larger body of work dealing with Kabbalist literature and the after-life. A mystical school of thought within Judaism, Kabbalah is understood to be the Jewish response to historical trauma. Issuing from the expulsion of the Jews from Spain in 1492, Kabbalah uses historical trauma and suffering as a vehicle for redemption through a mystical story of creation and destruction. In the present work, Kiefer combines Kabbalistic symbols with mystically suggestive imagery: at its centre the mystical tree of life, the Sefiroth, is imprinted on a snowy backdrop of a staircase, which rather than ascending to heaven appears to fall back to earth. Representing the ten emanations or illuminations of God's eternal light, the Sefiroth can be divided into three categories: conscious emotion, conscious intellect and the super-conscious or 'Kether' representing God at the top of the axis, which Kiefer has inscribed into the work. Through its soft palette of greys and whites, Sefiroth transmits a mesmerizing and enigmatic melancholy, which emanates the secret knowledge of Kabbalah, representing for the artist 'a paradox of logic and mystical belief. It's part scholarship, part religion, part magic. For me, it is a spiritual journey anchored by images' (the artist in 'Heaven and Earth', Anselm Kiefer, exh. cat., Guggenheim Museum, Bilbao, 2007, p. 339).Kiefer's preoccupation with Judaism and more specifically with Kabbalah can be understood within his own wider aesthetic concerns with Germany's National Socialist history and the Holocaust. According to Lisa Saltzman, 'it would seem that on a very basic level Kiefer's work suggests a memorializing impulse, an anamnetic impulse, an impulse to reintroduce, if not into the visual, at least into the linguistic and acoustic, landscape of postwar Germany, the absent other, the Jew, signified in the foreign sounds of the Hebrew language.' (Lisa Salzman, Anselm Kiefer and Art After Auschwitz, Cambridge 1999, p. 43). Through his use of Kabbalistic symbols of destruction and rebirth, Kiefer simultaneously addresses Germany's own preoccupation with the destruction of culture and specifically Jewish culture during the Holocaust. Through his work, Kiefer allowed for a dialogue to be opened regarding National Socialism simultaneous appropriation and destruction of German culture and identity. From Wagner and the Brothers Grimm to the Rhine and the German forest itself, National Socialism sought to adopt those signifiers of German culture as a means to embed and justify their racist and antisemitic world view.Kiefer's work has the unique ability of creating a universal language that speaks directly to our shared humanity, it is through his extensive use of symbols that the artist is able to create both visual and metaphorical bridges between complicated and often problematic imagery, suggestive of our shared histories. Kiefer's work has been celebrated in numerous retrospectives at some of the world's leading institutions including Louisiana, Humlebæk, Royal Academy, London, Guggenheim, Bilbao and Centre Pompidou, Paris, with his work also found in the permanent collections of the Tate Modern, London, Museum of Modern Art, New York, the Metropolitan Museum of Art, New York, the Tel Aviv Museum of Art and the Albertina in Vienna among many others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 18
Christo (American, Bulgaria 1935-2020)Store Front (Project) 1964 signed, titled and dated 64; signed, titled, dated 1964 and inscribed 1 Lampe 25w on the reverseenamel, pencil, charcoal, plywood, electric light, metal wire and plexiglas mounted on wood60 by 85 by 10 cm.23 5/8 by 33 7/16 by 3 15/16 in.Footnotes:This work is registered in the Christo & Jeanne-Claude archive.ProvenancePrivate Collection, Europe (acquired directly from the artist)Sale: Dorotheum, Vienna, Contemporary Art, 25 November 2009, Lot 3Acquired directly from the above by the present ownerOn the same day in June 1935, Christo and Jeanne-Claude were born into very different worlds – Christo Valdimirov Javacheff in Bulgaria and Jeanne-Claude Guillebon in French Morocco. Meeting in Paris in 1958, their personal and professional lives would be forever intertwined, eventually becoming the most important artist-duo of the second half of the 20th century. Their unique vision would bring their wrapped works and large-scale installations to cities and landscapes across the globe, including a final work to be presented in Paris in September 2021, L'Arc de Triomphe, Wrapped, posthumously in accordance with the artists' wishes. It is however in the artists' earlier Store Fronts and Store Front Projects where we can really begin to see this initial scaling-up of their unique aesthetic. A series of works that were initiated after their move to New York City in 1964, the present work Store Front (Project) from the same year is a delicate and thoughtful example of his preparatory works from this landmark series.After fleeing communist Bulgaria via Czechoslovakia and Vienna, Christo made his way to the French capital, where his quintessential style of wrapping cans, bottles and everyday domestic items was immediately established. In Paris, Christo gravitated towards the Nouveau Réalisme movement, joining the ranks of Yves Klein, Martial Raysse and Niki de Saint Phalle however soon after his marriage to Jeanne-Claude and the birth of their son, the young family decide to emigrate to New York. Initially installing themselves at the Chelsea Hotel, renown home-from-home for many artists, they would eventually move to a loft in downtown Manhattan, gifting the Chelsea Hotel owner with one of his Store Front Projects as collateral for the bill. To-scale shop façades created from wood and painted in a variety of colours, each Store Front was preceded by detailed architectural maquette-like sketches, typical of Christo's lifelong working process. The present work is a rare and intricate example of these preparatory works, with every detail of the eventual Store Front replicated: from the precise to scale measurements to the metal grill on the windows and the internal lights illuminating the colourful interior. Born from the Show Cases Christo was already creating from found medicine cabinets in Paris in 1963, the Store Fronts should be understood as their scaling-up. Similar to the evolution of the early Wrapped Cans or Packages, which would eventually evolve into projects such as The Pont Neuf Wrapped (1979), the Store Fronts recall the imposing architecture of New York City. 'The result was enigmatic, architectonically elusive, evocative: Store Fronts were of great beauty, possessed of quiet melancholy and a sense of loneliness that recalled the work of American painter Edward Hopper or the boxes of Joseph Cornell. The pervasive sense of mystery [leaving] the observer wondering what was behind the façades' (Jacob Baal-Teshuva, Christo and Jeanne-Claude, New York 2001, p. 27). If the Show Cases are understood as the precursor to the Store Fronts, the Store Fronts are understood by the artist as precursors to the Valley Curtains in Colorado (1972) and the Running Fence in California (1976). It is in the Store Fronts that the concept of internal and external space is initially explored, 'the store fronts radiate a kind of suspense, as if the blocked windows or the closed door might admit one if you only knew the hours of opening. However, our perceptual and physical links are arrested as the invitation stays unfulfilled. What Christo [and Jeanne-Claude have] done is to turn physical space into psychological response, as the façade becomes a wall, absolutely cancelling the inside... [They] cancel the internal space that we anticipate and define space as what is between us and the glass. The spectator's investigative, voyeuristic impulse is converted into an experience of himself, as an object in space' (Lawrence Alloway, Christo, New York 1969, p. VII). The Store Fronts act as a vehicle for our conceptual understanding of space in direct relation to our surroundings. Diverging from the work of the Minimalists, Christo's approach to space is specifically architectural, addressing our every-day interactions to the world around us and how we manipulate and manoeuvre within that space daily. Like the wrapping of the Pont Neuf or the Valley Curtain, the Store Fronts force the viewer to renegotiate their relationship to that space both physically and psychologically. The familiarity of these buildings and spaces is ruptured by the artist's intervention forcing us to confront our own physicality.While as much technical drawings as they are works of art in their own right, the preparatory works represent a lasting testament to the fleeting nature of their monumental culminations. The present work is a rare example within the Store Front Projects in its inclusion of internal light-fittings, its internal illumination bringing the potential of this project to life. The precise architectural nature of the Store Front Projects is evidence of Christo and Jeanne-Claude's unique vision as sculptors but also as visionaries who have made the world's cities and landscape their canvas. Christo's work has been celebrated in the world's most important museums with his Store Fronts and Store Front Projects found in some prominent collections including the Museum of Modern Art, New York, the Hirsshorn Museum, Washington D.C., the Kaiser Wilhelm Museum, Krefeld, Germany and the Museum of Contemporary Art, Los Angeles. His work can also be found in the collections of the Art Institute of Chicago, the Tate Modern, London and the Centre Pompidou, Paris, where the artist's work is currently being exhibited in a landmark retrospective, where an entire room has been dedicated to the extraordinary Store Fronts and Store Front Projects.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 34
Damien Hirst (British, born 1965)Beautiful Hours Spin Painting IX 2008 signed, titled and dated 2008 on the reverse; signed on the stretcherhousehold gloss on canvas203.2 by 177.8 cm. 80 by 70 in.Footnotes:ProvenanceGift from the artist to the present owner in 2009ExhibitedBristol, Bristol Museum & Art Gallery, 2016-2019, work on loan to the museum LiteratureMC Publishing Limited, 'State of the Art' in: The Bristol Magazine, Issue 152, February 2017, p. 4, illustrated in colour, and p. 40, illustrated in colourExecuted for the cover of British rock band The Hours' album 'See the Light', Beautiful Hours Spin Painting IX embodies the central theme which informed most of Damien Hirst's artistic practice: mortality, or the impossible balance between life and death. Although the motif of the skull references 'vanitas' in 16th and 17th century painting, where it was used to symbolise the inherent transience of life, Damien Hirst's appropriation of the subject within one of his iconic spin paintings in the present work is anything but macabre. Emerging from a psychedelic burst of vibrant high-gloss paint, it exudes dynamism and joie de vivre. Hirst bonded with The Hours' band members Martin Slattery and Antony Genn through their common friend Joe Strummer - unforgettable co-founder of The Clash. Hirst's friendship with Strummer started when the pair met at a music festival in 1995, and Strummer became an important part of Hirst's life. Upon the musician's untimely death in 2002, Hirst stated that this event marked the first time '[he] felt mortal', deepening his interest in the subject of mortality even further. United by their common friend and a love of music, Hirst and The Hours' band members started collaborating professionally early on, as Hirst partially funded and designed the covers for the band's first album 'Narcissus Road', released in 2007, and their second album, released in 2009, for which the present work was executed.Hirst first began working on his spin paintings in the early 1990s, and staged a performance at a street fair in London in 1993 where he invited members of the public to create their own. He installed a 'spin machine' in his studio the next year, and the iconic series of painting created by pouring high-gloss emulsion on a spinning canvas was born. By removing the artist's hand from the process and relying on chance, the spin paintings demystify the process of artistic production and form an iconoclastic commentary on the rigidity and academicism that informed most of art-history.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 8
Barry Flanagan, R.A. (British, 1941-2009)Acrobats 1988 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5 bronze303.8 by 88.9 by 69.9 cm.119 5/8 by 35 by 27 1/2 in.This work was executed in 1988, and is from an edition of five numbered versions and 3 artist's casts.Footnotes:ProvenanceJohn Berggruen Gallery, San FranciscoAcquired directly from the above by the present owner in 1992ExhibitedLondon, Waddington Galleries and The Economist Plaza, 1990, p. 19, no. 8, another example illustrated in colour New York, The Pace Gallery, Barry Flanagan, 1990, np., no. 8, another example illustrated in colourBerlin, Haus am Waldsee, Animalia: Stellvertreter, 1990, p. 50, another example illustrated in colourFréjus, Musée Temporaire, Foundation Daniel Templon: La Sculpture Contemporaine après 1970, 1991, p. 89, another example illustrated in colourNew York, Paul Kasmin Gallery, Barry Flanagan: Sculptures, 2004, another example exhibitedLiteratureRichard Dorment, 'First catch your hare' in: The Daily Telegraph, 29 May 1990, another example illustratedTowering at nearly 10 feet tall, Barry Flanagan's Acrobats is undoubtably one of the late Welsh artist's most significant works. First appearing in 1979, the figure of the hare dominated Flanagan's practice ever since, and is represented in institutional collections and beloved public sculptures around the world. When asked about this particular choice of subject, Flanagan stated: 'I find that the hare is a rich and expressive form that can carry the conventions of the cartoon and the attributes of the human into the animal world. So I use the hare as a surrogate or as a vehicle to entertain in a way. The abstract realm that sculpture somehow demands is a very awkward way to work, so I abstract myself from the human figure, choosing the hare to behave as a human occasionally.' (the artist in: Barry Flanagan: Sculpture 1965-2005, exh. cat., Irish Museum of Modern Art, Dublin, 2006, p. 65)In the 1970s, Flanagan moved away from his earlier conceptual work towards a more figurative practice. He started modelling the human form and a range of different animals in bronze, but the motif of the hare is really the one that stuck in the collective mind and came to symbolise his practice. Allegedly inspired by both a hare he watched hopping happily across the English countryside in the late 1970s, and by George Ewart Evans' book The Leaping Hare published in 1972, Flanagan first represented the animal in his now-seminal work Leaping Hare from 1979. A study of the hare's significance around the world in folklore, poetry, mythology and art throughout history, George Ewart Evans' delightfully light-hearted book fuelled Flanagan's interest for the remainder of his artistic practice. The subject of the present work, two anthropomorphised hares balanced on top of each other, first appeared in a smaller format in 1981 which was shown in the very first exhibition of Flanagan's bronzes at Waddington Galleries in London that same year. A resounding success, the exhibition of Flanagan's sculptures truly propelled his career, and he represented Britain at the Venice Biennale in 1982.Flanagan's most iconic sculptures, of which Acrobats is a quintessential example, all succeed in conveying a sense of movement and physical tension whilst remaining wonderfully playful. One can't help but smile at the comical representation of humanlike hares engaging in sporting activities, such as boxing or acrobatics, which unlocks childhood memories of absolute freedom and whimsy. As author Paul Levy puts it, 'nothing is more free, vital, spontaneous and alive – from Aesop's hare outrun by the tortoise to Bugs Bunny – than a capering hare. In France and most of Central Europe, it is the hare that lays eggs at Easter and so promises renewal. In fact, Flanagan's hares do not carry much of this historic symbolic freight; they simply frolic freely and expressively. They don't symbolise life, they live it.' (Paul Levy, Barry Flanagan: Linear Sculptures in Bronze and Stone Carvings, exh. cat., Waddington Galleries, London, 2004)The present work was acquired over 25 years ago by prominent American collector and philanthropist Gerard L. Cafesjian, and remained in his Estate's collection until now. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.Upon his retirement, Mr. Cafesjian committed his time to art and charity, as he founded the Cafesijan Family Foundation to support mostly Armenian causes. He founded the Scottsdale Museum of Contemporary Art in Arizona in 1999, and, in the early 2000s, he set his sights on an enormous, unfinished and crumbling Soviet structure in Armenia's capital city as the site for a private museum. The building's ambitious renovation and expansion resulted in the creation of the Cafesjian Center for the Arts, which, upon its inauguration in 2009, was touted by the New York Times as being a modern-day 'Hanging Gardens of Armenia' and is best known for its world-class sculpture garden.This lot is subject to the following lot symbols: * AR TP* 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.TP Lots denoted with a 'TP' 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
Los 100
A Givenchy leather handbag, the black smooth leather exterior with white contrast stitching, embossed maker's monogram and silver-tone hardware, with adjustable shoulder strap and top zip fastening, maker's canvas interior with two compartments and zip pocket, with maker's dustbag.39 x 27 x 5.5cmCondition report: Overall condition very goodUnworn, light scratches in keeping with handling and storageZip has original wrapping onHandle drop from shoulder to top of bag is approx 28.5cm
Los 113
A Chanel pendant necklace, the colourless paste maker's monogram, suspended from a flat curb link chain, signed and numbered Chanel A 90. With maker's pouch and box.Length of pendant 1.8cm. Length of chain 43cm.Condition report: Overall condition very goodLight scratches in keeping with light wearChain signed and numberedBox in good condition, light abrasion to cornersPouch is white microfibre, not suedePastes all present
Los 118
Dunhill, Sidecar, ballpoint pen, the tortoiseshell lacquer barrel and cap with chrome trim, 14cm.Condition report: The pen is in good used condition with the expected hairline scratches and scuffs associated with light use. There is some light bubbling to the surface of the barrel towards the nib. There is no packaging or paperwork with this pen.
Los 12
A Gucci Jackie light pink suede leather shoulder bag, the pink suede exterior with pink smooth leather accents and shoulder strap, Ruthenium hardware, and pink embroidered detailing, serial number 001-3906/001998. With maker's dustbag.32x21.5x3.5cmCondition report: Overall condition goodOne snagged thread to back of bag, not noticeable and only visible on close inspectionInterior and exterior very clearn - in good condition, exterior with only very insignificant marks that can be seen when viewed very closely
Los 22
A Hermes Bearn wallet, circa 1998, the tan epsom leather exterior with cream stitching and gold hardware, date stamp B in square. With maker's pouch and box.17.5x8.5x5cmCondition report: Overall condition good to fairSome very light scuffs to leatherLight scratches to hardwareInterior in good condition Ink mark to one part - see imagesBox in good to fair condition, some scuffs to corners, sticker to top left
Los 25
A Louis Vuitton Limited Edition Onatah Flowers Handbag, circa 2006, the cacao perforated suede exterior with 3D floral detailing, gold and silver tone hardware, tan smooth leather detailing and striped shoulder strap, serial number RC0016. With maker's dustbag. 24x14x5cmCondition report: Overall condition good to fairSome slight scuffs to underneath - see images - very minorLeather trim in good condition - very few scratches in keeping with occasional wearSome flowers slightly misshapen - more to do with storage than actual condition issueInterior in good condition with only light marks
Los 29
A Hermès enamel bangle bracelet, the white enamel bangle with gold tone maker's logo and border, signed Hermès, date letter Q. With maker's box.diameter 6.5cm, bracelet 1cmCondition report: Overall condition good to fairLight scratches in keeping with occasional wearBox in good condition, some slight scuffs to edgesWidth of bangle 9.1mm
Los 33
A Chanel pendant necklace, the gold-tone maker's quilted monogram suspended from a trace link chain, signed Chanel.Length of pendant 4cm. Length of chain 88cm.Condition report: Overall condition good to fairLight scratches in keeping with occasional wearSlight discolouration to chainNo box with this lot
Los 34
A Prada Jaquard Logo Tote bag, the beige jaquard woven canvas exterior with maker's logo detailing, brown leather double handles, luggage tag and trim, silver-tone hardware and canvas interior with zip pocket, with maker's authenticity card and dustbag. 39 x 26 x 14cmCondition report: Overall condition very goodVery light scratches in keeping with occasional wear, hardly worn
Los 46
A Louis Vuitton monogram Keepall 55 luggage bag, circa 1990, the maker's monogram coated canvas with smooth leather trim, double rolled vachetta leather handles, top zip fastening, gold-tone hardware, handle strap and luggage tag, serial number MI1920.55x28x25cmCondition report: Overall condition good to fairScratches and discolouration in keeping with age and useSome dark discolouration to underside of bag, otherwise light discolouration to vachetta leather - see imagesInterior of bag in good condition, only very light marks
Los 48
A Chanel pendant necklace, the gold tone woven detail pendant with polished maker's monogram, suspended from a trace link chain, signed and numbered Chanel, 29. With maker's box.Length of pendant 4cm. Length of chain 59cm.Condition report: Overall condition good to fairLight scratches and discolouration in keeping with age and wearSome scuffs, selotape and discolouration to box
Los 56
A Chanel Rue Cambon belt necklace, the gold-tone curb link chain with polished plaque accent, suspending a circular medallion with maker's monogram detailing, signed Chanel. With maker's box.Length of pendant 4cm. Length of chain 80cm.Condition report: Overall condition goodOnly light scratches in keeping with occasional wear - retains colour well and in good wearable condition!
Los 77
A Hermès "Pasementerie" silk scarf by Francoise Heron, the white ground with fuschia, purple, green and blue pattern depicting tassel trimmings, signed Hermès.90x90cmCondition report: Overall condition good to fairNo box with this lotSome minor marks - light dots visible when inspected very closely - see imagesSome losses in places - see images
Los 80
A Gucci long wallet, the black patent leather exterior with cream stitching, gold tone monogram hardware with red and green ribbon backing, with black smooth leather coin compartment on one side and multiple card slots and slip pockets on the other. With maker's box.19 x 9 x 3cmCondition report: Overall condition good to fairSome light wear in keeping with ageSome slight scuffs to cornersSome light scratches and discolouration to hardware
Loading...-
534297 Los(e)/Seite