There are 16093 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeBarnstedt, Harald Objekt ohne Titel (Wiener Neustadt 1960 geb.) Unregelmäßige Trichterform. Farbloses Glas mit bunten Farbeinschmelzungen. Unterseitig sign. und dat. "87". 17 x 24,5 x 13,5 cm. - Who's Who in Contemporary Glass Art, 1993, S. 21.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasskulptur, modernes Glas, Österreich, österreichischer Glaskünstler, Studioglas
Fujita, Jun Vierkantvase (Tokio 1951 geb.) Farbloses Glas mit gerissener Goldfolieneinschmelzung sowie zartgrünem Teilüberfang mit reliefiert geätztem Dekor aus Sträuchern. In der ausgeschliffenen Bodenkugel sign. "Jun Fujita". H. 19 cm. - Who's Who in Contemporary Glass Art, 1993, S. 155.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasvase, Japan, japanischer Glaskünstler, Murano, Sohn von Kyohei Fujita
Schüler, Lena Drei Ketten (Hamburg 1964 geb.) Je umlaufend verschiedenfarbige und gemusterte Kugeln, geknotet, eine mit Silberelementen, Hakenverschlüsse. Buntes Glas, Silber. Alle mit Monogramm, Verschlüsse mit Feingehalt "925" und "JKA" (Hersteller J. Köhle GmbH & Co. KG.). L. 49, 53 u. 58 cm. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 505f. u. vgl. Ausst.Kat.: Glasschmuck heute aus Europa, USA und Japan, S. 34f. u. siehe Ausst.Kat.: Glasschmuck/Glas Jewelry, 1992, S. 72f.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Schmuck
Meech, Annette Vier unterschiedliche Stängelgläser (Münster 1948 geb.) Kuppa und Scheibenfuß aus farblosem Glas, die Schäfte mit spiraligem Faden, Pulveraufschmelzungen, Farbringen oder in Incalmo-Technik dekoriert. Am Boden jeweils sign. und dat. "80" mit Zusatz "The Glashouse, "1981", "1993" und "1994". H. 17,5 - 23 cm. - Who's Who in Contemporary Glass Art, 1993, S. 366.deutsche Glaskünstlerin, Galerie Waldrich München / Privatsammlung Christiane Waldrich, Studioglas, Trinkglas
Häberling, Eka Halskette (Affoltern 1955 geb.) Dunkler Gummireif mit aufgezogenen Gummiringen, darin eingeklemmt schwarze und knallig orangene Glasstäbe, Karabinerverschluss. L. 65 cm. - Leichte Altersspuren. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 181f.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasschmuck, Schmuck
Williams, Christopher Große Schale (Surrey 1949 geb.) Bauchige, gemuldete Form. Farbloses Glas mit blaugrünem Ãœberfang und eingeschnittenen Kerben als Dekor. Am Boden sign. und bez. "Christopher Williams 585 Glasshouse 1981". H. 11,5 cm, Ø 31,5 cm. - Who's Who in Contemporary Glass Art, 1993, S. 607.britischer Glaskünstler, Galerie Waldrich München / Privatsammlung Christiane Waldrich, Großbritannien, modernes Glas, Studioglas
Wallstab, Kurt Satz von fünf Kunstgläsern (Neuhaus/Rwg. 1920-2002 Griesheim) Kugelvase aus braunem Opakglas mit Aufschmelzungen aus Metalloxiden und gerissener Goldfolie. Likörglas mit montierter Kuppa aus gelblichem Glas auf schwarzem Schaft und Scheibenfuß. Flaschenvase, Stängelglas und Becherschale aus vor der Lampe geblasenem Glas mit Bandeinschmelzungen aus grünem, gelbem und blauem Glas, in Montagetechnik gearbeitet. Alle am Boden sign. "Wallstab" mit Dat. 8384/85/90. H. 9 - 18 cm. - Who's Who in Contemporary Glass Art, 1993, S. 594. Vgl. Kat. Ausst. Coburger Glaspreis 1977, S. 117.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasvase, Studioglas, Thüringen, Thüringer Glaskünstler
Richter, Jürgen Silberhalskette und zwei Broschen (Kamenz 1941 geb.) An Fuchsschwanzkette eckiges Mittelteil, weißes Opakglas in Silber- und Gelbgoldmontierung, eine Brosche im gleichen Stil, die andere kreuzähnlich aus drei Glasstäben in Transparent, Rot und Schwarz geformt. Silber 900, Gelbgold 585, Glas. Feingehaltsangaben. L. Kette 49 cm, Brosche 9 cm bzw. 7,5 x 7,5 cm. - Eine Brosche zu reparieren. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 463f. u. vgl. Ausst.Kat.: Glasschmuck heute aus Europa, USA und Japan, S. 32f. u. Ausst.Kat.: Glasschmuck/Glas Jewelry, 1992, S. 62f.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Schmuck
Wallstab, Kurt Satz von fünf Kunstgläsern (Neuhaus/Rwg. 1920-2002 Griesheim) Vase mit gelappter Mündung aus purpurviolettem Glas mit Aufschmelzungen aus Metalloxiden. Kugelvase aus rauchgrauem Glas mit schräg umlaufendem, breitem, montiertem Band. Stängelglas, Becher und Schale aus vor der Lampe geblasenem Glas mit Bandeinschmelzungen aus grünem und blauem Glas, in Montagetechnik gearbeitet. Alle am Boden sign. "Wallstab" mit Dat. 84/85/88/89/91. H. 8 - 18,5 cm. - Who's Who in Contemporary Glass Art, 1993, S. 594. Vgl. Kat. Ausst. Coburger Glaspreis 1977, S. 117.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasvase, Lampenglas, Studioglas, Thüringen, Thüringer Glaskünstler, Weinglas
Häberling, Eka Zwei Broschen (Affoltern/Schweiz 1955 geb.) Glasstab als offenes Dreieck sowie als Spieß mit Öse geformt, eine mit Mattdekor. Farbloses Glas, Oberfläche reich lüstrierend, Silberanstecknadel. Feingehaltsangabe "925" und Künstlerstempel (?). L. 8 u. 10 cm. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 181f. u. siehe Ausst.Kat.: Glasschmuck heute aus Europa, USA und Japan, S. 10f.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Schmuck
Flavell, Ray Pokalglas (West Midlands/GB 1944 geb.) Massiver Scheibenfuß mit breitem Schaft und bauchiger Kuppa. Farbloses Glas mit reliefiert geätztem und sandgestrahltem Dekor aus Wellen und Linien. Am Boden sign. H. 15 cm. - Who's Who in Contemporary Glass Art, 1993, S. 147.britischer Glaskünstler, England, Galerie Waldrich München / Privatsammlung Christiane Waldrich, Großbritannien, Studioglas
Schwarz, Jürgen Bechervase (Lauscha 1951 geb.) Vor der Lampe geblasenes, farbloses Glas mit verzogenem Fadendekor in Weiß, Dunkelviolett und etwas Hellblau. Am Boden monogrammiert "JS". H. 14,3 cm. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 508.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Studioglas
Moore, Simon Schale (Hull 1959 geb.) Runde und flache Form mit leichtem Mittelbuckel. Farbloses, milchiges und schwarzes Glas, halbmondförmige und dichte Pulvereinschmelzung in Dunkelblau mit gezackten Streifen und Tupfen in bunten Farben. Unterseitig Namenssignatur und Modellnummer "483" sowie "The Glasshouse" mit Dat. "1983". Ø 35,5 cm. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 390.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasschale, Studioglas
Seimel, Helga Zwei Ketten (Augsburg 1949 geb.) Alternierend Stäbchen und ovale Plättchen in Schwarz mit mehrfarbigen Schlieren, Federring- bzw. Hakenverschluss. Vorrangig schwarzes Glas mit Farbeinschmelzungen, Silber. L. 44 cm. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 513 u. vgl. Ausst.Kat.: Glasschmuck/Glas Jewelry, 1992, S. 78f.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Schmuck
Kehr, Günter Weinglas und Aschenbecher in Mosaikglastechnik (Wiesbaden 1934-2016) Farbloses Glas und miteinander verschmolzene, honigfarbene Glasstäbe, vor der Lampe geblasen. Beide Teile sign. und dat. "Kehr 82". H. 16,5 cm, 4,5 x 16,5 x 16,5 cm. - Who's Who in Contemporary Glass Art, 1993, S. 259.deutscher Glaskünstler, Galerie Waldrich München / Privatsammlung Christiane Waldrich, Lampenglas, Studioglas
Spottswood, Marianne Massiver Halsschmuck (Lahore/Indien 1938 geb.) An sehr langen, schwarzen und grünen Textilkordeln großer und schwerer, querförmig gezogener Anhänger. Farbloses Glas, Schlieren in opakem Grün und Schwarz. Geritzte Signatur "JMS" und Dat. "86". Anhänger B. 14,5 cm, Kette L. individuell. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 528 u. vgl. Ausst.Kat.: Glasschmuck heute aus Europa, USA und Japan, S. 36f.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Schmuck
Fujita, Jun Flasche mit Blumendekor (Tokio 1951 geb.) Vierkantform mit Kugelstopfen. Farbloses Glas, Unterfang aus weißem Opalglas, im Relief geätzter, hellblau überfangener Dekor aus zwei Blütenstängeln. Am Boden sign. "Jun Fujita". H. 26,5 cm. - Who's Who in Contemporary Glass Art, 1993, S. 155.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasflasche, Japan, japanischer Glaskünstler, Murano, Sohn von Kyohei Fujita
Wolff (Wärff), Ann Schale "Jungfrumöte" (Lübeck 1937 geb.) Ãœber rundem Stand gemuldete Schale. Farbloses Glas mit figuralem, geätztem Dekor. Unterseitig betitelt, sign. und dat. "1979". H. 9 cm, Ø 30 cm. - Who's Who in Contemporary Glass Art, 1993, S. 612.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasschale, Schweden, schwedische Glaskünstlerin, Skandinavien, skandinavisches Design, Studioglas, Vintage
Schluifer, Gernot Kleine Kugelvase (Kitzbühel 1941-2008) An vier Seiten in geometrischer Ornamentik hochgeschliffen, sandgestrahlt und poliert. Seitl. sign. und dat. "G. Schluifer 1977". H. 9 cm. - Who's Who in Contemporary Glass Art, 1993, S. 499.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasvase, Österreich, österreichischer Glaskünstler, Studioglas
Adolfsson, Wilke Set von drei Kelchgläsern (Gullaskruv 1940 geb.) Runder Scheibenfuß und halbkugelige Kuppa aus farblosem Glas, Schaft reich durch Baluster und Nodi gegliedert und farbenfroh gestaltet. Am Boden sign. und dat. "95" bzw. "96". H. 13 - 19,5 cm. - Who's Who in Contemporary Glass Art, 1993, S. 4.Galerie Waldrich München / Privatsammlung Christiane Waldrich, modernes Glas, Schweden, schwedischer Glaskünstler, Skandinavien, skandinavisches Design, Studioglas
Kuramoto, Yoko Halskette (Matsuyama/Japan 1950 geb.) Oblonge Rahmenform mit eingeschlossenem Glasstück, darauf querliegendes Stäbchen mit Orange und Flieder, Lederband mit Federringverschluss. Farbloses Glas und farblicher Opakglasunterfang, Edelstahl. Ritzsignatur. L. Anhänger 9,5 cm, L. Kette 55 cm. - Zu kleben. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 295 u. siehe Ausst.Kat.: Glasschmuck heute aus Europa, USA und Japan, S. 16f. u. Ausst.Kat.: Glasschmuck/Glas Jewelry, 1992, S. 34f.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Schmuck
Nyhus, Jane Halsschmuck (Seattle 1950 geb.) Enganliegender Halsreif mit beweglichen Elementen, in den Farben Schwarz, Gold und Kupfer, Künstlermonogrammverschluss und Sicherheitskettchen. Glas, Perlen, Fäden und japanischen Seidenbänder, Verschluss vergoldet. Innendurchmesser ca. 12,5 cm. - Ein Glasglied beschädigt. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 417f. und vgl. Ausst.Kat.: Glasschmuck heute aus Europa, USA und Japan, S. 28f. u. Ausst.Kat.: Glasschmuck/Glas Jewelry, 1992, S. 54f.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Schmuck
Precht, Renate Vase mit Krokusdekor (Singen 1933 geb.) Vierkantform mit gerundeter Schulter. Farbloses Glas mit Dekor in Zwischenschichttechnik: helle, stilisierte Blütenstängel auf kastanienbraunem Fond. Am Boden monogrammiert und dat. "RP 82". H. 16 cm. - Who's Who in Contemporary Glass Art, 1993, S. 446.Blumenvase, deutsche Glaskünstlerin, Deutschland, Galerie Waldrich München / Privatsammlung Christiane Waldrich, Glasvase, Künstlervase, modernes Glas, Studioglas
KATE WINDIBANK; a stoneware and porcelain balanced bowl with irregular rim covered in reactive slips and glazes, diameter 26cm, height 21.5cm.One of 51 bowls included in the installation 'A Gathering'. Provenance: Exhibited at Wells Art Contemporary, 2023. Condition Report: Appears good with no obvious signs of faults, damage or restoration.
KATE WINDIBANK; a stoneware and porcelain balanced bowl with irregular rim covered in reactive slips and glazes, diameter 26cm, height 23cm.One of 51 bowls included in the installation 'A Gathering'. Provenance: Exhibited at Wells Art Contemporary, 2023. Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Paula McArdle (Contemporary)"Walking The Dog", a dream-like depiction of a woman walking her dog with stylised houses dotted behind, limited edition print 269/400, signed and titled in graphite, in card mount and parcel gilt frame under glass, 70 cm x 51 cm overall[McArdle's style has roots in naive art which captures the now, she captures the joy and bemusement of the world around her often portraying scenes of everyday life.]
BANKSY (B. 1975)People Who Enjoy Waving Flags Don't Deserve To Have One 2003 spray paint on found St. George's Cross Flag 132 by 95 cm. 51 15/16 by 37 3/8 in. This work was executed in 2003 and is a unique work from a series. Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office and will be issued with an updated certificate to the buyer. ProvenanceLazarides Gallery, London Private Collection, UKSale: Forum Auctions, London, Only Banksy, 23 April 2021, Lot 10 Acquired directly from the above by the present ownerPeople Who Enjoy Waving Flags Don't Deserve to Have One from 2003 is an exceptional example of Banksy's characteristically provocative and humorous oeuvre, which stirs discourse within a broader socio-political context. As one of the most acclaimed and sensationalist contemporary artists in the world, Banksy's career has garnered a following unlike any other. His political statements and subversive mise-en-scène have adorned cities across the globe at vital junctures in recent history, prompting alternative perspectives and fomenting spectacle and theatre in the art world. His first solo show in over a decade, Cut & Run, was recently hosted at Glasgow's Gallery of Modern Art and drew in crowds from all over the globe. People Who Enjoy Waving Flags Don't Deserve to Have One is a rare and amusing work, that carries with it the artist's classically witty and provocative social commentary. Not one to shy away from dark humour and pointed irony, Banksy takes St. George's flag, a historical symbol dating back hundreds of years, and mocks its common day use. St George's flag is the flag of England and is a derivation from St George's cross, dating back to the Middle Ages. The red cross can be traced back to the third crusade when French and English troops identified themselves from the opposition by wearing red and white crosses. At the same time, St George was adopted as a patron saint by various European countries, including England, since he was the personification of the ideals of Christian chivalry and known for his legendary myths of bravery. The red cross, which has been purposefully turned vertically in the present work might be taken as a reference to the crucifixion of Jesus Christ, possibly one of the most internationally recognised symbols of the Christian faith. Throughout history, the depiction of Jesus' crucifixion has been painted over and over again and Banksy himself is no stranger to the inclusion of religious connotations in his works. For example, his 2017 Grappling Hook sculpture is a strong statement on the struggles of the West Bank barrier. As an artist who uses art as a weapon, Banksy's religious imagery serves to question religion's place in today's society. In the present work, by combining the crucifixion motif with the stencilled phrase over the top of it, Banksy promotes the viewers to question the symbols of nationhood and allegiance to which humanity so easily conforms. Imbued with a rich history and religious connotations, the flag is now more often used as decoration, at royal events and especially sporting events; very commonly seen in football matches, where enthusiasts often paint their faces with the English flag. Banksy is interpreting society's obsession with sport, and the similarities of religious rituals with those actioned by fanatics during football and other sporting events, which often include their nation's flag. By using the phrase stencilled onto the present work as an expressive commentary on nationalism and the often-blind allegiance to, and pride in, one's country, Banksy is also critiquing the population's simplistic manner of pompously waving their country's flag and being proud doing so, no matter the context. Waiving a flag can give people an often unfounded sense of unity, purpose and togetherness, and Banksy parodies these actions that humans take just to feel a sense of belonging, without questioning what the flag really represents. Firmly written into the art history books, alongside the likes of Jean-Michel Basquiat, Keith Haring and Richard Hambleton, Banksy belongs to a rarified group of artist-outcasts whose inimitable styles took seed in their early years as rogue street artists; styles and stories that were hotly embraced by their local contemporary art scene. With his distinct, cool, disarming wit and charm, Banksy's anti-establishment panache has earned him a cult following and unparalleled acclaim. His iconic and universally recognisable works are fiercely sought after by collectors globally and achieve high prices at auction. Banksy has gained unparalleled acclaim for his anti-establishment street art that is universally recognisable whilst his own identity, has remained intriguingly anonymous for decades. He has left an indelible mark on the walls of art history as a true maverick of the genre and cemented his journey from outsider street artist to one of the most important and admired political and cultural voices of the 21st century.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
GLENN BROWN (B. 1966)The Music of the Mountains 2016 signed on a label affixed to the reverse of the backing boardIndia ink and acrylic on panel 135 by 95 cm. 53 1/8 by 37 3/8 in. This work was executed in 2016. Footnotes:This work is registered in the archives of the Glenn Brown Studio, London. ProvenanceGagosian Gallery, London Acquired directly from the above by the present ownerExhibitedFlorence, Museo Stefano Bardini, Glenn Brown: Piaceri Sconosciuti, 2017London, Gagosian Gallery, Glenn Brown: Come to Dust, 2018Guernsey, The Rona Cole Art Gallery, Guernsey Museum at Candie, 2018 - 2022, work on loan to the museumEmerging from a shimmering veil of woven, fluttering lines and threads of acrylic and ink, the timeless subject of Glenn Brown's The Music of the Mountains impresses upon us the uniqueness of his talent and the thrilling nature of his daring artistry that calls upon the benevolent gods of art history, from Da Vinci, Fragonard, Rembrandt and Boucher to John Martin, Dali, and Frank Auerbach. These apparitions don't simply appear as facsimile, however, but instead deconstruct the very humanity that comprises their historicity. Brown produces an intensified vision of painting qua painting that is captivating to behold and supremely contemporary in their notions of authorship and subject. Since his emergence in the 1990s, he has been a maverick of contemporary practice who has gone against the grain consistently, earning a Turner Prize nomination in 2000 and carving out a place amongst the most significant and lauded painters of his generation, with works in major institutions including The Art Institute of Chicago; the Centre Georges Pompidou, Paris; the Museum of Modern Art, New York; and the Walker Art Center, Minneapolis. He will further solidify his standing as one of the leading contemporary British artists with a museum dedicated to his practice and works from his personal collection, including Dutch and Italian masters, opening in Marylebone during the 2022 October Frieze week.In The Music of the Mountains, one cannot escape the elegance of Brown's virtuoso hand that lures and enthrals our gaze with its fluidity, poetry and sensitivity to form. Above all else, Brown is an artist who produces beautiful paintings. But therein lies the complexity and tragedy of his practice that makes his work some of the most challenging conceptual feats of contemporary art. Christoph Grunenberg, Director of the Kunsthalle Bremen, seized upon this essential quality, describing his art as 'one of extreme attraction – in subject matter, execution and look – yet at its heart there is darkness, a melancholic vision of death, destruction and loneliness. Belying their aesthetic perfection, masterly technical dexterity and formal integrity, Brown's paintings reveal surprising contradictions and ambiguities' (Christoph Grunenberg in Glenn Brown, London: 2009, p. 15). In this way, through The Music of the Mountains we are given access to a transcendent vision of art history that reveals fresh narratives and upends contemporary questions by placing them on a timeline that shrinks their fleeting pertinence. Here, Brown's wisps of paint and ink call upon the delicate and unsurpassed sketches of Da Vinci, blending and folding about one another to manifest a ghost-like head of a woman caught in a three-quarter glance, her eyes cast down appearing transfixed and intent. It is an arresting vision whose features evoke the playful fullness of a Boucher, yet her apparent seriousness lends an air of Judith beheading Holofernes. These epistemic questions tug at our knowledge of art history and the history of images themselves, proving an elaborate contemporary challenge to the validity of painting today. Brown thus goes beyond the reproduction of an original image; he reconstructs the composition, subjects it to distortion, and ultimately imbues it with a new sense of narrative. In his skilful handling of paint and conceptual ingenuity grounded in Postmodern critical theory, The Music of the Mountains draws us in with a timeless beauty that teeters on collapse, as exquisite and gossamer as the painted surface is. In opening his practice to the questions and tribulations of originality, Brown places himself amongst a rarefied group of artists for whom appropriation practices have defined their careers, from Marcel Duchamp, Cindy Sherman, Sherry Levine, Richard Prince, and Jeff Koons. Brown stands apart, however. His paintings leave doors open to ambiguity and revivification, not least in his titles that can appear oftentimes as banal or overly romantic, but interestingly turn to music as a source of inspiration. 'The connections between my paintings and my titles are not always obvious but they are never random,' the artist says: 'I am trying to puzzle viewers. The work is supposed to stick in their heads and make them ask why. Again, that is the base with good music; something, perhaps a sense of disharmony or miss alignment of timing, catches your attention but you often cannot articulate why. I think it is the same with a painting: it has to catch you by being enigmatic and intriguing – whether it is through colour or meaning, beauty or ugliness, a celebration of life or the devastation of death' (the artist interviewed by Rochelle Steiner in Glenn Brown, London: 2004, p. 100).In a perfectly balanced synthesis, Brown's execution is bonded to the grandeur of his ideas, which enables him to operate with an unparalleled nuance, cutting right between what the image is and what it represents. Without the masterly hand of the artist, such notions of beauty and decay, of life and death, would not uphold. As evidenced in the present work, these sumptuous swirls and painterly panache permit us to glimpse the sublime. But Brown allows darkness to creep in, where trailing threads and spirals appear to create a kind of smog, a putridity that hangs in the air of the piece. Ultimately, what the artist captures is pure affect – the remnant of an impression that casts itself back through time: 'the naked flesh of the original model may be long dead, but that just aids the imagination Fragonard, Auerbach and Rembrandt painted the living. Their flesh has become paint so I paint paint. The paint is the crusty residue left after the relationship between the artist and his model is over. It is all that there is left of real love, so I paint that' (the artist in Ibid., p. 17).Glenn Brown's The Music of the Mountains is an exemplary painting that illustrates the richness and vastness of his practice. In Brown's dextrous hand, we sense the timelessness of his subject that is conjured spirit-like before us. She hangs in the air as a vision of art that was, and art as it is now – constantly evolving, emerging, dwindling, and reconstituting. Brown continues to be one of the most exciting and talented contemporary artists, whose communion with art history's masters has surely placed him amongst them.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
WILLIAM KENTRIDGE (B. 1955)Drawing from the History of the Main Complaint 1996 signed and dated '96charcoal and pastel on paper123 by 160 cm.48 7/16 by 63 in.Footnotes:ProvenanceAnnandale Galleries, SydneyPrivate Collection, SydneyAcquired directly from the above by the present ownerLiterature Carolyn Christov-Bakargiev, William Kentridge, Brussels 1998, p. 112, illustrated in colour Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge, London 1999, p. 87, illustrated in colourCaptivating and poignant, Drawing for the Main Complaint is one of twenty-one large-scale drawings constituting Kentridge's film, 'History of the Main Complaint.' The present work's expansive scale and gestural execution coupled with its thematic exploration of apartheid, colonialism, memory, and time firmly establish Kentridge as a significant artist who has made a compelling contribution to contemporary art. Other drawings from the film are housed in esteemed collections such as the Museum of Modern Art, New York and the Museum of Contemporary Art, Chicago, affirming the importance of the present work, and of Kentridge's stature as one of today's most notable living artists. In the present work Kentridge is rendering a striking portrayal of an austere black-and-white hospital ward with curtains drawn around a solitary bed, revealing only two discernible hints of red and blue – red in the light on the wall to the right and blue in the bowl of water to the left. These sparingly applied colours carry profound aesthetic and allegorical significance, transforming into a device imbued with powerful symbolism. Drawing lies at the core of Kentridge's artistic practice. 'I guess it all starts from charcoal drawings; you can change charcoal as quickly as you can change your mind. There's a flexibility and granularity that I really like.' (the artist in an interview with Tate, London, William Kentridge – 'Art Must Defend the Uncertain' | Artist Interview | TateShots, youtube.com/Tate, 20 April 2018) This immediacy becomes palpable in the artwork, where the velvety smudged lines and sooty surface coalesce to deliver a tactile and evocative visual experience. Each drawing represents a singular scene within the animation, changing subtly through the swift process of erasing and redrawing with each new image photographed in 16 or 35-mm film. The lingering imprints of these stages on the paper transcend their physicality, emerging as an important metaphor for the layering of memory, a central and resonant theme that permeates Kentridge's extensive body of work. Kentridge comments further on his unique and labour-intensive process, 'The technique I use is to have a sheet of paper stuck up on the studio wall and, halfway across the room, my camera, usually an old Bolex. A drawing is started on the paper, I walk across to the camera, shoot one or two frames, walk back to the paper, change the drawing (marginally), walk back to the camera, walk back to the paper, to the camera, and so on. So that each sequence as opposed to each frame of the film is a single drawing. In all, there may be twenty drawings to a film rather than the thousands one expects. It is more like making a drawing than making a film (albeit a grey, battered, and rubbed-out drawing). Once the film, editing, adding sound, music, and so on proceeds like any other.' (the artist in: C. Christov-Bakargiev, William Kentridge, Brussels 1998, pp. 61-64).Hypnotic and deeply moving, Kentridge's films go beyond politics to express a profound humanitarian perspective. They are a powerful collection of images tapping into a shared consciousness. Viewed collectively, these films evoke a lingering, almost overwhelming sadness extending beyond the confines of Johannesburg. 'History of the Main Complaint' is featured in many prominent publications and holds a pivotal place in Kentridge's filmography. Editions of the film are found in the collections of prestigious institutions such as the Museum of Modern Art, New York and Tate London.Drawing from the Main Complaint features in the sixth film, 'History of the Main Complaint,' which spans 5 minutes and 50 seconds. It is a part of Kentridge's ongoing series of animations entitled 'Drawings for Projection,' initiated in 1989. Created in 1996 during the Truth and Reconciliation Commission's initial hearings in post-apartheid South Africa, 'History of the Main Complaint' delves into the profound social and historical wounds inflicted by apartheid. The Commission, established under Archbishop Desmond Tutu, aimed to address human rights abuses during the apartheid era through public hearings where individuals recounted personal suffering for reparation and reconciliation. Kentridge's film centres on the theme of white responsibility, portraying a 'medical' investigation into Soho Eckstein, a white property-developing magnate, and the protagonist in preceding films. As Soho lies comatose in a hospital ward, weighed down by the burdens of his past actions and those implicated by his race and class, MRIs and CAT scans visually articulate his affliction. Memories of violence against black South Africans permeate the screen, reflecting the intricate interplay between individual and collective guilt. Soho's awakening from his coma hinges on acknowledging his personal responsibility, embodying a powerful revelation of conscience within the broader narrative of societal healing and historical reckoning. Kentridge's work has been exhibited in renowned museums and galleries worldwide since the 1990s, including the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia Museum in Madrid, the Kunstmuseum in Basel, Zeitz MOCAA, and the Royal Academy of Arts in London. He has also been featured multiple times in Documenta in Kassel (2012, 2002, 1997) and the Venice Biennale (2015, 2013, 2005, 1999, and 1993).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
JONATHAN LASKER (B. 1948)To Do And Be 1984 signed and dated 1984 on the reverse oil on canvas 76 by 61.5 cm. 29 15/16 by 24 3/16 in. Footnotes:ProvenanceGalerie Michael Werner, ColognePrivate CollectionSale: Christie's, New York, Post-War and Contemporary Art Day Sale: Session I, Including Works from the Peter Norton Collection, 9 November 2011, Lot 355Lars Bohman Gallery, StockholmAcquired from the above by the present ownerExhibitedLondon, Timothy Taylor; Stockholm, Lars Bohman Gallery; Berlin, Galerie Thomas Schulte, Jonathan Lasker, The 80's, 2011-2012This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
CARLOS CRUZ-DIEZ (1923-2019)Induction Chromatique á Double Fréquence Montalbán 11 2016 signed, signed with the artist's initials, titled, dated and inscribed PARIS 2016 and EDA on a plaque affixed to the reversechromatography on aluminium 100 by 150 cm. 39 3/8 by 59 1/16 in.Footnotes:This work is accompanied by a photo-certificate of authenticity issued by the Cruz-Diez Art Foundation, Paris.Provenance Atelier Cruz-Diez, ParisAcquired directly from the above by the present owner in 2016Exhibited Madrid, In Situ Art Projects, Odalys Group, Ambientación Cromática Montalbán 11: Carlos Cruz-Diez, 2016-2017Carlos Cruz-Diez, one of the leading protagonists of the Kinetic and Optical Art movements, was born in Caracas, Venezuela in 1923 to parents who encouraged his artistic inclinations at an early age. When he was seventeen, Cruz-Diez enrolled at the Art School of Caracas and supported himself as an illustrator and graphic designer. After cementing his career as an artist and deciding to expand his practice, Cruz-Diez moved to Europe, first living in Spain, and later settling in France in 1960. With Victor Vasarely, Joseph Albers and Bridget Riley as contemporaries, Cruz-Diez merged Pop-Art, Kinetic Art, and Op-Art to explore ways in which art can be interactive. He has dedicated his life to the research of colour, line and perception and is widely considered as one of the greatest artists of the 21st century. Induction Chromatique á Double Fréquence Montalbán 11 is a superb example of artist's technique of layering colours and combining them to produce a stunning environment that demonstrates the variability and ambiguity of colour. Another work of this series is located in the Museum of Fine Arts, Houston. Cruz-Diez's work is based on the moiré effect, in which lines of contrasting colour give the viewer an impression of movement. As described by the artist himself 'the Chromatic Inductions offer a solution in order to assimilate real space and time to a static plan. A chromatic event occurs in these works and continuously evolves depending on the spectator's position but also the changes of light, in contrast to nature and the purpose of the traditional painting space.' (the artist in: Cruz-Diez, 'Induction Chromatique, 1963' cruz-diez.com, 27 February 2024) In the Induction Chromatique series, Cruz-Diez studies the phenomenon of the 'after image', also known as retinal persistence. When staring at a colour for a certain amount of time, the retina preserves an image of the surface even after looking away, but in its complementary colour. For example, the viewer will see the complimentary colour green after staring at a red surface for a while. In Induction Chromatique, the artist manages to stabilise and make visible a fleeting phenomenon, that can only be observed under particular circumstances. Cruz-Diez shows that the colour induced on our retina, is just as real as the painted colour; essentially depicting the two phases of the phenomenon simultaneously, creating an optical effect and providing a more intense art experience. The present work carries with it a truly remarkable cluster of sensations by removing colour from the plane and bringing it into the physical space as a reality. The work confronts the viewer with real time movement and the continuous development of colour, generated by Cruz-Diez's fascinating ability to evoke a hypnotic state. As explained by Cruz-Diez, his practice faces the viewers with a real-time event. Colour is created by the viewer through their own means of perception. In Induction Chromatique á Double Fréquence Montalbán 11 the colour gains an intrinsic value that behaves independently to affirm itself in its own environment. As seen in nature, colour is ever-evolving and in the present work, Cruz-Diez allows for this change of colour to happen, mirroring the changes that happen in nature to provoke engagement between the viewer and the work.Carlos Cruz-Diez has been in countless exhibitions, including the seminal exhibition 'The Responsive Eye' at The Museum of Modern Art, New York in 1965. In 1970, the artist was included in the 35th Venice Biennale at the Venezuelan Pavilion. In 2002, he was awarded by France the medal for Commandeur de l'Ordre des Arts et des Lettres. Exhibitions in New York and Houston in 2008 and 2011 brought further recognition to his work that would be followed by Op Art retrospectives at the Royal Academy, London and El Museo del Barrio, New York. Since then, Cruz-Diez has shown his works at the Tate Modern, London; Museo Nacional Centro de Arte Reina Sofía, Madrid; The Geffen Contemporary at The Museum of Contemporary Art (MOCA), Los Angeles; Centre Pompidou-Metz, Metz and the Moderna Museet, Stockholm, amongst many others.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
CHRIS OFILI (B. 1968)Untitled 2000 Each: signed twice and dated 2000 on the reverseEach: watercolour and graphite on paper, in two partsEach: 24.3 by 15.5 cm. 9 9/16 by 6 1/8 in. Footnotes:ProvenanceContemporary Fine Arts, Berlin (COZ 100/L), (COZ 100/R) Private Collection, GermanySale: Sotheby's, New York, Contemporary Art (Afternoon), 14 May 2003, Lot 318 Private Collection Sale: Phillips de Pury & Company, London, Now: Art of the 21st Century, 26 September 2009, Lot 134 Acquired from the above by the present ownerThis 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
BRAM BOGART (1921-2012)La Méduse et ses Légumes 1957 signed and dated '57; signed, titled, dated Avril '57 and numbered 41 on the reversemixed media and jute on board38.5 by 93.5 cm. 15 3/16 by 36 13/16 in. Footnotes:ProvenanceArthur Tooth & Sons Ltd., London (5066) Sale: Sotheby's Olympia, London, Contemporary Art, 19 June 2006, Lot 631 Acquired directly from the above by the present ownerThis 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
DAMIEN HIRST (B. 1965)Controlled Substance Key Painting (1 inch spot) 1994 signed twice and dated 1994 on the reverse; stamped twice with the artist's stamp on the stretcher household gloss on canvas30.5 by 30.5 cm. 12 by 12 in. Footnotes:ProvenanceJay Jopling Collection, LondonWhite Cube, Hong KongPrivate Collection, China Sale: China Guardian Auctions Co., Beijing, Contemporary Art Evening Sale (II), 13 June 2023, Lot 1755Acquired directly from the above by the present ownerExhibitedLondon, Gagosian Gallery, Damien Hirst, The Complete Spot Paintings, 1986-2011, 2012, p. 90, illustrated in colourControlled Substance Key Painting belongs to Damien Hirst's Controlled Substances paintings, part of his Spot Paintings series; another example from this group of works is held in the ARTIST ROOMS Tate and National Galleries of Scotland.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
Fairholt (F.W.) & Thomas Wright Miscellanea Graphica: Representations of Ancient, Medieval, and Renaissance Remains in the Possession of Lord Londesborough, additional engraved pictorial title with hand-coloured vignette, 45 plates, some chromolithographed and heightened with gold, guards, previous owner's ink inscription to front free endpaper, final leaf defective with loss to 'Finis' at foot, some foxing, hinges repaired, original cloth decorated in blind, slightly rubbed, Chapman and Hall, 1857 § Smith (Bernard) European Vision and the South Pacific 1768-1850: A Study in the History of Art and Ideas, illustrations, original dust-jacket panels laid down to front and rear pastedowns, contemporary review from "Nation" tipped in at front, spine ends lightly bumped, 1960 § Newton (Charles and Eric) The Art of Wyndham Lewis, frontispiece, colour plates and illustrations, a couple of patches of discolouration to covers, extremities slightly bumped, 1951, first editions, original cloth; and c. 60 others, art and art reference, v.s. (c.65)
W. Wallis (Engraver). The National Gallery, 2 volumes, engraved frontispiece, numerous further engraved plates throughout, contemporary half morocco, 4to, London: Jones & Co, n.d.; Unknown. The National Portrait Gallery, numerous engraved portrait plates, contemporary half morocco, 4to, London: Cassell and Company, n.d.; Bernard Berenson. The Italian Painters of the Renaissance, coloured frontispiece, numerous further illustrations, contemporary full calf by Giulio Giannini Firenze, 8vo, London: Phaidon Publishers Inc, 1953; and 34 others, similar, mostly relating to European art, v.s. (38) Provenance: Ex-Libris Robert Lenkiewicz Foundation (1941-2002).Mixed condition.
The Illustrated Catalogue of the Industry of All Nations, engraved frontispiece and title page, over 1000 further illustrations of the works of Art, Statues, Jewellery, Ornaments, Carpets, Tableware, Furniture, Clocks, etc, on view at The Crystal Palace Exhibition, plus approximately 94 pages of detailed text about the Exhibition in general, original publishers cloth gilt, 4to, London: Published for The Art Journal by George Virtue, 1851; L'Art Ornamental 3rd February 1883 to 12th January 1884, numerous illustrations throughout, contemporary full roan, 4to, Paris: 1883-84 (2).(i) occasional spotting, boards faded and soiled, corners bumped and with loss (ii) occasional spotting, boards soiled, corners bumped. Sold not subject to return.
Dante Alighieri. The Vision of Hell, new edition, translated by The Rev. Henry Francis Cary, with illustrations by Gustave Dore, contemporary morocco, folio, London: Cassell and Company Ltd, n.d.; Edmund Ollier. Cassell's Dore Gallery, with two hundred and fifty full-page engravings, contemporary morocco, folio, Cassell and Company Ltd, n.d.; Alfred Tennyson. Elaine, with numerous illustrations by Gustave Dore, original publishers boards gilt, folio, London: Edward Moxon and Co, 1867; and 7 others, similar, mostly relating to art (11) Provenance: Ex-Libris Robert Lenkiewicz Foundation.Mixed condition.
Lewis Gruner. Specimens of Ornamental Art, first edition, 56 chromo-lithographed plates and 24 plain, guards, contemporary red half morocco, all edges gilt, bookplate of Merthyr Guest, folio, London: Thomas M'Lean, 1850.Some light spotting, occasionally notable, a few leaves loose, extremities of boards rubbed.
Andy Warhol (American, 1928-1987). Screenprint on paper from the "Sunset" series, 1972. The present work, depicted with a gold sun on a blue and green background, is one of 632 unique prints created for the Hotel Marquette in Minneapolis, Minnesota. Pencil signed and numbered 106/470 along the verso; stamped "Hotel Marquette Prints" along the verso.Provenance: Printed for the Hotel Marquette, Minneapolis, MN; Lesch Gallery, Minneapolis; Private Minnesota Collection.Lot Essay:Andy Warhol, born Andrew Warhola in 1928 in Pittsburgh, Pennsylvania, became a leading figure in the art movement known as Pop Art. As a child, Warhol was frequently kept home from school due to a chronic illness. During this time, Warhol immersed himself drawing and became captivated by the visual culture of the time, surrounded by snapshots of culture and celebrity in comic books, magazines, and commonplace items, laying the foundation for a later fascination with the intersection of artistic expression and commercial success.Warhol pursued formal art education at the Carnegie Institute of Technology and found initial success as a commercial illustrator in New York City during the 1950s. However, it was in the 1960s that Warhol catapulted to fame with the emergence of Pop Art. His Campbell's Soup Cans, Marilyn Monroe portraits, and Coca-Cola bottle paintings became iconic symbols of the movement. Warhol's unique approach drew inspiration from commercialism, mass media, and consumer culture, making him a distinctive voice in the 20th-century art scene alongside contemporaries like Roy Lichtenstein and Jasper Johns. His innovative studios, particularly "The Factory," served as avant-garde hubs of creativity, attracting diverse talents. Here, Warhol embraced screen printing, a technique that allowed for mass production of art. This method became a hallmark of his work, enabling him to blur the boundaries between art and consumer culture.In 1972, Warhol designed the Sunset series, 632 screenprints of a sunset, for the Hotel Marquette in Minneapolis, Minnesota. With their vivid colors and bold composition, the Sunset prints demonstrated Warhol's ability to elevate mundane subjects into captivating, mass-produced art, embodying his fascination with the intersection of art and commerce. In this particular print, the golden orb, haloed in a soft white, overlaid on a gradient of gray-blue and beige evokes a universality of place and beauty--an aesthetic experience and natural phenomena--that implores the viewer to consider the elemental nature of the scene, while also considering its present form: one among a series 632 similar prints. The Sunset series thus encapsulates Warhol's ability to merge high art with commercial culture while prompting reflection on the deeper implications of our consumer-driven world.In the decades since his passing in 1987, Andy Warhol’s legacy endures and his impact is evident in contemporary art, where artists continue to draw inspiration from his fusion of art, media, and consumerism. Warhol’s ability to capture the zeitgeist of his era and challenge artistic conventions ensures that his influence remains a lasting force, shaping the trajectory of art and culture well into the 21st century.Sight; height: 32 3/4 in x width: 32 3/4 in. Framed; height: 40 in x width: 40 in.
George Chann (Chinese/American, 1913-1995). Mixed media on canvas abstract painting in blue, yellow, and red. Signed along the lower right.Provenance: Private Texas Collection, 2023; Private Minnesota Collection.Lot Essay:George Chann was a Chinese-American artist known for his significant contributions to modern art in the mid-20th century. Born in Canton, China, Chann immigrated to the United States in 1933, where he later became a prominent figure in the American art scene. His work is characterized by a fusion of Eastern and Western artistic traditions, blending traditional Chinese calligraphy with modern abstract expressionism. Chann's unique style and innovative approach garnered attention, leading to numerous exhibitions and accolades throughout his career.In the 1950s and 1960s, Chann played a key role in the California art scene, particularly in the San Francisco Bay Area. His paintings often featured bold brushstrokes, vibrant colors, and a sense of spontaneity that reflected his deep understanding of both Chinese and Western artistic philosophies. Chann's artistry transcended cultural boundaries, offering viewers a bridge between two worlds. His legacy continues to influence contemporary artists, highlighting the rich tapestry of cultural exchange in the realm of modern art.Unframed; height: 16 3/4 in x width: 21 1/4 in. Framed; height: 20 3/4 in x width: 25 in.
Woody Gwyn (American, b. 1944). Oil on canvas painting titled "Tourists II" depicting a scenic vista of the American southwest, 1991-92. Two tourists stand at the edge of an overlook, taking in the dramatic view. Signed along the lower right.Provenance: Katharina Rich Perlow Gallery, New York; Distinguished Corporate Collection, Minnesota.Lot Essay:Gwyn found early inspiration in New Mexico when he moved there in 1974. The sense of space and scale informed his vast landscapes. It is these landscapes that would lead to his recognition as one of America's foremost contemporary landscape painters. The purity of color in his works as well as radiant lighting, unconventional compositions, and inclusion of minute details has led him to be dubbed a "painter of clarity itself."His works usually start as plein-air sketches and watercolors and record the immediate details. From there, he moves to his studio where he begins to capture "the truth of the land" with color on canvas, panel, or paper. While his works capture the reality of his subjects, they are also imbued with a sense of hidden extraordinary. He finds the inherent beauty of the landscape in every work.Gwyn has been highly exhibited throughout the United States and his works are held in the collections of esteemed institutions including The Cleveland Museum of Art, Phoenix Art Museum, the Denver Art Museum, and many more.Sight; height: 60 in x width: 71 1/2 in. Framed; height: 61 1/2 in x width: 71 1/2 in.
Peter Ford Young (American, b. 1940). Acrylic on canvas painting titled "White Painting #10" depicting colorful dots against a white background, 1967. Signed along the stretcher bar along the verso.Provenance: Jacobson Howard Gallery, New York; Acquired from previous, private collection, 2009; Christie's New York, Auction 21597 "Post-War & Contemporary Art," July 7-18, 2023, Lot 215; Private California Collection.Lot Essay:Peter Young began as an abstract painter in New York City in the 1960s. While he has continuously defied categorization, he would go on to be associated with the movements of Minimal Art, Post-Minimalism, and Lyrical Abstraction.In the 1960s the artist began to incorporate elements of Pointillism and Aboriginal art to create playful compositions of circles and dots. He focused on color and density to create monumental paintings, often on a monochromatic background. These clusters of dots created dizzying patterns and clusters of color, often only visible by stepping back and allowing oneself to experience the work as a whole, rather than as individual spots of paint.Height: 84 in x width: 84 in.
Grace Hartigan (American, 1922-2008). Large oil on canvas painting titled "Dublin" depicting an abstract expressionist painting executed in muted colors with splashes of bright blue and purple, 1958-59. Part of her "European Place" painting series, inspired by her travels to eight cities in Europe and Ireland from 1958 to 1959. This painting is very similar to a work in the collection of the Guggenheim titled "Ireland," which is the largest work in this series. This series did not depict literal views of the cities or places she visited, but were rather "evocations of place" inspired by her experiences there.Provenance: The artist via Tibor de Nagy Gallery, New York; Collection of Beatrice & Hart Perry, New York; Collection of John Raimondi, Palm Beach, Florida; Private Connecticut Collection; Private Minnesotan Collection.Exhibition History: Columbus Gallery of Fine Arts, "Contemporary American Painting," Columbus, Ohio, January 14 - February 18, 1960; Newport Harbor Art Museum "Action/Precision: The New Direction in New York 1955-1960," Newport Beach, California, 1984-1986.Reference:Robert S. Mattison, "Grace Hartigan: A Painter's World," New York: Rizzoli International Publications, 1990. Pgs. 46 & 47."Action/Precision: The New Direction in New York 1955-1960," Newport Beach, California: Newport Harbor Art Museum, 1984. Pgs. 86 & 87.Lot Essay:Grace Hartigan (March 28, 1922 – November 15, 2008) was a trailblazing American Abstract Expressionist painter, celebrated for her bold and dynamic contributions to the mid-20th-century art scene. Born in Newark, New Jersey, her artistic journey began at an early age, and she later pursued formal training at the Newark College of Engineering and the George Washington University. However, it was in the vibrant atmosphere of post-war New York City that Hartigan truly found her artistic voice.In the early 1950s, Hartigan became associated with the famed New York School, a group of avant-garde artists who played a pivotal role in the development of Abstract Expressionism. She was notably close to Willem de Kooning, Jackson Pollock, Helen Frankenthaler, Alfred Leslie, Franz Kline, and other influential artists of the era, yet her unique approach to painting set her apart. Hartigan's work often blended abstraction with elements of figurative representation, creating a distinctive style that defied easy categorization.The European Place paintings, to which the present work belongs, were inspired by her travels to eight cities in Europe and especially Ireland from 1958 to 1959. She felt a special affinity for her "dear, dirty Dublin" which reminded her of New York as well as her Irish heritage. The dark, rectangular planes of the work suggest the sooty buildings while the blue expanse in the center recalls the feeling of strolling along the seaside boardwalk at the edges of the city. The delicate, white linear patterns along the lower edge reflect Hartigan's romanticism. At the time of this painting's conception, she was involved in a love affair with Franz Kline and has described these white lines as "a love letter to Franz." The white also suggests the word "Dublin" itself, showing the lyrical and poetic nature of Hartigan's artworks.Hartigan's impact on the art world extended beyond her prolific studio practice. She was a prominent figure in the burgeoning feminist art movement, advocating for greater recognition and opportunities for women artists. In 1982, she was appointed the first female full professor of art at the Maryland Institute College of Art, solidifying her role as a trailblazer for women in the arts.Her extensive body of work has been exhibited in major institutions around the world, including the Museum of Modern Art, the Whitney Museum of American Art, and the National Museum of Women in the Arts. Grace Hartigan's legacy endures as a testament to her innovative spirit and unwavering commitment to pushing artistic boundaries. Her influence continues to inspire contemporary artists, ensuring that her contributions to the rich tapestry of American art remain both celebrated and influential.Sight; height: 83 1/2 in x width: 71 in. Framed; height: 84 3/4 in x width: 72 1/4 in.
Wade Guyton (American, b. 1972). Photographic collage titled "The Tomato Lovers" depicting two figures embracing in a red circle layered over a photograph of a tomato plant, 2006. Signed, numbered 48/100, and dated along the verso. The work was designed in 2002 for Texte Zur Kunst, a German contemporary art magazine.Provenance: Galerie Fluegel-Roncak, Nurnberg, Germany; Private Minnesota Collection.Lot Essay:Wade Guyton, along with Kelley Walker, Seth Price, and Tauba Auerbach, is among some of the artists at the forefront of new ideas on appropriation and abstract art utilizing 21st-century digital technology. Indeed, many of Guyton's earlier works harnessed the power of simple inkjet printers. He would feed materials such as book pages, magazines, and blank canvas through the printer, embracing the imperfections that would result from using unconventional materials.Many of his recent works have used headlines from the New York Times, commenting on times of unrest and unease politically and socially. Some of the front pages have been halved or split down the center, signally a rift within the country when juxtaposed with pictures of violence and headlines of recent events.Guyton has exhibited at the Whitney Museum of Art, Kunsthaus Bregenz, Kunsthalle Zurich, as well as the Venice Biennale.Sight; height: 16 1/4 in x width: 11 3/4 in. Framed; height: 25 1/4 in x width: 20 3/4 in.
Stephen "Steve" Rolfe Powell (American, 1951-2019). Massive hand-blown multi-colored murrine glass vase of double-lobed form, 2001. From the "Teasers" series, whose forms often resembled buttocks. Etched "2T," signed, and dated along the base.Provenance: Private Minnesota Collection.Lot Essay:In the 1980s, Powell established himself as a prominent figure in the contemporary glass art scene, drawing inspiration from a diverse array of sources, including nature, music, and the human form. His signature style was characterized by bold, gestural forms, richly layered colors, and intricate patterns, reflecting his improvisational approach to glassblowing. Powell's innovative techniques pushed the boundaries of traditional glassmaking, earning him widespread acclaim and recognition.One of Powell's most notable achievements was his development of the "color overlay" technique, which allowed him to create intricate patterns and textures by layering different colors of molten glass. This technique became a hallmark of his work, imbuing his sculptures with a sense of depth, movement, and luminosity. Powell's art transcended the confines of the studio, with his monumental glass sculptures adorning public spaces, museums, and private collections around the world.Beyond his artistic endeavors, Powell was also a dedicated educator and mentor, sharing his knowledge and passion for glassblowing with countless students and aspiring artists. His generosity and commitment to fostering the next generation of talent left an indelible mark on the glass art community.Height: 40 1/2 in x width: 25 in x depth: 6 in.
Greg Bogin (American, b. 1965). Cast plastic convex painting in cream and white.Provenance: Private Minnesota Collection.Lot Essay:Bogin lives in New York and works in Brooklyn. His works, often bright in color, draw from both minimalism and the Pop art movements. As he has said of his works, "The world is dark enough, so I set out on a path of making work that hopefully makes people feel happy and creates a momentary respite for myself and the viewer."He has exhibited at Marlborough Contemporary in New York and London; Leo Koenig Inc., New York; Mary Boone Gallery, New York; Galerie Bruno Bischofberger, Zurich; Paolo Curti/Annamaria Gambuzzi & Co., Milan; and Jablonka Gallerie, Koln.Height: 23 in x width: 23 in.
Tom Wesselmann (American, 1931-2004). Serigraph titled "Seascape (Tit)" depicting a nude breast in front of an ocean. From Graphic (Graphik) USA, Edition Plus, Baden-Baden, 1967-68. Published by Edition Plus, Suzanne L. Fischer, Baden-Baden. Distributed by Trois Anges, Inc., New York. Numbered 99/100, pencil signed, and dated.Provenance: Private Minnesota Collection.Lot Essay:Born in Cincinnati, Ohio, Wesselmann initially studied psychology at Hiram College before turning his focus to art and enrolling at the Art Academy of Cincinnati. He later moved to New York City, where he immersed himself in the vibrant art scene of the 1950s and 1960s.Wesselmann gained widespread recognition for his bold and colorful compositions that appropriated imagery from popular culture, often featuring everyday objects and figures from advertising, magazines, and consumer goods. His iconic series of "Great American Nude" paintings, begun in the early 1960s, redefined the portrayal of the female form in art, blending elements of eroticism with a graphic and stylized aesthetic. Throughout his career, Wesselmann experimented with various mediums, including painting, collage, and assemblage, pushing the boundaries of traditional artistic techniques.Beyond his depictions of the female body and consumer culture, Wesselmann's work also delved into themes of desire, consumption, and the commodification of imagery in contemporary society. His compositions were characterized by their flatness, vibrant colors, and clean lines, which emphasized the visual impact of his subjects. Wesselmann's influence on Pop Art and contemporary art as a whole is significant, as his provocative and visually striking works challenged conventions and sparked critical discourse about the intersection of art and popular culture.Height: 29 1/2 in x width: 23 1/2 in.
WIGAN (ELEAZAR)Practical Arithmetick. An Introduction to ye Whole Art... Adorn'd with a Great Variety of Flourishes Perform'd by Command of Hand... to be interleav'd for ye more speedy fitting of youth for Merchandize or Trade, engraved portrait by J. Sturt after I. Closterman dated 1695, 61 engraved calligraphic leaves after Sturt, including title and dedication, some soiling, first few leaves a little damp-stained and softened at edges with slight loss, contemporary panelled sheep, worn around edges with some loss, joints cracking [cf. ESTC R18813, variant issue; cf. Heal, English Writing Masters, p.163], small folio, Sold by ye author, [1696]Footnotes:EXTREMELY SCARCE ARITHMETIC AND PENMANSHIP MANUAL - ONE OF ONLY TWO KNOWN COPIES OF THIS ISSUE.There are two issues of this rare work, ours and the Harvard copy being the only ones traced with the imprint simply reading 'Sold by ye author'; no copies giving this imprint have been found in auction records. The other issue bears the imprint 'sold by I. Lenthall Stationer att the Talbott against St. Dunstans Church in fleet Street'; of this several copies are recorded in institutions and in auction records.Although John Sturt was the leading calligrapher of the time, little seems to be known of Eleazar Wigan. Over twenty years earlier Edward Croker had dedicated his morality and writing manual (Croker's morals, 1675) 'to my Honoured Friend Mr. Eleazar Wigan That Famous Writing-Master; Living at the Hand and Pen on Great Tower-Hill', but as Mark Noble wrote in 1806 (A Biographical History of England, vol. 1, p.310), 'the only publication of Wigan's now known is his 'Practical Arithmetic', in which are given the titles and principal rules for common arithmetic, adorned with flourishes 'by command of hand'... The book was dedicated to the rev. Samuel Hoadly, master of a boarding-school at Hackney, father of bishop Hoadly, who had the education of two of his sons'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
MOORE (THOMAS)The Ferns of Great Britain and Ireland... edited by John Lindley... Nature-printed by Henry Bradbury, half-title, 51 nature-printed plates, all printed in colours by Bradbury & Evans, spotting (heavier to titles and 9 plates), contemporary half morocco, upper cover detached, losses to spine [Nissen BBI 1400; Pritzel 6405; Stafleu & Cowan 6275], folio (550 x 360mm.), Bradbury and Evans, 1855[-1856]Footnotes:The 'first English attempt at applying Nature-Printing to Botanical sciences' (Preface), the author explaining that previously, in order to convey 'the necessary accuracy, the art of a Talbot or a Daguerre was insufficient, nor could they be represented pictorially until Nature-Printing was brought to its present state of perfection'. The plates were executed by Henry Bradbury (1831-1860), who had learned the process whilst studying under Alois Auer at the Imperial Printing Office in Vienna.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 29-51)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lot 50), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath (lot 48) and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea (lot 49). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, whether sketching his surroundings (lot 29), or studying the model before him (lots 30 & 31), he captures the scene before him with a fine eye for detail. And as a colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 35 & 36). But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The reference for the travelling exhibition abbreviated in lots 29-51 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96 29HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) VIEW FROM THE ARTIST'S STUDIOpencil on paper 16.4 x 33cm; 6 1/2 x 13in (unframed)There is a partial sketch of a seated female figure on the reverse.
• EDMOND XAVIER KAPP (BRITISH 1890-1978) Edmond Xavier Kapp (lots 60-71) Oh to be silent! Oh to be a painter! Oh (in short) to be Mr. Kapp (Virginia Woolf) Introduction Widely remembered for his portraiture, in particular his distinctive form of character types (he did not like his work to be describe as caricature), Kapp was a highly versatile artist with an enquiring mind and a love of music. Appreciated in his lifetime also for his poetry and his evolving interest in abstraction, he aspired to write, mixed with the leading artists of the day and attracted the attention of critics and the cognoscenti. The following twelve lots from his estate capture the singularity of his artistic vision and his constant thirst for innovation. Born in Islington, London, the son of Jewish-German parents, Kapp studied in Berlin, Paris and Cambridge, where he had his first exhibition, wrote for Granta and the Cambridge Magazine and attracted the attention of Max Beerbohm. While a 2nd Lieutenant with the Royal Sussex Regiment in the First World War, he sketched portraits of his fellow soldiers to amuse them in the trenches, including the young poet Edmund Blunden, and crossed paths with William Rothenstein at Amiens, a meeting Rothenstein recalls in his autobiography Men and Memories. After the Armistice Kapp held his first one man exhibition at the Little Art Rooms, Adelphi, London, the catalogue introduction written by Beerbohm. Commissions followed, together with the publication of his first book: Personalities published in 1919 and reviewed by Virgina Woolf in her essay Pictures and Portraits. Prominent figures who featured in his early work included Edwin Elgar, Percy Wyndham Lewis and Richard Strauss. Later, after the War, subjects ranged from Albert Einstein (1923) to the Duke of Windsor, the future King Edward VIII (1932); of leading personalities in the arts he captured the characters of Aldous Huxley and Noël Coward. Kapp typically rejected supplying caricatures to newspapers, preferring to choose his own subjects. But he did take on commissions, such as his series Ten Great Lawyers published in 1924 in the Law Society Journal. And his work appeared in a wide variety of periodicals, most notably Time and Tide, output that resulted in the publication of further volumes of his collected portraits, and an exhibition of his work at The Leicester Galleries, the leading contemporary gallery in London of the day. In 1922 Kapp married Yvonne Meyer, journalist, photographer, translator and writer, now best known for her biography of Eleanor Marx. On their honeymoon the young couple visited Beerbohm in Rapallo and settled the following year in Rome where Kapp studied at Sigmund Lipinsky’s art school and under Antonio Sciortino at the British Academy. There too he met the American painter Maurice Sterne who encouraged him to paint in oil. Kapp also developed his interest in lithography as a means to sell limited editions of his more well-known sitters. It led in 1935 to a commission for portraits of twenty-five delegates to the League of Nations in Geneva. Publication of the series brought him to the attention of Pablo Picasso, and the beginning of a close friendship between the two artists. Kapp captured Picasso’s profile in a sketch of him in his studio at 23 Rue La Boetie, Paris in 1938, purportedly the only likeness for which Picasso agreed to sit (collection of the Victoria & Albert Museum). And there are relaxed and informal photos of Picasso in bathing trunks snapped by Kapp in 1948 outside the restaurant Chez Nounou and the Hotel de la Mer in Golfe Juan when holidaying with Picasso in the South of France. During the Second World War Kapp was an Official War Artist; after the War he worked as an Official Artist to UNESCO. He kept a studio at 2 Steeles Studios, Haverstock Hill in Hampstead, North London (lots 67 & 71) and in Beausoleil, near Monaco in the Alpes Maritimes (lot 61), and explored abstraction. String Quartet (lot 71) suggests his interest in synaesthesia and the work of Kandinsky; his playful Dragon Flight (lot 69) invokes the wit of Paul Klee, while the exploration of his medium in Abstract Composition (lot 69) is suggestive of fellow experimental artist Max Ernst.60EDMOND XAVIER KAPP (BRITISH 1890-1978)PORTRAIT OF A LADYsigned Kapp lower left; dated 1958 lower rightoil on canvas92 x 60.5cm; 36 1/4 x 23 3/4in (unframed)
EARLY COOKERY. A closet for ladies and gentlewomen, or the art of preserving, conserving and candying, with the manner how to make diverse kindes of syrupes and all kinde of banqueting stuffes. Arthur Johnson 161- (the last digit is unreadable).Bound as often with Hugh Platt, Delights for Ladies, to adorne their persons, tables, closets and distillations. Arthur Johnson 1617.Both books are defective:Closet lacking page 47/8 and pages 143-174 (32 pages) with loss to edge of title page and page 175/6.Delights lacks 3 leaves: D4, F4 and F9. Contemporary limp vellum. Sold with all faults, not subject to return.
After Sir Edward Coley Burne-Jones Bt. ARA RWS The Work of Edward Burne-Jones 91 photogravures directly reproduced from the original paintingssigned on the frontispage by Philip Burne-Jonespublished by the Berlin Photographic Company (133 New Bond St, London), 1900a complete folio of all 91 images from a limited edition of 200 copies68 x 51cmProvenance:Bookplate of Annie CowdrayOnly two hundred copies of this large leather bound and gilded book were produced, each of which was signed in pencil by Philip Burne-Jones, the artist's son.The Berlin Photographic Company, (or the Berlin Photographische Gesellschaft, active 1880 - 1920), was a print maker and publisher who specialised in photogravures after Old Masters and contemporary painters. The company had the best optical and camera equipment and were technically the best print makers in the world. Germany had been the cradle of the art of engraving and Berlin photogravures were highly prized in Britain.This book was originally owned by Annie Pearson, Viscountess Cowdray, GBE (née Cass, 1860-1932), who was an English society hostess, suffragist and philanthropist. She was nicknamed the "Fairy Godmother of Nursing" for her patronage of the Royal College of Nursing and her work to promote district nursing throughout England and Scotland. She served as the President of the Women's Liberal Federation from 1921 until 1923 and was also the Honorary Treasurer of the Liberal Women's Suffrage Union. She was painted by both Sargent and Orpen. She and her husband, Viscount Cowdray, an engineer and oil magnate, donated Cowdray Hall to the city of Aberdeen.
A FRENCH ART DECO ELECTRIC GLASS TABLE LAMP BASE AND SHADE, the mottled amber high domed mushroom shade and swept cylindrical base both painted in sombre enamels with a windmill in extensive landscape, base signed J. Robert(s?), with original gilt metal mounts, 14" high (Est. plus 24% premium inc. VAT)Condition Report: Generally good, has a probable almost contemporary Osram light bulb and newly wired with double cord wire.
Loading...
