We found 46298 price guide item(s) matching your search
There are 46298 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
46298 item(s)/page
Lot 731
After Peter Lely (1618-1680) heightened pastel, Portrait of Nell Gwyn, unsigned, details verso, 28 x 24cmVertical fold-like lines top to bottom to the left and right sides with disturbance to the pigments at all corners, clearly visible; a three-way crack in the paper just below her right jaw; possible woodworm damage to the clothing at her right breast. Has been removed from frame recently, now replaced and secured with tape. Frame fair. Offered for sale privately.
Lot 202
A delightful, UK-supplied, right-hand drive, split-screen Daybus. This rare, UK right-hand drive, 1300 'Splitty' was fully restored in the past and continues to present wellFinished in Pastel White over maroon with a maroon vinyl interior piped in whiteFitted with a sweet-running 1.3 (1,285cc) flat-four engine that appears to be standard and has a 'drop-tube' front axle to give that cool, low-looking stanceLovely central seating area designed in a semi-circle, ideal for summer picnic outingsGuided very sensibly to generate good interestSpecification Make: VOLKSWAGEN Model: T2 SPLIT SCREEN Year: 1963 Chassis Number: 1068854 Registration Number: 551 GYK Transmission: Manual Engine Number: AB746395 Drive Side: Right-hand Drive Odometer Reading: 68931 Miles Make: RHD Interior Colour: MaroonClick here for more details, condition report and images
Lot 334
A rare, factory-built, 2.5-litre, petrol-engined example of the Series III Twin (Crew) Cab that's benefitted from a long term, sympathetic restoration. A rare example of the Series III Twin (Crew) Cab that's spent two and a half years in the restoration process - an investment of 1,000s of hoursBought new by Leech Auto Services as a factory 'special order' to be used as a Recovery truck. Retired in 1993 and left in a field awaiting its own rescueSold to its second owner in 2020 and later, our vendor, who appreciated its rarity and decided to save itFitted with a Marsland Galvanized Chassis, rebuilt front and rear axles, brakes and suspension including GB Parabolic leaf springsNew wiring loom, lights and switches. New rear tub panels, refurbished doors and tail gateFully resprayed Pastel Green inside and out. Exmoor trim deluxe front seats, cloth rear seats with waterproof coversThe petrol engine was re-bored to 2.5-litres. Full ACR treatment, pistons, camshaft, coated rollers, large valve head, SU carb conversion, new oil pump, and distributor with electronic ignition. Gearbox and transfer box rebuilt by JLR Services in Cornwall70,350 miles indicated. MOT until November 2024 issued with 'No Advisories'Free Historic road tax and ULEZ exempt. Supplied with a folder of receipts and some historySpecification Make: LAND ROVER Model: SERIES 3 Year: 1982 Chassis Number: LBCMH1AA147725 Registration Number: PNJ 839X Transmission: Manual Drive Side: Right-hand Drive Odometer Reading: 70350 Miles Make: RHDClick here for more details, condition report and images
Lot 108
Very smart left-hand drive Type 2 'Pop-Top', carefully restored, tastefully presented and affectionately know as 'Bettina'. This Westfalia 'Campmobile 70' is resplendent in the classic Type 2 colours of Pastel White over Brilliant OrangeImported from Germany, registered in the UK on 08/03/2007 and owned by our vendor ever sinceProfessionally restored in late 2006/07 by VW Wolfsburg of Bolton including the bodywork, an interior retrim and an engine rebuildSuper interior with 'retro' fabrics and vinyls. Soft furnishings in a Tangerine, orange and green cloth, orange carpets and orange curtains. If you love orange, then this is the van for you Fitted with a sink, cooker and a gas fridge along with a pristine condition canvas on the 'Pop Top'Further enhancements include electric power-steering and gas struts for the pop top to aid single usageThe odometer was reset to zero upon completion of the restoration and the van has now covered 49,000km over 17 yearsMaintained for some years by the well respected Greatworth Classics near Banbury, offering peace of mindWith a good history file including full details of the restoration, 'Bettina' is now looking for a new homeIn addition we are told by the vendor that the Bus will come with, Original interior adjustable table with stool, the original roof frame, "Bus stop" side awning, wheels chocks for levelling, front window privacy cover, fitted towbar and various T2 manualsSpecification Make: VOLKSWAGEN Model: MOTOR CARAVAN Year: 1974 Chassis Number: 2352035861 Registration Number: MBV 162N Transmission: Manual Engine Number: AJPOS25780 Drive Side: Left-hand Drive Odometer Reading: 49000 KM Make: LHDClick here for more details, condition report and images
Lot 1075
Miami, situated on the southeastern coast of Florida, is a vibrant and cosmopolitan city known for its cultural diversity, stunning beaches, and lively atmosphere. Blessed with a tropical climate, Miami is a popular destination that seamlessly blends urban sophistication with a laid-back coastal lifestyle.**South Beach and Art Deco District:**One of Miami's most iconic areas is South Beach, renowned for its pristine sandy shores, turquoise waters, and the pastel-colored Art Deco architecture that lines Ocean Drive. The historic Art Deco District showcases beautifully preserved buildings from the 1930s and is a vibrant hub of nightlife, trendy restaurants, and stylish boutique hotels.**Little Havana:**Embracing its Cuban influence, Miami's Little Havana is a cultural enclave where the aroma of Cuban coffee and the rhythm of salsa music fill the air. Calle Ocho, the neighborhood's main street, is adorned with colorful murals, cigar shops, and lively street festivals celebrating Latin American heritage.**Wynwood Arts District:**For art enthusiasts, the Wynwood Arts District is a must-visit. Known for its vibrant street art and graffiti murals, Wynwood has evolved into a trendy neighborhood with galleries, hip cafes, and a dynamic arts scene.**Bayside Marketplace and Bayfront Park:**Bayside Marketplace, located along the waterfront, offers a mix of shops, restaurants, and live entertainment. Nearby Bayfront Park provides a green oasis in the heart of the city, hosting events and offering stunning views of Biscayne Bay.**Cultural Institutions:**Miami's cultural landscape includes institutions like the Pérez Art Museum Miami (PAMM), showcasing contemporary art, and the Phillip and Patricia Frost Museum of Science, featuring interactive exhibits and a planetarium.**Diverse Neighborhoods:**From the upscale Brickell area with its towering skyscrapers to the eclectic neighborhoods of Coconut Grove and Coral Gables, Miami's diverse communities contribute to the city's dynamic character.**International Cuisine:**Miami is a culinary melting pot, offering a diverse range of international cuisines. From authentic Cuban cuisine to fresh seafood and upscale dining options, the city's food scene reflects its cultural richness.**Outdoor Recreation:**Beyond the city lights, Miami offers outdoor enthusiasts opportunities for water sports, including snorkeling, paddleboarding, and boating. Everglades National Park, a short drive away, provides a unique ecosystem for nature lovers.With its fusion of cultural influences, stunning landscapes, and a vibrant social scene, Miami continues to captivate residents and visitors alike, making it a dynamic and enchanting destination in the Sunshine State.Measures 24 x 36.Backed by linen.
Lot 90
Miami, a vibrant and multicultural city located on the southeastern coast of Florida, is renowned for its unique blend of art, culture, diverse communities, and sun-soaked beaches. The city's skyline is adorned with modern architecture, and its neighborhoods offer a rich tapestry of experiences.The iconic South Beach, with its pastel-hued Art Deco buildings and lively Ocean Drive, is a world-famous destination known for its white sandy beaches, trendy boutiques, and vibrant nightlife. The Art Deco Historic District reflects Miami's architectural history and cultural influence.Wynwood, an artsy neighborhood, stands out for its colorful street art, galleries, and trendy cafes. The Wynwood Walls, an outdoor mural project, showcases the talent of local and international artists. Little Havana, with its Cuban influence, is a lively district filled with Latin music, dance, and authentic cuisine, providing a taste of Miami's diverse cultural heritage.Beyond the urban landscape, Biscayne Bay offers opportunities for water activities, while the nearby Everglades National Park allows visitors to explore unique ecosystems and encounter native wildlife. Miami's status as a major port city has contributed to its role as a hub for international trade and cruise travel.The city hosts major cultural events, such as Art Basel Miami Beach, attracting artists, collectors, and enthusiasts from around the globe. Miami's rich musical scene, influenced by Latin, Caribbean, and electronic beats, adds to its dynamic cultural identity.With its tropical climate, palm-lined streets, and a melting pot of cultures, Miami is not only a sought-after tourist destination but also a thriving hub for business, creativity, and innovation. The city's energy, diversity, and commitment to the arts make it a captivating and ever-evolving metropolis.Measures 33 x 24.Backed by linen.
Lot 309
English School (mid-19th century) Portrait of a lady, in a black coat with fur trimmed shawl and lace bonnet pastel, unsigned, canvas lined verso with stamp for 'I. Sherborn 321 Oxford Street' (c.1840), original gilt and composition swept frame (losses) 23½ x 19¼ in (59.75 x 49 cm), the frame 73 x 64.5 cm
Lot 45
A set of twelve Queen Anne (Edensor Works) 1950s bone china 'trios' - comprising two trios in six pastel colours, each with a pink rose to the inside of the scalloped cup and with gilded borders, the cups 7.5 cm high (one blue saucer missing). (35)* Condition: All in very good condition with no faults.
Lot 3052
WILLIAM ARMOUR RSA RSW (SCOTTISH 1903-1979) FIGURE VI Pencil and pastel on green paper, signed lower left, 51.5 x 24cm (20.25 x 9.5") The estate of The late Anda Paterson and James Spence. Condition Report:Good condition. Minor marking to sheet, consistent with a study. Not examined out of frame
Lot 3008
ERIC HENRI KENNINGTON RA (BRITISH 1888-1960) LT COL JAMES MCCONNELL (1894-1967), SEAFORTH HIGHLANDERS Pastel on brown paper, signed with initials, dated (19)42, bears extensive inscriptions on backboard, 50 x 40cm (20 x 16") Condition Report:Presents in sound condition. Minor tear to upper right background. Minor foxing/marking. Not examined out of frame
Lot 1052
Jim Wright (Contemporary)"Fields of Dew, near Hawnby"Signed, pastel, 28cm by 38cm; together with further decorative contemporary works including an etching by Christopher Robinson, signed in pencil A/P "Antandroy Girl, Madagascar", two watercolours views of Venice, by Ann Sowerby and two other works (6)
Lot 5
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
Lot 36
ANNA ZEMÁNKOVÁ (1908-1986)Untitled circa 1960 pastel on paper84 by 59.3 cm. 33 1/16 by 23 3/8 in. This work was executed circa 1960. Footnotes:Provenance The Estate of the artist, Prague Cavin-Morris Gallery, New York (AZE 905) Acquired directly from the above by the present owner in 2013ExhibitedVenice, 55th Venice Biennale, International Pavilion 'The Encyclopedic Palace', 2013This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 921
James William Booth (1867-1953) Signed Original Pastel, on card stamped, Lechertier Barbe Ltd, Regent Street, London (traded 1880-1900). Image of young girl from the Manchester area. Image measures 50 cm x 40 cm, overall 65 cm x 55 cm. Framed and under glass. Middleton born artist who moved to Yorkshire in 1901 and shared a studio in Staithes with Laura and Harold Knight. Signed Original Pastel, on card stamped
Lot 446
bust length, pastel and charcoal 1818, 29.5 cm dia. A copy of a note by Octavius M-B on reverse records Elizabeth's birth at Coxhoe Hall, Co. Durham, 6th March 1806 at 7 oclock in the evening. She subsequently married the poet Robert Browning. PROVENANCE: Octavius Moulton-Barrett (1824-1910), youngest brother of Elizabeth Barrett Browning, thence by descent. This and the two other sketches by Artaud included in the sale were done at Hope End , Herefordshire in 1818 in preparation for a large oil painting by him of the sitters, now at Eton College. They are referred to in a letter from Robert Browning to Isa Blagden, April 19th 1863 ---"in the country*Octavius had the original drawings for the heads - the real portraits from which the picture was made, - and very like, I am assured ---" *i.e. at Westover, Isle of Wight.Good but with overall light browning.
Lot 448
bust length, pastel and charcoal,1818 29.5 cm dia. Henrietta M-B (1809 - 1860), sister of EBB, born at Hope End, Herefordshire and m. William Surtees-Cook PROVENANCE: From the family of Octavius Moulton-Barrett (1824-1910), youngest brother of Elizabeth Barrett Browning, thence by descent. This and the two other sketches by Artaud included in the sale were done at Hope End , Herefordshire in 1818 in preparation for a large oil painting by him of the sitters, now at Eton College. They are referred to in a letter from Robert Browning to Isa Blagden, April 19th 1863 ---"in the country*Octavius had the original drawings for the heads - the real portraits from which the picture was made, - and very like, I am assured ---" *i.e. at Westover, Isle of Wight.Generally good but overall light browning.
Lot 445
wearing a white shirt and black jacket, head and shoulders, pastel and charcoal, 38 x 31cm The sitter was the father of the poet Elizabeth Barrett Browning (1806 - 1861) and the portrait is held by family tradition to be his likeness drawn by John Mills between 1838 and 1841 when EBB was residing at Torquay and hung in her bedroom at 50, Wimpole St. It is reproduced in Barrett R.A. The Barretts of Jamaica between pages 148-149 (Winfield,Kansas 2000).Slight paper creasing and light overall browning, image possibly slightly rubbed.
Lot 447
bust length, pastel and charcoal , 1818 , 29.5 cm dia. The sitter was EBB's eldest brother of whom she was particularly fond PROVENANCE: From the family of Octavius Moulton-Barrett (1824-1910), youngest brother of Elizabeth Barrett Browning, thence by descent. This and the two other sketches by Artaud included in the sale were done at Hope End , Herefordshire in 1818 in preparation for a large oil painting by him of the sitters, now at Eton College. They are referred to in a letter from Robert Browning to Isa Blagden, April 19th 1863 ---"in the country*Octavius had the original drawings for the heads - the real portraits from which the picture was made, - and very like, I am assured ---" *i.e. at Westover, Isle of Wight.Good but with overall slight browning and mark from another mount.
Lot 257
Rosalba Carriera, 1673/75 Venedig – 1757 ebenda ALLEGORIE DES FRÜHLINGSPastell auf Karton.59 x 50 cm.Hinter Glas in Louis XV-Rahmen.Beigegeben ein Gutachten von Dario Succi, Gorizia, in Kopie.Vor einem in blaugrau changierendem Hintergrund die lichte Gestalt einer jungen Dame als Hüftstück mit bewegt in gegeneinanderlaufenden Diagonalen geordneten weißen Spitzen und blauer Draperie, in deren Falte dezent farbige Blüten liegen, von denen Primavera eine unterhalb ihrer Nase präsentiert und weitere als Kopfputz trägt. Die hier angebotene Komposition hat Succi als Variation zweier bekannter Gemälde von Carriera erkannt, wobei sich die kleinere in der Eremitage in Sankt Petersburg (24 x 19 cm) und die größere – fast mit den Maßen des vorliegenden Werks idente – in einer Privatsammlung befindet (58 x 45,5 cm). Succi datiert das hier angebotene Gemälde auf das Ende der 1720er-Jahre.Italienische Pastellmalerin. Für ihre Malerei gefeiert und bewundert, bereiste sie Europa und war Gast an vielen Höfen. 1720/21 war sie in Paris, 1723 in Modena, 1730 in Wien.Literatur:Vgl. Egidio Martini, La pittura del Settecento veneto, Venedig 1982, S. 41-42 und S. 500. (1381544) (3) (13)Rosalba Carriera,1673/75 Venice – 1757 ibid.ALLEGORY OF SPRING Pastel on card.59 x 50 cm.Accompanied by an expert’s report by Dario Succi, Gorizia, in copy. Succi recognizes the composition on offer for sale in this lot as a variation of two well-known paintings by Carriera. The smaller is held at The Sate Hermitage in St Petersburg (24 x 19 cm) and the larger one – with almost identical dimensions to the present painting – is held in a private collection (58 x 45 .5 cm). Succi dates the present painting to the late 1720s.
Lot 5
David Hockney (English, b. 1937). Mixed media of oil pastel and paint on paper titled "Birthday Card for Grey Gallery" depicting three pairs of rollerskates whirling in a circle, 1980.Provenance: Grey Art Gallery, New York, "David's Evening on Wheels" benefit auction, April 29, 1980; Private Minnesota Collection.Lot Essay:David Hockney grew up in Yorkshire, England, and received his artistic training at the Bradford College of Art and the Royal College of Art, from which he graduated in 1962 after shaking things up by refusing to write a graduation essay, claiming that his art spoke for itself. This self-assured and cheeky attitude has stuck with Hockney throughout his career, helping him launch himself into early international success. Hockney has worked in a wide variety of styles and media throughout his career, including pop art, prints, drawings, paintings, and digital art. He is best known for his eye-popping acrylic pool paintings, done in celebration of his adopted home of Southern California. In addition to a wide-ranging and prolific artistic career, Hockney has also found success as a teacher and a theorist, and has published several well-received monographs."Celia Musing" and "Celia Elegant" are from Hockney’s 1979 portfolio in collaboration with Gemini G.E.L. in Los Angeles. This portfolio consists of portraits of several of Hockney’s friends, a recurring theme throughout his body of work. It also shows his tremendous versatility as a portraitist, with works in a variety of styles and moods. These two works depict Celia Birtwell, a prominent British textile designer and longtime friend and model of Hockney’s. With spare, almost careless lines, he presents a vivid impression of Celia, chic and cheerful, drifting through an elegant home. The tonality of the lines builds the sense of fleetingness in her poses; it seems that she has briefly paused to contemplate the orchid in front of her before moving on through her day.Sight; height: 29 1/2 in x width: 38 1/2 in. Framed; height: 30 1/4 in x width: 39 in.
Lot 45
Yvonne Canu (French, 1921-2008). Oil on canvas painting titled "St. Tropez" depicting ships in a harbor in pastel pointillism. Signed along the lower right; further signed and titled along the verso.Provenance: Private Minnesota Collection.Lot Essay:Yvonne Canu spent her early years in Morocco before attending the Ecole des Arts Decoratifs in Paris. After serving as a military nurse in World War II, she returned to Paris to join the group of Montmartre artists including Francois Gall, Elisee Maclet, and Tsuguharu Fouijta. Additionally, she studied at the Acadmie de la Grand Chaumiere alongside Ossip Zadkine. While she studied plein-air landscape painting, impressionism, and cubism, her greatest influence would prove to be Georges Seurat. From 1955 onwards she devoted her works to Pointillism.Following the steps of Paul Signac, she moved to St. Tropez where she found inspiration just as Matisse, Bonnard, and Marquet had. While she occasionally visited Paris as well as other Mediterranean ports, she spent the majority of the remainder of her life painting in St. Tropez.Unframed; height: 18 in x width: 21 3/4 in. Framed; height: 24 3/4 in x width: 28 1/4 in.
Lot 183
A set of three decorative eggs with fauna and foliage designs painted beautifully onto each item. One is a large green egg with birds atop a blossoming tree, one is painted in pastel colors with a leaf design, and the last is painted with a tropical jungle scene. Dimensions of the largest item: 6.5"H x 3.75" dia. Condition: Age related wear.
Lot 87
William Stott Of Oldham (British, 1857-1900)Starry night signed and indistinctly dated 'WILLIAM STOTT OF OLDHAM/1885' (lower right); indistinctly inscribed on remnants of an old label (attached to the reverse)pastel25.5 x 32cm (10 1/16 x 12 5/8in).Footnotes:ExhibitedLondon, Royal Society of British Artists, 1887, no. 64.The present work is listed in Stott's notebook, under the heading 'Pastels - Ravenglass Autumn and Winter 84 - 85'. Stott had a house and studio at Ravenglass on the Cumbrian coast, where many of his RA exhibits were painted. He completed several moonscapes during this period, all at Ravenglass, including the pastels Waning Moon and Summer Moonlight (also RBA, 1887, no. 62). As Roger Brown notes, in his monograph on the artist: 'in the winter of 1883-84, while staying with his parents at Windsor Road, Oldham, Stott worked on a number of pastels of his wife Christina Mary in domestic settings. They were some of the first works he produced in pastel, but demonstrate a rapid mastery of the technique. His decision to work in pastel was almost certainly prompted by recent contact in Paris with Edgar Degas, for whom pastel was a preferred medium.'1We are grateful to Roger Brown for his assistance in cataloguing this lot.1Roger Brown, William Stott of Oldham 1857-1900: A Comet Rushing to the Sun, London, 2003, p. 68.For further information on this lot please visit Bonhams.com
Lot 55
Léon Augustin Lhermitte (French, 1844-1925)Le printemps signed, inscribed and indistinctly dated 'L.Lhermitte/Avril --' (lower right)pastel on paper laid to canvas40 x 55.5cm (15 3/4 x 21 7/8in).Painted near Charteves, Aisne.Footnotes:ProvenanceEx. coll. Boussod, Valadon & Cie.Ex. coll. Schauss.With Galeries Forbes Fleischmann, Munich, 1906.With Altman Burke Fine Arts, New York, 1989.With Hazlitt, Gooden & Fox, London, Nineteenth Century French Drawings, 1989, no. 34.Private collection, UK (acquired from the above).ExhibitedParis, Galeries Georges Petit, Exposition des Pastelistes, 1893, no. 69.LiteratureMonique Le Pelley Fonteny, Leon Augustin Lhermitte, catalogue raisonne, Paris, 1991, cat. no. 322, p. 218.For further information on this lot please visit Bonhams.com
Lot 594
Günther, Herta (1934 Dresden - 2018 ebenda)In der Kakadu-Bar (Das schwarze Kleid am roten Tisch). Pastellzeichnung, um 2005. Oben links signiert. Im Passepartout freigestellt hinter Glas in hochwertiger Rahmung. 28,5 x 19 cm (Bl), 52 x 42 cm (Ra). Provenienz: Nachlaß einer Dresdner Privatsammlung; 2009 erworben bei der Künstlerin im Atelier (rückseitig auf Rahmung Provenienzverweis der Vorbesitzer). Beigegeben ein von der Künstlerin handsigniertes Exemplar des monografischen Katalogs: "Herta Günther zum 70. Geburtstag", Edition der Galerie Döbele, Dresden 2004. Hierin motivisch in der Szenerie vergleichbar: Abbildung 26, Seite 12. In the Kakadu bar (The black dress on the red table). Pastel drawing, around 2005. Signed top left. Framed behind glass. Comes from a private collection in Dresden, has been purchased by the artist. With handsigned catalogue from 2004.
Lot 740
Unger, Hans. 1872 Bautzen - 1936 Dresden.Parklandschaft in Südfrankreich (Cannes, französische Riviera). 1890er/ 1900er Jahre. Pastell/ Farbkreide, li. u. sign., 31,5 x 49,5 cm (PA), Rahmenrückwand Provenienzvermerk: 1971 von Maja Unger aus dem Nachlass, 1992 an Vorbesitzer. Pp. mit Glasscheibe staubdicht verklebt. Hinter Glas gerahmt. Ra. 52 x 67,5 cm. Park landscape in Southern France, pastel painting, signed lower left, framed with glass and passepartout, 52 x 67,5 cm.
Lot 139
• BERNARD MYERS (BRITISH 1925-2007) Bernard Myers (lots 139-158)Work and travel in the Middle East and India introduced me to a world of colour. Under the influence of Islamic tiles and textiles, and Indian and Tibetan painting I set out to teach myself colour. My work at this time was mainly abstract and loosely based on astronomical and optical diagrams. Gradually I turned to realism via still life, working very precisely... (Bernard Myers) IntroductionTrained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art, Camberwell and the Royal College of Art. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. He returned to the RCA to teach for the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85). Students at the RCA treasured Myers’ good advice. James Dyson remembered him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a Fellow, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’ The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels (lots 151-156), the still-lifes he worked on in his studio (lots 143-150), the nudes he painted in weekly life-classes, and his not infrequent forays into abstraction, precipitated in part by his fascination with space (lots 139-142). He married Pamela Fildes, grand-daughter of the painter Sir Luke Fildes in the early 1950s; they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 157 &158). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art (1979). He also penned articles for The Artist (May 1988) on his highly original approach to pastel (lots 139-142 & 147-150), and Artists and Illustrators (1995) on his Venice views (lots 151- 154).139BERNARD MYERS (BRITISH 1925-2007)PLANETARY COMPOSITIONS I & IIoil pastel on thin paper(i) 56 x 43cm; 22 x 17in (ii) 43 x 56cm; 17 x 22in (both unframed)(2)
Lot 13
• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) THISTLEoil and pastel on canvas51 x 40.5cm; 20 x 16in(unframed)Painted in 1979, the year after the death of Henriette von Motesiczky, the artist's mother and favourite model. Schlenker notes the references to Henriette in the composition, observing that the principal flower is in fact a protea rather than a thistle and could be read as the artist's memory of her mother, while the two pipes are a direct reminder of Henriette who was a keen pipe smoker (Schlenker p. 439). LiteratureJill Lloyd, The Undiscovered Expressionist, A Life of Marie-Louise von Motesiczky, London, 2007, p. 197 Schlenker no. 261
Lot 70
• EDMOND XAVIER KAPP (BRITISH 1890-1978) NOTHING UNDER THE SUN IS ACCIDENTAL signed and dated Kapp '73 lower left; titled and inscribed (Lessing) / No.2" lower centrewatercolour, pastel, pen and ink and feltip on thick paper44 x 36cm; 17 1/4 x 14 1/4in (unframed)Kapp's title quotes the German philosopher Gotthold Ephraim Lessing (1729-1781).
Lot 34
• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) THE SWIMMERsigned with initials HF and dated 33 lower leftpastel and white chalk on paper45 x 62cm; 17 3/4 x 24 1/4in 74 x 87cm; 29 x 34 1/4in (framed)Executed in the mid-1930s, Feibusch also executed a lithograph based on the present composition (see: Olympia Auctions, 11th October 2023, lot 46).
Loading...-
46298 item(s)/page