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283287 Los(e)/Seite
Los 1040
ALASDAIR GRAY (SCOTTISH 1934-2019) NIGHT STREET SELF PORTRAIT Ink with colour added, 53 x 42cm, (20.75 x 16.5?) ?GMA 50th Anniversary Displays / Scottish National Gallery of Modern Art / Sorcha Dallas Gallery? and title inscribed to sticker verso Alasdair Gray is a Scottish artist and writer of international standing whose paintings, books and murals form and unparalleled body of work in contemporary culture. Born in 1934 in Glasgow, he graduated from Glasgow School of Art in 1957, and he is regarded as the father figure of the renaissance of Scottish Art and Literature. Night Steet Self Portrait 1953, an important early work, was included in Gray's retrospective exhibition in 2014 in Glasgow's Kelvingrove Art Gallery and Museum. This seminal early city scape work can be seen as a precursor of one of his most famous works, Cowcaddens Streetscape in the Fifties. Night Street Self Portrait 1953 is referenced in Gray's obituary, written by James Campbell for The Guardian in December 2019. Campbell regards Night Street as a significant work, stating, ?Night Street Self Portrait (1953) depicts a brooding figure in half-darkness against a background of kissing lovers and happy families. A black cat depicted nine times suggests that life is draining away.? This poignant artwork is also used as the book cover for playwright David Greig?s, Lanark: A Life in Three Acts- Adapted for the Stage. In September 2020, The Great Western Auctions handled the estate of Alasdair Gray with a highly successful auction of the contents of the Studio of Alasdair Gray which included original Artworks, personal effects and studio artefacts. Condition Report:Available upon request
Los 1098
BRITISH SCHOOL (19TH CENTURY) PORTRAIT OF A GENTLEMAN; PORTRAIT OF A LADY IN AN EMBROIDERD LACE CAP Oil on canvas, 53 x 53cm (21 x 17") (2) Condition Report:Portrait Of A Gentleman:On the whole there is very fine cracking in the pigment over the dark passages of the jacket and there are areas of pigment loss, bottom right and to a greater degree bottom left corners and at the left edge , lower middle and top corner areas. Small damage with loss of pigment in proximity to top right corner area.Portrait Of a Lady In An Embroidered Lace Cap:Generally areas of cracking and loss of pigment around the edges mainly upper left edge, top right edge and lower left and right corners, where some restoration may appear to have taken place.
Los 1100
BRITISH SCHOOL (18TH/19TH CENTURY) PORTRAIT OF A GENTLEMAN IN A BLUE JACKET; PORTRAIT OF A LADY IN A SILK BONNET Oil on canvas, 23 x 19cm (9 x 7.5") (oval) (2) Condition Report:Both canvases have been lined and generally there are some areas around the edges where there appears to have been pigment loss with restoration to a greater degree in the portrait of the gentleman. Fine cracking in the pigment is evident over much of the surface area of both canvases.
Los 397
A 19TH CENTURY BOHEMIAN CRANBERRY AND WHITE CASED GLASS LUSTRE the castellated rim with alternating portrait panels of children and flowers with clear glass drops and gilt patterning, the base with further flower panels, 32.5cm high Condition Report:two castellated areas chipped, chips to drops as expected
Los 568
Large scale portrait miniature of 3 children (William, Charles Hardcastle (?) & Elizabeth Hewitt sons & daughter of William & Elizabeth Hewitt of Carlton Hall, Suffolk) by Walter Stephens Lethbridge (1771-1831) who attended a print shop / drawing school created by Rudolph Ackermann at 96 Strand, London in 1795+ ~ 17.5cm x 14.5cm -In a black antique frame with original hand blown glass. hHand written details to the reverse. The portrait is slightly bowed & chip to 1 corner of frame & 'nick' on side of frame
Los 4063
Tortoiseshell and silver mounted oval snuff box with mother of pearl shell form inlay and portrait, the rim engraved Elizabeth Witchell 1717, unmarked, 8cm wideCondition Report: Surface marks and wear consistent with age and useHinge looseCrack and uneven wear to edge of tortoiseshell lidBase pushed in
Los 1036
Manner of Sir Thomas Lawrence (1769-1830)Portrait of an elegant lady, wearing an elaborate plumed hat, standing at a balconyBears singature, oil on paper, laid down, together with three further unframed portrait studies in the eighteenth century style, 30cm by 23.5cm and 29cm by 21.5cm respectively, all unframed (4)
Los 457
After Norman Hepple RA RP (British 20th Century, 1908-1994) - A retro mid 20th Century print in colours of Hepple's painting entitled 'Her Mother's Hat'. The print of the portrait depicting a young lady wear black with a floral hat atop her head. Signed in plate to the lower left. Framed and glazed. Measures approx; 85cm x 67cm.
Los 11
KONRAD LUEG (1939-1996)Untitled circa 1963 signed and dedicated Mit Bleistift Für Anja on the reverse casein on cardboard plate 23.5 by 16.5 cm. 9 1/4 by 9 1/4 in. This work was executed circa 1963. Footnotes:Provenance Collection of the artist, DusseldorfGift from the above to the present owner in 1980A seminal protagonist in the German post-war art scene, Konrad Lueg is better known as Konrad Fischer, the legendary gallerist who represented artists such as Carl Andre, Bruce Nauman, Thomas Schütte, Sol Lewitt and Robert Ryman to name but a few. Having attended the Düsseldorf Academy, where he studied under Karl-Otto Götz until 1962, Lueg, took his mother's maiden name as an artist. Around 1963, Lueg alongside fellow classmates Gerhard Richter, Sigmar Polke and Manfred Kuttner, founded the Capitalist Realist movement, the West German version of British and American Pop Art, to critique the rise of American capitalism, the growing commercialization of the art market and bourgeois values in West Germany. The group appropriated the iconography of mass media, caricaturing consumer culture at the time of the West German 'Wirtschaftwunder' and famously invaded retail spaces as part of their practice. Paintings would feature cars, socks, chocolate, a kitschy idealization of Neuschwanstein Castle and as seen in the present work, the humble sausage, a theme also portrayed by Roy Lichtenstein at the same time in America. In the legendary 1963 Living with Pop performance, Gerhard Richter and Konrad Lueg invited visitors to a Dusseldorf furniture store where they were seated on pieces of furniture from the store's inventory, placed on pedestals as works of art. They wore suits and the daily news played in the background. In the Kaffee und Kuchen happening in 1966, Lueg invited friends and colleagues to have coffee and cake, this time in the important Alfred Schmela gallery in Düsseldorf. To challenge the perception of art galleries and what constitutes an artwork, Lueg had covered the entire space in his own wallpaper and Gerhard Richter showed a portrait of Schmela himself during the event.Solo exhibitions of Konrad Lueg's work have been held at Konrad Fischer Galerie, Berlin (2019); Greene Naftali, New York (2019, 2013); Herbert Foundation, Ghent (2018); Museu d'Art Contemporani de Barcelona, Spain (2010); Museum voor Actuele Kunst, Ghent (2000): and PS1 Contemporary Art Center, Queens, New York (1999). Lueg's work has been featured in significant group shows including Painting 2.0: Expression in the Information Age (Museum Brandhorst, Munich, 2015); International Pop (Walker Art Center, Minneapolis, 2015); and Living With Pop: A Reproduction of Capitalist Realism (Kunsthalle Düsseldorf, 2013; travelled to Artists Space, New York, 2014), among others. His work is in the permanent collections of museums such as the Barcelona Museum of Contemporary Art; Dallas Museum of Art; Kröller Müller, Otterlo, The Netherlands; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; Städel Museum, Frankfurt; and the Walker Art Center, Minneapolis.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
Los 17
FRANK AUERBACH (B. 1931)Portrait of Debbie Ratcliff III 1984 oil on canvas 66 by 66 cm. 26 by 26 in. This work was executed in 1984.Footnotes:Provenance Marlborough Fine Art Ltd., London (no. 35238.6)Acquired directly from the above by the present owner in 1984 ExhibitedVenice, XLII Biennale di Venezia, British Pavilion, Frank Auerbach: Paintings and Drawings 1977-1985, 1986, p. 50, no. 32, illustrated in colourHamburg, Kunstverein; Essen, Museum Folkwang, Frank Auerbach, 1986-1987, p. 72, no. 37, illustrated in colourMadrid, Museo Nacional Centro de Arte Reina Sofía, Frank Auerbach: Retrospectiva, 1954-1985, 1987, p. 68, no. 37, illustrated in colourLiteratureRobert Hughes, Frank Auerbach, London 1990, p. 208, no. 215, illustrated in black and whiteWilliam Feaver, Frank Auerbach, New York 2009, p. 294, no. 505, illustrated in colourFrank Auerbach's Portrait of Debbie Ratcliff III is a masterly and empathetic painting which formed the third of a trio of portraits of his model and muse Debbie Ratcliff that were first unveiled at the 42nd Venice Biennale in 1986, where Auerbach was awarded the Golden Lion, sharing the prestigious prize with Sigmar Polke. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially Auerbach was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive debut solo-shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the School of London, a group that included Lucian Freud and Francis Bacon. Bacon shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human expression. However, despite his affiliation with the School of London artists and comparisons to Bacon, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux Arts Gallery until 1963, before joining Marlborough Gallery in 1965. Today his works are amongst the most internationally collected and desirable amongst all living artists. Beautifully positioned within the square canvas, Debbie Ratcliff sits composed and elegant, her angular shoulders asymmetrically filling the composition. Auerbach employs rich swathes of crimson, green hues, and vibrant yellows to build his portrait. There is a meditative, emotional quality to his paint; Auerbach's heavy impasto can take months to build up and scrape back, he paints slowly and methodically revealing an intense observation of his subject. He makes his mark with authority and finality, pushing abstraction to the limit while still capturing the essence of his sitters. Auerbach first met Ratcliff at the Slade School of Art in 1983. He was reportedly drawn to her strongly defined features and initially had her pose reclining on a bed. It was in the second sitting that Auerbach decided to seat her instead on a chair facing him; the pose would continue in all three of these portraits the artist created of her. Over the course of Ratcliff's sittings for him, the two would come to relax in one another's presence, enjoying conversations about art and literature. Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. A true draftsman as well as a painter, his graphic works, his signature thick black lines and the concerted mark-making that he employs give his sitters a flickering quality of energy. His method requires an intimate knowledge, not only of his sitter's physiognomy, but also their temperament and personality and most of Auerbach's sitters posed for him every week, often over many years. Connections were important to Auerbach, who despite the physical immediacy of his brushwork, ultimately undertook long and studied contemplations of his subjects. He has attested to finding himself simply more engaged when he knows the people, as they get older and change, enjoying the process of recording this in paint. Auerbach's portraiture features a number of long-standing sitters, including, his wife Julia, Catherine Lampert, Gerda Boehm, Stella West, 'J.Y.M.' and as seen in this present work, Debbie Ratcliff. Auerbach's distortions in his portraits have been likened to Francis Bacon's figures. However, perhaps unlike Bacon, a warmth emanates from the former's portraits. In Portrait of Debbie Ratcliff III, Auerbach's muse is cast as an impression instead of a likeness. Painting only those whom the artist has formed an intimate bond with, the paintings teeter on incomprehensibility. Auerbach's prolonged engagement with Ratcliff throughout the course of her sittings nonetheless captures a spirit in its fleeting and mercurial beauty. The rapid and vivid strokes perceive an individuality, a humanity. Portrait of Debbie Ratcliff III is a painting of life in action. An individual in the throes of contemplative personal eminence. Frank Auerbach is widely recognised as one of the most inventive and influential painters of the Post-War period. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art, in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, 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 20
HOWARD HODGKIN (1932-2017)Girl in a Museum 1958-1960 signed on the stretcheroil on canvas 101.3 by 71 cm. 39 7/8 by 27 15/16 in.This work was executed in 1958-1960. Footnotes:ProvenancePeter Cochrane Collection, London Thence by descent to the present ownerExhibitedLondon, Arthur Tooth & Sons, Howard Hodgkin, 1962, no. 4, illustrated in black and white Bochum, Städtischen Kunstgalerie Bochum, Profile III: Englische Kunst der Gegenwart, 1964, no. 78, illustrated in black and whiteOxford, Museum of Modern Art; London, Serpentine Gallery; Leigh, Turnpike Gallery; Newcastle upon Tyne, Laing Art Gallery; Aberdeen, Aberdeen Art Gallery; Sheffield, Graves Art Gallery, Howard Hodgkin: Forty-Five paintings 1949-1975, 1976 Berlin, Galerie Haas & Fuchs, Howard Hodgkin, 2004LiteratureMarla Price (Ed.), Howard Hodgkin: The Complete Paintings Catalogue Raisonné, London 2006, p. 44, no. 9, illustrated in colourÅsmund Thorkildsen, Howard Hodgkin The Thinking Painter of Embodied Memories, Milan 2011, p. 14, illustrated in colourIn 1962, the celebrated English artist Howard Hodgkin presented his first solo exhibition at the prominent London gallery, Arthur Tooth & Sons. Founded in 1842, the gallery hosted many exhibitions over the years by important artists including Dame Barbara Hepworth, Allen Jones, Antoni Clavé and Jean Dubuffet to name only a few. The exhibition, Howard Hodgkin: An exhibition of recent paintings, in which the present work was included, was met with widespread acclaim as declared by the art critic Edward Lucie Smith: 'It is with sad truth that English artists usually have little sense of the 'absolute'. By which I mean that they seldom have either the stamina or the courage to pursue their own discoveries, or even their own feelings, to the bitter end. Howard Hodgkin, by contrast, is a painter with a wholly refreshing rigour, a talent not just for bold design, but for the intellectual organisation of things. Yet he remains in love with the medium. His work has none of the drabness which is too frequently associated by modern artists with pretensions to intellect. He knows that true austerity need by no means be dismal, and the result is some of the most exciting and original colour harmonies I have seen for years...' (Edward Lucie Smith, Howard Hodgkin: An exhibition of recent paintings, www.howard-hodgkin.com, 9 March 2022).Painted during a pivotal moment in Hodgkin's career, the present work captures a point between the earlier figurative portraiture favoured by the artist in the 40s and early 50s and the more mature expressive and abstract gestural strokes. Whereas works such as Memoirs, 1949 – which illustrates the artist and a friend in a domestic setting - are executed with geometric shapes and bold graphic outlines, Girl in a Museum from 1958-60 is painted in a much looser style and unencumbered by limitations of structure. It is here that we start to see how Hodgkin would break away from the traditional confines of painting and would explore beyond the picture plane, utilising the frame as an inclusion of his work in his highly emotive and eloquent abstractions. Girl in a Museum is a devotion of colour, form, and texture. A young girl is depicted mid-motion, seemingly caught between the foreground and the background of the surface. Her torso is partly ensconced by the horizontal stripes in the upper half of the canvas as her eyes peer out towards the viewer. Only one arm sticks out defiantly as if reaching for something or someone that we cannot see, meanwhile the lower half of her body is free from constraint and the bold red on her legs draws the eye down the surface and is contrasted against the emerald tones of the horizontal lines. From the title we can deduce that the girl is visiting a museum, however there is no indication of the nature of museum or indeed any representation of the institution at all. Instead, the figure has taken the centre stage of the painting as both the viewer and the girl are caught in a fleeting moment filled with the energy and intensity of the artist, skilfully communicated through Hodgkin's masterly interplay of gesture and movement. Widely exhibited, this work was originally acquired by John Peter Warren Cochrane, who was a director at Arthur Tooth & Sons. Aside from his career as an art dealer, Cochrane was also a keen collector with an astute eye and devotion to championing young British artists. Cochrane would collect several works from Hodgkin including the present lot, which was treasured in his private collection for many years. This fondness for the artist was clearly reciprocated as Cochrane became the subject for a portrait Hodgkin would execute in the same year as the solo exhibition. Now in the prestigious collection of the National Portrait Gallery, London, (John) Peter Warren Cochrane, 1962 is an arresting depiction of someone Hodgkin clearly admired. Rendered with a compositional flatness that evokes the simplification favoured by Henri Matisse, there is a sense of assuredness and calm from the sitter but also a respect between the artist and subject. In 1984 Hodgkin represented Great Britain at the Venice Biennale and the next year he was awarded the Turner Prize. With a career spanning over seven decades and with paintings residing in museums internationally, including the Museum of Modern Art, New York; the Museu de Arte Contemporanea de Sao Paulo, Brazil; and the Centro de Arte Moderna, Lisbon, Girl in a Museum presents a wonderful opportunity to acquire a very early and rare work with wonderful provenance by one of the most celebrated and acclaimed contemporary British painters.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 35
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
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283287 Los(e)/Seite