We found 389650 price guide item(s) matching your search
There are 389650 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
389650 item(s)/page
Lot 140
ASSORTED SCULPTURE, including Regency frosted glass and bronze cornucopia on marble base, and three classical figures of Greek warriors/Gods, largest 32cms h (4)Provenance: collection of the Late Dai Evans, former Director of Picton Castle and former curator of Petworth HouseComments: glass reglued into socket,
Lot 141
19TH CENTURY BRONZE SCULPTURE OF CUPID, half draped, on milled edge base, on marble plinth and slate base, 22.5cms hProvenance: collection of the Late Dai Evans, former Director of Picton Castle and former curator of Petworth HouseComments: marble with chipped base and nicks, slate also small nicks. figure probably holding a dolphin (missing)
Lot 45
MARC QUINN (B. 1964)Caryatid 2008 incised with the artist's initials, titled, dated 2008, numbered 3/7 and dedicated For Riaz, Love Marc, March 2009. to the undersidepainted bronze34 by 20 by 19.5 cm.13 3/8 by 7 7/8 by 7 11/16 in.This work is unique.Footnotes:Although originally part of an edition of 7, this work is the only example with red painted lips.ProvenanceAcquired directly from the artist by the present owner in 2009This 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
Lot 12
MIMMO PALADINO (B. 1948)Untitled 1985 incised with the artist's signature, dated 1985, numbered 3/3 and stamped with the FONDERIA DI GIACOMO NAPOLI foundry mark bronze 152 by 173 by 82 cm. 59 13/16 by 68 1/8 by 32 5/16 in. This work is number 3 from an edition of 3. Footnotes:ProvenancePrivate Collection, UK Exhibited Monterrey, Museo de Arte Contemporaneo de Monterrey, Mimmo Paladino, 1994, pp. 173, 177, no. 16, another example exhibited and illustrated in black and whiteLiteratureEnzo Di Martino, Paladino-La Scultura 1980-2008, Milan 2009, pp. 55, 408, illustrated in black and whiteMimmo Paladino, a protagonist of the Italian Transavanguardia movement, dedicated the early years of his artistic career to exploring the religious themes and mythological interpretations present in the outstanding sculptural examples presented here.Despite the present works varying styles and dates, the pivotal role of the human figure becomes evident; with motifs clearly inspired by Classical mythology, Christianity, Egyptian and tribal art. Figura con Stella with its bowed head, facing the star displays an act of subordination, further highlighted by the star motif, which represents the heavens or home of the gods. Untitled, which has similar connotations, exhibits seemingly sacrificial objects lying on the table-top alluding to death and sacrifice. Paladino argues that while these themes inspire his work, they don't define it: 'The figures in my paintings, the animals, the masks, the theme of death – I do not want to explain or analyse them. They are the roots out of which the picture develops, but not its content.' (the artist in: Studio International, Mimmo Paladino: Black and White, studiointernational.com, 27 September 2023) Although unmistakably contemporary, Paladino collaborates with the past to make his sculptures timeless and universal. Mimmo Paladino was a key member of the Transavanguardia movement, which is considered one of the most influential movements of post-war Italian art. Coined by the critic Achille Bonito Oliva, Transavanguardia demonstrated an international revival of expressionist painting and sculpture in the late 1970s and 1980s. Directly translated as 'beyond the avant-garde', the movement reacted against the original avant-garde with an aim to return to the traditional act of painting, one that elicited emotion, especially joy, and provided meaning. The movement was marked by five prominent artists, including Paladino, whose artworks drew attention at the 1980 Venice Biennale for their diverse styles and common vision. According to Oliva, Transavanguardia relied heavily on the materialism of techniques and new materials, rejecting conceptual ideas and recuperating the intensity of the image and the narrative. The present works are clear examples of Paladino's take on the Transavanguardia movement, a movement which became an internationally recognised phenomenon and whose works are highly sought after by collectors today.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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
Lot 13
MIMMO PALADINO (B. 1948)Figura con stella 2000 bronze 95 by 65 by 132 cm. 37 3/8 by 25 9/16 by 51 15/16 in. This work was executed in 2000. Footnotes:ProvenancePrivate Collection, UKMimmo Paladino, a protagonist of the Italian Transavanguardia movement, dedicated the early years of his artistic career to exploring the religious themes and mythological interpretations present in the outstanding sculptural examples presented here.Despite the present works varying styles and dates, the pivotal role of the human figure becomes evident; with motifs clearly inspired by Classical mythology, Christianity, Egyptian and tribal art.Figura con Stella with its bowed head, facing the star displays an act of subordination, further highlighted by the Stella, which represents the heavens or home of the gods. An earlier work, yet with similar connotations, Senza titolo with seemingly sacrificial objects lying on the table-top alluding to death and sacrifice. Paladino argues that while these themes inspire his work, they don't define it: 'The figures in my paintings, the animals, the masks, the theme of death – I do not want to explain or analyse them. They are the roots out of which the picture develops, but not its content.' (the artist in: Studio International, Mimmo Paladino: Black and White, studiointernational.com, 2006) Although unmistakably contemporary, Paladino collaborates with the past to make his sculptures timeless and universal. Mimmo Paladino was a key member of the Transavanguardia movement, which is considered one of the most influential movements of post-war Italian art. Coined by the critic Achille Bonito Oliva, Transavanguardia demonstrated an international revival of expressionist painting and sculpture in the late 1970s and 1980s. Directly translated as 'beyond the avant-garde', the movement reacted against the original avant-garde with an aim to return to the traditional act of painting, one that elicited emotion, especially joy, and provided meaning. The movement was marked by five prominent artists, including Paladino, whose artworks drew attention at the 1980 Venice Biennale for their diverse styles and common vision. According to Oliva, Transavanguardia relied heavily on the materialism of techniques and new materials, rejecting conceptual ideas and recuperating the intensity of the image and the narrative. The present works are clear examples of Paladino's take on the Transavanguardia movement, a movement which became an internationally recognised phenomenon and whose works are highly sought after by collectors today.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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
Lot 22
FERNANDO BOTERO (1932-2023)Dog on a cushion 1976 incised with the artist's signature and numbered 5/6bronze34 by 37 by 40 cm.13 3/8 by 14 9/16 by 15 3/4 in.This work was executed in 1976, and is number 5 from an edition of 6.Footnotes:Provenance Didier Imbert Fine Art, ParisPrivate Collection, Saint Tropez (acquired from the above in 1993)Thence by descent to the present ownerExhibitedMonte Carlo, Marisa del Re Gallery, Fernando Botero, 1992, another example exhibitedParis, Avenue Des Champs-Élysées, Grand Palais and Galerie Didier Imbert Fine Art, Botero Aux Champs-Élysées - Sculptures et Œuvres sur Papiers, 1992-1993, p. 156, another example exhibited and illustrated in colour Literature Jean-Clarence Lambert, Benjamín Villegas (Ed.), Botero Sculptures, Colombia 1998, p. 61, another example illustrated in colour, n.p., another example illustrated in colour Renowned for his distinctive style characterised by voluptuous and exaggerated forms, the Colombian artist Fernando Botero has left an indelible mark on the history of art. His works evoke a sense of affection and endearment, transcending cultural and linguistic boundaries and animals often play a quintessential role in them. Having studied under Roberto Longhi, a distinguished authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that transfuses his oeuvre and made him one of the world's most revered and sought-after artists of the present day. The canon of art history, especially the European one became a rich source of inspiration, and no subject is quite as interwoven into the history of art as the humble dog, man's best friend and faithful companion. Dog on a Cushion from 1976 is a beautifully playful example of Botero's celebrated sculptural practice, with the small well-rounded canine proudly perching on a fluffy cushion- an emblem of domesticity and comfort but also a nod to the importance we give to the pets in our lives. The artist's fascination with horses, cats, birds, and dogs is a prominent feature throughout his oeuvre. Characterised by an intentional exaggeration of his subjects' forms, Botero's ability to infuse life into his sculptures is striking. The present work is not a mere imitation of a dog but a celebration of its essence, the exaggerated curves and humorous expectantly outstretched tongue emphasize the joviality and charm of the animal, which might at any moment jump off the cushion.Dogs have held a significant role in art history as subjects of fascination, symbolism, and companionship. From ancient cave paintings to the masterpieces of the Renaissance and beyond, dogs have been depicted in various contexts, reflecting their diverse roles in human societies. As companions and symbols of fidelity, dogs often appear in portraits, signifying loyalty, trust, and the bonds of friendship. Furthermore, their depictions in hunting scenes highlight their utilitarian roles as skilled hunters and trackers. In the broader context of art history, dogs have served as allegorical symbols, representing virtue, faithfulness, or even human qualities, reminding us of their enduring importance in the human experience.Profoundly influenced by the classical masterworks he saw during his studies and travels, Botero dedicated his life to critically re-interpret iconic paintings, paying homage to the great artists of the past whilst finding true originality doing so. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, the artist painted an image of a mandolin resting on a table and decided to place a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born.World-renowned for his often epic paintings, Botero's foray into sculpture has further enriched his artistic repertoire over the decades. Dog on a Cushion stands as a prime example of his prowess in this medium. His sculptures are characterised by the same aesthetic principles that define his paintings—exaggerated volumes, harmonious proportions, and a playful approach to form. The transition from canvas to three-dimensional sculpture however allowed the artist to bring his iconic subjects to life in a tangible and interactive way with a tactile quality that invites viewers to engage on a more physical level. Dog on a Cushion exemplifies this approach, with its smooth, sensuous surfaces inviting touch and exploration. The artist said that 'For my entire life, I've felt as if I had something to say in terms of sculpture. It's a very strong desire...pleasure—that of touching the new reality that you create. Certainly, in a painting you give the illusion of truth, but with sculpture, you can touch its reality . . . . If I paint a knife in my pictures, it's imaginary, but if I sculpt it, then the sensation of having it in your hand is real— it's an object from your spirit, it's a sensual experience even in its execution. It brings a special joy to touch the material with your hands.' (the artist in: E. J. Sullivan, Botero Sculpture, New York 1986, p. 13.Fernando Botero's contributions to the world of art are substantial and far-reaching and his unique style and unwavering commitment to his artistic vision have earned him a significant place in art history. His oeuvre serves as a bridge between traditional and contemporary art, drawing from classical techniques while infusing them with a modern and innovative sensibility. Embracing diversity and celebrating the inherent charm in all subjects, he challenges conventional notions of beauty and representation and forces viewers to reconsider their preconceived notions and stereotypes. The same dog of undefined breed as in the present work can be found in many of the artist's paintings, and a large-scale sculpture version, without the plump cushion, can be found in the Plaza Botero in the artist's hometown of Medellín. Other Botero works are presently held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogotá. In 1958 and 1992 Botero participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. He has had major retrospectives at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1979); Seibu Museum of Art, Tokyo (1981); Museo Nacional Centro de Arte Reina Sofía, Madrid (1987); Museo de Bellas Artes, Bilbao (2012); and many others. Botero's international recognition and ability to transcend geographical and cultural boundaries has elevated the visibility of Latin American artists on the global stage. Unequivocally timeless, his work continues to inspire artists worldwide, encouraging them to explore new dimensions of expression and representation and Dog on a Cushion offers a wonderful opportunity to acquire a charming example from the contemporary master's celebrated oeuvre.For further information on this lot please visit Bonhams.com
Lot 163
Dylan Lewis (South African, born 1964)Leopard, S186 signed and numbered 'Dylan Lewis/ 14/15/ S186', further bears the foundry mark 'SCS/ FOUNDRY' (to the trunk below the back left leg)bronze on Perspex base 33 x 93.3 x 33cm (13 x 36 3/4 x 11 7/16in). (including Perspex base) Footnotes:Widely considered to dominate the in the animal sculptural arena on a global scale, Dylan Lewis presents us with a striking work, emblematic of his distinctive style, yet wonderfully distinctive from his wider oeuvre. The sculptor's overwhelming success can be credited not only to the bold technique of his application, but also the sheer passion in which he executes his sculptures. Fed by an intuitive love for the rawness of the African wilderness, his work wholeheartedly reflects his commitment to his subjects. Lewis's devotion the outdoors and wilderness are stooped in his upbringing, holidaying with his family in wilderness and areas of outstanding beauty. These groundings in his artistic process have remained present to this day with a mountain range viewable from his Stellenbosch home. The terrain of the mountainous landscape resonates with the iconic impasto texture that his sculptures adopt.Robust yet gracefully tranquil, the gravitas of the present work makes it an impactful and striking work. Differing from his other feline studies, the present subject is presented in a resting state, a testament to the sculptor's well-rounded studies and understanding of the leopard form. Resonating with its solitary nature, the leopard became a favoured subject following an interaction he had with a captured leopard kept in a sanctuary near his home. Indeed, beyond their metaphorical reflective presence as the subject of Lewis's work, the subject is here displayed as a wild animal interacting with it's habitat, also bringing attention to the environments threatened existence.For further information on this lot please visit Bonhams.com
Lot 142
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Bust of a young boy bronze on wooden plinth 33 x 18 x 19cm (13 x 7 1/16 x 7 1/2in). (including base)Footnotes:ProvenanceA private collection.The qualities of the present lot show the refined rendering and the textual qualities that the artist had also favoured in his wood sculptures. It could be said that Ben Enwonwu's earliest artistic depictions were in sculpture given that he used to carve his own toys as a child. In his later bronze works, often depicting people of personal significance to Enwonwu, sculptural portraiture was an practise of the artist that displays an extension of his extensive artistic talents. So skilful was his technique that in 1956 he received a portrait commission of Queen Elizabeth II to commemorate her visit to Nigeria earlier that year. Working in London, he conducted preliminary sketches and clay models of the monarch in his own studio before relocating to the Maida Vale studio of his colleague at the Royal Society of British Artists, Sir William Reid-Dick, as the work increased in scale. In an interview conducted with the artist in 1988, Sylvester Ogbechie relates, 'Enwonwu completed his clay model of the Queen's portrait in July 1957 and had it cast in bronze by Guilio Galicie, an Italian bronze caster resident in London, from a plaster cast prepared in the studio of Frederico Mancini' (Ogbechie, 2008: p. 138).BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester, NY: 2008)For further information on this lot please visit Bonhams.com
Loading...-
389650 item(s)/page