We found 65023 price guide item(s) matching your search

Two Chinese textile bands; each one of typical rectangular form. One decorated with two Manchu/Chinese women in a garden; the other with bold flowerheads amongst abstract designs. Both framed and glazed; the last with overall dimensions of 54 x 15cm [2]

Adrian Heath (British 1920-1992): Abstract in Orange and Blue, mixed media on paper signed and dated '63, 19cm x 19cmCondition Report:Good condition, well presented - ready to hang. Slight cockle to the paper.

λ&nbspWILLIAM JOHN BERTRAM NEWCOMBE (CANADIAN/BRITISH 1907-1969) UNTITLED (ABSTRACT COMPOSITION) Mixed media on paper Signed and dated Aug-'62 (lower right) 76.5 x 56.5cm (30 x 22 in.) UnframedProvenance: Property of a gentleman Thence by bequest to the present owner Condition Report: Unframed. Staining to the right edge and upper edge. Surface skinning to the centre of the left edge. Handling creases most notable to the corners. Condition Report Disclaimer

λ&nbspCOLLETTE BRUNSCHWIG (FRENCH B. 1927) UNTITLED (FOUR ABSTRACT COMPOSITIONS) Watercolour, ink and pen Each sheet signed and dated 59 (verso) Various sizes, each sheet approx. 32 x 23.5cm (12½ x 9¼ in.) Unframed, two executed on card stuck down to paper, the other two executed direct on paper (4)Provenance: Property of a gentleman Thence by bequest to the present owner Condition Report: Some staining to the margins, with some light surface dirt and scattered stains and marks. Light handling creases throughout. The images are all in good original condition. Condition Report Disclaimer

λ&nbspWILLIAM JOHN BERTRAM NEWCOMBE (CANADIAN/BRITISH 1907-1969) UNTITLED (ABSTRACT COMPOSITION) Mixed media on paper Signed and dated '62 (lower right) 55 x 66cm (21½ x 25 in.) UnframedProvenance: Property of a gentleman Thence by bequest to the present owner Condition Report: Unframed. A small nick to the right side of the lower edge. Some creases and dirt marks to the very extreme edges. Overall in good original condition. Condition Report Disclaimer

Bretby ware, an abstract double handled vase plus a further novelty narrow jug, largest piece 40cm high (2)

Mixed Lot: Studio Pottery to include a ribbed vase signed Peter Lane, a further abstract frilled vase by Peter Lane, Wattisfield Pottery bowl, a Ray Finch Winchcomb Pottery bowl and others, largest piece 26cm diameter (8)Lot 484 in good condition

*ALAN DAVIE (1920-2014) 'Les Grands Musicians Initiatiges No.1, 2006' signed, titled and dated verso, oil on canvas, 91.4cm x 76.2cmProvenance: With Gimpel Fils, 30 Davies Street, Mayfair, London W1K.Alan DavieIn the 1950's Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work.Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958 he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale.Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings posses a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures and it is the combination of these experiences, together with his freedom of expression that gives Davie his unique style.

Donald Baechler (1956-2022). „ABSTRACT PAINTING WITH A TREE“´. Öl/Lw.-Collage, verso monogr./dat. (19)86, betitelt und mit Stempel „Edward Thordén Gallery“, ungerahmt, 147,5 x 102 cm. Provenienz: Sotheby's London 30.6.1994, Los 262, Ergebnis 14.102,- Euro. ** Non-binding estimate: € 7500,- No Reserve

Brutalist rose quartz unmarked silver pendant necklace, the rough rose quart with abstract triangular claw setting, triangular bale, length approx 6cm, on white metal chain

A contemporary brown woolen mix abstract pattern rug, 240x159cm, together with grey and black modernist style rug, 226x159cm

Three contemporary rugs comprising of a pair of brown and black woolen rugs, 227x160cm together with a contemporary abstract design rug in shades of brown, 226x160cm (ex shop stock as new)

Three modern / contemporary rugs to include a Bistro rug in beige and brown together with an Indian wool rug and an abstract acrylic rug, 164 x 120cm (3)

A contemporary grey background silk mix rug with leaf decoration, 290x195cm together with a woolen brown abstract pattern rug, 225x196cm

20th century, portrait of a lady, possibly Virgin Mary, oil on canvas, unsigned and framed, 84x73cm together with a black painted framed wall mirror with gilt abstract decoration, 95x74cm

THE CRITICHalf Sheet (22" x 28"); From the Leonard Maltin CollectionNear Mint Rolled Columbia, 1963This is a scarce half sheet for the 1963 animated short film. Understandably, paper from this title is so scarce as to be almost non-existent, and since no Brooks collection can call itself complete without it, this is a great opportunity to acquire a significant rarity. A piece from the Leonard Matlin collection. This is a beautiful rolled copy of this very scarce poster. There is nothing that detracts from the condition.Fans of comedian, actor, and director Mel Brooks are familiar with much of his work. However, few know of one of his earliest efforts, a short animated film called "The Critic" (1963). This film won an Oscar for Best Animated Short Film at the 36th Academy Awards. The inspiration for the film was an actual incident that occurred when Brooks attended a screening of a surrealistic, avant-garde short cartoon by pioneering animator Norman McLaren. While at the screening, Brooks overheard an elderly gentleman seated near him mumbling his own comments on the picture. The man was bewailing the lack of a plot and the overwhelming abstract imagery. Brooks was amused by this and decided that this would be perfect for an animated short of his own. The result was a hilarious running riff in a style that would later be embraced by such shows as Mystery Science Theater 3000 and Rifftrax.This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.

GUNTHER UECKER (N. 1930)Sans titre (Überflutung) 1963 signé, daté 63 et inscrit Überflutung au revers clous et toile peints montés sur panneau signed, dated 63 and inscribed Überflutung on the reverse nails and oil on canvas mounted on panel50 x 50 x 6.5 cm.19 11/16 x 19 11/16 x 2 9/16 in.Footnotes:Cette œuvre est enregistrée sous le n°GU.63.108 auprès des Archives Uecker et sera incluse dans le Catalogue Raisonné actuellement en préparation. Provenance Galerie Ramon Lindner, EssenAcquis auprès de celle-ci par le propriétaire actuel en 1985Figure séminale de son Œuvre, le clou, comme une particule élémentaire, infuse dans les créations de Günther Uecker une sensation de mouvement à l'espace, à la lumière et au temps. Ses peintures sculpturales, au martelage répété, ne sont pas sans évoquer l'Elevage de poussières de Marcel Duchamp et Man Ray, créé en 1920, où un élément discret se meut, par sa dissolution, en un monde spectral. En une grâce constellaire, ses œuvres d'ombres choisies se parent car chaque clou, comme un cadran solaire immobile et silencieux, revêt un morceau du temps.C'est en 1951 que l'artiste découvre l'art abstrait en visitant Berlin Ouest. Dix ans plus tard, il rejoint le groupe ZERO auprès d'Heinz Mack et Otto Piene qui en écrit le manifeste dans Der Neue Idealismus : « ZERO est silence, ZERO est commencement, ZERO est rond, ZERO tourne... » en sont les mots les plus prégnants. Avec son beau-frère Yves Klein, il a en partage le goût du monochrome et la primauté de l'esprit sur la main. Couleur virginale et absolue, de blanc ses œuvres sont nappées, en un vibrant hommage à Malevitch. « Le blanc peut être perçu comme une prière, l'articulation d'une expérience spirituelle » évoque le peintre, qui fut toujours épris de philosophies orientales. En convoquant le « degré zéro de l'art », Günther Uecker peu à peu nous emmène vers une perception extrasensorielle où l'espace secret du tableau, à notre méditation, se révèle. Le Déluge de clous, du nom de sa performance réalisée à la Franfurter Galerie en 1963, augure de ses plus belles créations, où chaque mouvement des « bancs » de pointes n'est pas sans évoquer celui de la mer. Si notre regard amoureusement se perd devant l'onctuosité d'une vague endormie, convient-il de rappeler qu'il n'y aurait l'écume sans une myriade de molécules (H2O) ?Sept ans plus tard, l'artiste sera choisi pour représenter l'Allemagne à la biennale de Venise, aux côtés de Thomas Lenk, Heinz Mack et Georg Karl Pfahler, tandis qu'il participe, dès 1964, à la prestigieuse documenta III de Kassel (d'autres suivront). Ce n'est qu'en 2016 que ses œuvres seront accrochées pour la première fois à la Punta della Dogana de François Pinault car ses tableaux, rares sur le marché, sont convoités par les plus grands collectionneurs.Restées dans la même collection privée depuis 1985, ces œuvres, au dynamisme altier et à l'élégance sensible, dévoilent un tourbillon de clous dont les distances et orientations relatives sur un substrat plantés révèlent des formes organiques qui procèdent de la beauté d'un nuage. Car si chaque pointe a sa propre existence, c'est de leur amoncellement qu'émane une présence d'une infinie poésie. Choisi avec l'humilité douloureuse du souvenir - Günther Uecker, seul garçon de sa famille, barricadait les fenêtres de la maison familiale avec des planches et des clous lors de la Seconde Guerre mondiale-, ce modeste objet, sous sa main grave, se transforma en une écriture symbolique. D'un atome, Günther Uecker en fit un monde, empreint de pudeur et de silence où devant l'évidente beauté de chacune de ses œuvres, les mots s'éteignent.A seminal figure of his work, the nail, is an elementary particle that infuses Günther Uecker's creations with a sense of movement in space, light and time. His repeatedly pummeled sculptural paintings are reminiscent of Marcel Duchamp and Man Ray's Elevage de poussières, created in 1920, in which a discrete element set in motion dissolves into a spectral world. Akin to a graceful constellation, of selected shadows his works are adorned as each nail, still and silent as a sundial, dons a sliver of time.It was in 1951 that the artist discovered abstract art while visiting West Berlin. Ten years later, he joined ZERO with Heinz Mack and Otto Piene who wrote the manifesto in Der Neue Idealismus: 'ZERO is silence, ZERO is beginning, ZERO is round, ZERO spins...' are the most striking words. With his brother-in-law Yves Klein, he shared a taste for the monochrome and the primacy of the mind over the hand. Virginal and absolute, his works are coated in white, in a vibrant tribute to Malevitch. 'White can be perceived as a prayer, the words of spiritual experience,' says the painter, who has always been fascinated by Eastern philosophies. By summoning the 'zero degree of art', Günther Uecker gradually takes us towards an extrasensory perception where the secret space of the painting is revealed to our meditation. The Déluge de clous, named after his performance at the Franfurter Galerie in 1963, heralds his most beautiful creations, in which every movement of the 'shoal' of nails brings the sea to mind. If our gaze lovingly ponders before the unctuousness of a sleeping wave, one might remember that there would be no foam without a myriad of molecules (H2O) ?Seven years later, the artist was chosen to represent Germany at the Venice Biennale, alongside Thomas Lenk, Heinz Mack and Georg Karl Pfahler, while in 1964 he took part in the prestigious documenta III in Kassel (others followed). It was not until 2016 that his works were exhibited for the first time at François Pinault's Punta della Dogana, as Günther Uecker's works, quite rare on the market, are coveted by the greatest collectors.In the same private collection since 1985, these oeuvres, with their dignified dynamism and sensitive elegance, reveal a swirl of nails whose relative distances and orientations planted on a substrate, reveal organic forms which reflect the beauty of a cloud. Indeed each nail has its own existence, however from their accumulation emanates an infinitely poetic presence. Chosen with the painful humility of memories — only boy of the family, the artiste used boards and nails to barricade the windows of their home during the Second World War—, such a humble object under his serious hand became a symbolic writing. Günther Uecker transformed an atom into a world of modesty and silence, where, embracing the obvious beauty of each of his works, words subside.This lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A WHITE VASE Oil on canvasboard Dimensions:61cm x 51cm (24in x 20in) Provenance:Provenance: Acquired from The Scottish Gallery, Edinburgh in 1965 and thence by descent to the present ownerExhibited: The Scottish Gallery, Edinburgh, Anne Redpath, 19 November - 4 December 1965, no. 20Lyon & Turnbull, Glasgow, Select Works by Anne Redpath and Joan Eardley from Private Collections, 16 March - 10 April 2015Note: This painting dates from c.1964 Note: As the undisputed matriarch of Edinburgh’s art world after World War Two, Redpath’s mature career was characterised by a pattern of regular solo and group exhibitions in Edinburgh, London and elsewhere. Her professional standing continued to grow, not least by becoming the first Scottish woman artist to be elected an Associate member of the Royal Academy of Arts in London in 1960 and with the acquisition of her painting, Landscape at Kyleakin, by the newly established Scottish National Gallery of Modern Art in 1962 (GMA 814).Redpath remained as active as ever in the affairs of institutions such as Edinburgh College of Art, the Society of Scottish Artists and the Royal Scottish Academy, on whose council she served four times between 1953 and 1962. As a result, she was aware of, if not directly involved in, the presentation of contemporary European art in the annual group exhibitions staged in the Scottish capital, including the work of Georges Braque, Oskar Kokoschka and Nicolas de Staël.This keeping abreast of developments in Continental painting can be seen in the expressive handling of paint in the late work Marguerites in a White Vase. Deploying her material and using a palette - based on harmonious tones of white, blue and grey with brightly coloured highlights - as only an artist of great experience and technical ability could achieve, it is an example of the still life genre infused with joie de vivre for which she is renowned.Redpath explained about her works of this period: ‘I think I have always been interested, for instance, in the textural quality of paint and painting and while, in a way they are more abstract to see than they were before, yet they are still quite real and I don’t think they ever will be completely lost in abstraction.’ (quoted by Alice Strang, Queen of Edinburgh: Anne Redpath and her Circle, lecture given at the Scottish National Gallery, Edinburgh on 24 January 2023).Moreover, Terence Mullay declared in his review of her solo exhibition at the Scottish Gallery, Edinburgh in 1960: ‘Anne Redpath’s latest exhibition…confirms her position as one of the finest painters to-day…[Her work]…provides an admirable example of how paint can be handled with enormous verve and can be all the more exciting for being closely controlled…Above all, it is her use of colour that is so moving… Her painting appeals both to the emotions and to the head.’ (Daily Telegraph and Morning Post, 25 August 1960, p. 19) Redpath’s death in 1965 was marked in multiple ways, including memorial displays and exhibitions were mounted by the Royal Scottish Academy, Scottish Gallery and Scottish Art Club. The Scottish Committee of the Arts Council of Great Britain mounted a major touring memorial exhibition of eighty-six works, which opened in Edinburgh later that year, as did an exhibition at the Scottish Gallery in which Marguerites in a White Vase was shown; it was acquired from there by the painting’s previous owner.

A carved pine abstract sculpture, 1983, with ink initials to underside AD '83, 29.5cm high  Provenance: The Property of the Late Reverend John Watson.     

A bronze abstract sculpture, late 20th century, unsigned, on a stained wood plinth, 65cm high overall  Provenance: The Property of the Late Reverend John Watson.     

A Pair of Antique Style Drop Earrings, teardrop cooler set, on hook fittings; together with a pair of Modernist style earrings, of abstract design, claw set to the centre.

A Modern Chunky Hallmarked Silver Necklace, TS 925, of Modernist abstract design; Together with Matching Bracelet. (2)

Sturgess-Lief - an abstract in colours  oil on canvas  bears a signature  31" x 35" 

Interior design artwork and prints: to include an abstract  oil on canvas  29" x 30"  framed

A PAIR OF 14CT GOLD ABSTRACT DESIGN EARRINGSthe abstract hoop and bauble style earrings measuring approx. 45mm x 25mm (c.10.72g gross weight); together with two further pairs of earrings; and a brooch (4)

SAM HERMAN ( 1936-2020) A STUDIO GLASS VASECirca 1980 In clear glass with abstract design and iridescent patches, etched signature Samuel Herman, 16cm high by 24cm at widest pointGood condition

ALAN CAIGER-SMITH (1930-2020) FOR ALDERMASTON POTTERY, A TIN GLAZED EARTHENWARE VASE OF BULBOUS FORM (2)With repeating abstract decoration, painted ACS mark, 19cm high, together with a tin glazed dish with red and gold lustre design, 25.5cm diameter (2)Good conditionPurchased by the vendor's parents from Aldermaston Pottery

AN ABSTRACT PRINT OF FOUR HORSES.

A MODERN ACRYLIC PICTURE AND A ABSTRACT DRAWING.

A SMALL ABSTRACT ACRYLIC PAINTING BY MIKI VON ZWANENBERG. AN OIL OF HANDS IN PRAYER AND GROUPOF LOOSE MAPS AND PRINTS.

An abstract silver mounted caneTheo FennellLondon, 2020The slightly curving ebonised cane to a pronged, abstract silver handle, the tip with polished silver mount, the tip hallmarked, handle unmarked,103cm longCondition Report: Gross weight approx. 30.9ozt. Theo Fennell have confirmed that the handle is solid sterling silver. 

Basil Blackshaw RUA HRHA (1932-2016) Landscape (2), c.1966Oil on canvas, 100 x 130cm (39¼ x 51")Exhibited: Irish Exhibition of Living Art, 1966, Cat. No. 23; Ulster's Painters, Arts Council of Northern Ireland Touring Exhibition, October 1967 - July 1968.Writing about the young Basil Blackshaw in 1957, John Hewitt observed: “Cézanne in the last year or so has been his universal measuring rod. Even his definition of Expressionism he broadens to include that master.” Blackshaw didn’t mean that Cézanne was an Expressionist in the sense of, say, German Expressionism. Looking at his own work what comes across strongly is that he not so much admired but was electrified by Cézanne’s hard-won capacity to combine the most fleeting and abstract of gestures with an absolutely solid compositional scheme, architectural in its certainty. This applies particularly to his landscapes, one of the main strands of Blackshaw’s art, and one that underlies the others: essentially animal and human figures.Cézanne was a liberating influence, even as his work resembled Cézanne’s less and less. Initially, in his use of impasto and blocks of colour there is an echo of Cézanne’s visualisation of nature as arrangements of spheres, cylinders and squares. But gradually, over time, he absorbed the lessons of Cézanne and made them completely his own, as in the case of this fine, expansive landscape. The location is not specified, but the curved ridge of the highland on the right relates the painting closely to studies of Divis Mountain, a source of inspiration and fascination for the artist at the time. (It’s cleverly echoed in the curve and angle of the barn more or less in the centre of the composition). And the palette of blues and ochres is distinctly Cézannesque. The son of a horse trainer, Blackshaw was born into a rural community south of Belfast, in many ways a remote world of “small farms and high hedgerows.” Involvement with animals - horses, terriers, lurchers, cockerels and more - was a way of life. Talking to Mike Catto in 1985, the artist dismissed any notion of rural gentility about his background: “Living in the country was bloody hard work.” He grew up in the midst of the busy farmyard bustle and later built his life around exactly that environment. His immersion in the countryside is complete and always shaped his vision of landscape. An early-blooming talent, he remains exceptional in having won the admiration of his artistic peers and a wide audience.Aidan Dunne, November 2023

John Shinnors (b.1950) Black and Green Scarecrow, Maidstone Bridge Oil on linen, 60 x 80cm (23½ x 31½") Signed and inscribed with title versoGreen is not quite one of the core colours in John Shinnor’s exceptionally spare palette, but when he turns to it, he uses it to great effect. This parsimony with green is quite an achievement, given that he lives on an island celebrated for its forty shades. Shades and nuances, but of blacks, greys and whites, dominate his paintings - he habitually uses five different hues of black, he noted once - with red, yellow and subtle blues in support.Shinnors delights in moments of visual ambiguity and confusion, something he traces back to a moment when, having established himself as a virtuoso painter of magic realist compositions, he became dissatisfied. One morning at a fishmongers he was transfixed by the sight of mackerel laid out on a tray, translated into an abstract arrangement of pattern, light and contrast. It was as though he was really seeing them for the first time. The idea of the familiar, tangible world transformed into a complex pictorial abstraction, while retaining the power of the source image, stayed with him.In his work since, as well as adhering to a tight colour palette, he has been drawn to an eclectic repertoire of motifs: those fish, swallows and other birds, Frisian cows, cats, zebra crossings, Loop Head lighthouse, kites and scarecrows. He has written of how he grew up in a sexually repressive environment, created not just by conservative, Catholic Ireland but by his forbidding, puritanical father. Still a child, he happened upon a fetishistically arranged mannequin in a remote haggard on a farmer’s land, something that haunted him later as a symbol of a society that banished expression of sexuality and the body. Scarecrows in various forms recur in his paintings.After just one year at art school in Limerick he set off for England, taking whatever employment he could - including being a postman - and busking at weekends. In all his time in England he made just one drawing, he later noted, but when he arrived back in Limerick began painting, without any great ambition of being an artist.This painting combines two motifs in a striking, abstracted arrangement. The vertical green of the almost cruciform scarecrow form on the left is echoed in the red bridge or crane-like form on the right and along the top, with a black-white rhythm running across the composition and opening up depth. Characteristically, Shinnors offsets the potential symmetries: the green band is skewed, but its drift to the left is anchored by the firm red structure, its diagonal bands recalling steel bracing - of the rail bridge mentioned in the title?. It’s notable that green, rather than the more forceful red, provides the dynamism in the composition.Aidan Dunne, November 2023

Man Ray -- Rayographs. 1924/1928. 2 gelatin silver prints, printed 1980s. 27,8 x 20,8 cm (30,6 x 23,8 cm). Both prints annotated in pencil on verso, one print annotated Man Ray in pencil and with the photographer's studio stamp and one with A.D.A.G.P. Paris stamp, both with Tirage original réalisé par Pierre Gassmann stamp and Foto von einem Fotogramm stamp on the verso . Man Ray's rayographs involved placing objects directly onto photosensitive paper and exposing them to light, resulting in ethereal and often abstract compositions. This technique allowed him to explore the interplay of light and shadow, shape and form, in a way that challenged conventional photography. Offered here are two photographs of Man Ray's photograms made by Pierre Gassmann. The original prints of these works are in the collection of the Museum of Modern Art in New York. – Minimal buckling along edges of prints, a few handling marks, otherwise in excellent condition.

Neusüss, Floris M. -- Flower photogram. 2007. Cibachrome print. 30,2 x 25,2 cm. Signed, dated and titled by the photographer in black marker on the verso.In addition to his remarkable body photograms, Neusüss left a lasting impression with his creative flower photograms, in which he placed flowers directly on photosensitive paper, exposing them to light to craft visually striking and abstract compositions. – In excellent condition.

Two oil paintings, one of which indistinctly signed. 'The back of a nude' framed, measuring 61x51cm, 'Abstract composition with nudes' framed, measuring 56x74cm, late 20th / early 21st century. (2)

Romul Nutiu1932 Bilbor, Rumänien - 2012 RumänienIguazú. 2011Links unten signiert und datiert. Öl auf Leinwand. 120 x 200 cm. Rahmen (122 x 202 cm).Die Iguazú-Wasserfälle sind die Wasserfälle des Flusses Iguaçu/Iguazú an der Grenze zwischen dem brasilianischen Bundesstaat Paraná und der argentinischen Provinz Misiones.Romul Nutiu (1932-2012), ein bekannter rumänischer Künstler, studierte am Kunstinstitut in Cluj und später bei Prof. Alexandru Cuicurencu in Bukarest. Er lebte in Timisoara und wurde zu einer der führenden Persönlichkeiten des rumänischen Abstrakten Expressionismus. Nutiu brachte Struktur und Improvisation gekonnt in Einklang und schuf so eine einzigartige künstlerische Welt. Sein innovativer Ansatz erstreckte sich auch auf Installationen und die Integration von Objekten in seine Gemälde. Er leistete Pionierarbeit in der Technik der "aquatic experience", bei der er Wasser- und Industrielle Farben mischte, deren Form er durch die Interaktion mit einer Stange beeinflusste. Danach wurden die Kompositionen von der Leinwand aufgenommen. Diese Methode der Aktionsmalerei mündete in seine Serie "Dynamic Universe". In diesem Zusammenhang bezeichnete der Kritiker Coriolan Babeti Nutiu als "Pollock der rumänischen Westküste". Nutius Werk verkörpert die Harmonie zwischen dem Greifbaren und dem Ungreifbaren und macht ihn zu einem Innovator in der rumänischen Kunstszene. Die drei letzten großen Ausstellungen Romul Nutius waren: Im Jahr 2017 fand im Pollock-Krasner House in East Hampton, NY, die Ausstellung "Abstract Expressionism behind the Iron Curtain" statt, bei der Nutiu zusammen mit vier weiteren osteuropäischen Künstlern teilnahm: Andrej Jemec (Slowenien), Jan Kotik (Tschechien), Edo Murtic (Kroatien) und Tadeusz Kantor (Polen). Auch diese Künstler widmeten sich dem Abstrakten Expressionismus hinter dem Eisernen Vorhang. Die Direktorin des Museums und Kuratorin der Ausstellung ist Helen Harrison. Im Jahr 2022 fand eine umfangreiche Nutiu Retrospektive in Cetate, Rumänien statt, die von der 418 Gallery organisiert wurde, welche auch seinen Nachlass verwaltet. Diese Ausstellung konzentrierte sich auf sein gesamtes Werk und wurde chronologisch und thematisch aufgebaut. Die Kuratorin der Ausstellung, Flavia Frigeri aus London, bei der Tate Modern und National Portrait Gallery tätig, ist auch die Autorin des Main Essays im Katalog "Romul Nutiu Dynamic Universe" (2022). Im Juli und August dieses Jahres wurde die umfangreichste Nutiu Ausstellung in Timi?oara, der europäischen Kulturhauptstadt 2023, im nationalen Kunstmuseum präsentiert. Die Ausstellung fokussierte sich auf verschiedene Epochen seines Werdeganges auch im Kontext der politischen Entwicklungen in Rumänien. Andreea Foanene, die leitende Kuratorin des Kunstmuseums Timisoara hat zusammen mit der Tochter des Künstlers Simona Nutiu diese Ausstellung zusammengestellt.Provenienz: Privatbesitz Süddeutschland

An abstract wall-mounted figurative scultpure, wrought and lacquered metal. 20th century. Dimensions: (W:138 x H:68 cm)

John Selway (1938-2017)Abstract, 1967inscribed and dated (to reverse)watercolour20 x 25cm. Edges slightly browned, bottom right edge with coloured specks of un-associated paint.  Smudging and handling. Top left corner just turned. See photos.

Theodore Mendez (1934-1997)Abstract, August 1971signed and dated in pencil (lower)oil on paper34 x 27cm. Charcoal looking smudge marks to the paper surrounding the art work.  Faint sun/light stain beneath the image.  Right corner of paper appears to have been folded over as evident crease mark.  Coloured image appears good other than few little specks of surface dirt as well as few specks of paint loss.

Cornish SchoolTroika style dishwith abstract patternsimpressed potter's seal26cm diameter.

Francis Bott (1904-1998)Abstract, 1959signed and dated (lower left)oil on canvas60 x 30cm. Provenance:The Zwemmer Gallery, London. Outer edges with imperfections, e.g. the fabric around the border has come slightly loose and wavy. Few other little round marks. See new photos.

1960s School Ceramic wall plaquein blues and cream with an abstract composition60 x 90cm. 

Nick Smith (British, born 1984)Instagram, from Psycolourgy Edition Giclée print in colours with screenprint varnish, 2021, on Canson Rag Photographique paper, signed, dated and numbered 251/317 in pencil, published by the artist, London, with his blindstamp, the full sheetSheet 500 x 500mm (19 3/4 x 19 3/4in)Footnotes:'Three months ago I reached out to 550 people in my Instagram DM's. I asked them to send me a colour and a word that they associated with that colour, a process I call 'Psycolourgy'. The result was an entirely abstract work assembled chronologically, left to right in 19 rows of 29.Many of the entries came to me with personal stories, some of which were extraordinarily poignant. It ended up becoming far more than I had anticipated... bringing people together in a time of isolation and division, quite emotional at times. I found the process particularly fascinating, as I had no idea how it was going to end up looking; I was merely the facilitator, offering a platform to you, the creators.'- Nick Smith, 17th June, 2021This 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

A 9ct Turkish red gold dress ring with lapis luzuli set mount, size N, approx 3.9g, and a yellow metal abstract design ring stamped '10k', size N 1/2, approx 5.4g (2).

A large collection of costume jewellery including a sterling silver fox head link bracelet, abstract Scandinavian designed pieces, simulated beads, various dress rings etc.

An original French 1920s sheer black silk chiffon flapper dress with silver bugle beads to hips and abstract design beading throughout, bust measures 36", and a small black vintage fully beaded evening bag with chain handle and top closure containing a small silk taffeta black coin purse (2).Condition Report: There are a few areas of bead loss where the end of a bead cluster has a loose thread both to the back and front of the dress.

A group of silver and white metal costume jewellery, including an abstract designed necklace with matching ear studs, a bangle, hand mirror, turquoise set necklace, etc.

A Danish, possibly Hans Hansen, polished wooden brooch of abstract form, length 70mm, and bearing label to the reverse.

A silver and obsidian abstract necklace, a silver cuff bracelet, charms, etc.

An 18ct yellow gold diamond set cluster ring of abstract stepped design with fifteen brilliant cut diamonds totalling 1.90ct, London 1977, size I, approx 5.8g, accompanied with an insurance valuation from 1989 for £2,200.

A vintage abstract design brushed silver pendant, on an 18 inch fine belcher chain with spring ring clasp. Silver marks to back of pendant. Pendant size approx. 4cm x 2cm.

J Baudouin - A 20th Century framed oil on canvas painting titled 'La Rev' (The Dream) by Jean Franck Boudoir (1870 - 1961). A multi coloured abstract depicting an open eyed young girl / lady within a dream state. Signed to bottom left - J Baudouin. Measures 39cm x 47cm x 4.5cm.

A vintage Christian Lacroix abstract heart shaped pendent in a textured gold tone metal. The heart is filled with stencilled cow skin and the hinged drop set with cut crystals. The pendent hangs from a brown velvet ribbon. Pendent is 9 cm long, comes with its original velvet pouch an CL paper bag (1)

1950s fashions to include a reversible patchwork full circle skirt, a blue and white check sundress a day dress with abstract branch print  and fishtail pleat back and a maxi dress or evening gown in a linen style viscose, Tefako modell label (4)

An 18k gold ring set with three diamonds, each approximately 0.25ct, in an abstract setting, 8.2g, size K

A three strand necklace made up of cultured pearls and 14k gold spheres, the 14k gold abstract clasp set with pearls, 105.7g, 54cm

FOUR OIL PAINTINGS ON CANVAS TO INCLUDE AN ABSTRACT, STILL LIFE OF FLOWERS, ETC

AN ABSTRACT DESIGN BRONZE EFFECT NUDE STATUE

George Weil vintage emerald dress ring, central oval cabochon cut emerald estimated weight 13.02 carats, set in an abstract design, surrounded by round brilliant cut diamonds, estimated total diamond weight 0.48 carats, mount signed G.Weil, stamped 18 ct and platinum, ring size L-MCondition Report: Gross weight 12.3 gramsCirca 1970-75Overall good conditionA few very very small scratches to emerald surfaceGeorge Weil was born in Vienna in 1938. He trained as a jeweller and studied at St Martins' School of Art in London. He was a successful jewellery designer, his work was characterised by asymmetric forms and textured finishes typical of the 1960's and 1970's. Weil's Hatton Garden jewellery studio closed in 1979. His jewellery designs are now included in the V&A collection.