We found 16093 price guide item(s) matching your search
There are 16093 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
16093 item(s)/page
Lot 1027
Vincent Kamp (Contemporary)"Hold Back It's Not Your Night"Signed and numbered 19/150, giclee print on board, 50cm by 39.5cm Sold together with the DeMontfort Fine Art certificate of authenticityArtist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 1046
Darren Baker (Contemporary)"Femme Provocateur I"Signed and numbered 76/195, giclee print, 36.5cm by 24cmSold together withe the DeMontfort Fine Art Certificate of AuthenticityArtist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of BusinessCondition report: In an excellent state of preservation
Lot 1092
After John D. Wilson (Contemporary) “Art for All” “Off the Wall” Each signed and numbered XIV/XXV, giclee prints, 26cm by 68cm (2) Provenance: Castle Galleries Sold together with the certificates of authenticity from Washington Green Fine ArtArtist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 6
A fine Victorian burr walnut, tulipwood crossbanded and purplewood breakfront wardrobe attributed to Holland & Sons In the Louis XVI style and applied with gilt bronze mounts, the shaped moulded cornice with four turned finials and a riband tied swagged frieze; above a bevelled mirrored door enclosing three slides, three short and two long drawers; flanked by a pair of panelled cupboard doors each enclosing a rail and hooks, all flanked by reeded pilasters, on a moulded plinth base, with paper depository label to one side for 'R.B.Petre 8/8/29', 254cm wide, 61cm deep, 277cm high. The wardrobe offered here undoubtedly formed part of a significant commission of bedroom furniture of high quality for a client who currently remains untraced. The presence of a 1929 storage label which bears the inscribed name R.B Petre would seem likely to indicate that it was handled by R.B Petre in his capacity as a prominent liquidator in early 20th century London. Petre's name has been recorded in contemporary news paper advertising as instructing various sales of property by auction. The above lot is typical of the high quality work produced in the Louis XVI style that Holland and Sons produced in the 1860s and 1870s. The gilt metal mounts utilised on the above lot appear on documented pieces by the firm including the well known commission in the 1860s by Mr R N Thornton, illustrated in R.W Symonds, B.B Whineray Victorian Furniture, London 1962. Under William Holland the firm became cabinetmakers and upholsterers to the Queen, their first commission being for Osborne House in 1845, supplying furniture in the Queen's favoured Louis XVI style. Hollands participated in many of the important International Exhibitions including London in 1862, Vienna in 1873 and Paris in 1867 and 1872 again exhibiting pieces in the favoured Louis XVI style. The Holland's labelled day books are now housed in the National Archive of Art and Design in London and present a virtual 'who's who' of 19th century society.
Lot 87
WILL TEATHER (Norwich Contemporary Artist)- ''Venus as a Boy'', framed and glazed limited edition artists proof, No 5/5, one of only 5 proofs made, pencil signed, 34cm x 50cm. Currently Artist-in-Residence for Norwich Arts Centre, following on from residencies in New York and Aberdeen. Holds the global sales record for the highest price ever achieved at 'The Other Art Fair', set at their 2015 London edition
Lot 1095
Dimitra Mazi - Bristol Artist - A contemporary abstract watercolour, gold-leaf and marker on paper painting entitled "Breaking Through". Framed and glazed. Measures approx; 53cm x 43cm. Dimitra Mazi was born in Corfu, Greece in 1980. In 1998, she moved to London to find her creative path, where she decided to study Public Art and Design at Chelsea College of Art and Design.
Lot 26
After Roy Lichtenstein (American 1923-1997) - Whaam - A contemporary dated 2003 two part Pop Art print in colours of the iconic 1963 acrylic on canvas painting entitled 'Whaam'. Published by Tate Publishing, printed in Britain. Each set within a framed and being glazed. Print measures approx; 790mm x 590mm. Frame measures approx; 81cm x 61cm.
Lot 29
Circle of VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "Archangel St. Michael. Oil on canvas. Re-drawn. Size: 102 x 59 cm; 111 x 71 cm (frame). In the catalog raisonné of the author, by J. L. Díez, "Vicente López (1772-1850). Vida y obra. Catalog raisonné" (Madrid: Fundación de Apoyo a la Historia del Arte Hispánico, 1999), two sketches very similar to our composition are reproduced, one in oil (P-262) and the other in gouache (D-251), both dated around 1806-1808 and of reduced dimensions, considerably smaller than those of the canvas we present here. Diez cites them as preparatory sketches for the painting of the Duchess of Hernani (P-261). The oil sketch would only differ from the final painting by the addition of a castle to the one carried by the angels on the right of the painting. However, in our canvas the angels are holding two castles, thus being closer to the sketch than the copy of the Duchess of Hernani. In the preparatory drawing, Díez points out, precisely this area is modified by the artist with an added paper, on which the tower is drawn, without its underlying design being visible. In this work, Vicente López presents us with a composition in the form of an apotheosis, starring the figure of the archangel Saint Michael, who appears full-length, holding a radiant crown and a sword. The saint appears standing on a pedestal of clouds, accompanied by child angels and young men, on a break of Glory of great beauty, worked in nuanced golden tones that have their echo in the soft colors of his tunic and mantle, and that pull flashes of gold from his wings. Behind the archangel's head we see a triangle, symbol of God, with the name of Yahweh in Hebrew written at the top, just above the head of St. Michael. On the right side we see two child angels carrying towers, one crowned with the host and the other with a luminous nimbus, and at their feet a young angel with the palm of martyrdom. Finally, in the lower part of the composition, three child angels appear holding a painting where the profile of a city can be seen. Vicente López began his training as a disciple of Antonio de Villanueva at the Academy of San Carlos in Valencia, where he obtained in 1786 and 1789 the first class prize, obtaining a pension to study in Madrid. Already in the court, the following year he reached the first place in the competition of the Academy of San Fernando. There he learned the baroque and colorful sense of compositions, and the taste for drawing, precise and analytical. The baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Already consecrated, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of Ribera and Ribalta's naturalism, as well as his mastery in the reproduction of details and qualities. His quality in the field of the portrait makes Fernando VII call him back to the court in 1814, appointing him the following year as first chamber painter. From then on he was the most sought-after painter by the Spanish high society, and he alternated his work at the court with teaching, official posts and private commissions. In 1823 he became the artistic director of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Prado Museum, the Fine Arts Museum of Valencia San Pío V, the Academy of San Fernando, the Municipal Museum of Játiva, the National Museum of Art of Catalonia, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Lázaro Galdiano Foundation in Madrid.
Lot 36
Italian school; circa 1700. "Madonna with Bambino". Oil on canvas. It presents faults on the pictorial layer and old repainting. Preserves inscription on the back about origin. Measures: 88 x 68 cm. The Virgin holds her son, who leans upright on his legs, forcing his mother to protect him with her arms. Both look at the spectator conscious of their relevance and preponderance in the Christian religion, and at the same time transmitting a warm, tender and intimate image. Despite the simplicity of the scene, whose composition is based on classical canons, the lack of superfluous elements, and the monumentalization of the figures, the author introduces a deep symbolism. This is reflected through the virgin's dress with a blue skirt, alluding to the universality of religion and a red tunic that refers to the passion of Christ, so that the artist reveals in the same image, both the early years of Jesus' life, as well as an inevitable destiny. The author uses a direct focus of light, which falls on the face of the two protagonists, and that extends as a halo for the rest of the scene, leaving the outer perimeter in a slight half-light. The Virgin and Child or Madonna, a title that generally denotes a visual representation of the Virgin Mary and her son Jesus, is one of the most famous motifs in the history of painting. The artistic representation of these figures, an ancient devotional practice originally derived from biblical beliefs, has become a central theme in the canon of art history. Given its longevity, it is not surprising that this tradition has evolved over time, resulting in a wealth of works ranging from divine icons to contemporary representations. According to Christian tradition, Mary, a Jewish woman from Nazareth, was chosen by God to give birth to her only son, Jesus. The Bible emphasizes the fact that Mary was a virgin, impregnated not by her betrothed, Joseph, but by the Holy Spirit-a phenomenon that, according to the Gospel according to Luke, surprised Mary herself. Thus, Mary agreed to give birth to and raise Jesus. Together, this pair are among the most revered figures in Christianity, so their presence in art makes perfect sense.
Lot 61
Circle of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640). "Adoration of the shepherds". Oil on copper. Size: 74 x 56 cm; 83 x 67 cm (frame). The present work is a follower of the painting that Rubens, realized for the church of San Filippo in Fermo, in 1608 that at the moment is in the Gallery of Art Fermo Civic. There are certain differences in the figures, as well as in the postures. However, the characteristic gesture in Rubens' works, in which the Child is shown to his adorers, is preserved. In this case, the monumentality typical of Rubens' figures is preserved, especially in the female figure kneeling before the Child. In addition, the fineness of the faces and the delicacy of the forms stand out. Both for the dynamic composition of the scene, as for the anatomical conception of the figures, the piece is largely reminiscent of works by the artist Peter Paul Rubens. Peter Paul Rubens was a painter of the Flemish school who, however, competed on equal terms with contemporary Italian artists, and enjoyed a very important international importance, since his influence was also key in other schools, as is the case of the transition to full baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. His mother, Maria Pypelincks, was a very important character in his life. She gave him a courtly and cultural education, which included the study of Latin and Greek, as well as the Bible. It was in fact his mother who put him in contact, while still very young, with the best painters of the time. Rubens had three teachers, the first being Tobias Verhaecht, a painter of precise and meticulous technique who had traveled to Italy, and who instilled in the young painter the first artistic rudiments. It is also possible that Rubens traveled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter also oriented towards the Italian influence, with a language still Mannerist, and who must also have influenced the young man to visit Italy. Finally, his third teacher was Otto van Veen, the most outstanding and the last of them. After his training, Rubens joined the Antwerp painters' guild in 1598. Only two years later he made a trip to Italy, where he stayed between 1600 and 1608.
Lot 98
ETTORE SOTTSASS (Austria, 1917 - Italy, 2007).Dividing furniture "Carlton".Edition Memphis s.r.l., Milan, 1981.Wood and laminated plastic.Measurements: 197 x 190 x 41 cm.Work reproduced in the book "Le mobilier du XX siècle", by Pierre Kjellberg (France; Amateur, 1996); in "Furniture design in the 20th century", by Sembach, Leuthäuser and Gössel, p. 215 (Cologne; Benedikt Taschen, 1988); in "El diseño de los 80", by Bangert and Armer, p. 17 (Madrid; Nerea) and in other monographs on contemporary design.Other examples of this same design are held in prominent collections around the world, including the Metropolitan Museum in New York.Sottsass is not only one of the most influential designers of the second half of the 20th century, but also one of the most paradoxical. On the one hand he developed a successful career making industrial designs for the Olivetti firm, from typewriters and computers to office interiors, and on the other he created striking and unconventional objects that challenge the bourgeois clientele to redraw their concept of the limit of "good taste". Between 1981 and 1988, Sottsass created markedly nonconformist furniture together with a small group of international architects, with whom he formed the Memphis group. The totemic "Carlton", a groundbreaking concept of dividing furniture, is a spectacular example of his Memphis designs. Although intended for the luxury market and manufactured with high quality, it is made of laminated plastic, a very cheap material that replaces hardwoods. The bright colors, as well as the seemingly random dialogue of full and empty, are close to avant-garde painting and sculpture. However, a characteristic feature of Sottsass' work is noticeable: beneath the shiny surface lies a completely logical structural system, based on real and implicit equilateral triangles.The "Carlton" model was, together with the "Casablanca" sideboard, Sottsass' contribution to the first Memphis collection (1981).Ettore Sottsass was a prominent Italian architect and designer of the second half of the 20th century, founder of the Memphis design group. He studied at the Polytechnic University of Turin, and after serving three years in the army, in 1947 he set up his own office in Milan, called "The Studio". He worked as a design consultant for Olivetti for more than twenty years, creating for the firm the "Valentina" typewriter (1969), which revolutionized the market, and the "Elea 9003" calculator, among other classic designs. He was also internationally known as an architect, involved in numerous projects around the world. Throughout his career he collaborated with leading figures in the world of architecture and design, such as Aldo Cibic, James Irvine and Matteo Thun. In 1981 he founded the Memphis Group, of which he would become one of the leaders, together with Barbara Radice. Sottsass enjoys international prestige thanks to his pioneering work in the renewal of design and architecture, which has managed to overcome the severe functionalism that preceded and followed World War II. In his language, this influential master of Italian design puts the potential energy and vitality of design and color before rigidity and intellectuality. He is currently represented at MoMA and the Metropolitan in New York, the Design Museum in London, the Centre Pompidou in Paris and the Art Institute of Chicago, among others.
Lot 95
AXEL EINAR HJORTH (Sweden, 1888-1959).Pair of benches.Wood.Measurements: 36 x 36 x 60 cm.Quality finish and simplicity were creative principles for Axel Einar, and the sober yet attractive design of this pair of benches are proof of it. This Swedish architect and industrial designer was one of the leading figures in the Swedish design culture that began to be recognized internationally in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at Högre Konstindustriella Skolan, later to be known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this era were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, along with his contemporaries, Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer for Nordiska Kompaniet (NK) of Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces blended craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö.Hjorth's designs-from the sumptuousness of neoclassicism to the severity of functionalism-are very different in style, materials, and character. Unlike many of his contemporaries, however, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mix of exotic woods, bright colors and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become a fairly unknown entity in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.Throughout his career, Hjorth exhibited his work at many international exhibitions, including the 1930 Stockholm exhibition, the 1931 Dorland House exhibition in London, and the world's fairs in Chicago (1933), Brussels (1935), Paris (1937), and New York (1939). Hjorth also prepared and curated annual exhibitions for NK.
Lot 128
PEDRO BUENO VILLAREJO (Villa del Río, Córdoba, 1910 - Madrid, 1993)."Still life".Oil on canvas.Signed in the lower right corner.Measurements: 48 x 42 cm; 50 x 44 cm (frame).Pedro Bueno was formed in the School of Arts and Trades of Cordoba and in the School of Fine Arts of Madrid. In 1943 he exhibited in the Salón de los Once of the Biosca Gallery in Madrid, and that same year he obtained his first official recognition, the third medal in the National Fine Arts. The following year he made his individual debut at the Biosca Gallery. In 1950 he participated in the International Exhibition of Contemporary Art in Cairo, and four years later he was definitively consecrated as an artist, winning the first medal at the National Exhibition of Fine Arts. He was a member of the Royal Academy of Cordoba, and today his work is represented in the Reina Sofia Museum, the Museum of Fine Arts of Cordoba, the Municipal Museum of Madrid, the Camilo José Cela Foundation Collection, the Caja Provincial de Ahorros de Cordoba, the Leandro Navarro, the Varela Junquera and the Biosca and Balboa galleries, among many other outstanding private collections.
Lot 519
* PAUL REID (SCOTTISH b. 1975), THE STUDY FOR MARSYAS oil on canvas paper, signed, titled label verso image size 44cm x 18.5cm, overall size 59cm x 33cm Framed and under glass. Exhibition label verso: Paul Reid - New Works, 2002, The Scottish Gallery, Edinburgh. Note: Paul Reid is undoubtedly one of the great figurative painters to have emerged out of Scotland in recent years. His personalized interpretations of ancient myths have attracted a growing and enthusiastic audience, with highly successful exhibitions recently held in Edinburgh and Harrogate. A major publication of his work was published by 108 Fine Art in 2006, with an introduction written by His Royal Highness The Prince of Wales and essay by Laura Gascoigne. Paul Reid studied at Duncan Of Jordanstone College Of Art, Dundee from 1994 – 1998. He was awarded a Carnegie Trust Vacation Scholarship and the John Kinross Scholarship. His work is held in numerous public and private collections including JK Rowling and HRH Prince of Wales. In 2002, The New Statesman named him as one of the "Best of New British under the age of 35". In 2004 Paul accompanied HRH The Prince of Wales on a trip to Turkey and Jordan, completing a series of paintings and drawings based on the landscape and people of the areas visited. In 2009 he again accompanied HRH on a visit to Canada. His first public art gallery exhibition was arranged by 108 Fine Art, and toured the UK in late 2007 / 2008. The exhibition charted the development of his work over the previous ten years, with the emphasis on his series of paintings, based on ‘The Minotaur’ and, ‘Circe’. In a review by Iain Gale, “Six of the best painters point the way forward”, in Scotland on Sunday: “Since he burst on to the British art scene three years ago, shaking up received notions of what contemporary art was about, Paul Reid has been gathering a loyal audience with his unique take on the apparently redundant tradition of neo-classical painting. His art is unlike anything else you will see on the contemporary scene. While some others might imitate the old masters, Reid creates his own vocabulary and towers over his rivals through his sheer draughtsmanship and feel for paint. But there is nothing reactionary about this work. Reid is not attempting single-handedly to subvert the current trend for conceptualism, some of which he admits is powerful and valid. Rather he sees himself as part of a bigger picture, using Greek myth as it was originally intended to be used, as a metaphor through which to tap into basic human truths and mysteries.” Paul Reid is represented by The Scottish Gallery and his next solo show there will take place in 2022.
Lot 816
* IAIN R MCINTOSH RSA (SCOTTISH b. 1945), THE GREEK PRIEST oak sculpture, carved signature (MCINTOSH) and dated '77 on the side of the sculpture titled on artist label on the base 37cm high. Provenance: The Royal Society of Sculptors. Note: Iain R. McIntosh RSA was born in 1945 in Peterhead, Aberdeenshire, and studied at Gray’s School of Art. Trained as a sculptor, he is perhaps best known for his wood-carved boats and sailing vessels, inspired by his coastal upbringing. In recent years he has also begun to create paintings and drawings but his subject matter is still never far from the sea. He was elected Associate of The Royal Scottish Academy in 1981 and full Academician in 2005. His sculptures very rarely appear at auction but in The Scottish Contemporary Art Auction of 9th May 2021 a small 28cm high untitled oak carving by Iain McIntosh sold for £500 (hammer).
Lot 42
Bryan Ferry signed 12x8 black and white photo. Bryan Ferry CBE (born 26 September 1945) is an English singer and songwriter. His voice has been described as an elegant, seductive croon. He also established a distinctive image and sartorial style; according to The Independent, Ferry and his contemporary David Bowie influenced a generation with both their music and their appearances. Peter York described Ferry as an art object who should hang in the Tate. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 93
LUCIAN FREUD (1922-2011)Man Resting (Hartley 34) Etching printed with tone, 1988, on Somerset Satin wove paper, initialled and numbered 21/30 in pencil, the second state (of two), printed by Marc Balakjian at Studio Prints, published by James Kirkman, London and Brook Alexander, New York, the full sheet, in overall very good condition, framedPlate 369 x 410mm. (14 1/2 x 16 1/8in.); Sheet 470 x 502mm. (18 1/2 x 19 3/4in.)Footnotes:ProvenanceSotheby's, Old Master, Modern and Contemporary Prints, London, Tuesday 2 July 2002, lot 198.Acquired from the above sale by the present owner.ExhibitedLucian Freud Etchings 1946-2004, Scottish Gallery of Modern Art, Edinburgh (with their label); Abbot Hall Art Gallery, Kendal; Fitzwilliam Museum, Cambridge; Birmingham Museums and Art Gallery; Marlborough Graphics, London, 2004–05.Lucian Freud, Museo Correr, Venice, 2005 (with their label).Lucian Freud: Etchings, Northcote House Gallery, University of Exeter, 2007.The sitter in this work is Angus Cook, a filmmaker who sat for Freud regularly between 1985 and 1990. Angus was one of the few men that posed completely naked for Freud, and in fact one of the first ones to have done so. Freud made seven etchings of Angus, including the one presented here. This work closely relates to another two etchings made the year before in 1987, Naked Man on a Bed (state I), and Naked Man on a Bed (state II), albeit in the present version the focus is on the sleeper's head, emphasizing the infantile effects of sleep on a grown-up man's facial features, and wonderfully conveying Freud's liking for 'people to look as natural and as physically at ease as animals' (Lucian Freud, quoted in Feaver, Lucian Freud, 2002, pp.41-42).This is the first time an impression of this etching has come to the market since 2013.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
Lot 87
BARBARA HEPWORTH (1903-1975)The Aegean Suite The complete set of nine lithographs printed in colours, 1971, on wove paper, each signed and numbered 30/60 in pencil, printed by Curwen Studio, with their blindstamp, published by Marlborough Fine Art, London, the full sheets, with pale time and light-staining, the colours slightly attenuated but still good, in overall good condition, framedSheets 810 x 585mm. (31 7/8 x 23in.) (9)Footnotes:ProvenanceChristie's Contemporary Art, London, June 1976. Acquired directly from the above, thence by descent to the present owner. The Aegean Suite is one of only two major sets of lithographs completed by Barbara Hepworth during her lifetime. Although her graphic output was limited, she enjoyed printmaking as the intricacy of its layering process would allow her to develop ideas on space, abstraction, form and texture that she would later translate into her sculpture. Hepworth had started work on the suite in 1970 in St Ives, Cornwall, and completed it with master printer Stanley Jones at the Curwen Studio in London the following year. The apparent ease with which she combines the drawn line and the lithographic wash is a testament to her skills and dedication to the medium. The title and geometric forms choreographed across all nine works of the present set also convey the artist's fascination with the sites of antique Greece, while the abstracted suns and moons are reminiscent of her interest in the celestial; a theme she keenly explored in her graphic oeuvre. This complete set with all nine works presented in their original frames was purchased from Christie's Contemporary Art exhibition in June 1976 and are offered alongside the Christie's original Certificates of Authenticity, a brochure printed in colours about the prints, a typed letter by David Case introducing the June 1976 collection and the exhibition pricelists.The 1976 exhibition focused on Barbara Hepworth who had died the year before, presenting her alongside other contemporary printmakers, notably Julian Trevelyan and Dorothea Wight.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
Lot 662
* Greenaway (Kate, 1846-1901). The Idle Boy, pencil, depicting a young boy in contemporary clothing leaning against a bridge in the countryside, inscribed with title to lower margin, 12 x 10cm (4 6/8 x 3 7/8 ins), mounted, framed and glazed (31.5 x 27.3cm), Chris Beetles gallery label on versoQty: (1)Footnote: Exhibited: Chris Beetles, The Illustrators, The British Art of Illustration 1800-1992, 10.
Lot 689
* Rackham (Arthur, 1867-1939). Intent on her book, pencil on tinted paper, depicting a young lady in contemporary dress with her head slightly tilted looking off to the side, 24 x 11.4cm (9 3/8 x 4 4/8ins), mounted, framed and glazed (48.6 x 38cm), Chris Beetles gallery label to versoQty: (1)Footnote: Exhibited: Chris Beetles, The British Art of Illustration 1800-1995, 513.
Lot 103
D*FACE (London , 1978)."Hrh her Royal Hideous", 2015.Mixed media (enamel and emulsion) on canvas, with Union Flag.Label on the back of the Centro de Arte Contemporáneo de Málaga.Measurements: 120 x 130 cm; 124 x 134 cm (frame).D*Face is a contemporary British street artist best known for his distinctive graffiti, stickers and posters placed in various cities around the world. Featuring recurring celebrity imagery and punk iconography, D*Face's work is characterized by his bright graphic aesthetic and his focus on consumerism and the ways in which it shapes everyday life. His diverse range of influences includes skateboard culture, early New York subway graffiti, pop art and Shepard Fairey's Obey campaign. Born Dean Stockton in 1978 in London, England, he worked in advertising and for publications such as Thrasher magazine before embarking on his own artistic career. D*Face's identity was a mystery until 2008, when he revealed his name to the public. "I don't think it's necessarily relevant that you know who I am in regards to my work," he once explained. "The work speaks for itself, and if it doesn't speak for itself, then I like people to reinterpret it according to their own views." The artist lives and works in London. He has been interested in graffiti and drawing since childhood. Admirer of Henry Chalfant's graffiti on the New York subway, and of the drawings on skateboards that were published in Thrasher magazine, he ventured into the world of skateboard fanzines. He attended an illustration and design course and worked as a freelance illustrator/designer while honing his street work. His influences include Shepard Fairey's "Obey Giant" art campaign, Jim Philips, hip hop, punk music and cartoons. His first major solo exhibition in London, Death & Glory, took place at Stolenspace gallery in 2006. Already this first event was sold out. Since then, his exhibitions have included a solo show, Eyecons, at the O Contemporary gallery in Brighton in March 2007, where the turnout was overwhelming. It featured new paintings, an installation and two prints: Kurt's "Kant Complain" and Cli-Che. D*Face was director and curator of the Outside Institute, London's first contemporary art gallery focused on street art. In 2005 the Outside Institute moved and changed its name to become the Stolen Space Gallery. In 2010, he collaborated with Christina Aguilera, on the cover of her album Bionic. In October 2013, D*Face participated in Art Wars at the Saatchi Gallery, curated by Ben Moore. He participated in the 2015 edition of All City Canvas Global Series, with a mural on the facade of the Hotel Lisboa in Colonia Roma. This project was part of the artistic activities of the Dual Year Mexico-UK. In 2016, he designed the cover of Blink-182's album California.
Lot 117
MATÍAS SÁNCHEZ (Germany, 1972)."With the neighbor's water".Mixed media on paper.Signed in the lower left corner.Measurements: 112 x 76 cm; 118 x 82 cm (frame).Matias Sanchez was born in Germany in 1972. Self-taught, he has always felt an impulse for art that led him to develop an artistic career. Matias Sanchez made his first exhibition in Cavecanem in 2001 and a year later his work was exhibited at Arco where he received a warm welcome from the critics. In 2003 he repeated his experience at the Contemporary Art Fair held in Madrid, being his work collected and disseminated in the newspaper El País. This was a turning point in his career, which led to numerous solo and group exhibitions, both nationally and internationally. Among his exhibitions, highlights the exhibition at the gallery Begoña Mallone (Madrid), Javier Marín (Málaga), Valle Ortí (Valencia), Espacio Liquido (Gijón), "Christopher Cutts Gallery" (Toronto - Canada) and Costantini Art Gallery (Milan - Italy). His work has been exhibited in several contemporary art reference spaces such as the CAAM - Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria) or the CAC Malaga. In addition to ARCO, MACO 2013 - Mexico Arte Contemporáneo, Art Stage Singapore 2013, Art Monaco 2013, India Art Fair 2013, Contemporary Istanbul 2012, Art Toronto 2012, Art Moscovo 2012 and Beirut Art Fair 2012.
Lot 20
GIOVANNI SCHIANO, (Naples, 1976)"Drab days and coloured minds 6".Ceramic totem.Fire glazed ceramic sculpture.149 pieces.Hand signed.Measurements: 50 x 12 cm.Giovanni Schiano is a well-known haute couture photographer as well as painter, sculptor and designer. Trained in the world of graphic design and photography, he has developed a set of artistic and technical skills inspired by the rich tradition of Italian art and design.So much so, that Schiano's sculpture and design are particularly inspired by Ettore Sottsass, founder of the Memphis Group design movement active in the 1980s, and known for his colorful and vibrant design with a good dose of whimsy. The geometry that is part of Bridget Riley's Optical Art, but also the boldness of MimmoRotella and Mario Schifano, without ever leaving aside the decadent and melancholic imprint of JanezBernik, are some figures that have served as inspiration for the creation of new artistic pieces by the artist Schiano.His three-dimensional creations incorporate vigorous color, lines and geometric shapes that come together to create compositions that both confuse and delight the eye. In terms of material, many of his sculptures are made with contemporary elements such as Plexiglas, but he also works with older ones such as ceramics and wood.Schiano's fabulous work has been exhibited in galleries in major cities around the world, Art Sawa in Dubai, Osi Modern in London, Liu Chang Gallery in China and galleries in New York, Paris, Los Angeles and Miami, Brussels, Berlin and even Tokyo. Without leaving behind his work as a photographer and passionate about the world of fashion, Schiano collaborates with famous magazines such as Vogue, Glamour, Jam Magazine or ID.
Lot 41
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Congrés de Cultura Catalana", 1977.Lithograph on cardboard, copy 62/100.Signed and justified by hand.Printed by Litografias artisticas Damia Caus, Barcelona.Bibliography. Reproduced in the book: "Joan Miró Litógrafo VI: 1976-1981", by Patrick Cramer. P. 34. Nº 1109. Maeght Éditeur. Paris,Measurements: 84 x 63 cm .Joan Miró is formed in Barcelona, between the School of the Fish market and the Galí Academy. Already in the early date of 1918 he realizes his first exhibition, in the Galleries Dalmau of Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would mean his definitive international consecration. During the fifties he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
Lot 43
HSIA YANG (China, Shanghai, 1932)Untitled.Mixed media on paper.Signed in the lower right corner.Measurements: 33 x 55 cm; 37 x 58 cm (frame).Throughout his long and varied career, Hsia has developed a wide range of visual languages. In 1951, Hsia studied art with Lee Chun-Shan and later formed the Ton Fan Group with seven other artists. In 1963, he traveled to Europe for the first time and settled in Paris for five years. In 1968, he moved to New York and, in 1992, returned to Taipei. From 2002, Hsia moved to Shanghai, where she has lived ever since. His experience in the art world has been rich and varied. In 2018, she held a retrospective at Taipei Fine Arts Museum, Taiwan. Hsia was living in New York in the 1970s, when photorealism became popular and this influenced his painting style. He began to depict scenes of people moving in urban landscapes, paying close attention to the details of these scenes and simulating hurried movement by blurring these parts. In the second half of the 1990s, Hsia continued his series of blurred people with 100 Faces (1994 - 1996) and Thirty-Six Portraits (2002), which are considered the most vivid expressions of his formal blurring technique. After 1999, Hsia developed a series of iron sculptures based on the same theme, exploring and transforming his pictorial language with a new medium. Since 2002, Hsia has been using paper-cut collage techniques and introducing witty verses into his paintings, especially in his monumental landscapes that include contemporary scenes of urban leisure.
Lot 54
GIOVANNI SCHIANO, (Naples, 1976)"Atomium"69 specimens.Cast methacrylate sculpture, laser cut and assembled by hand.Hand signed.Measurements: 30 x 30 cm.Giovanni Schiano is a well-known high fashion photographer as well as painter, sculptor and designer. Trained in the world of graphic design and photography, he has developed a set of artistic and technical skills inspired by the rich tradition of Italian art and design.So much so, that Schiano's sculpture and design are particularly inspired by Ettore Sottsass, founder of the Memphis Group design movement active in the 1980s, and known for his colorful and vibrant design with a good dose of whimsy. The geometry that is part of Bridget Riley's Optical Art, but also the boldness of MimmoRotella and Mario Schifano, without ever leaving aside the decadent and melancholic imprint of JanezBernik, are some figures that have served as inspiration for the creation of new artistic pieces by the artist Schiano.His three-dimensional creations incorporate vigorous color, lines and geometric shapes that come together to create compositions that both confuse and delight the eye. In terms of material, many of his sculptures are made with contemporary elements such as Plexiglas, but he also works with older ones such as ceramics and wood.Schiano's fabulous work has been exhibited in galleries in major cities around the world, Art Sawa in Dubai, Osi Modern in London, Liu Chang Gallery in China and galleries in New York, Paris, Los Angeles and Miami, Brussels, Berlin and even Tokyo. Without leaving behind his work as a photographer and passionate about the world of fashion, Schiano collaborates with famous magazines such as Vogue, Glamour, Jam Magazine or ID.
Lot 70
BEN EINE (London, 1970)."All is Fair in Art and War", 2016.Mixed media on canvas (acrylic and aerosol).Unique piece.Signed, dated and titled on the back.Measurements: 79,5 x 79 ,5 cm; 85 x 85 cm (frame) .London-born Ben Eine is one of the world's most successful lettering artists and is considered a pioneer in the exploration of contemporary typography art. Originally a graffiti writer, Eine began his career over 30 years ago, leaving his first tag all over London before developing his distinctive typographic style. Eine began painting huge, bright, colorful letters on shutters all over East London, creating beautifully executed forms with a relentless "graffiti mentality," painting over sixty shutters in a couple of months. These imposing and attractive, yet unattributed, anonymously painted letters stood out from the usual tags and dubbings seen on the streets. They caught the public's attention and were instrumental in the rise of street art's popularity. Eine's association with then-emerging London graffiti artist Banksy was hugely influential to the commercial success of both artists. In 2003, the pair created the famous Pictures on Walls gallery, with a loose collective of other artists, to print and sell street art. POW was established in the spirit of the DIY Punk movement because, as Eine recalls; "There wasn't a single gallery in London or the world that could touch what we were doing." Eine's international acclaim increased further when UK Prime Minister David Cameron gifted his artwork "Twenty First Century City" to President Obama in 2010. His work is now in the permanent collections of the V&A Museum in London, the Museum of Modern Art in Los Angeles. The Museum of Contemporary Art in San Francisco, the Urban Museum of Street Art in Berlin, Beyond The Streets and The Dean Collection in Los Angeles, as well as the private collection of Louis Vuitton and many other commercial institutions. Fashion has always been a love of Eine's. She enjoys an ongoing collaboration with Louis Vuitton, as well as her own clothing label, Eine London, which launched to great acclaim at London Fashion Week 2018. Eine's painted shutters and murals can still be found around the world. Her distinctive lettering continues to spell out words and phrases across walls from London to Los Angeles, Florence to Tokyo. He continues to use street art to engage and surprise the public. In 2018, Eine unveiled the world's largest street artwork; the 'CREATE' mural: a 17500 square foot artwork painted on an industrial site in East London that is visible from space.
Lot 86
"SLASKY", GIANLUCA PALONE (Artena, Rome, 1972)."Lucrezia de Medici".Digital art.Giclèe on canvas.Edition 1/3 COA.Measurements: 85 x 55 cm.Slasky is an established Italian artist whose works have been presented in solo and group exhibitions internationally. Fascinated by the baroque painting of Caravaggio, Slasky creates classical artworks elaborated using digital art techniques. With his classical neo-urban style, he unites tradition and modernism, bringing the protagonists of the original artworks into modern-day social and artistic environments. By inserting the protagonists of the original works into contemporary social and artistic environments, he has created a series of pieces that send new messages and require a level of collaboration from the viewer to be understood.The works have an immediate sense of familiarity, but presented with an injection, sometimes explosion, of color and life that absorbs them with richness and modernity. In his canvases, details take center stage, using contrasting color techniques, textured backgrounds and silkscreens to create the same subject matter in a variety of ways, separating it from its traditional backgrounds.
Lot 92
WALTER NIEDERMAYR (Bolzano, Italy, 1952)."Theodulgletscher".2005.Digital photograph, copy 3/6.Diptych.Signed, dated and justified on the back.Measurements: 125 x 99 cm. each; 131 x 104 cm.(c.u. frame).Walter Niedermayr was born in Bolzano where he also works and creates most of his works. Italy will be used by Niedermayr as a photographic medium to explore his main motif of work which revolves around the dissatisfaction of looking. In contrast to the strong pictorial tradition of Northern Europe, Niedermayr photographs the glacial panorama of the Alps as the protagonist and the people who occupy these landscapes in a secondary way by referring to contemporary art paintings such as Peter Doig or Caspar David Friedrich. Niedermayr uses and exemplifies the camera as an element to draw and paint objects by employing a combination of underexposures and raw filtering in his works. The whitening effect he introduces in the image will be to transfer the sensation we have when we wake up from a dream and as if we were searching with our eyes, still half-open, within these landscapes for our personal and individual selection of forms. The clarity and definition are developed in the time and process of the construction of the image so that there is no further treatment in the laboratory or digitally. His method of fragmentation simplifies the whole image, with "isolated elements that give it a sense of sadness". Since 1988, he has exhibited his photographic and video works in public institutions, museums and galleries. His work has been exhibited at prestigious institutions and cultural events such as Fotografia Europea in Reggio Emilia (2018), Aut. Architektur und Tirol in Innsbruck (2017), Galéria Mesta Bratislavy in Bratislava (2015), Istituto Italiano di Cultura in Paris (2012), Fondazione Fotografia in Modena (2011), Museion in Bolzano (2004), Württembergischer Kunstverein in Stuttgart (2003), Centre pour l'image contemporaine in Geneva (2000), White Cube in London (1998), Vorarlberg Museum in Bregenz (1992) and numerous other public and private spaces. His latest series, conceived during the close of 2020 and commissioned by the Ministry of Culture, is on display at Palazzo Barberini in Rome. His works have also been presented in the past in group exhibitions, such as those at MAST in Bologna (2017), MAXXI in Rome (2016), the International Architecture Biennale in Venice (2014 and 2010), the Fotomuseum in Winterthur (2013), the Museum of Contemporary Art in Tokyo and the Denver Art Museum (2011), Manifesta7 in Bolzano (2008), the Pompidou Center in Paris (2006), MART in Rovereto (2003) and many others. The artist's works are in numerous international collections, including MoMa in New York, Tate Modern in London, Centre Pompidou in Paris, MAXXI in Rome, MOCA in Los Angeles, Fondation Cartier in Paris and the Intesa Sanpaolo and UBS Art Collection. Between 2011 and 2014 he taught art photography at the Libera Università di Bolzano.
Lot 220
Clarke (Samuel). A mirrour or looking-glasse both for saints and sinners, held forth in some thousands of examples..., Whereunto are added a Geographical description of all the countries in the known world: as also the wonders of God in nature; and the rare, stupendious, and costly works made by the art, and industry of man. As the most famous cities, temples, structures, statues, cabinets of rarities, &c. which have been, or are now in the world, 2 parts in one, 3rd edition, very much enlarged, London: printed by T.R. & E.M. for Tho. Newberry [Part II: printed by R.I. for Thomas Newberry], 1657, engraved portrait frontispiece (neatly strengthened to gutter and lower margins) and engraved title to second part (Geographical Description), both by R. Gaywood, without additional engraved general title, occasional light spotting, bookplate with viscount coronet and monogram W.G. to upper pastedown, ownership signatures and attached note to front endpaper, contemporary gilt panelled calf, gilt decorative devices to panel compartments of spine, red morocco title label, wear to upper joint and head & foot of spine, folio (27.8 x 19cm)Qty: (1)Footnote: ESTC R26027; Wing C4551; Sabin, 13447; McAlpin III, p.198. The second part containing the Geographical Description includes a section describing America (pp.169-190). Provenance: contemporary ownership signature 'P. Glenurchye Empr. Lond. 1659', and name of Patrick Campbell, ownership inscription of Irvine Masson 'bt. fr. John Grant, Edinburgh, 1926', and with tipped in note in his hand, with further details of Samuel Clarke and the engraved portrait, and thoughts on the earlier provenance '... suggests a possible Patrick Campbell on the line of Viscounts Glenorchy. The bookplate with initial W.G. could possibly be that of Willielma Campbell, Viscountess Glenorchy (1741-1786?).
Lot 235
Godfridus. The knowledge of things unknown. Shewing the effects of the planets, and other astronomical constellations. With the strange events that befall men, women, and children, born under them. Compiled by Godfridus, super palladium de agricultura Anglicarum. Together with the Husband-mans practice: or, Prognostication for ever; as teacheth Albert, Alkind, and Ptolomy. With the shepherds prognostication for the weather, and Pythagoras his wheel of fortune, [London]: printed by M.H. & are to be sold by W. Thackeray, 1683, woodcut frontispiece and illustration to title (both with early manuscript to verso), separate title to ’The Husband-man’s practice’ with woodcut and separate letterpress title to 'The shepherds prognostication for the weather', few small woodcut illustrations, some fraying and few short tears to initial leaves, some dust-soiling and few marks, contemporary sheep, loss of majority of spine, upper joint cracked, lower board near detached and with leather loss at foot, worn, 8vo, together with: Erra Pater, The book of knowledge; treating of the wisdom of the ancients. In four parts. I. Shewing the various ... operations of the signs and planets, and other celestial constellations on the bodies of men, &c. ... II. Prognostications for ever, necessary to keep the body in health ... III. An abstract of the art of physiognomy and palmistry ... IV. The farmer's kalendar ... written by Erra Pater ... made English by W. Lilly ... To which is added the Dealer's directory..., London: printed by W. Onley and are to be sold by J. Gwillim, 1704, woodcut frontispiece and illustrations, some browning particularly to margins of first & last leaves, spotting and toning throughout, contemporary sheep, text block split in two, upper board detached, old repair at foot of spine and upper board, worn, 12mo in 6s, [Lupton, Thomas], A thousand notable things, on various subjects; disclosed from the secrets of nature and art; practical, profitable, and of great advantage, London: T. French & W. Millar. 1799, closed tear to gutter margin of final leaf, toning and scattered spotting, recent endpapers, contemporary speckled sheep, cloth reback, 12moQty: (3)Footnote: Wing G931A; ESTC R28641. ’The Husband-man’s practice’ has a separate dated title page (G1r) with woodcut, and imprint, and ’The shepherds prognostication for the weather’ has a separate dated letterpress title page (K6v) with imprint. The pagination and register are continuous.
Lot 257
Pellerin (Joseph). Recueil de me?dailles de rois, qui n'ont point encore e?te? publie?es, ou qui sont peu connues, [with Supplement vols. 1-4 in two], 5 volumes only of 8 (bound in three), Paris: H.L. Guerin & L.F. Delatour, 1762-67, 43 folding engraved plates, near matching contemporary mottled calf, gilt decorated spines, slight wear to joints and extremities, 4toQty: (3)Footnote: Provenance: Patricia Milne-Henderson (1935-2018), art historian.
![[Hannett, John], "John Andrews Arnett". Bibliopegia; or, the Art of Bookbinding, in all its branches, 2nd edition, with consi](https://cdn.globalauctionplatform.com/a7f3d110-11d8-4af5-b517-adf200b763f9/50474248-b038-4e71-8c4c-adf3010fa867/468x382.jpg)
Lot 376
[Hannett, John], "John Andrews Arnett". Bibliopegia; or, the Art of Bookbinding, in all its branches, 2nd edition, with considerable additions, London: Richard Groombridge, 1836, wood engraved frontispiece (torn & ink stained to lower outer blank corner), nine plates, some toning and spotting mostly to plates, front free endpaper with pencil ownership signature Ralph Smith, Preston, contemporary sheep, rubbed and light wear, 12mo in 6s, together with: Anstruther (G. Elliot), The Bindings of To-morrow. A record of the work of the Guild of Women-Binders and of the Hampstead Bindery, London: Guild of Women Binders, 1902, half-title (crease to lower outer corner), 50 chromolithograph plates (including frontispiece), adhesive tape stain to gutter margins of half-title, frontispiece & title, modern green morocco, 4to, British Bookbinder, The British Bookbinder: A journal for the book printer - the book illustrator - the book cover designer - the book binder - librarians, and lovers of books generally, vol. 4, London: Raithby, Lawrence & Co., Ltd, 1891, numerous plates and illustrations (including mounted marbled paper samples), frontispiece attached to title with adhesive tape, sewing broken with some gatherings and pages detached, edges frayed, 4to, contained in purpose-made book boxQty: (2)
Loading...-
16093 item(s)/page