We found 314796 price guide item(s) matching your search
There are 314796 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
314796 item(s)/page
Lot 10
Evie Hone HRHA (1894-1955)Abstract CompositionOil on canvas, 100 x 65cm (39¼ x 25½'')Signed and dated 1928Provenance: From the collection of the late Dr Michael Wynne, former keeper of The National Gallery of Ireland and his sale in these rooms May 2005, Lot 88, where purchased by current owners.Exhibited: ‘The Abstract Eye: Mainie Jellett and Evie Hone’, The Derek Hill Glebe Gallery, Donegal June - September 2009; 'The Moderns’, IMMA, October 2010 - February 2011 Cat. No. 37; ‘Analysing Cubism’, IMMA, February - May 2013, The Crawford Gallery Cork June - September 2013, The FE Mc William Gallery, Banbridge September - November 2013; 'Irish Women Artists 1870 - 1970’, Adam’s, Dublin - July 2014, The Ava Gallery, Clandeboye Estate, August - September 2014, Cat. No. 73.Literature: 'The Moderns’, IMMA, October 2010 - February 2011, full page illustration p.67; ‘Analysing Cubism’, The Crawford Gallery Cork, full page illustration p.63; 'Irish Women Artists 1870 - 1970’, Adam’s, full page illustration p.89.Evie Hone studied with the Cubist painter André Lhote in Paris in 1920-1921. She and Mainie Jellett subsequently collaborated with Albert Gleizes, which resulted in the first exhibition of abstract art in Ireland in 1923. This used a Cubist aesthetic developed in Gleizes’s studio which the French artist called ‘translation -rotation’. As described in Gleizes’s 1923 book, La Peinture et ses Lois the artist begins with the basic shape of the support and paints its surface in one colour, proceeding to select colours and shapes which echo the form of the canvas. This is the static element of translation. In rotation, the Cubist element, the artist rotates these basic forms to create a dynamic composition which introduces the idea of time and movement into the work.This method was used by Hone in the construction of her abstract art throughout the 1920s and is evident in Abstract Composition, 1928. Against a mauve base Hone has created a geometric framework of greens and blues the angular forms of which mutate as they move towards the centre of the composition into more fluid and organic lines. These suggest the shape of a figure, akin to that of a religious icon. Gleizes, Jellett and Hone were all devoutly religious and shared a reverence for medieval sacred art and a commitment to an art practice that would offer a meaningful aesthetic to the wider community. At one level their abstract art was concerned with creating a spiritual art for the twentieth century. Unlike Jellett whose work was developing along similar proto-figurative lines in the late 1920s, Hone did not adopt religious titles for her work, sticking instead to neutral terms like Composition. This terminology discourages the viewer from looking for representational elements in the work and stresses instead its aesthetic components.Hone’s version of translation-rotation, while very close to that of Jellett’s, is considered to be ‘more intuitive, spontaneous and less rigidly theoretical’. One gets some sense of this in those parts of Abstract Composition where the lines end suddenly or mutate into a different colour. The reinforcement of the green in the upper right part of the composition also indicates Hone’s willingness to play with the limits of this style and its relationship to figurative art. The subtle repetition of rectangular floating forms of blue and bright green adds a note of dynamism and movement. Unusually Hone made a gouache version of Abstract Composition and a pochoir or stencil print of its design. This indicates the artist’s high regard for the work. It demonstrates Hone’s mastery of abstract art and her status as a pioneer of this kind of modernist painting in Europe in the 1920s. Dr Róisín Kennedy
Lot 241
Hiroshi Yoshida (1876-1950), Hodakadake, from series 'Twelve Scenes in the Alps', 1926, signed and titled in pencil in the margin, with Jizuri seal in the right hand margin, japanese woodblock print, 26 x 39cm.; 10.25 x 15.25in. For condition report please see the catalogue at www.peterwilson.co.uk
Lot 491
After Robert O. Lenkiewicz (1941-2002), Painter with Anna / St. Antony Theme, signed, titled and numbered 125/275 in pencil in the margin, colour reproduction print, image size 73 x 73cm.; 28.75 x 28.75in. Artists' Resale Right (droit de suite) may apply to this lot. For condition report please see the catalogue at www.peterwilson.co.uk
Lot 492
After Robert O. Lenkiewicz (1941-2002), Painter with Women - St. Antony Theme, signed, titled and numbered 134/475 in pencil in the margin, with Washington Green blindstamp, colour reproduction print, image size 63.5 x 48.5cm.; 25 x 19in. Artists' Resale Right (droit de suite) may apply to this lot. For condition report please see the catalogue at www.peterwilson.co.uk
Lot 493
After Robert O. Lenkiewicz (1941-2002), Daemon Series / Project 18, signed, titled and numbered 203/375 in pencil in the margin, colour reproduction print, image size 83.5 x 54cm.; 33 x 21.25in. Artists' Resale Right (droit de suite) may apply to this lot. C For condition report please see the catalogue at www.peterwilson.co.uk
Lot 495
After Robert O. Lenkiewicz (1941-2002), Warren Woods, signed, titled and numbered 229/375 in pencil in the margin, colour reproduction print, image size 27.5 x 99.5cm.; 10.75 x 39.25in. Artists' Resale Right (droit de suite) may apply to this lot. For condition report please see the catalogue at www.peterwilson.co.uk
Lot 497
After Robert O. Lenkiewicz (1941-2002), Anna / Last Judgement, Project 18, signed, titled and numbered 258/375 in pencil in the margin, colour reproduction print, image size 57 x 50cm.; 22.5 x 19.75in. Artists' Resale Right (droit de suite) may apply to this lot. For condition report please see the catalogue at www.peterwilson.co.uk
Lot 498
After Robert O. Lenkiewicz (1941-2002), The Painter with Karen - St. Antony Theme, signed, titled and numbered 113/495 in pencil in the margin, colour reproduction print, image size 64 x 73.5cm.; 25.25 x 29in. Artists' Resale Right (droit de suite) may apply to this lot. For condition report please see the catalogue at www.peterwilson.co.uk
Lot 499
After Robert O. Lenkiewicz (1941-2002), The Painter with Lisa - Aristotle and Phyllis Theme, signed, titled and numbered 75/395 in pencil in the margin, colour reproduction print, image size 80.5 x 75.5cm.; 31.75 x 29.75in. Artists' Resale Right (droit de suite) may apply to this lot. For condition report please see the catalogue at www.peterwilson.co.uk
Lot 500
Benjamin Senior (b.1982), Stroke Tempo, signed and dated 2016 on verso, numbered 55/100, produced by Paupers Press, London, printed on Somerset 300 gsm Velvet White paper, lithograph, unframed, sheet size 76 x 60cm.; 30 x 23.5in. * This print forms one of a series of images produced by various artists in celebration of Rio and Brazil, with the spirit of Team GB as their inspiration. Artists' Resale Right (droit de suite) may apply to this lot. For condition report please see the catalogue at www.peterwilson.co.uk
Lot 507
After Laurence Stephen Lowry (1887-1976), An Industrial Town, signed and numbered 75/500 in pencil in the margin, colour reproduction print, image size 43.5 x 59.5cm.; 17.25 x 23.5in. Artists' Resale Right (droit de suite) may apply to this lot. For condition report please see the catalogue at www.peterwilson.co.uk
Lot 510
After Laurence Stephen Lowry R.A. (British, 1887-1976), Landscape with Farm Buildings, signed in pencil in the margin, with Fine Art Trade Guild blindstamp, colour reproduction print, image size 40 x 50cm.; 15.75 x 19.75in. Artists' Resale Right (droit de suite) may apply to this lot. For condition report please see the catalogue at www.peterwilson.co.uk
Lot 602
Bowen (Emmanuel). Britannia Depicta or Ogilby Improv'd being a correct coppy of Mr Ogilby's actual survey of all ye Direct & Principal cross roads in England and Wales..., 2nd edition, London printed for & sold by Tho. Bowles, Print & Map seller next ye Chapter House in St. Pauls Church-Yard & E. Bowen Engraver & Print Seller near ye stairs in St. Katherines, 1720, [1721], engraved title, four pages of tables & maps, 273 uncoloured engraved county maps and strip road maps printed back-to-back, CONDITION REPORT: Rebound
Loading...-
314796 item(s)/page