We found 350105 price guide item(s) matching your search
There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
350105 item(s)/page
Lot 496
A FRENCH GILT-BRONZE TWELVE SCONCE ELECTROLIER IN REGENCE STYLE 20th Century, with candle fitments, circular sconces, on scrolled arms, approx. 70cm diameter x 120cm dropProvenance: Purchased from Bonham's 'The Contents of a 19th century Baltic Villa Sale' on the 16th of October 2019, Lot 83, for £5062. From the collection of an International Designer
Lot 216
Vinyl - 14 Heavy Metal / Hard Rock singles, including Promo, Picture Discs and coloured vinyl, to include: Motorhead (5 singles) including: Heroes (Picture Disc, Motörhead Music, SLM083P52) EX (unplayed), Motorhead (Picture Disc, Bronze, BROP 124) EX, No Class (Lemmy Cover, BRO 78) VG+ / EX, also BRO67 and BRO 60. Thin Lizzy - Whiskey in the Jar (Demo Promo, Decca, F 13748) EX+, Iron Maiden (2 singles), Black Sabbath (2 singles), Guns N’ Roses, xCanaanx / Thirty Seconds Until Armageddon EX / EX, and AC/DC
Lot 693
after George Gori - The Guardians - a large Art Deco bronze figural group in patinated bronze, modelled as a young woman dressed in flowing robes and holding two Great Danes on a lead, signed to foot, on a green and black marble base, 36in. (91.5cm.) high, 50in. (127cm.) high.* Provenance: Deasy's country house auction, June 1992* Condition: In good condition, with no faults. No damage to marble.
Lot 339
Ruth Murrel (British, 20th century), 'Duet', patinated bronze and wire sculpture, on a slate base, titled and dated 1989 to plaque, 7in. (17.75cm.) high.* Condition: Damage to wire to front foot of female figure but figure remains standing - would benefit from careful repair. No other faults.
Lot 442
Plant MFG Co. front loading .42 rimfire cup primed cartridge single action 6 shot revolver, 5 1/4 blued steel ribbed octagonal barrel stamped Plant's MFG Co. Newhaven CT to the top, left side faintly stamped Merwin & Bray, right side of the bronze frame set with the ejector housing with steel ejector, spur trigger, two piece walnut grip scales, butt strap numbered 6167, overall L10"
Lot 4361
Wunderlich, Paul: (1927 Eberswalde - Saint-Pierre-de-Vassols 2010). Kleine Nike. 1975. Bronze, dunkelbraun, partiell grün patiniert, partiell poliert. Auf der l. Seite des Fußes signiert "Wunderlich", auf der Oberseite num. Ex. 847 von 1000, auf der r. Seite des Fußes Gießerstempel "cerapersa venturi", Venturi Arte, Bolgna. Figur: Höhe 47 cm, Marmorsockel: Höhe 12 cm. Graphiker, Maler, Zeichner und Bildhauer. W. studierte ab 1947 in Hamburg, unter seinen Kommilitonen waren Horst Janssen und Reinhard Drenkhahn. Ab 1951 hatte er einen Lehrauftrag für Graphik an der Hochschule für Bildende Künste in Hamburg. Er war anschließend als Drucker für Emil Nolde und Oskar Kokoschka tätig. W. lebte eine Weile in Paris bevor er 1963 eine Professur an der HfBK in Hamburg annahm. Ab Ende der 1960er Jahre begann er auch bildhauerisch zu arbeiten. Mit überlängten und surreal verfremdeten Figuren setzte er häufig erotische Themen in Szene. W. lebte und arbeitete viele Jahre in Hamburg und Südfrankreich. Unter seinen vielen Auszeichnungen sind der Edwin-Scharff-Preis und das Bundesverdienstkreuz. Mus.: Schleswig (Schloss Gottorf), Bochum u.a. Lit.: Volker Huber (Hrsg.): P.W. - Das malerische, graphische und plastische Werk. - Bronze, dark brown, partially green patinated, partially polished. Signed, numbered and with foundry stamp. On a marble base. D
Lot 4357
Bruni, Bruno: (1935 Gradara). Amanti. Bronze um 1985, teils patiniert. Auf Steinsockel. Vollplastische Darstellung eines sich umarmenden Paares, der Mann als Torso im Trenchcoat mit Hut, die Frau als Akt. Am linken Fuß röm. num. Ex. XXII/XXXV sowie gestempelt. Prov: Kunsthandlung Dr. W. Beltle. 1998. Kaufquittung anbei. - â•”Dabei:Künstlerbuch Bruno Bruni.â•— Neue Arbeiten 1977 bis 1987. Königstein, Athenäum 1982. 4°. - Bronze partly patinated. On a stone base. Full sculptural representation. D
Lot 10
AUGUSTE RODIN (1840-1917)Torse d'homme, petit modèle dit aussi 'no. 220' signed 'A. Rodin' (on the left leg), inscribed with the foundry mark 'Susse Fondeur Paris' (under the right leg), inscribed '© 1971' and numbered 'no. 8' (on the support)bronze with brown-green patina16cm (6 5/16 in). highConceived circa 1885-1890, this bronze version cast by the Susse Foundry in 1971 in a numbered edition of 13.Footnotes:This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceMusée Rodin, Paris.Galerie Théo, Madrid (acquired from the above in October 1972).Private collection, Spain. Anon. sale, Sotheby's, London, 9 February 2012, lot 375. Private collection, UK (acquired at the above sale).LiteratureA. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Vol. II, Paris, 2007, no. S. 228 (another cast illustrated p. 692).For further information on this lot please visit Bonhams.com
Lot 2
AUGUSTE RODIN (1840-1917)Désespoir, agrandissement; Maquette sur base rectangulaire signed 'Rodin' and inscribed 'Hommage d'amitié à M. Arnoux' (on the base)painted plaster28.6cm (11 1/4in). high (including the base)Conceived circa 1881-1885, this plaster version executed circa 1890.Footnotes:This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceJules-Joseph Arnoux Collection, France (a gift from the artist).Thence by descent to the present owner. LiteratureO. Grautoff, Auguste Rodin, Bielefeld & Leipzig, 1908 (another version illustrated p. 45).G. Grappe, Catalogue du Musée Rodin, Paris, 1931 (bronze version illustrated p. 111).Exh. cat., Exposition Rodin au Japon, Tokyo, 1976 (bronze version illustrated no. 36).A.E. Elsen, In Rodin's Studio, A Photographic Record of Sculpture in the Making, Oxford, 1980, pp. 24-25 (bronze version illustrated pls. 93 & 94).Exh. cat., Auguste Rodin (1840-1917), Mexico City, 1982 (bronze version illustrated p. 41).Exh. cat., Rodin, Martigny, 1984 (bronze version illustrated no. 40).C. Lampert, Rodin, Sculpture & Drawings, exh. cat., London, 1986 (another plaster cast illustrated p. 82).J.V. Miller & G. Marotta, Rodin, The B. Gerald Cantor Collection, exh. cat., New York, 1986 (bronze version illustrated p. 33).M. Fath & J.A. Schmoll (eds.), Auguste Rodin, Das Höllentor, Zeichnungen und Plastik, exh. cat., Mannheim, 1991 (bronze version illustrated p. 118).D.G. Rosenfeld, Auguste Rodin's Carved Sculpture, Vol. I, Stanford, 1993, p. 55.A.E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, New York, 2003 (another plaster cast illustrated pp. 258-259, bronze version illustrated pp. 258 and 260 and a limestone version illustrated pp. 261-262).A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Vol. I, Paris, 2007, related to S. 1307 & S. 483 (bronze version illustrated fig. 2, p. 309).For further information on this lot please visit Bonhams.com
Lot 24
PABLO PICASSO (1881-1973)Femme debout numbered '7/10' and stamped with the foundry mark 'Cire Valsuani Perdue' (on the rim)bronze with dark brown patina13cm (5 1/8in). highConceived in 1945, this bronze version cast by the Valsuani Foundry in 1947 in an edition of 11 numbered 1/10-10/10, plus one unnumbered cast.Footnotes:The authenticity of this work has been confirmed by Claude Picasso.ProvenanceGalerie Louise Leiris, Paris.Anon. sale, Sotheby Parke Bernet, New York, 19 May 1978, lot 371.Private collection, South Africa.Private collection, Australia (by descent from the above).LiteratureExh. cat., Picasso, Martigny, 1981 (another cast illustrated p. 150).W. Spies, Picasso, The Sculptures, Stuttgart, 2000, no. 329 (another cast illustrated p. 367).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
Lot 26
BALTASAR LOBO (1910-1993)L'Eveil sur socle signed 'Lobo' and numbered '2/8' (on the base), inscribed with the foundry mark 'Susse Frères Paris' and stamped with the 'Resyrgam' stamp (on the rim of the base)bronze with black-green patina 113cm (44 1/2in). highConceived between 1981-1991, this bronze version cast by the Susse Foundry in 1992 in a numbered edition of 8, plus four artist's proofs.Footnotes:The authenticity of this work has been confirmed by Galería Freites.ProvenanceGalería Freites, Caracas (acquired directly from the artist's studio).Private collection, Caracas (acquired from the above).Private collection, Madrid and Florida (acquired from the above circa 2014).LiteratureExh. cat., Baltasar Lobo, Caracas, 1993 (another cast illustrated p. 26).K. de Barañano, M.L. Cárdenas & M. Jaume, Catálogo razonado de esculturas de Baltasar Lobo, Vol. II, Madrid, 2021, no. 9103 (another cast illustrated p. 450).'As always, my current work is figurative, meaning abstract. It necessarily starts with figuration becomes abstraction that is simplified and synthesised' – Baltasar LoboThroughout his oeuvre, Baltasar Lobo continuously explored the female form and the sensuality of its soft volumes in a variety of dynamic poses. Goddesses, fisherwomen, bathers, centaurs, mothers who smother their babies with kisses or lull them to sleep, incarnations of the moon and urban coquetry - the female nude, the nature of the feminine, remained his favourite subject. Lobo was born in a small rural village in Zamora, north of Spain. His determination to learn and become a sculptor took him first to the city of Valladolid where he attended sculpture modelling courses. Soon after, he moved to Madrid where he enrolled in the Academia de San Fernando. It was here that he first discovered Picasso and the international avant-garde, visiting the city's exhibitions and museums. Lobo encountered the primitive Iberian and Cycladic sculptures displayed in the Archaeological Museum, which would inspire the deliberate simplicity and reduction of forms in his own work. Following the bombing of his studio in the Spanish Civil War, Lobo fled Madrid and moved to Paris where Picasso introduced him to the circle of émigré artists in Montparnasse who became known as the École de Paris. Included in this circle were fellow sculptors Henri Laurens and Jacques Lipchitz. Working closely with Laurens in his studio in the 1940s, Lobo discovered his affinity for the female figure. By the 1950s, Lobo parted ways with Laurens and developed his uniquely elegant and polished style inspired more by the work of Constantin BrâncuÅŸi and Jean Arp. In the manner of BrâncuÅŸi and Modigliani, Lobo also adopted the traditional method of sculpting directly into the block, carving the final form out of the stone. With his metal sculptures, he was equally methodical, working first from plaster casts which he would then translate into bronze. He would closely oversee the smelting day to day, selecting the patinas and personally polishing each cast, monitoring the production of the eight bronze version casts that he made of every sculpture, ensuring that each cast carried the artist's handprint. With its sinuous curves, refined elongated form, and towering presence, L'Eveil sur socle epitomizes the most attractive qualities of twentieth-century sculpture in its exploration of the eternal feminine whilst looking back to the ancient Iberian influences. Conceived during the final years of his life, the present work is an outstanding example of Lobo's intensive and mature study of the female form that enabled him to develop an in-depth knowledge of human anatomy, its movements and gestures, its surface and sinews, translating them into a lyrical, near-abstract sculptural vocabulary of curvilinear shapes. With her stretched torso, L'Éveil sur socle is a composite of smooth sensual curves and rippling contours accentuated by the rich black-green patina. For Lobo, the torso is not an unfinished anatomy, but an abbreviation that encloses the essence of humanity.This lot is subject to the following lot symbols: * AR W 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.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP Lot 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 3
AUGUSTE RODIN (1840-1917)Nu féminin assis, petit modèle dit aussi 'Petite étude de mouvement' signed 'A. Rodin' (to the front), inscribed '© by Musée Rodin 1962' (on the rim), inscribed with the foundry mark 'Georges Rudier Fondeur Paris' (on the reverse), imprinted with the Musée Rodin reference number '619' (on the reverse) and stamped with the raised signature 'A. Rodin' (on the inside)bronze with black-green patina30.2cm (11 7/8 in). highConceived circa 1885, this bronze version cast by the Georges Rudier Foundry in 1962 in an edition of 11.Footnotes:This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceMusée Rodin, Paris.Roland, Browse & Delbanco, London (acquired from the above in November 1963).Suzanne Joshel Collection, Denver.Rocky Mountain Public Broadcasting Network Collection, Denver (a gift from the above in June 2009); their sale, Bonhams, New York, 9 November 2010, lot 8.Acquired at the above sale by the previous owner; their sale, Sotheby's, New York, 15 May 2018, lot 379.Private collection, UK (acquired at the above sale).For further information on this lot please visit Bonhams.com
Lot 5
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu assis (Jacqueline Barsotti-Goddard) signed and dated 'Foujita 1929' and further signed in Japanese (centre right); signed and dated 'Foujita 1929' and further signed and inscribed in Japanese (on the stretcher)oil on canvas64.8 x 100.2cm (25 1/2 x 39 7/16in).Painted in Paris in 1929Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson. This work will be included in the forthcoming Vol. IV of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceGalerie Mantelet (Colette Weil), Paris (acquired directly from the artist in 1929).Private collection, France (acquired from the above in 1929).Thence by descent to the present owner.ExhibitedMoscow, The Pushkin State Museum of Fine Arts, Les muses de Montparnasse, 15 July – 3 October 2021, no. 183.The living body, the naked and natural body, the body stripped of artifice, the woman captured in her truth, her simplicity, her beauty, the woman: that was what fascinated Foujita. He put her at the very centre of his art, and she embodied the origin of the world. Mother, lover, confidante, and muse all at once, Foujita considered her a mediating figure between the human and the divine, a Renaissance-like conduit to God. Officially, Foujita had five wives. However, he admitted to having had thousands of models, visible in numerous studies, drawings, engravings, and paintings made of one or the other, populating his oeuvre. The angelic yet melancholic face of the present subject belongs to one of these muses, well-known among the artists of the Montparnasse: Jacqueline Goddard. In demand by fellow artists Kisling, Pascin, Derain, Matisse, Giacometti, Man Ray and Picasso, it was Foujita's house at the Parc Montsouris that Goddard favoured. Enchanted by this Art Deco, bucolic villa, she was adopted as a sister by Youki Foujita, the artist's wife and fellow muse.Jacqueline's modern look, Grecian profile, long neck and tousled hair made her one of the legendary models of Montparnasse from an early age. She was an orphan: her French mother died when she was young, whilst her father, André Barsotti, was a talented Tuscan sculptor who died three years before the present work was painted. If Foujita's name now evokes elegance, delicacy and contemplation, it is mainly due to his nudes. Painting Nu assis (Jacqueline Barsotti-Goddard) connected him not only to his past loves, the masters of the Italian Renaissance, such as Michelangelo and Botticelli, but also to his Japanese roots, and to the floating world of printmaking (Ukiyo-e), where modest nudity appears with great sensual intensity. The present work was one of the crown jewels of the Colette Weil gallery, with which Foujita had close ties in 1929, and was acquired by one of the gallery's patrons. The West and the East come together in Nu assis (Jacqueline Barsotti-Goddard), as Foujita transformed a young woman into a modern goddess of love. The contour of the shapes is perfect, the anatomy is irreproachable, and the body is harmonious. Everything flows in a smooth transition, reminding us of the firmness of a sculptural bronze and the polish of marble. The classic face evokes that of Simonetta Vespucci, the model for Botticelli's Venus in The Birth of Venus. Her muscular body seems to descend straight from the ceilings of the Sistine chapel, like a female version of an Ignudo painted by Michelangelo.The nude was an important theme for Foujita because it connected him to nature and to universal beauty. It also allowed him to follow in other great artists' footsteps: in addition to the masters of the Sistine, one sees the influence of Goya, Manet, Rodin, Canova, Ingres and even his contemporaries Modigliani, Matisse and Van Dongen. Even though Foujita's art did not belong to any specific time or school, it remained full of references, and if he broke the rules, it was because he knew them so well. In 1929, Foujita was at the highest point of his career. His milky white backgrounds and range of soft, creamy colours had already established his reputation around the world. Like Degas, Foujita considered that a well-drawn painting was always a well-painted painting. Indeed, his mastery culminated in the way he drew the outline: dipping his brush in black, he stretched the lines on the canvas without hesitation, in a single movement. Those lines were firm and assured, but also delicate and sensitive, which created balance and harmony. The traditional and stable triangular composition, which connects the head to the left hand and the heel of the foot, is balanced by the hair, which allows the painter to let his flat brush slide on the silky canvas. The strands of hair come to life and frame the face, effortlessly and freely resting on the neck like an opalescent mother-of-pearl. Despite the Western model, subject and medium, Foujita allowed his Eastern heritage to express itself, blending both cultures together. As in all his paintings, the figure floats slightly, as if suspended in weightlessness, between rest and action. This Japanese notion of suspension, interruption, and emptiness, which can be found in painting as well as in architecture and in Japanese craftsmanship, is the Ma. It influenced Foujita, who explored the space between the lines, outside and inside the figure. Evoking Japanese metaphysics and aesthetics, which sanctify the idea of breathing, the artist painted the time of breathing, between inspiration and exhalation. Goddard's gaze in the present work is lost in the distance: the beautiful thinker meditates. She holds her breath like Foujita. Another Japanese notion comes into play: the katabokashi, or the fading of the form. If the Ma connects the forms while separating them, the katabokashi is a clever network of greyness, barely visible, which emphasises and translates the Ma. It animates the lower section of the painting and gives it life. It corresponds to the lighter white halo that surrounds the body and allows it to stand out against the background. To achieve this effect, Foujita rubbed cotton wool barely dipped in black or grey pigment. Another Japanese aesthetic and spiritual concept used by the artist was the wabi-sabi: the veneration of the beauty of imperfect things, the magic of their patina and their ageing process. Evoking the wear and tear of time on the surface of the painting, Foujita highlighted the impermanence of life and beauty. To achieve this effect, he used cotton wool soaked in grisaille made of black soot and dry oil. Then, he scattered the pigment inside the small air bubbles that dried and broke on the surface of the canvas. This gave the illusion that the painting had been shaped by time. Foujita embraced his ancestral roots but turned to the West to enrich his artistic vocabulary in this East/West hybrid work. His ability to oscillate between these two cultures, to feed on them and to transcend them was due to his love for art and life rather than aesthetic satisfaction. All his life, he believed in the invisible power of art without borders, embodied by the Montparnasse, which brought together the best avant-gardes from all over the world. Transcending the world, escaping time, and connecting with the gods of creation was Foujita's artistic goal from an early age. Sylvie BuissonArt HistorianAuthor of the forthcoming Volume IV of the Léonard Tsuguharu Foujita catalogue raisonné, in collaboration with Casimir Buisson, expert for the artist at the French ... 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
Lot 9
AUGUSTE RODIN (1840-1917)Étude pour Polyphème signed and numbered 'A. Rodin no. 6/8' (on the right of the pedestal), inscribed '© By Musee Rodin 1987' and inscribed with the foundry mark 'E. Godard Fondr' (on the rim of the pedestal)bronze with black patina43.5 cm (17 1/8 in). highConceived circa 1906, this bronze version cast by the Émile Godard Foundry for the Musée Rodin in 1987 in an edition of 12 numbered 0/8-8/8 and II/IV-IV/IV.Footnotes:This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceMusée Rodin, Paris.Coskun Fine Art, London (acquired from the above in February 2000).Private collection, London.Anon. sale, Christie's, South Kensington, 24 June 2016, lot 155.Private collection, UK (acquired at the above sale).LiteratureExh. cat., Exposition Rodin au Japon, Tokyo, 1976 (another cast illustrated no. 32).A. Beausire (ed.), Quand Rodin exposait, Paris, 1988, pp. 32, 99, 135, 152, 182 & 233 (other casts referenced).A.E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, New York, 2003 (another cast illustrated pp. 275–276).A. Le Normand-Romain, The Bronzes of Rodin: Catalogue of Works in the Musée Rodin, Vol. II, Paris, 2007, no. S. 517 (another cast illustrated pp. 600-601).For further information on this lot please visit Bonhams.com
Lot 318
Brenda Naylor, British 1926-2016 - Tamara Rojo as Juliet; gilt bronze with black and green patinated hair, signed with initials and numbered to the skirt 'BN 7/15', bears inscribed label to the base, H33 x W21.5 x D15.5 cm (including base) (ARR) Please refer to department for condition report
Loading...-
350105 item(s)/page