283287 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283287 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
-
283287 Los(e)/Seite
Los 203
Michael Cullen RHA (b.1946) STUDY: THE ANATOMY OF DR. NICOLAES TULP AFTER REMBRANDT, 1998 watercolour signed lower right; signed, titled and dated on reverse 27.50 by 41in. (69.9 by 104.1cm) Michael Cullen was born in Kilcoole, Co. Wicklow and studied art at the Central School of Art and Design, London in 1969 and NCAD from 1970 to 1973 before moving abroad for several years. Cullen's work has an underlying autobiographical aspect that sees him referring both himself and his work to such masters as Velásquez and Picasso. With his multicoloured carnival palette, Cullen's paintings and prints reveal the influence of time spent in Mexico, Spain and Morocco that adds a festive air to proceedings. The profusion of bright, clean colour is emphasised by accents of brilliant white, and Cullen's work often includes imagery of cowboys, still lives, bullfighters and infantas. Michael Cullen was awarded the Independent Artists' Major Painting Award in 1984 and the National Portrait Award in 1989. He has been the recipient of several Arts Council bursaries is also an elected member of Aosdána. Cullen has shown his work extensively throughout Ireland, with solo exhibitions at the Fenderesky Gallery, Belfast; Cavanacor Gallery, Donegal; Vangard Gallery, Cork; and Triskel Arts Centre, Cork; as well as Temple Bar Gallery, the Graphic Gallery and Project Arts Centre, Dublin. Cullen's work is included in private collections throughout the country and is also represented in the public collections of the National Gallery of Ireland, Dublin City Gallery The Hugh Lane, the Arts Council of Northern Ireland and Dundee Contemporary Arts Society, Scotland, amongst others. (from www.taylorgalleries.com) Cullen's most recent solo exhibition with the Taylor Galleries, Dublin - Tír na nÓg - took place from 13 April to 5 May 2018.
Los 45
Harry Kernoff RHA (1900-1974) COLLECTION OF HISTORICAL PORTRAITS AND SCENES woodcuts; (6); (all unframed) variously signed, titled and dated 11 by 8in. (27.9 by 20.3cm) Acquired directly from the artist by Jack Segal; Thence by family descent Average size given. Collection includes: James Connolly, Liberty Hall, 1935, Labour Meeting, Dublin, 1935, Irish Volunteer, Head of Roger Casement and three-quarter length portrait of Casement and Nelson's Pillar and GPO, Dublin, 1935. This collection of the works of Harry Kernoff, including some important archival material, was formed by members of the Segal family in Dublin. Reuben Segal set up in business as a manufacturing jeweller in Belfast in the early 20th century. After World War I he moved the business to Dublin and, trading as the Jewellery & Metal Manufacturing Company, became the largest manufacturer of metal badges, medals and trophies in Ireland. Reuben died in 1956 and his son, Jack (Jacob), succeeded him. The Segals were famous for their medals such as those for the 1916 Rising and War of Independence, The Tailteann Games 1924-1926, the GAA All-Ireland and other sporting events. They were the largest producers of metal badges - for Government including the Post Office and Defence Forces, as well as many commercial enterprises, all proudly made entirely in Ireland. Jack Segal, whose early ambition was to be an architect, was a competent designer and used that skill in his business. He had a keen interest in art and was a good friend and patron of Harry Kernoff. Jack Segal died in 1987.
Los 77
Louis le Brocquy HRHA (1916-2012) PORTRAIT OF JAMES JOYCE, 1982 watercolour signed, titled, dated and with artist's archival number [w682B] on reverse 24 by 18in. (61 by 45.7cm)with the Kerlin Gallery, Dublin, 1988; Collection of Bono (Paul Hewson); From whom gifted to the present owner, 1994According to Anne Crookshank: 'le Brocquy has always been a great practitioner of watercolour and the thin washes of his early oils have much in common with this method. But… [h]is watercolours have taken on a new value. The irregular dabs of brilliant colour, purple, blue, and green, as non-descriptive as the tesserae of a Byzantine mosaic, build up the form of his heads with a tense, nervous immediacy which oil with its overlapping layers and opaque thickness never can achieve. The traces of paper left between each stroke, which enhance the brilliancy of the colours, and the gleam of whiteness, which glows through the paint, all help to create the truly magical effect of images coagulating in front of your eyes, coming alive, mediating, speaking, and ultimately returning to their own imaginative genius. He sometimes uses tissue paper to paint from, using it in such a way that the creases make caesuras in the strokes of paint. The results are deliberately induced accidents which help to keep the images at a distance from us, to give them reality only as paintings, not as descriptive portraits ... The magic of the quietness of le Brocquy's oils is surpassed only by the excitement of his watercolours. They may be as still as the oils. But the sheer joy of their running, smudged, fragmented, clear colours brings vital reality to the spirit of his rediscovered genius. In this aspect of his work, le Brocquy has added a new dimension to his art. He has become a great colourist.' ...
Los 85
Tony O'Malley HRHA (1913-2003) STUDIO AND PAPMAN HEAD, 1979 gouache and pastel on card signed lower right; dated [11/79] right centre; titled lower left 20.25 by 30.50in. (51.4 by 77.5cm) Collection of George and Maura McClelland Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now . In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past. The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval. The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below. Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality. Vera Ryan August 2016 1 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 [ABSTRACTS]
Los 150
* CHRISTO (BULGARIAN b 1935 - ),THE GATES PROJECT FOR CENTRAL PARK, NEW YORK CITYlithograph, signed75cm x 59cmMounted, framed and under glass.Note: Christo Vladimirov Javacheff and Jeanne-Claude were a married couple who created environmental works of art. Christo and Jeanne-Claude were born on the same day, June 13, 1935; Christo in Gabrovo, Bulgaria, and Jeanne-Claude in Morocco. They first met in Paris in October 1958 when Christo painted a portrait of Jeanne-Claude's mother. They then fell in love through creating art work together. Their works include the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24-mile (39 km)-long artwork called Running Fence in Sonoma and Marin counties in California, and The Gates in New York City's Central Park. Credit was given to "Christo" only, until 1994, when the outdoor works and large indoor installations were retroactively credited to "Christo and Jeanne-Claude." Jeanne-Claude died, aged 74, on November 18, 2009, from complications of a brain aneurysm.On 3 January 2005, work began on the installation of the couple's most protracted project, The Gates, in Central Park in New York City. The title is "The Gates, Central Park, New York, 1979-2005" in reference to the time that passed from their initial proposal until they were able to go ahead with it: only with the permission of the new mayor of New York, Michael R. Bloomberg, were they able to proceed. After the project was completed, Bloomberg released the following statement about "The Gates," “Mayor Michael R. Bloomberg praised The Gates as ‘one of the most exciting public art projects ever put on anywhere in the world - and it would never have happened without Jeanne-Claude.’” "The Gates" was open to the public from 12 February until 27 February 2005. A total of 7,503 gates made of saffron color fabric were placed on paths in Central Park. They were five meters high and had a combined length of 37 km. Bloomberg, a fan of Christo and Jeanne-Claude, presented them with the "Doris C. Freedman Award for Public Art" for the work of art. Christo and Jeanne-Claude often expressed satisfaction that their concept for their home town of over 30 years was finally realized. The cost of the project was $21 million US dollars which was raised entirely by Christo and Jeanne-Claude selling studies, drawings, collages, works from the 1950s and 1960s. They did not accept any sponsorship, nor did the city of New York have to provide any money for the project. Christo and Jeanne-Claude donated all the money raised from the sale of souvenirs such as postcards, T-shirts and posters to "Nurture New York's Nature, Inc." While the engineering, manufacturing and set-up took over a year, about 750 paid employees erected the project in five days and then deployed the fabric of all the gates in half an hour. Around 600 more ("Gate-keepers") distributed 1 million free samples of the fabric to visitors. The uniformed Gate-keepers also provided information to visitors about the project, and were responsible for unrolling the gates that had rolled over their crossbars in the high wind.[citation needed] More workers uninstalled the project in one week, leaving almost no trace and shipping all the materials for recycling.
Los 180
STEVE MCCURRY (AMERICAN b. 1950), SHARBAT GULA, AFGHAN GIRL, PAKISTAN offset lithographic colour print, signed lower right in pen 54cm x 38cm Mounted, framed and under glass. Note: Steve McCurry took his most recognized portrait, ''Afghan Girl'', in a refugee camp near Peshawar, Pakistan in 1984. The image itself was named as ''the most recognized photograph'' in the history of the National Geographic magazine and her face became famous as the cover photograph on the June 1985 issue. The photo has also been widely used on Amnesty International brochures, posters, and calendars. The identity of the ''Afghan Girl'' remained unknown for over 17 years until McCurry and a National Geographic team located the woman, Sharbat Gula, in 2002.
Los 40
GERARD BURNSTHIS PLACE AND THIS TIMEoil on canvas, signed70cm x 70cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include: Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include: Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include: Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and installed at the Scottish Parliament in Sept 2016. Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016.
Los 6008
A Royal Naval cocked/bicorn hat with epaulettes by Gieves. Insignia and accessories bearing Kings crown in fitted metal case. An oil on canvas portrait of Deverell in Captain's dress circa 1950's by Ursula Scott, framed and glazed together with provenance relating to his service as Captain of HMS ARAWA HMN25 MONOWAI (rescued Anne Franks Father) and HMS PERSEUS II
Los 6684
A George Jackson & David Fullerton (Josiah Williams & Co) silver desk ink and pen stand, the pierced foliate scrolled three quarter gallery surrounding twin cut glass inkwells and a pen well. London 1908. Presented to Lieut. Col. H.S Burn M.C T.D 1924. Together with coloured portrait, two riding crops and ephemera
Los 272
An early 19th century Continental gilt framed portrait miniature reverse painted on glass depicting a monk, along with an early 20th century over painted miniature photograph in oval bronze frame with hanging loop. Monk 8.5cm x 5.5cm. Condition Report. To be used as a guide only. No condition issues.
Los 402
An early 19th century Anglo Indian portrait miniature on porcelain with jewelled moulding and in gilt metal mount. Portrait of a Mughal Prince. Pictured against a blue ground, with a large black beard and with a jade studded dagger hilt showing above his belt, frame 7.5cm. Condition Report. To be used as a guide only. Porcelain in two.
Loading...-
283287 Los(e)/Seite