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Click here to subscribeE. Anthony Orme (British, b.1945), "Quiet Waters, Venice": "Gondola on a Venetian Backwater" a pair, pastel, both signed 'E Anthony Orme' lower right, inscribed verso 25½ x 11¼in. (64.75 x 28.5cm.). (2) * Condition: In foliate carved, cream painted frames. Minor losses. Pastels very good with no faults - glazed behind matted UV reflective glass.
Élisabeth Sonrel (French, 1874-1953)A portrait of a hooded lady signed 'Elisabeth Sonrel' (lower right)charcoal, pastel and bodycolour32.3 x 23.5cm (12 3/4 x 9 1/4in).Footnotes:Élisabeth Sonrel grew up in Tours, France, where her father was an amateur artist. It is very likely that it was under his tutelage that Sonrel first began to develop her skills as an artist. After moving to Paris in 1891, Sonrel undertook formal training under Jules Lefebvre (1836–1911) at the private art school, Académie Julien. At this time, although they received the same training, women were taught in separate classes from their male counterparts. Sonrel's decision to study privately is likely in no small part because the public art schools, most notably the École des Beaux-Arts, did not allow women to attend until 1897.At only eighteen, Sonrel submitted her graduation work from the Académie, and this can be seen at the Musée des Beaux-Arts, Tours. Soon after, in 1893, she became one of only a few women artists selected to exhibit at the famed Salon des Artistes Français in Paris. She would continue to exhibit at the Salon until late in her career, with her last exhibited work there being shown in 1939.The quality of Sonrel's work, and the respect and recognition she had from her peers, is highlighted by her being awarded the 1895 Henri Lehmann prize given by the Académie des Beaux-Arts. This prize was awarded every three years to an artist under the age of twenty-five in recognition of academic excellence. She was awarded the prize for her work The Sleep of the Virgin which was subsequently acquired by Felix Faure, the French president at the time, and the work would go on to be exhibited at the 1900 World Fair held in Paris where it was awarded a bronze prize.Sonrel enjoyed a successful career in the arts and was best known for her poster designs in the Art Nouveau style. However, given the large number that were produced throughout her career, it was her watercolours of meditative female sitters, often from medieval legend, in which we can see her real passion. In these, one can see the influence of early Renaissance painters and the work of the Pre-Raphaelite Brotherhood.In 2021 the Ashmolean Museum, Oxford, acquired a work by Sonrel with funds from the Art Fund. Underappreciated since her death, this acquisition highlights the increased recognition and profile of the artist in recent years.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Interesting collection of political ephemera relating to The Right Hon Viscount Cross G.C.B., G.C.S.I., to include four leather dispatch boxes (three ministerial and his personal dispatch box), family autobiographical history book (unbound), grant of the office of Chancellor of the Duchy and County Palatine of Lancaster to the Right Hon Viscount Cross G.C.B., from her Majesty the Queen (Victoria), document with two appended seals in zinc cases, containing original box, together with a framed portrait print of The Right Hon Sir Richard Assheton Cross MP, and a large framed watercolour and pastel portrait of Mrs Lyon, his mother-in-law, indistinctly signed and dated 1887. Viscount Cross held the highest offices of state as Home Secretary and Secretary of State for India in Disraeli’s governments of the 1880’s and 1890’s. He was a favourite and close personal friend of Queen Victoria.
Laurie Basham, "Cut Sunflowers", pastel, 10 x 9in, c. 2020. Cut sunflowers in a metal pitcher sitting by a window with bright light. UK shipping £45. Award-winning pastel artist-President-Piedmont Pastel Society. Signature member-Md Pastel Society and Degas Pastel Society. Juried Member of the Pastel Society of America.
Silja Salmistu, "Sunflowers", soft (dry) pastel, 44 x 66cm, c. 2020. Soft pastel painting, painted from life on archival quality sanded pastel paper with finest quality soft pastels. Framed with white wooden frame with acrylic glazing (optional). Signed in front. UK shipping £50. Silja Salmistu (PSA, IAPS-MC) is Estonian artist living in Denmark. She works mostly in soft pastel, with still life as the main subject.
Kim Eshelman, "A way into summer", pastel on archival card, 24 x 30cm, c. 2021. Inspired by the field and wetlands in the artist's yard, this piece tells a story of a beautiful day in height of summer. UK shipping £45. Kim has been painting in a variety of mediums and styles for over 30 years. She is represented by multiple galleries and her work is in public and private collections worldwide. Kim's work features pastel landscapes inspired from the beautiful woods of Washington State where she lives. She plays with light filtering through trees, reflective ponds, and stunning skies.
HARRY NANCE; pastel 'Grundy', study of the famous racehorse, signed and inscribed verso, 42 x 40cm, mounted but unframed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Finsbury Garden Rocking Chair Pastel Matt Black Steel By Swoon Editions The Finsbury Chair Rocks A Carefree Summer Vibe Embodying The Nonchalance Of Warm Weather Weekends Gone Are The Stuffy Connotations Of Traditional Rocking Chairs Intersecting Metal Circles And Loops Distinguish The Frame Of This Contemporary Design The Result? A Modern Outdoor Chair Which Rocks To Your Rhythm Whether Boozy-Barbecuing Or Poring Over A Book Under The Sun 91 x 71 x 71cm (5057569249215) (Area G)
Finsbury Garden Rocking Chair Pastel Matt Green Steel By Swoon Editions The Finsbury Chair Rocks A Carefree Summer Vibe Embodying The Nonchalance Of Warm Weather Weekends Gone Are The Stuffy Connotations Of Traditional Rocking Chairs Intersecting Metal Circles And Loops Distinguish The Frame Of This Contemporary Design The Result? A Modern Outdoor Chair Which Rocks To Your Rhythm Whether Boozy-Barbecuing Or Poring Over A Book Under The Sun 91 x 71 x 71cm (5057569249222) (Area G)
Unbekannter KünstlerBauernhaus in den Masuren. Pastellzeichnung, Ende 19. Jh., frühes 20. Jh. Unsigniert. Unten links ortsbezeichnet "Johannisburg, Ostpr.[eußen]", heute Pisz (vormals auch Jansbork). Im Passepartout hinter Glas gerahmt. 38 x 50 cm (Ra). Leicht angebräunt. Unknown artist. Farm cottage in the Masuria region. Pastel drawing, late 19th or early 20th century. Unsigned. Located bottom left. Framed behind glass. Tanned brownish.
CHRISTINE A WOODSIDE RSW RGI (SCOTTISH b.1946) PANSIES & BLACK CAT Mixed media on paper, signed lower right, dated (19)94, 34 x 32cm (13.25 x 12.5") Christine A Woodside studied at Gray's School of Art in Aberdeen, graduating in 1963. She draws inspiration from her environment, and translates it into joyous multilayered works, predominately in pastel, oil, watercolour and layers of handmade Japanese paper. She exhibits regularly in Edinburgh and London. Notable awards: David Murray Scholarship for Landscape painting (1966); David Murray Scholarship for Landscape painting (1968). Condition Report:Available upon request
RACHEL JONES (B. 1991)Spliced Structure (7) 2019 signed and dated '19 on the overlapoil, oil stick and oil pastel on canvas190.3 by 250.3 cm.74 15/16 by 98 9/16 in.Footnotes:ProvenanceThe Sunday Painter, LondonAcquired directly from the above by the present owner in 2019A commanding and vivid canvas, Rachel Jones' Spliced Structure (7) is a masterwork that is enlivening to behold, demonstrating an exuberance and painterly confidence that intensely stitches together ideas of identity and corporeality. Across passages of fervid reds and greens, laid down with spirited flourishes of oil stick and paint, Jones' intensive strokes reveal grinning teeth that emerge from a luscious surface. One of the most highly sought-after artists to emerge in recent seasons, Spliced Structure (7) is a sterling example by an artist who continues to go from strength-to-strength, following her recent solo exhibitions at Thaddaeus Ropac in London [SMIIILLLLEEEE], and the Chisenhale Gallery [say cheeeeese] that will run until June 2022.A graduate of the Royal Academy Schools – an institution that counts Issy Wood and Michael Armitage amongst its alumni – Jones' is one of a nascent generation of artists who have injected vigour and soul back into the painterly medium. This is resplendently clear in the present work not only in the vivacity of Jones' mark-making, but also in the ideas that underpin her practice at large. The body is Jones' primary subject, and yet the figure remains starkly absent. It becomes an abstraction, an interiority that the artist translates into an all-encompassing composition – filling and consuming the spectator's gaze. In this way, the mouth has emerged as a motif of great significance in Jones' works, pictured as the opening to an internal landscape that the artist illuminates with each gesture, kept at bay behind a grill of ivory teeth. 'I am very interested in placing my history and my relationship to painting within the work. It's really meaningful to have people interrogate those ideas and to think about them. [...] you can make artwork from a place of feeling, and that's enough of a reason to make something, because I think that's the truth of it,' Jones has commented: 'Anything that's produced, it comes from some sort of desire or a need, and all of those things are emotional and physical reactions in our body' (the artist in: Amah-Rose Abrams, 'Meet Rachel Jones, an Ascendant Painter Whose Jitteringly Electric Paintings Have Captivated Viewers in London and Collectors Worldwide', news.artnet.com, 3 January 2022). Painting to Jones is a wholehearted, embodied activity, executed with feeling and intent that can only truly emerge from a reconciliation between body and psyche. To gaze upon Spliced Structure (7) is to engage with Black British womanhood, with Black joy, with the Afro-Caribbean and diasporic communities across London and the UK. It does this, however, without leaning on didacticism as a narrative method. The painting is pure experience: it is about the internal experience of its author, as that relates to the outward experience of the work's spectator.A patchwork of scumbled paint and sketched oil stick over lucid primary colours, the present work is filled with sumptuous details and passages that draw the eye into its surface, evoking the intensity of Joan Mitchell canvases. Most recently celebrated at the Hayward Gallery exhibition Mixing It Up: Painting Today, an exhibition that placed Jones alongside Peter Doig, Jadé Fadojutimi, Lisa Brice, Somaya Critchlow, and Hurvin Anderson, amongst others, her influence and public acclaim is ever-growing. Her multimedia commission at the Chisenhale Gallery promises to further and deepen her prominence as one of the leading artistic voices today.With works residing in the collection of the Institute of Contemporary Arts, Miami; the Arts Council Collection, UK; the Museum of Fine Arts, Houston; the Tate collection, UK; and the Hepworth Wakefield, Jones is one of the most exciting and desirable artists to public institutions and private collections alike. Spliced Structure (7) is a monumental and impressive painting that captures Jones' practice at its most vibrant and ambitious.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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