We found 627780 price guide item(s) matching your search
There are 627780 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
627780 item(s)/page
Lot 6
FRANK AUERBACH (B. 1931)Head of Catherine Lampert 1983-84 oil on canvas51.5 by 61.9 cm. 20 1/4 by 24 3/8 in.This work was executed in 1983-84.Footnotes:ProvenanceMarlborough Fine Art Ltd., London (no. 35121.6)Acquired directly from the above by the present owner in 1984LiteratureWilliam Feaver, Frank Auerbach, New York 2009, no. 510, p. 123, illustrated in colourFrank Auerbach is one of Britain's most distinctive and celebrated painters: an artist for whom the creation of a raw, living image made in response to the presence of a seated model has for over fifty years been a fundamental, ongoing preoccupation throughout his remarkable and lengthy oeuvre. Renowned especially for his heavy application of paint that masterfully fills his compositions, Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. His first exhibition was held at London's Beaux Arts Gallery in 1956 and since then his paintings have become some of the most internationally collected of living artists. Born in Berlin in 1931, Auerbach came to England in 1939, a refugee from Nazi oppression which claimed both his parents. While still a student at St Martin's School of Art in the early 1950s, Auerbach attended night classes given by David Bomberg at Borough Polytechnic. This schooling would significantly shape the young artist's development. Bomberg emphasised the need to evoke the sensed experience of another human being – their weight, mass, position, and presence; above and beyond the necessity to describe a subject's literal appearance. Auerbach later went on to study at the Royal College of Art, ultimately developing his signature palette of bold colours and distinctive, thickly applied painting style. Throughout his career, Auerbach has focused on a small number of subjects, choosing to depict a select group of close friends and family members. He would paint the same model at regular intervals over long periods of time, thereby achieving an intimate knowledge of his sitters, and his depictions are not necessarily a recognisable likeness, but vital physical presences with their own sense of life. Conducted over many sittings, Auerbach continually works and reworks his canvases, resulting in his established technique of a dense accrual of brushstrokes interwoven with layers of rich and vibrant colour that bounce off his canvases. Painted in 1983-84 and stemming from a triumphant period in Auerbach's career, Head of Catherine Lampert is a vigorous, rich, and painterly portrait of one of the artist's most frequent and celebrated sitters. Lampert has consistently sat for Auerbach since 1978 when she worked on his Hayward Gallery retrospective. She habitually joined the artist in his studio on successive Monday evenings, then by appointment for a number of years, before settling on Friday evenings. Lampert worked at the Hayward Gallery before becoming Director of the Whitechapel Gallery in 1988 and would later go on to curate the artist's major retrospective exhibition at the Royal Academy in 2001. In this present work, Auerbach renders Catherine's head in a swirling sweep of brushstrokes and impastoed accumulation of pigment, projecting dynamically from the thinner areas of paint that articulate the background. He creates an almost sculptural construction of Lampert's head that reveals in its expressive rawness the tangible familiarity between artist and sitter, the boldly articulated brushstrokes enlivened by a sincere sense of emotional communion between the two. The numerous appointments acted as a chronicle to the events of their lives, passage of time and friendship they ultimately shared. As Lampert herself has explained, the moments spent with Auerbach felt as though time was suspended, 'that odd limbo, not an unpleasant state, of drifting from practical self-reminders into daydreams and unquantifiable desires'. (Catherine Lampert quoted in William Feaver, Frank Auerbach, New York 2009, p. 21).The intensity of Auerbach's response to his sitter and subject is magnificently brought to life through his dazzling handling of oil and his masterful treatment of paint application and structural composition. In the present work, the paint has been meticulously layered to create a textured landscape of pigment especially evident in the vibrant red impasto at the centre of his portrait that seemingly drips from the surface, enlivening the bold silhouette that emerges from the composition. Amid swathes of dramatic brushwork that layer and contribute to the sculptural surface, the teasingly tangible intensity of Auerbach's subject materialises. The familiarity and intimacy of their close friendship is evident in the thick layering of paint, and despite the artist's tendency towards abstraction, the head of Catherine Lampert is nonetheless made apparent through heavy brushstrokes amidst a plane of green, yellow, earthy, and grey tones. Through this obvious suggestion of the artist's hand, the present composition offers a vigorous sense of velocity and motion, and while Auerbach confidently conveys an accurate image of his sitter's psyche, the result is that his portraits are overwhelmingly physical whilst still exuding light and the warmth of Catherine's character. Their evident friendship radiates from the composition. As William Feaver once stated, 'Auerbach's heads are conceived not as busts or cameos but as presences' (William Feaver, Frank Auerbach, New York 2009, p. 20).Frank Auerbach is widely recognised as one of the most inventive, recognisable, and influential painters of the post-War period. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art, in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others. Head of Catherine Lampert is a stunning and seminal example of Auerbach's thoroughly inimitable, intimate, and psychologically compelling portraiture of one of his most important and celebrated sitters.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 19
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Model with dog oil and charcoal on canvas, unframed101 x 81 cm (39 3/4 x 31 7/8 in)Painted in the early 1980sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.462, no. 282CONDITION REPORT:Oil and charcoal on canvas, unframed. Not lined. There are three horizontal stretcher marks visible towards the lower edge. Examined under UV: there are no visible signs of retouching. Overall, it is our opinion that the work is in very good original condition. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Lot 818
GENTLEMEN'S ROLEX OYSTER STAINLESS STEEL AUTOMATIC WRIST WATCH,model number 5026, serial number 443299, the round dial with applied baton and Arabic hour markers, outer seconds track in black, subsidiary dial at 6, 35mm case, on an expanding bracelet, lacking box and papersMOVEMENT: Ticking at present. WEAR: Heavily worn. DIAL: Heavily worn. CRYSTAL/ACRYLIC: Marked and scratched. HANDS & MARKERS: Intact. CROWN: Intact - hands changing. BRACELET/STRAP: Worn, some links out of position.
Lot 819
LADY'S ROLEX OYSTER PERPETUAL DATEJUST EIGHTEEN CARAT GOLD AUTOMATIC WRIST WATCH,model number 79158, serial number P904688, the round dial with diamond dot hour markers, outer seconds track in black, date aperture at 3, 25mm case with diamond set lugs, fluted bezel, on an eighteen carat gold presidential bracelet with concealed clasp, in box with Rolex wallet, calendar, and information booklets, lacking papersMOVEMENT: Not in working order - not ticking. WEAR: Generally worn. DIAL: Marks and scratches visible. CRYSTAL/ACRYLIC:Fair condition. HANDS & MARKERS: Second hand loose inside case. CROWN: Intact. BRACELET/STRAP:Heavily stretched.
Lot 821
GENTLEMAN'S ROLEX OYSTER PERPETUAL DATEJUST STAINLESS STEEL AUTOMATIC WRIST WATCH,model number 16233, serial number L733895, the round silvered dial with diamond dot hour markers, outer seconds track in black, date aperture at 3, 36mm case, on a bicolour jubilee bracelet, lacking box, with papers, purchased in TaiwanMOVEMENT: Unable to remove caseback. Caseback does turn however does not come off Seal may be stuck between case & caseback.WEAR: Generally worn. DIAL:Fair condition. CRYSTAL/ACRYLIC: Fair condition. HANDS & MARKERS: Intact. CROWN: Intact - hands and date changing. BRACELET/STRAP: Generally worn, stretched. CLASP: In working order, heavily scratched.
Lot 825
LADY'S ROLEX OYSTER PERPETUAL DATE AUTOMATIC WRIST WATCH,model number 6917, serial number 6055979, number the round white dial with Roman and dot hour markers, outer seconds track in black, 25mm case, on a bicolour jubilee bracelet with foldover clasp, in box, lacking papersMOVEMENT: Ticking at present. WEAR: Worn condition. DIAL: Fair condition. CRYSTAL/ACRYLIC: Scratches and scuffs visible. HANDS & MARKERS:Intact,CROWN: Intact - hands changing.BRACELET/STRAP: Heavily stretched.
Lot 843
GENTLEMAN'S BREITLING SUPEROCEAN CHRONOMETRE AUTOMATIC STAINLESS STEEL WRIST WATCH,model number A17364, the round black dial with Arabic and lume hour markers, yellow outer seconds track, date aperture at 3, 42mm case with black unidirectional bezel, on a stainless steel bracelet with foldover clasp, in box with papers dated 2014MOVEMENT:Ticking at present. WEAR: Generally worn. DIAL: Fair condition - some marks visible. CRYSTAL/ACRYLIC: Good condition. HANDS & MARKERS: Some marks on the markers. CROWN: Intact - hands and date changing. BRACELET/STRAP:Heavily scratched and slightly stretched. CLASP: In working order - scratched.
Lot 852
GENTLEMAN'S PANERAI RADIOMIR COMPOSITE 3 DAYS LIMITED EDITION MANUAL WIND WRIST WATCH,model number OP6914, limited edition 0116/1000, the round black dial with baton and Arabic hour markers, subsidiary dial at 9, 47mm case, on a brown leather strap with signed buckle, in box, with outer box and pouch, with papers dated 2014MOVEMENT: Ticking at present. WEAR: Generally worn - light marks to the case. DIAL: Good condition. CRYSTAL/ACRYLIC: Good condition. HANDS & MARKERS: Intact. CROWN: Intact - hands changing. BRACELET/STRAP: Worn condition. CLASP: In working order.
Lot 853
GENTLEMAN'S ROLEX OYSTER PERPETUAL PRECISION STAINLESS STEEL AUTOMATIC WRIST WATCH,model number 6558, serial number 731465, the round silvered dial with applied baton hour markers, outer seconds track in black, 34mm case, on a generic black leather strap, lacking box and papersMOVEMENT: Ticking at present. WEAR: Heavily worn. DIAL: Marked, discoloured, dirty, loss of paint, some of which has been crudely redone.CRYSTAL/ACRYLIC: Scratches visible. HANDS & MARKERS: Second hand loose inside case. CROWN: Intact - hands changing. BRACELET/STRAP: Lightly worn.
Lot 864
GENTLEMAN'S TAG HEUER LEWIS HAMILTON LIMITED EDITION CALIBRE S AQUARACER STAINLESS STEEL QUARTZ WRIST WATCH,model number CAF7114, the round grey dial with applied wedge hour markers, outer seconds track in white, two perpetual calendar subsidiary dials, 41mm case, on a stainless steel bracelet with foldover clasp, in box, lacking papers, with information booklets, additional bezel and crystalMOVEMENT: Ticking at present. WEAR: Generally worn. DIAL: Good condition. CRYSTAL/ACRYLIC: Good condition. HANDS & MARKERS: Intact. CROWN: Intact - hands changing. BRACELET/STRAP: Generally worn - some stretch. CLASP: In working order.
Lot 877
GENTLEMAN'S TUDOR OYSTER ROYAL STAINLESS STEEL MANUAL WIND WRIST WATCH,model number 7903, the round cream dial with applied wedge and Arabic hour markers, outer seconds track in black, 32mm case, on a generic black leather strap, lacking box and papersMOVEMENT: Ticking at present. WEAR:Well worn. DIAL: Marked and scratched - can be seen in photo. CRYSTAL/ACRYLIC: Scratches and scuffs visible. HANDS & MARKERS: Intact. CROWN: Intact - hands changing. BRACELET/STRAP: Well worn.
Lot 878
GENTLEMAN'S TAG HEUER AQUARACER STAINLESS STEEL QUARTZ WRIST WATCH,model WAB1120, the round blue dial with applied lume filled hour markers, outer seconds track in gold, 39mm case with blue bezel insert, on a bicolour stainless steel bracelet, lacking box and papersMOVEMENT: Battery needs replaced. WEAR:Generally worn - signs of wear visible. DIAL: Fair condition. CRYSTAL/ACRYLIC: Fair condition. HANDS & MARKERS: Intact. CROWN: Intact - hands changing. BRACELET/STRAP: Scratched, slightly stretched.
Lot 887
GENTLEMAN'S TAG HEUER CHRONOGRAPH STAINLESS STEEL QUARTZ WRIST WATCH,model number CA1212-RO, the round white dial with lume hour markers, outer seconds track in black, three subsidiary dials, date aperture between 3 and 4, 37mm case, on a stainless steel bracelet with foldover clasp, lacking box and papersMOVEMENT: Ticking at present. Bottom pusher button doesn't push in. WEAR: Genrally worn. Scratched, paint missing from bezel, dirty. DIAL: Fair condition. CRYSTAL/ACRYLIC: Fair condition. HANDS & MARKERS: Intact. CROWN: Intact - hands changing. BRACELET/STRAP: Generally worn and streatched. CLASP: In working order.
Lot 891
GENTLEMAN'S TAG HEUER LINK STAINLESS STEEL QUARTZ WRIST WATCH,model number WJ1112-0, serial number SX1972, the round navy blue dial with applied wedge hour markers, outer seconds track in white, date aperture at 3, unidirectional bezel, 38mm case, on a stainless steel bracelet with foldover clasp, lacking box and papersMOVEMENT: Not ticking at present. WEAR: Generally worn - signs visible. DIAL: Good condition. CRYSTAL/ACRYLIC: Good condition. HANDS & MARKERS: Intact. CROWN: Intact - hands changing. BRACELET/STRAP: Generally worn. CLASP: In working order.
Lot 904
GENTLEMAN'S TISSOT CHRONOGRAPH STAINLESS STEEL QUARTZ WRIST WATCH,model number 1362/462, the round silvered dial with applied lume filled wedge hour markers, outer seconds track in black, date aperture between 3 and 4, three subsidiary dials, unidirectional bezel, 39mm case, on a stainless steel bicolour bracelet with foldover clasp, in box, lacking papersMOVEMENT: Ticking at present. Start, stop, flyback not working. WEAR: Well worn, dirty. DIAL: Fair condition. CRYSTAL/ACRYLIC: Fair condition. HANDS & MARKERS: Intact. CROWN: Intact - hands changing. BRACELET/STRAP: Dirty. CLASP: In working order.
Lot 931
LADY'S ROLEX CELLINI EIGHTEEN CARAT GOLD DIAMOND SET MANUAL WIND WRIST WATCH,model number 5186, serial number W026355, the round white dial with applied Roman hour markers, 24mm diamond set case, on an eighteen carat gold bracelet with concealed clasp, in box, with outer box and papers dated 2002, information booklet, swing tag and handkerchiefMOVEMENT: Ticking at present. WEAR: Generally worn. DIAL: Fair condition. CRYSTAL/ACRYLIC: Fair condition. HANDS & MARKERS: Intact. CROWN: Intact - hands changing. BRACELET/STRAP: Generally worn. CLASP: In working order.
Lot 429
Sitzendorf porcelain figure group, after 18th Century Meissen, modelled with a girl seated on a goat and holding a vine with grapes and a boy playing a woodwind instrument, the oval base moulded with a classical frieze, 15cm high These group belong to a series of the four seasons which were first modelled by Schönheit January to June 1782; see Clarke 1988, nos. 102-105, p.38 and S. & T. Bergmann, Meissen Figures - Model Numbers A1 - Z99 (2014), nos. 241-244.
Loading...-
627780 item(s)/page