Cy Twombly (1929 Lexington - 2011 Rom)Ohne Titel aus 'Hommage à Picasso', Farboffsetlithografie auf Papier, 76 cm x 56 cm Blattmaß, monogrammiert, 73 datiert, 54/150 nummeriert, minimal knickfaltigProvenienz: Privatsammlung HannoverLiteratur: Wvz. Bastian 40In seinen eigenartigen Werken verbindet Twombly Collagen mit frenetisch abstrakten Pinselstrichen und Elementen aus der wissenschaftlichen Zeichnung. Der amerikanische Maler wurde 1928 in Lexington geboren und besuchte schon als 14-jähriger Malkurse und Vorlesungen des spanischen Künstlers Pierre Daura, durch den er zum ersten Mal mit der europäischen Kunst in Kontakt kam. Später setzte er seine Ausbildung an der Art Students League fort und lernte Robert Rauschenberg kennen. Twombly entwickelte früh einen abstrakt-expressiven Stil, in dessen gestischer Pinselführung er seine eigene physische und psychische Präsenz Ausdruck zu verleihen suchte. In den 1970er Jahren begann er Papiercollagen in seine Arbeiten zu integrieren und vermischte Malmittel wie Öl, Acryl, Aquarell und Pastell, um unterschiedliche Oberflächen zu erzeugen. Die Mappe "Hommage à Picasso" bestand aus 68 Drucke in verschiedenen Techniken. Cy Twombly (1929 Lexington - 2011 Rome)Untitled from 'Hommage à Picasso', offset lithograph in colours on paper, sheet size 76 cm x 56 cm, monogrammed, dated 73, numbered 54/150, slightly creasedProvenance: Private collection, HanoverLiterature: Cat. rais. Bastian 40In his idiosyncratic works, Twombly combines collages with frenetic abstract brushstrokes and elements from scientific drawing. The American painter was born in Lexington, Virginia in 1928. At the age of 14 be began attending painting classes and lectures by the Spanish artist Pierre Daura, through whom he first came into contact with European art. He later continued his education at the Art Students League, where he met Robert Rauschenberg. Twombly developed an expressive, abstract style early on, in whose gestural brushwork he sought to express his own physical and psychological presence. In the 1970s, he began incorporating paper collages into his work, mixing painting mediums such as oil, acrylic, watercolour, and pastel to create different surfaces. The portfolio ''Hommage à Picasso'' consisted of 68 prints in various techniques.
We found 46300 price guide item(s) matching your search
There are 46300 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
46300 item(s)/page
Otto Modersohn (1865 Soest - 1943 Rotenburg)Stillleben mit Bergwiesenblumen, Öl auf Leinwand, 50 cm x 40,5 cm, signiert, 32 datiert, minimal fleckig, oberflächlicher Farbabrieb neben der SignaturProvenienz: Wir danken dem Modersohn-Museum für die Bestätigung der Echtheit des Gemäldes. Das Gemälde malte Otto Modersohn während seines Aufenthaltes im Allgäu zwischen Juli und September 1932. Von 1930 bis 1935 verbrachte Modersohn die Frühjahrs-, Sommer- und Herbstmonate in seinem Zweitsitz in Gailenberg bei Bad HindelangOtto Modersohn wurde am 22. Februar 1865 in Soest geboren und war einer der bekanntesten deutschen Landschaftsmaler. Nach seinem Studium von 1884 bis 1888 an den Kunstakademien in Düsseldorf und Karlsruhe, begründete er 1889 zusammen mit Fritz Mackensen und Hans am Ende die Künstlerkolonie Worpswede. Die drei Maler ließen sich 1893 in der niedersächsischen Kleinstadt Worpswede nieder, aufgrund ihrer Faszination mit den künstlerischen Möglichkeiten der Freilichtmalerei in der noch rauen unerschlossenen Landschaft. Für Modersohn war die wichtigste Quelle der Inspiration und der Rückzugsraum die Natur, in die es ihn ständig zog. Bald darauf folgten weitere Künstler, unter anderem der Maler Heinrich Vogeler, dessen Residenz Barkenhoff neben dem Café Worpswede zu einem der wichtigsten Treffpunkte der Bewegung wurde, aber auch Otto Modersohns spätere Frau Paula Becker. Obwohl die Bilder der Worpsweder Gruppe Seitens der Presse erstmals auf Ablehnung stießen, wurden sie bald für ihre innovativen, naturnahen Kompositionen gefeiert. Modersohn verließ die Künstlerkolonie im Jahr 1899. In seinem Begründungsschreiben zum Austritt betonte er die Bedeutung der persönlichen, individuellen Freiheit eines jeden Künstlers, gleichzeitig erkannte er aber die großen Verdienste der Vereinigung an. Der Freilichtmalerei blieb er jedoch treu bis ihn im Jahre 1936 eine Netzhautablösung dazu zwang, nur noch im Studio zu malen. In späteren Jahren verbrachte Modersohn die Frühjahrs- und Sommermonate in seinem 1930 gekauften Zweitwohnsitz auf dem Gailenberg im Allgäu. In dieser Zeit entstand auch dieses schlichte, in Pastelltönen gehaltene Stillleben mit zarten Bergwiesenblumen in einer Glasvase, dass kennzeichnend ist für seinen harmonischen Bildrhythmus und melodischen Farbklang. Otto Modersohn (1865 Soest - 1943 Rotenburg)Still life with Alpine flowers, oil on canvas, 50 cm x 40.5 cm, signed, dated 32, slightly stained, surface abrasion next to the signatureProvenance: We are thankful to the Modersohn Museum for confirming the authenticity of this work. Modersohn painted the work during his stay in Allgäu between July and September 1932. From 1930 to 1935, Modersohn spent the Summer and Autumn months in his second home in Gailenberg near Bad Hindelang.Otto Modersohn was born on 22nd February 1865 in Soest and was one of the most famous German landscape painters. After studying from 1884 to 1888 at the art academies in Düsseldorf and Karlsruhe, he founded the Worpswede artists' colony in 1889 together with Fritz Mackensen and Hans am Ende. The three painters settled in the small town of Worpswede in Lower Saxony in 1893, due to their fascination with the artistic possibilities of open-air painting in the still rugged and undeveloped landscape. For Modersohn, the most important source of inspiration and retreat was nature, to which he was constantly drawn. Other artists soon followed, including the painter Heinrich Vogeler, whose residence Barkenhoff, along with Café Worpswede, became one of the movement's most important meeting places. They were also joined by Otto Modersohn's later wife Paula Becker. Although the paintings of the Worpswede group first met with rejection from the press, they were soon celebrated for their innovative, naturalistic compositions. Modersohn left the artists' colony in 1899. In his letter of explanation for leaving, he emphasized the importance of the personal, individual freedom of each artist, but at the same time he acknowledged the great merits of the association. He remained faithful to open-air painting, however, until he suffered a detached retina in 1936 which forced him to paint only in the studio. In later years, Modersohn spent the spring and summer months at his second home on the Gailenberg in the Allgäu, which he bought in 1930. It was during this time that he painted this simple still life with delicate, pastel toned wild flowers in a glass vase, which is characteristic of his harmonious pictorial rhythm and melodic use of colour.
Fritz Köthe (1916 Berlin - 2005 ebenda)'Schienenreiniger', Gouache und Kreide auf dünnem Karton, 42,5 cm x 55 cm Blattmaß, signiert, 39 datiert, verso datiert, betitelt, montiert, verso partiell oberflächlicher PapierabrissDer Maler und Gebrauchsgrafiker Fritz Köthe zählt zu den bedeutendsten Vertretern der deutschen Pop Art und des Fotorealismus. Als Wanderer zwischen Ost und West, zwischen Malerei und Gebrauchskunst, begann sein künstlerischer Erfolg erst ab den 1960er Jahren, als er nach amerikanischen Vorbildern Werbemotive im enggefassten Ausschnitt in extrem realistische Malerei umsetzte. Heinz Ohff schrieb in seiner Monographie (1976, S. 21) über Fritz Köthe, dass er "gelackten Banal-Surrealismus, der ihn - und uns - wie eine zweite Natur tagtäglich umgibt" in kontrastreiche hyperrealistische Bilder transferierte. Nach einer Ausbildung als Grafiker in den 1930er Jahren arbeitete Köthe ab 1939 in Berlin als Gebrauchsgrafiker. Aus dieser Zeit existiert ein relativ kleines Oeuvre, das er nebenher als freier Künstler und besonders unter dem Eindruck der sozialkritischen Kunst von Käthe Kollwitz schuf, mit dem er im NS-Kunstbetrieb erwartungsgemäß auf Ablehnung stieß. Die Schienenreiniger sind ein hervorragendes Beispiel dafür, wie Köthe in gedämpften Schwarz-Grau- und Violetttönen die triste, eintönige Tätigkeit anonymer, gesichtsloser Arbeiter schonungslos in einer Momentaufnahme einfängt. Nach dem Krieg wandelte Köthe seinen Stil vollkommen. Fritz Köthe (1916 Berlin - 2005 ibid)'Schienenreiniger', gouache and chalk pastel on thin card, sheet size 42.5 cm x 55 cm, signed, dated 39, titled on the reverse, dated 1939, mounted, with a minor surface tear to the card on the reverseThe painter and commercial artist Fritz Köthe was among the leading proponents of the Pop Art and Photorealism movements in Germany. As a traveller between east and west, painting and graphic art, he experienced his first artistic success in the 1960s when he began painting exceedingly realistic close ups of advertising motifs in the manner of the American pop artists. In his monograph on the artist, Heinz Ohff writes of how Köthe transformed the “trite, mundane surrealism that surrounded him – and us – each day like a second nature” in high-contrast, hyperrealistic compositions.After training as a graphic artist in the 1930s, Köthe worked as a commercial artist in Berlin as of 1939. A relatively small oeuvre exists from this period, which he created on the side as a freelance artist. He was especially influenced by the socially critical art of Käthe Kollwitz, with which he met with rejection from the Nazi art establishment, as expected. The Rail Cleaners is an excellent example of how Köthe relentlessly captures the dreary, monotonous activity of anonymous, faceless workers in a snapshot in muted shades of black, gray, and purple. After the war, Köthe changed his style completely.
Arturo Ciacelli (1883 - 1966)'natura morta', Pastell auf Papier, 30,5 cm x 47,5 cm Passepartoutinnenmaß, signiert, verso betitelt, 3 nummeriert, unter Passepartout montiert, minimaler punktueller Farbverlust, Passepartout beschädigtDer 1883 in Rom geborene Künstler Arturo Ciacelli widmete sich in seiner langen und äußerst produktiven Karriere vorwiegend dem abstrahierenden Stil. Ciacelli besuchte die freien Kurse der Accademi de belle arti in Rom, wo er 1909 die schwedische Künstlerin Elsa Ström traf und im gleichen Jahr heiratete. 1911 reiste Ciacelli nach Paris, wo er mit den kubistischen Künstlern im Umfeld von Robert Delaunay regen Kontakt pflegte. Hier begegnete er auch zum ersten Mal den "italienischen Futuristen", deren Reihen er sich später anschloss.Nach seiner Rückkehr erhielt er seine erste Einzelausstellung in der Universität Lund. Hundertzwei Werke wurden ausgestellt, davon 22 wie dieses in Pastell, aber auch Ölgemälde, Zeichnungen, Radierungen und Keramiken. Die Ausstellung wurde in mehreren Galerien präsentiert und war äußerst erfolgreich, da alle Werke verkauft wurden. Ciacelli blieb bis in die 1930er Jahre in Schweden, wo er in seiner Rolle als Künstler und Galerist den künstlerischen Austausch zwischen Italien, Frankreich und den nordischen Ländern förderte. 1938 kehrte er in sein Heimatland zurück und blieb auch dort mit seinen meist flächig-geometrischen Kompositionen ein führender Vertreter des Futurismus. Arturo Ciacelli (1883 - 1966)'natura morta', chalk pastel on paper, mat inner dimensions 30.5 cm x 47.5 cm, signed, titled on the reverse, numbered 3, firmly mounted under the mat, minor localised losses of pigment, mat defectiveArturo Ciacelli was born in Rome in 1883. In his long and productive career, he mainly painted in an abstract style. Ciacelli attended the free courses at the Accademi de belle arti in Rome, where in 1909 he met the Swedish artist Elsa Ström and married her in the same year. In 1911, he travelled tot Paris, where he became acquainted with the Cubist artists in the circle of Robert Delaunay. It was here that he also first came into contact with the Italian Futurist group, which he later joined.He had his first solo exhibition at the University of Lund. 102 of his works were exhibited, including 22 in pastels, like the present work, as well as oil paintings, drawings, etchings and ceramic pieces. The exhibition was later presented in several galleries and was exceedingly successful, with all of the works being sold. Ciacelli resided in Sweden until 1930. In his role as artist and gallerist, he facilitated artistic exchange between Italy, France, and the Nordic countries. He returned to Italy for good in 1938 and there his planar, geometric compositions made him one of the leading proponents of Futurism.
Four pictures comprising a circular pastel of early 19thC gentleman 30cms d, an oil on canvas still life of pink roses signed Bridge 36 x 26cms, a watercolour still life signed S Jackson 1942 22.5 x 26cms together with a limited edition etching 2/4 by Philip Evans "The Fly" 2004 frame size 47.5 x 34.5cms.Condition ReportAll appear in good condition.
A colour engraving, titled 'A Perspective of the Infirmary at Newcastle Upon Tyne', 46cm by 66cm, another colour engraving depicting a high-level bridge, Newcastle Upon Tyne, 32cm by 50cm, a framed pastel of storm clouds over a landscape, an early 20th century watercolour, a Venetian Scene, a black and white engraving and a colour print (6)
Collection of 19th century ceramics, to include jug of baluster form, with transfer printed decoration, 'independent order of odd fellows' and gilt detail, two handled loving cup depicting Robert Burns inside and on the base, with printed river scenes, cottage pastel burner, Blue and white teapot with a matching stand etc.
§ Mark Rowbotham (b. 1959) The Gondoliers. Pastel, initialled lower right, labelled verso. 28 x 21cm. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information
Manner of Floris Arntzenius (Dutch, 1864-1925), couple embracing. Pastel, watercolour and charcoal on paper. Signed 'F. Arntzenius' lower right. Framed. Bearing label verso, 'The Goupil Gallery, Boussod, Valadon and Co., publisher to Her Majesty, 5 Regent Street, London'. Image size 68 x 39cm.Condition Report: Some general wear to the picture, mainly fading. Good condition overall, but might benefit from being cleaned.
•CHARLES OPPENHEIMER RSA, RSW (BRITISH 1875-1961) KIRKCUDBRIGHT FROM THE STELL Charcoal, white chalk and pastel on paper, 20 x 25.5cm (8 x 10") Provenance: The Charles Oppenheimer Studio Sale, Thomson Roddick on 15th March 2014 Condition Report: Paper damage repair incision line darkish in tone, approx. one cm in length, located upper left quarter section.
RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. Exceptional hardcover 4.5 x 6.5 ledger book, 116 pages, containing 14 pages filled out in Renoir´s hand, recording the sales of his paintings, listing those in deposit, where they are, etc.. Written to the front cover `Tableaux´ ("Paintings"). The opening page bears a red pencil annotation, `Durand Ruel´, and the next 14 pages are dated from 1882 to 1885, recording various financial transactions. Several of these entries record amounts received from the sales of his works, and in several instances he writes names or descriptions of the works, such as "Portrait de Mme. C dans un jardin", "Femme nue", "Jeune Kabyle", "Vues Venise", "Saltimbanque", "Naples et Alger", "jardin coquelicot", "Jardin Montmartre", "Samary (Pastel)", and many more. Few other pages with multiple payments records, painting prices, financial transactions, amounts received on account, dates, etc.. In two instances, in 1883, Renoir writes the name `Manet´ presumably referring to his friend and fellow Edouard Manet. These entries provide valuable insight into Renoir's life and work, and as such this ledger represents an important piece for Renoir research. Very small minor age wear, otherwise VG Paul Durand-Ruel (1831-1922) French Art Dealer. Probably the most important commercial advocate of impressionists, providing monetary support to his painters and solo-exhibitions. He counted Degas, Monet, Manet and Renoir among his clients.
Vladimir Yankilevsky (Russian, 1938-2018)Female form, from the series Woman by the sea signed in Cyrillic and dated '90' (lower right)pastel on card64 x 49.5cm (25 1/4 x 19 1/2in). Footnotes:ProvenanceCollection of Sonia Melnikova-Lavigne, San FranciscoAcquired by a private American collector from the above, 8 June 1990This 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
Vladimir Yankilevsky (Russian, 1938-2018)Abstract composition with geometric forms, from series The Space of Experience signed in Cyrillic and dated '90' (lower right)pastel on card49.5 x 64.7cm (19 1/2 x 25 1/2in).Footnotes:ProvenanceCollection of Sonia Melnikova-Lavigne, San FranciscoAcquired by a private American collector from the above, 8 June 1990This 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
A porcelain cache-pot vaseImperial Porcelain Factory, St. Petersburg, Period of Nicholas II, dated 1911of rounded, tapering form, finely painted in muted pastel hues with a panoramic winter landscape depicting a hilly terrain with random trees and bushes covered with snow, all against cloudy sky at sunset, marked under base with green underglaze factory mark and date '1911' height: 29cm (11 7/16in).Footnotes:ProvenanceThe Winter Palace antiques shop, LondonPurchased from the above c. 1970-1980s by the present owner, a descendant of the Russian writer and publisher, Faddei Bulgarin (1789-1859)Adopted by the Imperial Porcelain Factory in the 19th century from the Danish school, the technique of underglaze painting on porcelain vases reached its peak between the years of 1900 and 1916. The dominating influence of the symbolist aesthetics reflected in a mesmerizing series of hand-painted porcelain vases decorated with landscape, floral and animal motifs which constituted the highlights of the factory production of the time. In the 1910s, the beauty of northern Russian landscape became the central theme of the works by factory artists like A. Lapshin, G. Zimin, A. Bolshakov, N. Daladugin, V. Klenovskaya. The subtle undertones of fleeting seasonal landscapes and pale northern skies barely touched by the shades of sunset and delicate forms of the northern vegetation perfectly complemented the very nature of the underglaze technique free of saturated colours and sharp contrasts. Drawing inspiration from the pristine landscapes of Finland, Karelia and the outskirts of St. Petersburg sketched by the factory artists, each porcelain painting was unique. Examples of vases created by the factory in a variety of simple forms include the notable Deep River vase from the Anichkov Palace, 1910 (Bonhams, Russian art, 28 November 2018, lot 101a), Birch stems, 1913 (State Hermitage, http://collections.hermitage.ru/entity/OBJECT/1006238), Vase with a landscape, 1914 (State Historical Museum, https://catalog.shm.ru/entity/OBJECT/95867), a vase with a lake view (The Peterhof State Museum and Reserve, Imperial Porcelain Factory 1744-1904, St. Peterburg, 2008, p. 633). An example of a vase shaped as cache-pot, such as the present, painted with a winter lake view was at Sotheby's Paris, Vue Sur La Riviera – La Villa D'un Collectionneur, 25 June 2019, lot 9. Shaped as a cache-pot, the offered vase is an exquisite example of these artistic achievements. Beautifully painted in a fine palette of delicate blues, greens, greys, and peach, with an expanding view of cascading hills and valleys covered in snow and rare birch and spruce trees and other vegetation and set against the depth of the sunset skies, it presents an excellent sense of perspective and unity of the porcelain painting and form. The present vase was acquired from the famous Winter Palace Shop at Kensington Church Street. Established by an American art dealer Nicholas Lynn and a former Russian aristocrat, trader and author Margot Tracey, the antiques shop specialized in trading Russian historic artworks, akin to the Paris-based À la Vielle Cité and Popoff & Co. Maintaining close ties with the families of impoverished Russian aristocrats, the gallery offered an outstanding selection of Russian fine art, decorative objects and Imperial porcelain with exceptional provenance which garnered interest from international collectors with an appreciation of Russian art.For further information on this lot please visit Bonhams.com
A PAIR OF SEVRES STYLE PORCELAIN GARNITURE URNS, c.1900, of slender ovoid form each sparsely printed and overpainted in pastel colours with a young lady with cupids flying overhead, with cast gilt metal and champleve enamel mounts on canted square bases, porcelain indistinctly signed PAJOT(?) (Illustrated) (Est. plus 21% premium inc. VAT)No apparent damage to porcelain, marks (if any) unknown, enamelling not best quality but in generally good order. The yellow tinted example has some scratching to ground colour, top near handle
JOHN SAUNDERS (Active early/mid 18th Century), Portrait of an Allegorical Female Figure with Flowers in her Hair and Holding a Dove, pastel, signed and dated 1732 top right corner, pastel on paper laid on canvas and on board, unsigned, 21" x 15", unframed (Est. plus 21% premium inc. VAT)Old worm holes to board - does not appear to be active, picture needs some restoration, split to paper 6" running along top of her forehead, creases to paper to right of face and some staining - possibly water damage, scratch marks under elbow on blue sash, possibly water damage(?)
Loading...-
46300 item(s)/page