Prints Prints Featuring the Work Piper of John 1Pm 18 September 2013 at Wednesday London Knightsbridge

Total Page:16

File Type:pdf, Size:1020Kb

Prints Prints Featuring the Work Piper of John 1Pm 18 September 2013 at Wednesday London Knightsbridge 20739 Prints featuring the work of John Piper, of John work the featuring Prints Prints featuring the work of John Piper Wednesday 18 September 2013 at 1pm Knightsbridge, London 18 September 2013, 18 September 2013, Knightsbridge, London Knightsbridge, Prints featuring the work of John Piper Wednesday 18 September 2013 at 1pm Knightsbridge, London Bonhams Enquiries Please see page 2 for bidder Montpelier Street Michael Jette information including after-sale Knightsbridge + 44 (0) 20 7393 3941 collection and shipment. London SW7 1HH [email protected] www.bonhams.com Please see back of catalogue Customer Services for important notice to bidders Viewing Monday to Friday 8.30am to 6pm Sunday 15 September +44 (0) 20 7447 7447 Illustrations 11am to 3pm Front cover: Lot 107 Monday 16 September Sale Number: 20739 Inside front cover: Lot 296 9am to 4.30pm Inside back cover: Lot 277 Tuesday 17 September Catalogue: £15 (£17 by post) Back cover: Lot 318 9am to 4.30pm Wednesday 18 September 9am to 11am NB To request condition reports Bids on any of the lots in the +44 (0) 20 7447 7448 sale, please contact the +44 (0) 20 7447 7401 fax department directly. To bid via the internet please visit www.bonhams.com New bidders must also provide proof of identity when submitting bids. Failure to do this may result in your bids not being processed. Please note that bids should be Live online bidding is submitted no later than 4pm on available for this sale the day prior to the auction. Please email [email protected] with “Live bidding” in the subject Bidding by telephone will only be line 48 hours before the auction accepted on a lot with a lower to register for this service. estimate in excess of £400. Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Chairman, Colin Sheaf Deputy Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Antony Bennett, Iain Rushbrook, John Sandon, Tim Schofield, Registered Office: Montpelier Galleries Malcolm Barber Group Managing Director, Matthew Bradbury, Harvey Cammell, Simon Cottle, Veronique Scorer, James Stratton, Roger Tappin, Matthew Girling CEO UK and Europe, Andrew Currie, David Dallas, Paul Davidson, Jean Ghika, Shahin Virani, David Williams, Michael Wynell-Mayow. Montpelier Street, Geoffrey Davies, Jonathan Horwich, James Knight, Charles Graham-Campbell, Miranda Grant, Robin Hereford, London SW7 1HH Patrick Meade, Caroline Oliphant, Hugh Watchorn. Asaph Hyman, Charles Lanning, Camilla Lombardi, +44 (0) 20 7393 3900 Fergus Lyons, Paul Maudsley, Gordon McFarlan, +44 (0) 20 7393 3905 fax Andrew McKenzie, Simon Mitchell, Jeff Muse, Mike Neill, Charlie O’Brien, Giles Peppiatt, Peter Rees, Julian Roup, Sale Information Central Middlesex Hospital Park Royal Coronation Road W Bonhams, e d s P t Park Royal a e a rn r o A k R v e R e s A4 o 0 a y Park a h l C Royal Western Ave A40 R o 0 Station a 0 d Acton 0 4 Cemetery North A Acton d Station a o R a i r o t c i V West Acton Horn Lane Bids Collection & shipment Station Handling & Handling & +44 (0) 20 7447 7448 Sold lots marked with a special storage charges storage payment +44 (0) 20 7447 7401 fax symbol W will be only retained All charges due Bonhams must be To bid via the internet please visit at Bonhams, Knightsbridge until Please Note paid by the time of collection from www.bonhams.com 10am on Thursday 19 September For sold W lots removed to Bonhams’ warehouse. 2013. Lots not collected by then Bonhams warehouse there Payments will be removed to Bonhams Park will be no transfer and storage Payment in advance Royal warehouse. charges for lots collected between Tel: +44 (0) 20 7447 7447 to Buyers Friday 20 September 2013 and ascertain amount due by: cash, +44 (0) 20 7447 7447 The sold lots marked with a close of business Wednesday 25 cheque with banker’s card, credit +44 (0) 20 7447 7401 fax special symbol W will be available September 2013. card, bank draft or traveller’s for collection from Bonhams cheque. Sellers warehouse as from 9.30am on Transfer and storage charges Payment of sale proceeds Friday 20 September 2013. will commence on Thursday 26 Payment at time of +44 (0) 20 7447 7447 September 2013. collection +44 (0) 20 7447 7401 fax Lots maybe released from By credit card / debit card Bonhams warehouse on The charges levied by Bonhams Valuations, taxation production of the collection are as follows: Important Notice & heritage order obtained from cashier’s A surcharge of 2% is applicable +44 (0) 20 7468 8340 office at Bonhams and a form of Paintings and Frames marked when using Mastercard, Visa and +44 (0) 20 7468 5860 fax photographic ID. If a third party is with W overseas debit cards. [email protected] collecting on behalf of the client, the client must provide Bonhams Transfer per lot £20.00 The following symbol is used to with written authority prior to Daily storage per lot £3.40 denote that VAT is due on the Catalogue subscriptions collection. The third party must To obtain any Bonhams catalogue hammer price and buyer’s premium present a photographic form of ID or to take out an annual All other paintings and frames when collecting. subscription: † VAT 20% on hammer price Subscriptions Department Transfer per lot £10.00 and buyer’s premium Purchased items will only be +44 (0) 1666 502200 Daily storage per lot £1.70 held free of charge at Bonhams VAT on imported items at +44 (0) 1666 505107 fax * Knightsbridge until 12 noon a preferential rate of 5% on [email protected] All the above charges are Wednesday 9 October 2013. exclusive of VAT hammer price and the prevailing Storage charges will commence rate on buyer’s premium Shipping on Thursday 10 October 2013. For information and estimates W Please contact the department. These lots will be removed on domestic and international to Bonhams Park Royal after shipping as well as export licenses the sale. Please read the sale please contact Bonhams Shipping Bonhams Warehouse information page for more details. Department on: Address: +44 (0) 20 8963 2849 Unit 1, Sovereign Park Y These lots are subject to CITES +44 (0) 20 8963 2850 Coronation Road regulations, please read the +44 (0) 20 7629 9673 fax Park Royal, London NW10 7QP information in the back of the [email protected] Tel: +44 (0) 87 0811 3867 catalogue. Hours of opening 9.30am to 4.30pm Monday to Friday AR An Additional Premium will be payable to us by the Buyer to cover our expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. Please read the information in the back of the catalogue. 1 4 1* Albrecht Dürer (German, 1471-1528) The Mocking of Christ; The Holy Kinship with Angels (Bartsch 4, 97 ) Two woodcuts, the first with Latin text, 1511, on laid, trimmed to the platemark, 198 x 195mm (7 3/4 x 8 3/8in)(PL), the second a meder c/d impression, weaker printing with gaps along the lower border line and the last ‘l’ of the date partially erased, on laid, trimmed to the platemark, 210 x 210mm (8 1/4 x 8 1/4in)(PL) (2) (unframed) £500 - 700 €590 - 820 2 Albrecht Dürer (Nürnberg 1471-1528) Virgin and Child with a monkey (Bartsch 42) Engraving, c.1498, a later impression, probably meder L, with some wear and a small hole in the clouds upper centre, on wove, trimmed to platemark, 191 x 124mm (7 1/2 x 4 7/8in)(PL) £600 - 800 €700 - 940 3* Albrecht Dürer (German, 1471-1528) 2 Samson fighting with the Lion (Bartsch 2) Woodcut, c.1496, a meder f impression, with the gap in the centre of the upper border and the Trimount with a cross watermark, on laid, trimmed to the platemark, 382 x 280mm (15 x 11in)(PL) (unframed) £600 - 800 €700 - 940 4 Claude Lorrain (French, 1600-1682) The Herd Returning in Stormy Weather (Mannocci 40) Etching, 1651, on laid, trimmed just inside the platemark, 165 x 220mm (6 1/2 x 8 3/4in)(SH) £600 - 800 €700 - 940 3 4 | Bonhams 6 5 5 Adriaen van Ostade (Dutch, 1610-1685) The Anglers (Godefroy 26) Etching, c.1653, the fifth state of six, with fine shading under the ramp and fine horizontal lines still visible in the sky, on laid, trimmed just inside platemark, 113 x 163mm (4 1/2 x 6 3/8in)(PL) £500 - 700 €590 - 820 6 Rembrandt Harmensz van Rijn (Dutch, 1606-1669) The Death of the Virgin (Bartsch 99) Etching, 1639, a Basan impression, (White and Boon’s final third state, Nowell-Usticke’s fourth state of five), with fine shading on the bedpost, on thick laid, with an ‘IHS’ within a flower watermark, trimmed inside lower platemark, with small margins elsewhere, 403 x 313mm (15 7/8 x 12 3/8in)(PL) (unframed) £1,500 - 2,000 €1,800 - 2,300 7 7 Rembrandt Harmensz van Rijn (Dutch, 1606-1669) The Rest on the Flight into Egypt: Lightly Etched (Bartsch 58) Etching with touches of drypoint, 1645, unique state, on laid, 130 x 115mm (5 1/8 x 4 1/2in)(PL) (unframed) £800 - 1,200 €940 - 1,400 8 Rembrandt Harmensz van Rijn (Dutch, 1606-1669) Three Heads of Women, One asleep (Bartsch 368) Etching, 1637, on laid, trimmed just inside the platemark, 141 x 93mm (5 5/8 x 3 3/4in)(SH) £600 - 800 €700 - 940 8 Prints featuring the work of John Piper | 5 11 9 9 William Hogarth (British, 1697-1764) Beer Street and Gin Lane (Paulson 185a&b) Two etchings with engraving, 1751, on laid paper, with margins, 389 x 327mm (15 1/2 x 12 3/4in)(PL)(unframed)(2) £700 - 1,000 €820 - 1,200 10 After William Hogarth (British, 1697-1764) The Four Times of Day (Paulson 146-149) Engravings, 1738, various states, on various papers, 489 x 410mm (19 1/4 x 16 1/8in)(PL)(unframed)(4) £500 - 700 €590 - 820 11 Thomas Gooch (British, active 1750-1802) The Life and Death of a Racehorse The set of six aquatints, published 1792 in London, on wove, together with the title page and essay, 290 x 335mm (11 3/8 x 13 1/3in)(PL)(7)(1 unframed) £600 - 800 €700 - 940 10 6 | Bonhams 12 13 12 James Gillray (British, 1757-1815) Pantagruel Etching with hand colouring, 1794, on wove, published by H.
Recommended publications
  • Helios by Gillian Ayres
    Helios by Gillian Ayres A talk by Amanda Phillips, Learning and Access Officer at Leeds Art Gallery This is the first of a series of short talks made for the exhibition Natural Encounters by staff and volunteers working at Leeds Art Gallery. Different voices share their ideas about one single artwork on display for our online audiences to enjoy as a personal interpretation that can add to their own. I have been asked share the first, which I’ve titled… Reading ‘Helios’ by Gillian Ayres. Up close this artwork is extraordinary. The paint is so thickly applied that it comes together in wave-top crests, with different colours meeting in mark-making that touches and then falls away. The effect blends colour in the mind’s eye, and supports the work of the imagination as it makes meaning. Helios by Gillian Ayres was produced in 1990, and is understood within the naming-systems of the art world as an Abstract painting. Currently it is displayed in the gallery’s ‘Natural Encounters’ exhibition, curated from Leeds’ art collections to explore the idea of human relationships with the natural world. The painting entered into the collection in 1991, not that long after she had painted it. In the gallery’s file of correspondence and other material linked to the artwork, is a letter that makes clear two options for purchase were on the table. Reading between the lines, it would seem that a member of the then gallery team had travelled to London in the winter of 1990 to see an exhibition of the artist’s new work, at an independent gallery owned by her then dealer.
    [Show full text]
  • Ivon Hitchens & His Lasting Influence
    Ivon Hitchens & his lasting influence Ivon Hitchens & his lasting influence 29 June - 27 July 2019 An exhibition of works by Ivon Hitchens (1893-1979) and some of those he influenced 12 Northgate, Chichester West Susssex PO19 1BA +44 (0)1243 528401 / 07794 416569 [email protected] www.candidastevens.com Open Wed - Sat 10-5pm & By appointment “But see Hitchens at full pitch and his vision is like the weather, like all the damp vegetable colours of the English countryside and its sedgy places brushed mysteriously together and then realised. It is abstract painting of unmistakable accuracy.” – Unquiet Landscape (p.145 Christopher Neve) The work of British painter Ivon Hitchens (1893 – 1979) is much-loved for his highly distinctive style in which great swathes of colour sweep across the long panoramic canvases that were to define his career. He sought to express the inner harmony and rhythm of landscape, the experience, not of how things look but rather how they feel. A true pioneer of the abstracted vision of landscape, his portrayal of the English countryside surrounding his home in West Sussex would go on to form one of the key ideas of British Mod- ernism in the 20thCentury. A founding member of the Seven & Five Society, the influential group of painters and sculptors that was responsible for bringing the ideas of the European avant-garde to London in the 30s, Hitchens was progres- sive long before the evolution of his more abstracted style post-war. Early on he felt a compulsion to move away from the traditional pictorial language of art school and towards the development of a personal language.
    [Show full text]
  • OLAFUR ELIASSON a View Becomes a Window
    Ivorypress presents OLAFUR ELIASSON A view becomes a window Official opening: Thursday 19 September 2013 at 7:30 p.m. Exhibition: From 19 to 28 September 2013 Venue: Ivorypress Space C/ Comandante Zorita 48 (Madrid) Once the exhibition has ended, the book will continue to be exhibited in the permanent exhibition of Ivorypress’s artists’ books, which can be visited by appointment every Wednesday. On 19 September Ivorypress will present the artist’s book A view becomes a window, by Olafur Eliasson. An edition of nine unique books in which the author proposes a new experience between the book and its observer. Until 28 September, Ivorypress will host—as part of the programme of the next edition of the event APERTURA, in Madrid—an exhibition in which several of the volumes of this book, published by Ivorypress, will be shown. Glass and light are the main elements of the work. In lieu of pages, the volumes contain a variety of glass sheets of various colours, qualities, and degrees of opacity. Each copy, bound with leather, sits upon a bookrest to be observed in great detail and thus experience the abstract narrative game initiated by the artist. ‘A view becomes a window is an homage to the book as a space in which we find ourselves. You can see the previous page and the next one through those you are perusing; you never read only one page at a time. In a sense, the full book is present within any one spread’, explains Eliasson. ‘This internal depth and texture is merged with the immediate surroundings; the space and the reader are reflected in the deep, glassy surfaces in which ultimately you—the reader—are read by the book.’ Some of the glass plates have ellipses and circles cut into them, framing the lector’s face as they turn the pages.
    [Show full text]
  • Caro/Araeen: a Conversation the Sculpture of Anthony Caro (1924
    Caro/Araeen: A Conversation The sculpture of Anthony Caro (1924-2013) inspired a generation of young artists in the 1960s and 1970s encouraging them to think differently about the forms and meanings of sculpture, about its relationship to the human body and about its material and spatial possibilities. Soon championed by the American art critic Clement Greenberg, a supporter of the sculptor David Smith (1906-65), Caro enjoyed huge success, both in the context of the ‘New Generation’ exhibition at Whitechapel Art Gallery in 1965 and the acclaimed St Martins’ Sculpture Department which included Philip King (b. 1934), William Tucker (b. 1935) and Tim Scott (b. 1937). For Rasheed Araeen (b. 1935) who first encountered Caro’s work in 1965 soon after moving to Britain from Pakistan, such sculpture was hugely influential. On seeing it, Araeen decided to make a ‘fresh start’ (to quote the artist), giving up painting and creating works such as ‘Sculpture No. 2’ (1965), in which painted metal beams were stacked together in rows to form a cube which comprised tunneled internal spaces. Such works would begin a rich and complex conversation with Caro’s sculpture that effectively carries on into the present, as the lives of Araeen’s fabricated structures extend into the present. In recent years, Araeen himself has reflected on this early mid-1960s shift, reading it as a moment of continuation as much as conversion. He has recalled that he was open to new ideas whilst also channeling pre-existent expertise into new areas. He was also a young, thirty-year old man quickly looking for other ways of seeing and doing things, as he has recalled in relation to Caro: ‘I soon became fed up with this juggling of material – putting things here and there until you found something significant.’ Araeen was not alone in this and it would be interesting to triangulate such considerations by considering potential so-called ‘minimalist’ dialogues with works by other constructivist artists working in Britain at this time, such as Kenneth Martin (1905-84), Mary Martin (1907-69), Anthony Hill (b.
    [Show full text]
  • Anthony Caro at Cliveden Is Presented in Co-Operation with Annely Juda Fine Art
    Discover the artist The National Trust The National Trust and Blain|Southern and Blain|Southern present are delighted to announce an exhibition by internationally renowned British sculptor, Sir Anthony Caro OM CBE (1924-2013). Anthony Caro (1924 - 2013) has played a pivotal role Cliveden in the development of twentieth century sculpture. Anthony Caro Curated by Amanda Renshaw, Anthony Caro at After studying sculpture at the Royal Academy Cliveden presents sixteen monumental works across Schools in London, he worked as assistant to Henry Membership the Grade I listed grounds, charting Caro’s career Moore. He came to public attention with a show at at Cliveden and his varied, boundary-pushing approach to the Whitechapel Gallery in 1963, where he exhibited Become a member of the National Trust sculpture. On view from 6 April – 10 November large abstract sculptures. Brightly painted and and enjoy unlimited entry to hundreds 2019, this is the third exhibition presented in standing directly on the of special places, from as little as £6 a collaboration with Blain|Southern at this historic ground, they engaged month. Join in the Information Centre the spectator on a one- today. location. to-one basis. This was a radical departure from the way sculpture had Thank you hitherto been seen and Without you we couldn’t look after Art at Cliveden paved the way for future Cliveden. Every penny you spend in developments in three- our shop, cafes or holiday cottages dimensional art. goes directly back into helping us Exhibiting sculpture outdoors has been a significant Photo: Jonty Wilde Jonty Photo: protect our special places for ever, for feature of the designed landscape at Cliveden since Caro’s teaching at St Martin’s School of Art in London everyone.
    [Show full text]
  • Film Producer Buys Seacole Bust for 101 Times the Estimate
    To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp ISSUE 2454 | antiquestradegazette.com | 15 August 2020 | UK £4.99 | USA $7.95 | Europe €5.50 koopman rare art antiques trade KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Face coverings Film producer buys Seacole now mandatory at auction rooms bust for 101 times the estimate across England A terracotta sculpture of Mary Seacole by Alex Capon (1805-81) sparked fierce competition at Dominic Winter. Wearing a face covering when Bidding at the South Cerney auction house attending an auction house in England began with 12 phones competing for the has now become mandatory. sculpture of Seacole, who nursed soldiers The updated guidance also applies to visitors to galleries and museums. during the Crimean War. Since July 24, face coverings have been It eventually came down to a final contest compulsory when on public transport as involving underbidder Art Aid and film well as in supermarkets and shops including producer Billy Peterson of Racing Green dealers’ premises and antique centres. The government announced that this Pictures, which is currently filming a would be extended in England from August biopic on Seacole’s life. 8 to include other indoor spaces such as Peterson will use the bust cinemas, theatres and places of worship. as a prop in the film. It will Auction houses also appear on this list. then be donated to the The measures, brought in by law, apply Mary Seacole Trust Continued on page 5 and be on view at the Florence Nightingale Museum.
    [Show full text]
  • British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000
    British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth Cover image: Installation View, Simon Starling, Project for a Masquerade (Hiroshima), 2010–11, 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Sight Unseen: Anthony Caro’s Prairie, 1967, Sarah Stanners Sight Unseen: Anthony Caro’s Prairie, 1967 Sarah Stanners Authors Acknowledgements This essay would not have been possible without the generous support of Barford Sculptures Limited (including insights from Olivia Bax), John Kasmin, and Harry Cooper with the National Gallery of Art, who all generously approved or provided images.
    [Show full text]
  • Curriculum Vitae
    Curriculum Vitae Roland Piché ARCA FRBS Born 1938, London Art Education 1956-60 Hornsey College of Art Worked with sculptor Gaudia in Canada 1960-64 Royal College of Art 1963-64 Part-time assistant to Henry Moore Teaching Experience Slade School of Art Royal College of Art Central School of Art Falmouth School of Art Gloucestershire College of Art & Design Chelsea School of Art Birmingham Polytechnic Lancaster Polytechnic Manchester Polytechnic Goldsmiths College of Art Loughborough College of Art Newcastle upon Tyne Polytechnic Newport College of Art & Design North Staffordshire Polytechnic Stourbridge College of Art Trent Polytechnic West Surrey College of Art Wolverhampton Polytechnic Edinburgh School of Art Bristol Polytechnic (Sculpture) Leicester Polytechnic (Sculpture) 1964-89 Principal Lecturer, in charge of Sculpture, Maidstone College of Art Subject Leader, Sculpture, School of Fine Art, Kent Institute of Art & Design, Canterbury One Person Exhibitions 1967 Marlborough New London Gallery 1969 Gallery Ad Libitum, Antwerp B Middelheim Biennale, Antwerp B 1975 Canon Park, Birmingham 1980 The Ikon Gallery, Birmingham Minories Galleries, Colchester "Spaceframes & Circles" 1993 Kopp-Bardellini Agent Gallery, Zurich CH 2001 Glaxo Smith Kline - Harlow Research Centre 2005 Chappel Galleries, Essex 2010 Time & Life Building, London Group Exhibitions 1962 Towards Art I, Royal College of Art 1963-4 Young Contemporaries, AID Gallery 1964 Young Contemporary Artists, Whitechapel Gallery Maidstone College of Art Students, Show New Metropole Arts Centre, Folkestone 1965 Towards Art II, Royal College of Art, Sculpture at the Arts Council The New Generation, 1965, Whitechapel Gallery Whitworth Art Gallery Manchester Summer Exhibition Marlborough New London Gallery 4th Biennale de Paris 1966 The English Eye, Marlborough-Gerson Gallery, New York Structure 66, Arts Council of Gt.
    [Show full text]
  • Aspects of Modern British Art
    Austin/Desmond Fine Art GILLIAN AYRES JOHN BANTING WILHELMINA BARNS-GRAHAM DAVID BLACKBURN SANDRA BLOW Aspects of DAVID BOMBERG REG BUTLER Modern ANTHONY CARO PATRICK CAULFIELD British Art PRUNELLA CLOUGH ALAN DAVIE FRANCIS DAVISON TERRY FROST NAUM GABO SAM HAILE RICHARD HAMILTON BARBARA HEPWORTH PATRICK HERON ANTHONY HILL ROGER HILTON IVON HITCHENS DAVID HOCKNEY ANISH KAPOOR PETER LANYON RICHARD LIN MARY MARTIN MARGARET MELLIS ALLAN MILNER HENRY MOORE MARLOW MOSS BEN NICHOLSON WINIFRED NICHOLSON JOHN PIPER MARY POTTER ALAN REYNOLDS BRIDGET RILEY WILLIAM SCOTT JACK SMITH HUMPHREY SPENDER BRYAN WYNTER DAVID BOMBERG (1890-1957) 1 Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 Coloured chalks Signed and dated lower right, Inscribed verso Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 by David Bomberg – Authenticated by Lillian Bomberg. 54.6 x 38.1cm Prov: The Artist’s estate Bernard Jacobson Gallery, London ‘David Bomberg once remarked when asked for a definition of painting that it is ‘A tone of day or night and the monument to a memorable hour. It is structure in textures of colour.’ His ‘monuments’, whether oil paintings, pen and wash drawings, or oil sketches on paper, have varied essentially between two kinds of structure. There is the structure built up of clearly defined, tightly bounded forms of the early geometrical-constructivist work; and there is, in contrast, the flowing, richly textured forms of his later period, so characteristic of Bomberg’s landscape painting. These distinctions seem to exist even in the palette: primary colours and heavily saturated hues in the early works, while the later paintings are more subtle, tonally conceived surfaces.
    [Show full text]
  • Urb an C Ontempor Ar Y Ar T Dig
    DIGARD - 12 ART CONTEMPORAIN URBAIN - URBAN CONTEMPORARY ART DROUOT - LUNDI 21 OCTOBRE 2019 AUCTIONEER EXPERT PRÈS LA COUR D’APPEL DE PARIS MARIELLE DIGARD [email protected] + 33 (0) 6 07 45 95 09 USA REPRESENTATIVE SPECIALIST LUCAS DELORME-DIGARD [email protected] + 33 (0) 6 80 64 01 78 + 1 (917) 783 6320 PARIS SALES ADMINISTRATOR ANNE-CLAIRE BASILLAIS [email protected] + 33 (0) 1 48 00 99 89 WWW.DIGARD.COM I [email protected] DIGARD AUCTION 17, rue Drouot – 75009 Paris t. + 33 (0) 1 48 00 99 89 [email protected] www.digard.com EXPOSITIONS PUBLIQUES EXPOSITION PARTIELLE DIGARD AUCTION HIGHLIGHT PREVIEW GALERIE 75 FAUBOURG 75 rue du Faubourg Saint-Honoré 75008 Paris • mardi 8 octobre de 11h à 19h LUNDI 21 OCTOBRE 2019 • mercredi 9 octobre de 11h à 19h st • jeudi 10 octobre de 11h à 19h MONDAY, OCTOBER 21 , 2019 • vendredi 11 octobre de 11h à 19h • samedi 12 octobre de 11h à 19h • lundi 14 octobre de 11h à 19h EXPOSITION DE L’ENSEMBLE PREVIEW HÔTEL DROUOT – Salle 1 Pour inclure des œuvres dans cette vente, 9, rue Drouot – 75009 Paris 15 h, Salle 1 merci de contacter : • samedi 19 octobre de 11h à 18h 3 p.m., auction room 1 • dimanche 20 octobre de 11h à 18h • lundi 21 octobre de 11h à 12h Me Marielle DIGARD INFORMATIONS Téléphone pendant l’exposition et la vente : + 33 (0) 1 48 00 99 89 INQUIRIES [email protected] Phone during the exhibition : + 33 (0) 1 48 00 99 89 + 33 (0) 1 48 00 20 01 [email protected] Lucas DELORME ENCHÈRES EN LIVE + 33 (0) 6 80 64 01 78 BID LIVE AUCTION + 1 (917) 783 6320 www.drouotlive.com [email protected]
    [Show full text]
  • Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow
    CONTENTS 6 28—29 Foreword SOS – Save Our Sculpture 8—11 30—31 Brave Art For A Brave New World Out There Now 12—15 32—33 Harlow Sculpture Town Get Involved 16—17 34 Art For The People Acknowledgements 18—19 Private Public Art 20—21 City Sculpture Project All images and text are protected by copyright. No part of this book may be reprinted or reproduced 22—23 in any form or by any electronic means, without written permission of the publisher. © Historic England. Sculpitecture All images © Historic England except where stated. Inside covers: Nicholas Monro, King Kong for 24—27 the City Sculpture Project, 1972, the Bull Ring, Our Post-War Public Art Birmingham. © Arnolfini Archive 4 Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow Out There: Our Post-War Public Art 5 FOREWORD Winston Churchill said: “We shape our buildings and afterwards our buildings shape us”. The generation that went to war against the Nazis lost a great many of their buildings – their homes and workplaces, as well as their monuments, sculptures and works of art. They had to rebuild and reshape their England. They did a remarkable job. They rebuilt ravaged cities and towns, and they built new institutions. From the National Health Service to the Arts Council, they wanted access-for-all to fundamental aspects of modern human life. And part of their vision was to create new public spaces that would raise the spirits. The wave of public art that emerged has shaped the England we live in, and it has shaped us.
    [Show full text]
  • The Great Dorset Art Fair Dorset Art Weeks 2012 Kingston Mauward, Dorchester Open Studios • Exhibitions • Events 10Am - 4Pm 800 Artists at 300 Venues
    [EVOLVER] Saturday 5 November 26 May - 10 June 2012 DORSET VISUAL ARTS presents DORSET VISUAL ARTS presents The Great Dorset Art Fair Dorset Art Weeks 2012 Kingston Mauward, Dorchester Open Studios • Exhibitions • Events 10am - 4pm 800 artists at 300 venues Entry: Dorset Art Weeks - DAW - is the biennial event run £5 • Kids Free • DVA Members £2.50 by Dorset Visual Arts. See: DAW is reputedly the country’s largest Open Studio Fine Arts, Video, Photography, Design, Ceramics, Event - with over 800 artists exhibiting work in over Furniture, Performative Arts and more by professional 300 venues. More than 120,000 studio visits were artists, designers and makers, arts organisations, registered in 2010 galleries, students and suppliers To enrich the event, demonstrations and cultural Revealed through: events will take place across Dorset. The Allsop Demonstrations, Displays and Stalls, Art Books and Gallery at Bridport Arts Centre will become a Materials. Live and Recorded Presentations working studio. You will, of course, know the event is Find out: upon us when you see the flowering of the red and Learn more about materials, processes and products. yellow banners and road signs. Interact with artists. Find out more about the rich One of the enduring appeals of Open Studios is the variety of visual arts that are taking place across quality of welcome visitors receive from artists. Of Dorset, including festivals, ambitious new projects and course they are interested in selling work - but they workshops are keen to share their ideas and techniques with Join in: local people and visitors to Dorset. • As an artist, designer or maker - via the Art Market As the event draws near, look out for our great • Place, taking a stall or applying to be in one of the brochure and postcards.
    [Show full text]