FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972)."Nature morte et bleu composition/ composition in blue", 1960.Oil on canvas.Work reproduced in the Catalogue Raisonné, Volume II, 1945-1972, p. 408.Provenance: Simon Collection (USA), bought directly from the artist.Signed and dated in the lower right corner.Measurements: 81 x 100 cm; 107 x 126 cm (frame).Lyricism and color are the undisputed protagonists of this piece, in which blue dominates the entire composition, creating the forms of this synthetic still life, through tonal gradations. The subtlety of the blues, added to the elements of fluid and clear geometries, show us the characteristic style of the painter's last stage, which was called "the white manner". The white manner includes works after 1955, which the artist himself contextualized as follows: "I continued to aspire to greater luminosity, disembodying the figures more and more at the same time. An attempt, in a certain way, to approach what the abstractionists aspired to by purely figurative means and, above all, to achieve something different from all those schools or movements, to achieve a special transparency. I wondered inwardly where such experiences would lead me... I think I know now: for the last two years I have returned to my first attempt to achieve a plastic synthesis of the true. My painting, which was once dark, is today clear".A contemporary Spanish painter, belonging to the so-called New School of Paris, Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier Gallery. During these years, and through his friendship with Picasso, he begins his relationship with the art critic Tériade, who dedicates an extensive article to him in "Cahiers d'Art". It was at this moment that his artistic career began to take off. In 1929 he participates in the exhibition "Spanish painters and sculptors living in Paris", held at the Botanical Garden in Madrid. Also around this time he collaborated in avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. In 1931 he had a solo exhibition at the Georges Bernheim Gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-thirties he is hired by the Zwemmer Gallery in London, where he holds a solo exhibition. His work is influenced by Picasso's cubism and, at times, by surrealism and abstraction. Francisco Bores became a master in the use of color, whose application sometimes follows abstract criteria, to such an extent that it replaces drawing or line when defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language to experiment with color, which leads him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organized in pursuit of a synthesis analogous to the impression produced by a single visual instant".
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λ A fine English mounted yataghan, first quarter of the 19th century, Balkan blade 24 in., of typical forward curving form and inlaid in silver with panels of scrolling decoration involving script, the shoulder covered with a silver repoussé plate; English 'Mameluke' style hilt of gilt brass and ivory, quillons and langets richly embossed with oak leaves, grip strap formed of leaf chevrons with a beaded medial line, ivory pistol grips secured with flower head rivets; black leather scabbard with gilt brass locket and chape - each encircled by a band of leaf chevrons, the outer faces engraved with elegant botanical forms against a textured ground, the locket with two loose rings having reeded edges and Greek key decoration to each side, inner face of locket with cutler's particulars engraved within a seeded border "Salter Sword Cutler & Jeweller to H.R.H. the Duke of Sussex 35 Strand LONDON". John Salter, who occupied 35 Strand between 1801 and 1824, is notable as having been both cutler and jeweller to Admiral Lord Nelson, and to a limited number of other naval officers including Edward Pellew; and as having been cutler to Lloyd's Patriotic Fund. The blade is dated 1220 AH (CE 1st April 1805 - 21st March 1806) and carries a pious invocation to Hasan and Husain, key martyrs in Shi'ite hagiography who died at the battle of Karbala in 680 AD. Their names appear on many Balkan arms. The silver inlay work can be attributed to Shkodra, Montenegro and southern Bosnia. There is a similar blade in the Wallace Collection.
After Terence Cuneo, D'Artagnan and Three Mouseketeers, signed limited edition print number 123/850, 52 x 65 cm approx, together with a bust length portrait of a gentleman, probably with over painted finish on a photographic ground, 60.5 x 50 cm, a pair of continental oleographs after Defuggen? of Tyrolean type interior scenes, 26 x 36.5 cm in pierced brass frames, an engraved portrait of Georgina Duchess of Devonshire, oval 54 cm max, a 19th century gouache botanical study, etc, with label verso St Gervais and dated 1873 30 x 22.5 cm, oil painting on canvas of a landscape signed Peter Oliver and dated 86 28 x 38.5 cm, and a Victorian needlework picture, all framed, (8)
Joan Roobottom (British 20th century) - Estuary scene with fishing boats, pastel on paper, signed with initials JR and with artists Leicestershire address details verso, 30 x 40cm, framed, together with a set of six 19th century coloured botanical engravings (in three frames) some published by W Curtis, 1793 and some by S Curtis 1832, approx 21.5 x 14cm, also together with a reproduction 19th century coloured print of river fish, after Lorrette, 23.5 x 29.5cm approx all framed (5)
PICTURES AND PRINTS ETC, COMPRISING THREE WATERCOLOURS SIGNED D HULME, a landscape, a Heron and a Kingfisher, 48 framed Gallaher Ltd cigarette cards of dogs, 50 framed Players Curious Beaks cigarette cards, four framed Cash's silk pictures, botanical specimen print and a modern decorative print, largest size approximately 75cm x 56cm including frame
Asian Porcelain Assortment (8) items including (4) vases with Satsuma and Imari style, 3-footed censer having a bird motif, a sauce dish, a bowl having gilt decoration with a butterfly and botanical motif and a table lamp having applied floral decoration; (4) items having mark on underside Property from: a Chicago, Illinois (Streeterville) estate Height: 10 1/2 inches, Width: 7 inches, Depth: 6 inches (lamp height without harp and bulb) Condition: Very Good to Good, overall light wear consistent with age and normal use; small dish and bowl having areas of gilt loss, paint loss; censer having chip to vessel rim; lamp working when tested, having crazing Disclaimers: we cannot guarantee operation or longevity Category: Decorative Arts > Asian Estimated Sale Time: 11:58 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2
Artwork Assortment (10) 20th century decorative framed items including a 1998 watercolor waterfront scene signed P. Deichmann lower right; (2) similarly framed hand colored book illustrations; a Egyptian style papyrus floated between glass in a wood frame; a varnished collage on papyrus depicting giraffes; (2) uniformly framed half-tone reproductions of Japanese prints; (2) uniformly framed hunting print reproductions; and an off-set lithographic reproduction of a French botanical print having an oval wood frame Property from: a Chicago, Illinois (Lincoln Park) estate Height: 12 1/2 inches, Width: 16 inches (Egyptian papyrus, full sheet)Frame Size: 19 1/4 inches by 23 1/4 inches Condition: Very Good, papyrus having rough edges typical of the material; no damage to artwork noted; overall light wear to frames Disclaimers: not examined out of frames Category: Fine Art > Other Estimated Sale Time: 1:54 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8
Dominick & Haff Mixed Metal Salt Cellar Sterling silver cellar having mixed metal feet and applied botanical decoration over an incised floral motif; pattern #295; having maker mark, '925' and 'sterling' on underside Property from: a Chicago, Illinois (Lincoln Park) estate Height: 1 1/2 inches, Diameter: 2 7/8 inchesWeight: 1.96 ozt. Condition: Very Good, overall light wear consistent with normal use Category: Silver & Metalware > Sterling Silver Hollowware Estimated Sale Time: 6:06 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6
Tiffany & Co. 'Japonesque' Mixed Metal Pitcher Hammered silver 4.25 pint pitcher having mixed metal botanical decoration in relief, marked on underside 'Tiffany & Co. 6463 Makers 5027, sterling silver 925-1000 M 2090' Provenance: Purchased on June 11, 2018 from M.S. Rau Antiques, New Orleans, LA (copy of invoice included) Property from: a Chicago, Illinois (Lincoln Park) estate Height: 8 inches, Width: 6 1/4 inches, Depth: 5 1/2 inchesWeight: 30.00 ozt. Condition: Very Good, overall light wear consistent with normal use; engraved initial on underside Category: Silver & Metalware > Sterling Silver Hollowware Estimated Sale Time: 6:06 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8
Sterling Silver Handled Pierced Rim Bowl Footed basket having an oval shape, scalloped edge and botanical decoration; marked 'sterling', 'patented 5/18-25-1909' and '5900/47' on underside Property from: a Chicago, Illinois (Streeterville) estate Height: 11 inches, Width: 14 inches, Depth: 10 1/2 inchesWeight: 30.48 ozt. (total weight) Condition: Very Good, overall light wear consistent with normal use; tarnish; monogram in center Category: Silver & Metalware > Sterling Silver Hollowware Estimated Sale Time: 6:09 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5
A collection of six George V/VI London Gardens Society Exhibition participants medals, each in silver awarded to W.H. Tylden-Pattenson with card details to the inner lid, together with various other botanical medals many to the same recipient to include Daily Mail Sweet Pea Competition and RHS Affiliated Societies, all cased. (15)
ALDINUS, Tobias (1570-1662) and Pietro CASTELLI (c. 1575-1656). Exactissima descriptio rariorum quarundam plantarum, que continentur Rome in horto Farnesiano, Rome, 1625, engraved plates, modern calf. FIRST EDITION.ALDINUS, Tobias (1570-1662) and Pietro CASTELLI (c. 1575-1656). Exactissima descriptio rariorum quarundam plantarum, que continentur Rome in horto Farnesiano. Rome: Typis Iacobi Mascardi, 1625. Folio (340 x 230mm). Fine engraved architectural title with seated figures of Theophrastus and Dioscorides surmounted by the coat-of-arms of the Farnese family in a baroque cartouche, foliate initials and typographical ornaments, text within ruled borders throughout, 22 fine full-page engraved botanical illustrations (lacks all before title [i.e. blanks], marginal repair to title and third leaf and a few leaves at the end, including index, H1 torn and repaired without loss, a few leaves with holes affecting ruled borders, a few leaves very lightly browned, some light mainly marginal spotting and staining). Modern half calf and marbled boards, new endpapers (spine lightly rubbed). FIRST EDITION of this rare catalogue and description of the plants in the garden of Cardinal Farnese on the Palatine Hill in Rome. Both Hunt and Nissen assign the work solely to Aldini; others, however, including the Greek scholar and keeper of the Vatican library Leone Allacci, attribute it to Pietro Castelli, whose name appears in a laudatory poem at the beginning as "Castello-Petrus" and also, in acrostic form in the same poem, spelling out "Petrus Castellus Romanus". Not in Brunet; Graesse I, 65; Hunt 208; Nissen BBI 13; Pritzel 1590; Seguier p. 34.
FLINDERS, Matthew (1774-1814). A Voyage to Terra Australis, Adelaide, 1966, 3 vols., charts, original tan cloth. Facsimile edition. With Anders Sparrman's A Voyage to the Cape of Good Hope (Cape Town, 1975, 2 vols.). (5)FLINDERS, Matthew (1774-1814). A Voyage to Terra Australis. Adelaide: Libraries Board of South Australia, 1966. 3 volumes, 4to (335 x 250mm). Folding facsimile charts, coastal panoramas and botanical plates, unbound as issued. Original tan buckram, spine labels. Provenance: Andrew David, Lieutenant Commander, Royal Navy (bookplates). Facsimile edition. With Anders Sparrman's A Voyage to the Cape of Good Hope (Cape Town, 1975, 2 vols., original buckram). (5)
Three Royal Copenhagen 'Flora Danica' dishes, circa 1980-84Each finely painted with botanical specimens, the moulded zig-zag rims with gilt beaded borders, titled in black on reverse, comprising: two very large dishes and one plate, 35.5cm and 22.5cm diam., wave marks in underglaze-blue, factory marks stencilled in green, various numerals and letters in green (3)This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
A group of Royal Copenhagen 'Flora Danica' pieces, circa 1975-84Each finely painted with botanical specimens, the moulded zig-zag rims with gilt beaded borders, titled in black on reverse, comprising: a large fish dish with pierced cover, an oval salt, a sauceboat, a small circular pot and cover and leaf-shaped dish, the large dish: 46cm long, wave marks in underglaze-blue, factory marks stencilled in green, various numerals and letters in green (7)For further information on this lot please visit Bonhams.com
A very large Meissen tureen stand, circa 1742-45Of 'Brühlsche Allerlei' pattern, the border moulded with panels of floral and shell motifs on various ozier and diaper grounds, the handles and two side motifs with modelled rococo ornament picked out in gilding, the centre painted in colours with Holzschnittblumen, 55.5cm wide, crossed swords mark in underglaze-blue, impressed 27Footnotes:Listed at his death in 1763 in his Dresden palace in the Augustusstrasse, the 'Brühlsche Allerlei' service was one of the most magnificent table services made at the Meissen manufactory. Most of the modelling work on the service appears to have been done by J.F. Eberlein and J.G. Ehder, whose work records include numerous references to the service. The service is discussed at length by Johanna Lessmann, Das 'Brühlsche Allerlei' Ein Service für Heinrich Graf von Brühl, in U. Pietsch (ed.), Schwanenservice (2000), pp. 106-123. For Count Brühl's service floral sprays in the border were picked out in enamels and fruit and vegetables were incorporated into the botanical decoration, whereas the present lot features only Holzschnittblumen.For further information on this lot please visit Bonhams.com
Emily Stackhouse (1811-1870)- a large collection of approximately 300 unframed botanical studies, pencil and watercolour, in 6 modern folders, majority inscribed with English and Latin names to the front, some with location and month detailed, reverse with Linnean taxonomy, most reverse stamped with mimeograph signature and details, first folder with three index sheets, the majority on paper 26.5 by 21cm (quantity) Emily Stackhouse was born in the West Country and her work largely details the flora of Cornwall. In his article "Forgotten Field" (Country Life July 6 1995) Clifford Evans unravelled the background and story of Emily's work and artistic contributions in collaboration with Reverend Charles Johns for his books "Forest Trees if Britain", "A week at the Lizard" and "Flowers of the field". Condition Report: The majority showing some yellowing to the paper, slight edge burn and mild fading throughout We would ask that if you are interested in this lot- owing to the large number of drawings in total we will not be able to provide more than the representative selection provided and would suggest that interested parties email or call us to organise an appointment to view in person. Condition Report Disclaimer
19th century Wedgwood botanical decorated creamware, to include pair plates 25.5cm diam., pair bowls and a pair oval dishes, impressed marks (6) Condition Report: Looks to be overpainted transfer print decoration, generally good condition- some wear to ochre yellow edge banding- surface marks from age/handling/use etc Condition Report Disclaimer
Joris Hoefnagel, 1542 Antwerpen – 1600 Wien, zug.EIDECHSEN Gouache auf Vellum. 9,6 x 14,5 cm. Im bläulichen Passepartout, hinter Glas gerahmt.Im Zentrum die beiden schlanken agilen Eidechsen in beige-brauner Farbigkeit, eine davon zusätzlich mit grünem Muster auf dem langgezogenen Rücken. Besonders fein ausgearbeitet auch die Krallen der Tiere auf neutralem beigem Boden. Vellum wohl leicht gebräunt.Anmerkung: Der flämische Künstler war bekannt für seine Illustrationen naturhistorischer Themen. Der fast wissenschaftliche Naturalismus seiner botanischen und tierischen Zeichnungen, von denen eine hier vorliegt, diente einer späteren Generation niederländischer Künstler als Vorbild. (1290921) (18)Joris Hoefnagel, 1542 Antwerp - 1600 Vienna, attributedLIZARDSGouache on vellum.9.6 x 14.5 cm.Notes:The Flemish artist was known for his illustrations of natural history subjects. The almost scientific naturalism of his botanical and animal drawings as seen in the present lot, served as a model for a later generation of Dutch artists.
An early nineteenth century green and white transfer-printed Copeland and Garrett Curtis Botanical dessert dish and similar dessert plate c. 1835. They are each decorated with a floral specimen. 22 - 26 cm wide. (2) Condition: dessert dish with two under-rim chips. Provenance: Ex-Kentish Collection.
A group of early nineteenth century green and white transfer-printed Spode Botanical series wares c. 1830. To include: two hydra-handle jugs, a squat creamer, a mug (Copeland & Garrett) and an egg cup on fixed base. Largest jug: 15 cm tall. (5) Condition: medium-sized jug with small rims chips. Provenance: Ex-Kentish Collection.
A group of early nineteenth century blue and white and puce and white transfer-printed plates, c. 1820-40. To include: two Botanical Beauties plates, and Antiquarian pattern plate, a Terni pattern plate and an Olympian pattern plate. 25-27 cm wide. (5) Condition: Small chip to one Botanical Beauties plates.
An early nineteenth century blue and white transfer-printed Spode Botanical series large footed bowl, c. 1828. It is printed wth a botanical specimen and is marked to the underside 28 cm wide, 14 cm tall. (1) Condition: In good overall condition. Fine hairline in glaze only to the underside. Provenance: Nicholas Moore Collection
Edwin John Alexander - Botanical Seed Heads Study, late 19th/early 20th century watercolour with gouache, signed with initials, 31.5cm x 17cm, within a gilt frame.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
LINDLEY, John - Flora Medica ; a botanical account of all the more important plants used in medicine, in different parts of the World : org. cloth, thick 8vo, 1838. With - A New System of Botany (1836), binding matching the previous lot. With - An Introduction to Botany ( 1839) binding matching the previous lot. With a near disbound volume eight of the Encyclopaedia Britannica (1797) numerous plates.(4)
PHILLIPS, Henry - Sylva Florifera : the Shrubbery historically and botanically treated; with observations on the formation of ornamental plantations, and picturesque scenery : 2 vols. full calf, 8vo, Two volumes bound in one. 1823. With - Flora Historica : (1824) bound uniformly with the previous lot. With - History of Cultivated Vegetables; comprising their botanical, medicinal, edible, and chemical qualities; natural history; and relation to art, science, and commerce. 2 vols bound in one, (1822). All three uniformly bound.
NINETEENTH CENTURY SCRAPBOOK : " Edith Mary Seale. 1893" Containing eight pages of cut-out silhouettes, pencil sketches and watercolours of rural scenes one signed Sidney Shepherd 1848. As well as the usual multitude of steel engravings and cut out scraps from magazines, there are three rather attractive original Chinese still life botanical watercolours on rice paper. 4to, morocco front board loose.
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