Sascha Brylla I Love You So, 2020 Gouache on Washi Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sascha Brylla is originally from a small town in Upper Bavaria, Germany. She now lives and works in Berlin, where she moved more than 10 years ago, studying a master's degree at Kunsthochschule Berlin-Weißensee, which she graduated from in 2016. In her childhood, Sascha Brylla got interested in art from an early stage; "During my childhood in Bavaria, the big question about art never crossed my mind. My father was a photographer and my mother owned a ceramics workshop in the basement. I was always surrounded by different art materials. Pens and brushes were readily available - it was only later that I started to realize the different skills involved, and my desire to study grew." Brylla's works are reduced in colour. Grey and pastel shades dominate the picture series. They have a relief-like surface and are slightly dusty, or carry other traces of processing. The motifs are ornamental, form patterns, and speak a formal language reminiscent of drawings or etchings. They are figurative, but in the process of being created undergo a kind of metamorphosis towards abstraction. Even though she plays with depictions of nature in her imagery, she does not feel obliged to observe nature as such. Rather, Brylla is interested in metaphorical sceneries, and the possibility to raise social questions.
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
Andreas Eriksson Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Andreas Eriksson was born in 1975 in Björsäter, Sweden. He lives and works in Medelplana on the south bank of Lake Vänern, Sweden. Eriksson's artistic practice is highly expansive, encompassing a wide range of media including painting, photography, sculpture, tapestry and installation. Eriksson's works often appear quiet and understated yet belie a poetic quality which has a lasting effect on the viewer. Since 2000 the artist has lived in a house situated in the midst of a forest on the edge of a lake. Small events and phenomena from his everyday life and the natural world that surrounds him become the outset for his works, giving his formal, conceptual, metaphorical and perceptual decision-making process a firm context. Eriksson's work often embraces dualities such as inside and outside, lightness and heaviness, illusion and reality. His work hovers enigmatically between the abstract and the figurative, and is simultaneously familiar and mysterious. The emotional intensity with which Eriksson imbues his work is the result of a sustained exploration of his response to the natural world. A major solo exhibition of watercolours, drawings and tapestries opened at The Nordic Watercolour Museum in Tjörn, Sweden in September 2020. Eriksson's fourth solo exhibition at Stephen Friedman Gallery, London 'Mapping memories, tracing time' opened in March 2020. Eriksson's works are included in prominent collections internationally including: Centre Pompidou, Paris, France; FRAC, Auvergne, France; MUMOK, Vienna, Austria; Nasjonalmuseet, Oslo, Norway; Gothenburg Museum of Art, Gothenberg, Sweden; Moderna Museet, Stockholm, Sweden; Skövde Art Museum, Skövde, Sweden; National Public Art Council, Sweden; Sundsvall Museum, Sundsvall, Sweden and Uppsala Art Museum, Uppsala, Sweden and X Museum, Beijing, China.
Andreas Eriksson Untitled, 2020 Charcoal and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Andreas Eriksson was born in 1975 in Björsäter, Sweden. He lives and works in Medelplana on the south bank of Lake Vänern, Sweden. Eriksson's artistic practice is highly expansive, encompassing a wide range of media including painting, photography, sculpture, tapestry and installation. Eriksson's works often appear quiet and understated yet belie a poetic quality which has a lasting effect on the viewer. Since 2000 the artist has lived in a house situated in the midst of a forest on the edge of a lake. Small events and phenomena from his everyday life and the natural world that surrounds him become the outset for his works, giving his formal, conceptual, metaphorical and perceptual decision-making process a firm context. Eriksson's work often embraces dualities such as inside and outside, lightness and heaviness, illusion and reality. His work hovers enigmatically between the abstract and the figurative, and is simultaneously familiar and mysterious. The emotional intensity with which Eriksson imbues his work is the result of a sustained exploration of his response to the natural world. A major solo exhibition of watercolours, drawings and tapestries opened at The Nordic Watercolour Museum in Tjörn, Sweden in September 2020. Eriksson's fourth solo exhibition at Stephen Friedman Gallery, London 'Mapping memories, tracing time' opened in March 2020. Eriksson's works are included in prominent collections internationally including: Centre Pompidou, Paris, France; FRAC, Auvergne, France; MUMOK, Vienna, Austria; Nasjonalmuseet, Oslo, Norway; Gothenburg Museum of Art, Gothenberg, Sweden; Moderna Museet, Stockholm, Sweden; Skövde Art Museum, Skövde, Sweden; National Public Art Council, Sweden; Sundsvall Museum, Sundsvall, Sweden and Uppsala Art Museum, Uppsala, Sweden and X Museum, Beijing, China.
Walter Swennen E L'ora, 2020 Pencil, Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be 'emotive' or 'understood': the primary goal of painting is, quite simply, painting. Everything - form, colour, subject - comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs - he takes them as he finds them, high or low, and manipulates them at will - is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen's paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
Andreas Eriksson Untitled, 2020 Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Andreas Eriksson was born in 1975 in Björsäter, Sweden. He lives and works in Medelplana on the south bank of Lake Vänern, Sweden. Eriksson's artistic practice is highly expansive, encompassing a wide range of media including painting, photography, sculpture, tapestry and installation. Eriksson's works often appear quiet and understated yet belie a poetic quality which has a lasting effect on the viewer. Since 2000 the artist has lived in a house situated in the midst of a forest on the edge of a lake. Small events and phenomena from his everyday life and the natural world that surrounds him become the outset for his works, giving his formal, conceptual, metaphorical and perceptual decision-making process a firm context. Eriksson's work often embraces dualities such as inside and outside, lightness and heaviness, illusion and reality. His work hovers enigmatically between the abstract and the figurative, and is simultaneously familiar and mysterious. The emotional intensity with which Eriksson imbues his work is the result of a sustained exploration of his response to the natural world. A major solo exhibition of watercolours, drawings and tapestries opened at The Nordic Watercolour Museum in Tjörn, Sweden in September 2020. Eriksson's fourth solo exhibition at Stephen Friedman Gallery, London 'Mapping memories, tracing time' opened in March 2020. Eriksson's works are included in prominent collections internationally including: Centre Pompidou, Paris, France; FRAC, Auvergne, France; MUMOK, Vienna, Austria; Nasjonalmuseet, Oslo, Norway; Gothenburg Museum of Art, Gothenberg, Sweden; Moderna Museet, Stockholm, Sweden; Skövde Art Museum, Skövde, Sweden; National Public Art Council, Sweden; Sundsvall Museum, Sundsvall, Sweden and Uppsala Art Museum, Uppsala, Sweden and X Museum, Beijing, China.
ROMANELLI, GIOVANNI FRANCESCO ROMANELLI, GIOVANNI FRANCESCO Viterbo 1610 - 1662 Titel: Allegorie der Wahrheit. Technik: Kreide. Maße: 37,5cm. Alter Sammlungsstempel "Marquis de Lagoy" unten rechts. Provenienz: Sammlung Joseph-Hyacinthe-François de Paule de Rigaud, comte de Vaudreuil (1780er), Paris; Kunstmarkt, Paris (1791); Sammlung Vincent Donjeux (1793), Paris; Kunstmarkt, Paris (1794); Sammlung Jean-Baptiste-Florentin-Gabriel de Meryan Marquis de Lagoy (1764-1829), Aix-en-Provence, Frankreich; Privatbesitz, Deutschland. Giovanni Francesco Romanelli galt als einer der italienischen Maler der Barockzeit, der sowohl in seiner Heimat auch im Ausland, insbesondere in Frankreich, Erfolge feiern konnte. Nachdem er 1640 durch die Vermittlung von Kardinal Giulio Mazzarino einige Gemälde für den französischen Finanzminister Michel Particelli d'Émery ausgeführt hatte, konnte der Künstler die erste Reise nach Frankreich zwischen Juni 1646 und September 1647 antreten. Zu den ersten Aufträgen in Paris gehörte die Dekoration mehrerer Räume im Duret-Tubeuf-Palast und des Kabinetts des Hôtel Lambert. Der zweite Aufenthalt Romanellis in Paris (1655-57) erfolgte auf Wunsch der Königinmutter Anna von Österreich, die Romanelli mit der Dekoration von fünf Zimmern ihrer Sommerwohnung im Palais du Louvre beauftragte. Neben der Herstellung von Leinwänden führte Romanelli auch Zeichnungen aus, die als Vorstudien für Dekorationen dienten oder als eigenständige Kunstwerke angesehen werden können. Dazu kann die vorliegende Allegorie der Wahrheit gezählt werden, deren Präsenz in Frankreich zumindest vom Ende des 18. bis zur Mitte des 19. Jahrhunderts belegt ist. Sie erscheint im Verkaufskatalog der Sammlung von Joseph-Hyacinthe-François de Paule de Rigaud, Graf von Vaudreuil vom 26. November 1787: "F. Romanelly. Une Femme debout relevant un voile qui lui couvre la tête; elle est appuyée contre un tertre au bas duquel on voit deux masques. Ce dessin agréable, précieux & très-terminé, est aux trois crayons sur papier blanc. Pastel trois Buntstifte sur papier blanc, Hauteur 20 pouces, largeur 15 p.". Bis 1794 tauchte das Blatt in weiteren Verkäufen in Paris auf, die von dem bekannten Kunsthändler und Sammler Jean-Baptiste-Pierre Lebrun organisiert wurden. Schließlich gelangte die Papierarbeit in die berühmte Sammlung von Jean-Baptiste-Florentin-Gabriel de Meryan, Marquis de Lagoy. Die berühmte "marque de collection" mit einem großen L im Dreieck in schwarzer Tinte, die unten rechts abgebildet ist, verweist auf diese Provenienz. Erläuterungen zum Katalog Giovanni Francesco Romanelli Italien Barock 17.Jh. Handzeichnungen Allegorie Zeichnung Akte ROMANELLI, GIOVANNI FRANCESCO ROMANELLI, GIOVAN FRANCESCO Viterbo 1610 - 1662 Title: Allegory of Truth. Technique: Chalk. Height: 37,5cm. Old collection stamp "Marquis de Lagoy" bottom right. Provenance: Joseph-Hyacinthe-François de Paule de Rigaud collection, comte de Vaudreuil (1780s), Paris; Art market, Paris (1791); Vincent Donjeux collection (1793), Paris; Art market, Paris (1794); Jean-Baptiste-Florentin-Gabriel de Meryan Marquis de Lagoy collection (1764-1829), Aix-en-Provence, France; Private ownership, Germany. Giovanni Francesco Romanelli was considered one of the Italian painters of the Baroque period, who was successful both in his home country and abroad, especially in France. After he had executed some paintings for the French minister of finance Michel Particelli d'Émery in 1640, through the mediation of Cardinal Giulio Mazzarino, the artist was able to make his first trip to France between June 1646 and September 1647. Among the first commissions in Paris were the decoration of several rooms in the Duret-Tubeuf Palace and the cabinet of the Hôtel Lambert. Romanelli's second stay in Paris (1655-57) was at the request of Queen Mother Anne of Austria, who commissioned Romanelli to decorate five rooms of her summer residence at the Palais du Louvre. Besides making canvases, Romanelli also made drawings, which served as preliminary studies for decorations or can be regarded as independent works of art. Among these can be counted the present Allegory of Truth, whose presence in France is documented at least from the end of the 18th to the middle of the 19th century. It appears in the sales catalogue of the collection of Joseph-Hyacinthe-François de Paule de Rigaud, Count of Vaudreuil, 26 November 1787: "F. Romanelly. Une Femme debout relevant un voile qui lui couvre la tête; elle est appuyée contre un tertre au bas duquel on voit deux masques. Ce dessin agréable, précieux & très-terminé, est aux trois crayons sur papier blanc. Pastel trois coloured pencils on paper blank, hauteur 20 pouces, largeur 15 p.". Until 1794 the sheet appeared in further sales in Paris, organized by the famous art dealer and collector Jean-Baptiste-Pierre Lebrun. Finally the paper work came into the famous collection of Jean-Baptiste-Florentin-Gabriel de Meryan, Marquis de Lagoy. The famous "marque de collection" with a large L in the triangle in black ink, which is shown at the bottom right, refers to this provenance. Explanations to the Catalogue Giovan Francesco Romanelli Baroque 17th C. Watercolour / Drawings Allegory Drawing Nudes
Robert Colquhoun (British, 1914-1962)Two Actors oil and oil pastel on canvas43.7 x 33.8 cm. (17 1/4 x 13 1/4 in.)Painted in 1945Footnotes:ProvenanceWith The Mayor Gallery, LondonFrances Byng StamperWith The Redfern Gallery, London, 6 March 1985, where purchased by the present ownerPrivate Collection, U.K.ExhibitedLondon, Whitechapel Art Gallery, Robert Colquhoun; An Exhibition of Paintings, Drawings and Prints from 1942 to 1958, March-May 1958, cat.no.32The present canvas is a smaller version of an almost identical composition, Actors on a Stage, painted the same year. In both works, two figures are depicted side on, embracing in a moment of tenderness, with a cat stretched out on part of a stage above them. Three years after they were painted, in 1948, both Robert Colquhoun and MacBryde were approached by Leonide Massine, a Russian choreographer and ballet dancer, to design the costumes and décor for a Scottish ballet, Donald of the Burthens, which later came to Covent Garden in 1951. The following year they travelled to Italy to see the puppet plays at Modena and the Palio at Sienna. However, as these two works clearly demonstrate, theatrical subject matter had already taken hold before this project, and filtered into Colquhoun's canvases.Two Actors was painted during the time which is widely regarded by critics as the artist's most successful. By 1945 Colquhoun was well established in London, following his move in 1941 from Glasgow with fellow Scottish artist and partner Robert MacBryde. Based in Kensington, through the patronage and care of Peter Watson, he became integral to the Neo-Romantics, including John Minton, John Craxton and Keith Vaughan. By 1942 the influential Polish émigré artist, Jankel Adler (1895-1949), had taken a studio in the same building and was instrumental in exposing the group to the pictorial vocabulary of Braque's style of Cubism, which gradually replaced the Romantic tone of Colquhoun's work, as can be seen in Two Actors. Malcolm Yorke remarks on this relationship:'Adler was responsible for weaning Colquhoun and MacBryde away from the English landscape tradition (it had never been their tradition, anyway) and on to a richer eclecticism, a less parochial style, and more humanistic subject matter. As he explored his Jewish tradition, so he urged them to explore their Celtic heritage. Soon Colquhoun began to paint Irish and Scottish peasant women, haggard, shawled and black-skirted. These remote static figures were meant, like Adler's, to represent something archetypal, enduring through time, but they are also expressed in an unmistakably twentieth-century idiom derived from Picasso and Braque (Malcolm Yorke, The Spirit of Place, Nine Neo-Romantic Artists and their Times, Constable, London, 1988, pp.241-242).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
PATRICK WILLIAM ADAM RSA (SCOTTISH 1854 - 1929), FOUNTAIN WITH SCULPTURE (in the artist's garden) pastel on paper, signed 30cm x 47cm Mounted, framed and under glass Note: Inscribed on old label verso "This has been exhibited at the RA in Edinburgh, By the well-known Scottish artist P.W. Adam. He lived in North Berwick and this painting is his garden pond. Valuable."
Panagiotis Tetsis (Greek, 1925-2016)i. Pomegranatessigned in greek (lower right) oil on canvas50.5 x 18.5 cm.ii. Still lifesigned in greek (lower right)pastel on paper30.5 x 49 cm.(2)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
ELLA MARY BANKS, NÉE COATES (1884-1937) - A SOLDIER; AN ELEGANT LADY; PORTRAIT AND ANATOMICAL STUDIES, PENCIL AND/OR PASTEL AND WASH, 78 X 63CM AND SMALLER, SOLD IN PORTFOLIO (APPROX 60) Typically creased with minor tears and marks, more heavily on some than others as a consequence of long term storage in a dusty attic or similar
ELLA MARY BANKS, NÉE COATES (1884-1937) - ST PAUL'S CATHEDRAL FROM THE RIVER THAMES; HARBOUR SCENE; KITCHEN INTERIOR, THE SECOND INSCRIBED VERSO WITH TITLE AND PRICE 5 GNS, THE LAST SIGNED WITH MONOGRAM AND DATED '07, OIL ON PANEL, BOARD AND CANVAS RESPECTIVELY, THE FIRST 35 X 26.5CM, A DESIGN FOR A POSTER OF WHITBY ABBEY, PASTEL AND A GHOSTLY FIGURE OR HERMIT IN A HOLLOW TREE, PASTEL ON COLOURED PAPER, UNFRAMED, THE WORK ON CANVAS UNSTRETCHED (5) All with much dirt and handling marks. The second pastel with small tears and loss
ELLA COATES (1884-1937) - THE EAST WINDOW OF A CATHEDRAL WITH PROCESSION, SIGNED (ELLA BANKS), PASTEL, 75 X 49.5CM Good condition with some slight foxing and dust beneath the glass, close mounted in the original early 20th c narrow wood frame with (on the backboard) the printed trade label of C O J Gidden Southport
William John Ferguson (fl. 1849-78), 'Pozzuoli, in the Gulf of Naples' (costume), pencil and wash and three other costume studies, 19th century, including one of a man in traditional Spanish costume, one of a lady inscribed 'Costume di Tante' and another unfinished pencil and wash drawing of a woman, together with an unsigned pastel drawing of heathland with flowering gorse (5, framed), 37 x 25cm (largest)
(See English version below)Dirk Bell (München 1969 – lebt in Berlin). Idylle pour Carole. 2002-06Acryl, Pastellkreide, Bleistift und Farbstift auf Leinwand. 134,5 × 100,5 cm ( 53 × 39 ⅝ in.). Unten rechts monogrammiert. Rückseitig auf dem Überspann sowie dem Keilrahmen signiert und datiert: Dirk Bell 2002-6. Rückseitig ein Etikett der Galerie BQ, Köln.[3816]Provenienz: The Blake Byrne Collection, Paris/Los AngelesZustandsbericht: In gutem Zustand. Die Leinwand ist nicht doubliert und befindet sich auf dem originalen Keilrahmen (originale Aufspannung). Im unteren Drittel zwei leichte Bestoßungen und eine Bereibung an der rechten unteren Leinwandkante. In der unteren rechten Ecke ein winziger Farbabrieb. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.Dirk Bell (Munich 1969 – lives in Berlin). Idylle pour Carole. 2002-06Acrylic, pastel crayon, pencil and coloured pencil on canvas. 134,5 × 100,5 cm ( 53 × 39 ⅝ in.). Monogrammed in the lower right. Signed and dated on the overlap and the stretcher on the reverse: Dirk Bell 2002-6. With a label from the Galerie BQ, Cologne, on the reverse.[3816]Provenance: The Blake Byrne Collection, Paris/Los Angeles Condition report: In good condition. The canvas not relined. Mounted on the original stretcher (original tacking). In the lower third two slight nicks as well as a scuff mark along the right lower edge of the cavas. In the lower right corner one tiny colour abrasion. UV-light reveals no retouchings or repairs. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
(See English version below)Per Kirkeby (1938 – Kopenhagen – 2018). Entwurf für Etikett von Mouton Rothschild. 1994Gouache, Pastell, Kohle und Tusche auf Papier. 70 × 100 cm ( 27 ½ × 39 ⅜ in.). Unten rechts mit Bleistift monogrammiert und datiert: PK 94. Rückseitig mit Bleistift mit der Werknummer bezeichnet: PKZ 1786. Auf der Rückpappe ein Etikett der Galerie Commeter, Hamburg.[3997]Provenienz: Ehemals Galerie Commeter, HamburgZustandsbericht: In gutem Zustand. Die Farben frisch und leuchtend. Die Blattkanten ohne Einrisse oder Fehlstellen. Rückseitig mit Japanpapierstreifen am Unterkarton montiert. Rückseitig Reste ehemaliger Montierung (Japanpapierstreifen). Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.Per Kirkeby (1938 – Copenhagen – 2018). Entwurf für Etikett von Mouton Rothschild . 1994Gouache, pastel, charcoal and India ink on paper. 70 × 100 cm ( 27 ½ × 39 ⅜ in.). Monogrammed and dated in pencil on the lower right: PK 94. Work number in pencil on the reverse: PKZ 1786. Label of Galerie Commeter, Hamburg on the cardboard backing.[3997]Provenance: Formerly Galerie Commeter, HamburgCondition report: In good condition. Fresh and luminous colours. No tears or losses at the sheet edges. Mounted with strips of Japan paper onto the cardboard on the reverse. Remains of former mount (strips of Japan paper) on the reverse. Fine harmonious overall appearanceWe charge 25% premium on the Hammerprice and VAT applies to hammerprice and premium.
This pastel depicts the Senate Square in St. Petersburg, Russia. The Bronze Horseman is an equestrian statue of Peter the Great in the Senate Square in Saint Petersburg, Russia. It has opened to the public on 7 August 1782. Commissioned by Catherine the Great, it was created by the French sculptor Étienne Maurice Falconet.Overall: 20 3/4 x 16 3/4 in. Sight: 9 x 8 1/2 in.
Loading...-
46298 item(s)/page