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Click here to subscribeFrederick J. England (British 1939-) "Potters Nightmare - The Wind" Signed and dated '23, titled on verso, acrylic on panel.49 x 79.5cm (framed 61 x 91.5cm)The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Peter Stanaway (British 1943-) "Cottage, Co. Clare, Ireland" Signed, titled on verso, acrylic on canvas.29 x 29cm (framed 46 x 46cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The surface of the painting is a little grubby in areas. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Olivia Pilling (British 1985-) "Sunlight, Piccadilly" Initialled, titled on verso, acrylic on canvas board.44.5 x 34cm (framed 67 x 57cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Caroline Deighton (British 20th/21st century) "Travellers Rest" Signed, titled and dated 2018 on certificate of authenticity verso, oil/acrylic on canvas board.50 x 60cm (framed 64.5 x 75cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.
David Coulter (British 20th/21st century) "Cityscape" Signed, acrylic on canvas.19 x 29cm (framed 39.5 x 49.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Richard Clare (British 1964-) "Above Edale" Signed, titled on artist's label verso, acrylic on canvas.50 x 50cm (framed 63.5 x 63.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame is a little grubby and has some minor scuffs and knocks commensurate with age.
Mike Weeden (British 1957-) "Business as Usual" Signed, titled on verso, acrylic on canvas board.39 x 28.5cm (framed 56 x 45.5cm)The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Olivia Pilling (British 1985-) "Afternoon Cake" Initialled, titled on verso, acrylic on canvas board.24 x 28.5cm (framed 41 x 45.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
David Coulter (British 20th/21st century) "Rosso, King Street, Manchester" Signed, titled on verso, acrylic on canvas.59 x 49cm (framed 79 x 69cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.
Barbara D. Hultmann (American, b. 1941). Acrylic on canvas painting titled "Exhibit A - The Temptation" depicting an apple as seen through a portal within the canvas, 1983. Signed along thel ower right; titled along the lower center.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 31 3/4 in x width: 25 3/4 in. Framed; height: 32 1/4 in x width: 26 1/4 in x depth: 1 1/2 in.Condition:There are no losses or restorations. There is an accretion along the center of the inset 'window' running downwards towards the apple where a liquid was spilled and trickled down. Light wear to the frame.
Louis De Mayo (American, 1926-2016). Acrylic on canvas painting depicting portraits of two Native American men in profile against a white background. Signed along the upper left corner.Unframed; height: 48 in x width: 70 in. Framed; height: 49 1/2 in x width: 72 in x depth: 3 1/4 in.Condition:The surface is stable. The colors are bold and bright. There are no tears, rips, or losses. There are small areas of soiling/discoloration throughout, in particular along the right side of the white background. There are no signs of restoration under UV light. Not examined out of frame. Wear to the frame.
Don Hornberger (American, 1921-2006). Acrylic on Masonite board painting depicting a desolate autumn landscape. Signed along the lower left.Sight; height: 11 1/2 in x width: 23 1/2 in. Framed; height: 19 1/2 in x width: 31 1/2 in x depth: 1 1/2 in.Condition:The colors are deep and bright. There are no tears, creases, or losses. There are no signs of restoration under UV light. Not examined out of frame.
Don Hornberger (American, 1921-2006). Acrylic on Masonite board landscape painting titled "Winter Red" depicting a lightly sloping hill ultimately leading towards a country home and barn, 1967. Signed and dated along the lower right. Further titled and signed along the verso.Sight; height: 15 1/2 in x width: 19 1/2 in. Framed; height: 19 1/2 in x width: 23 1/2 in x depth: 1 1/4 in.Condition:The colors are bold and bright. There are no creases, losses, or tears. There are minute spot of soiling in the upper right quadrant. No signs of restoration under UV light. Not examined out of frame. There is wear to the frame.
Ed Baynard (American, 1940-2016). Acrylic on canvas painting titled "Abstract (with Two White Vases)" depicting vessels with abstract patterns stacked atop each other, 2005. Pen signed, titled, and dated along the verso.Height: 48 in x width: 40 in.Condition:The painting is in good condition with no losses or restorations. Light wear along the exposed edges. The work is not framed.
Bruce Palmer (American, ca. 1934-2018). Acrylic on canvas painting titled "Bone Lake" depicting palm trees on a waterfront in Minnesota. Signed along the lower left. Titled on an attached card affixed to the verso.Sight; height: 17 1/4 in x width: 23 1/4 in. Framed; height: 18 1/4 in x width: 24 1/4 in x depth: 1 1/2 in.Condition:The colors are bold and bright. The surface is stable. There are no visible losses, creases, or tears. There are two minute spots of discoloration in the lower left quadrant. No signs of restoration under UV light. Not examined out of frame.
Hilda Pertha (American, 1911-2011). Ink and acrylic symmetrical abstract painting titled "Morning Reflection" recalling the mirrored glass-like reflection of clouds on a lake, 1996. Signed and dated along the lower left; further signed and titled along the verso.Sight; height: 11 1/2 in x width: 15 1/4 in. Framed; height: 20 1/2 in x width: 24 1/2 in x depth: 1 in.Condition:The colors are bold and bright. There are no visible tears, creases, losses, or restorations. Extreme edges and verso not inspected. Housed under three mats. Framed under glass; light wear to the frame. Not inspected out of frame.
Kodjovi Olympio (Togolese/American, 20th/21st c). Acrylic on canvas painting depicting three abstracted figures against a black background highlighted by a vibrant swathe of red. Signed along the lower right.Height: 36 in x width: 48 in x depth: 1 5/8 in.Condition:The colors are bold and bright the surface is stable. Light wear along the edges. The work is not framed.
Don Hornberger (American, 1921-2006). Acrylic on Masonite board painting titled "Bi-Plane Dogfight" depicting two airplanes whirling through the sky. Signed along the lower left.Sight; height: 19 1/2 in x width: 23 1/2 in. Framed; height: 27 in x width: 31 in x depth: 2 in.Condition:The colors are bold and deep; they have yellowed somewhat with age. The are no major losses or tears. Under UV light there are a network of accretions and scuffs that fluoresce under UV light. There is a minute loss along the right margin of the lower right quadrant. There is wear to the frame. Extreme edges not examined.
Louis De Mayo (American, 1926-2016). Acrylic on canvas painting titled "The Yellow Umbrella" depicting a woman shading herself with a vibrant yellow umbrella against a white background. Signed along the upper right.Unframed; height: 36 in x width: 48 in. Framed; height: 37 3/4 in x width: 49 3/4 in x depth: 1 1/2 in.Condition:The colors are bold and bright. The surface is stable. There are a few minute scattered areas of soiling throughout the white background, in particular along the top extreme edge of the upper left quadrant. There are no signs of restoration under UV light. Not examined out of frame. Wear to the frame.
George Little (American, 1908-1989). Acrylic on canvas painting titled "Scopes Trial, Dayton, Tenn. July 1925" depicting the courthouse filled with figures outside the infamous Scopes "Monkey" Trial, 1982. Signed along the lower right; further signed, titled, and dated along the stretcher along the verso.Provenance: Distinguished Corporate Collection, Minnesota.Unframed; height: 30 1/4 x width: 40 1/4 in. Framed; height: 35 1/2 in x width: 45 1/4 in x depth: 1 1/2 in.Condition:The colors are bold and bright. The surface is stable. The canvas is slightly loose on stretcher. No cracks, losses, or restorations. Wear to the frame.
Louis De Mayo (American, 1926-2016). Acrylic on paper portrait painting depicting a Native American man wrapped in a blanket or shawl. Signed along the lower left.Sight; height: 8 1/2 in x width: 6 in. Framed; height: 17 1/2 in x width: 15 in x depth: 1 3/4 in.Condition:The colors are bold and deep. The surface is stable. No visible tears, creases, or losses. There are no signs of restoration under UV light. Framed under plexiglass. Not examined out of frame. Light wear to frame.
Hugh Kepets (American, b. 1946). Large acrylic on canvas painting titled "Madison Square II" depicting a modernist view of architectural elements at Madison Square in New York City, 1979. Signed, titled, and dated along the stretcher along the verso. With a Fischbach Gallery label affixed to the verso.Provenance: Fischbach Gallery, Miami Beach, Florida; Distinguished Corporate Collection, Minnesota.Unframed; height: 72 in x width: 60 in. Framed; height: 73 1/4 in x width: 61 1/4 in x depth: 2 1/4 in.Condition:Colors are bold and deep. Surface is stable. There are no visible losses, tears, or signs of restoration. Light wear to the frame and stretcher.
Large oil and acrylic on canvas artwork by Teppa. It depicts a mysteriously dark interior where aliens look at an individual who observes a monumental monochrome painting reminiscent of Picasso's Surrealist Period. Teppa painted in a minimalist palette of greys, blacks, whites and light blue with expressive brushstrokes, linear fields, and paint splattered throughout this awesome composition. Signature and date on the lower right side: Teppa, 2008. Artist: TeppaIssued: 2008Dimensions: 59"L x 52"H x 1"WCountry of Origin: ArgentinaProvenance: Raul Teppa Family TrustCondition: Age related wear.
ANSELM KIEFER (B. 1945)Für Paul Celan: Kenotaph 2012 titledoil, acrylic, emulsion, shellac, metal and chalk on canvas, in four parts overall: 280 by 573 by 310 cm. 110 1/4 by 225 9/16 by 122 1/16 in. This work was executed in 2012. Footnotes:Provenance Galerie Thaddaeus Ropac, Salzburg (AKI 1418) Private Collection, Turkey (acquired directly from the above in 2014)Acquired directly from the above by the present ownerExhibited Paris, Galerie Thaddaeus Ropac, Anselm Kiefer Die Ungeborenen, 2012-2013A monumental, sculptural panorama, comprising three separate canvases and spanning nearly six metres in width, Für Paul Celan: Kenotaph, is among one of the largest and most virtuosic works in Anselm Kiefer's landmark series in celebration of the Romanian Jewish poet, Paul Celan. This present work, which was included in Galerie Thaddaeus Ropac 2012 exhibition, Anselm Kiefer Die Ungeborenen, boldly demonstrates the artist's preoccupation in the origin and creation of life, referencing history, poetry, and symbolic iconography. Amidst a vast, tactile field of flowers, fossilised in thick, vivid oil impasto, acrylic and shellac, forcefully projects an immense wing of an aeroplane that expands from the top of the middle canvas; a stark yet bold statement upon the aftermath of World War II. Kiefer was born during the closing months of World War II, he reflects upon Germany's post-war identity and history, grappling with the national mythology of the Third Reich. The resulting impact sees his oeuvre using art and literature, painting and sculpture to engage the complex events of history and the ancestral epics of life and death. Kiefer's boundless repertoire of imagery is paralleled only by the breadth of heavy media palpable in his work. His large-scale paintings achieve their characteristic texture through his liberal application of impastoed pigments combined with found organic matter, metal, and lead, resulting in stark, haunting images with an imposing physicality. Sculptural appendages jutting out of the canvas whether it be chairs, branches, scales, or as seen here in the wing of an aeroplane, produce an effect of trompe l'oeil seemingly sinking into the canvas or leaping out depending on the viewer's standpoint, creating a highly charged theatrical spectacle amidst the profane realities of the subject matter. The duality of Kiefer's entwinement of landscape and literature in Für Paul Celan: Kenotaph finds eloquent expression, signifying poetry as a key focus in the artist's practice. Paul Celan's work has been a constant presence in Kiefer's paintings since his adolescence, when upon he discovered the poem Todesfuge (Death Fugue). The title of this present work demonstrates an enduring epitaph to the poet and his celebrated poem Kenotaph; he lyrically scrawls a poignant line from the poem across the top of the canvas signifying his uniquely powerful observations and reverberations on Germany's past. The psychological charge of Celan's poetry vibrates through Kiefer's haunting landscape, creating a highly immersive and emotional experience for the viewer. This dialogue for Kiefer has continued to intensify in recent years, particularly in 2020 during the global Coronavirus pandemic. Indeed, the poet was the subject of the artist's 2022 exhibition at the Grand Palais, a monumental show that comprised sculptures, installations and canvases in dedication and observation to Paul Celan. From a young age, Kiefer seemed destined to become an artist: his father was an art teacher and had prophetically named his son after the nineteenth-century German painter Anselm Feuerbach. After three semesters studying law and Romance languages at university, Kiefer reverted to his childhood dream, enrolling in the School of Fine Arts at Freiburg-im-Breisgau and subsequently the Academy of Fine Arts in Karlsruhe, where he studied with Peter Dreher. Following his training, he travelled throughout Europe, where he began work for his first major series entitled Occupations, in 1969. These staged photographs depicted the artist at various sites occupied by Germany during the Second World War, wearing his father's Wehrmacht uniform and subversively imitating the Sieg Heil salute. Their bold, ironic and unflinching confrontation with the recent past set the tone for Kiefer's subsequent oeuvre, asking pertinent questions about how Germany should come to terms with its identity in the wake of tragedy.Kiefer's affinity for humanistic themes, ambitious, sculptural materials and working at a monumental scale has led to the celebration of his artworks within international museum collections and the subject of numerous public exhibitions across the globe. Für Paul Celan: Kenotaph marks the pinnacle of Kiefer's intense preoccupation with Celan's poetry, becoming a fascination that formed the single most recurrent theme throughout decades of the artist's practice that is instrumental to Kiefer's poetic aesthetic dialect. Für Paul Celan: Kenotaph, masterfully draws upon the legacy and power of poetry alongside a distinctly German tradition of contemplating a haunting, barren, landscape as a metaphor for the fundamentals of human existence. Completely fresh to the market, this work serves as exceptional, museum quality, masterpiece from one of the greatest post-war German artists today.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
GLENN BROWN (B. 1966)The Music of the Mountains 2016 signed on a label affixed to the reverse of the backing boardIndia ink and acrylic on panel 135 by 95 cm. 53 1/8 by 37 3/8 in. This work was executed in 2016. Footnotes:This work is registered in the archives of the Glenn Brown Studio, London. ProvenanceGagosian Gallery, London Acquired directly from the above by the present ownerExhibitedFlorence, Museo Stefano Bardini, Glenn Brown: Piaceri Sconosciuti, 2017London, Gagosian Gallery, Glenn Brown: Come to Dust, 2018Guernsey, The Rona Cole Art Gallery, Guernsey Museum at Candie, 2018 - 2022, work on loan to the museumEmerging from a shimmering veil of woven, fluttering lines and threads of acrylic and ink, the timeless subject of Glenn Brown's The Music of the Mountains impresses upon us the uniqueness of his talent and the thrilling nature of his daring artistry that calls upon the benevolent gods of art history, from Da Vinci, Fragonard, Rembrandt and Boucher to John Martin, Dali, and Frank Auerbach. These apparitions don't simply appear as facsimile, however, but instead deconstruct the very humanity that comprises their historicity. Brown produces an intensified vision of painting qua painting that is captivating to behold and supremely contemporary in their notions of authorship and subject. Since his emergence in the 1990s, he has been a maverick of contemporary practice who has gone against the grain consistently, earning a Turner Prize nomination in 2000 and carving out a place amongst the most significant and lauded painters of his generation, with works in major institutions including The Art Institute of Chicago; the Centre Georges Pompidou, Paris; the Museum of Modern Art, New York; and the Walker Art Center, Minneapolis. He will further solidify his standing as one of the leading contemporary British artists with a museum dedicated to his practice and works from his personal collection, including Dutch and Italian masters, opening in Marylebone during the 2022 October Frieze week.In The Music of the Mountains, one cannot escape the elegance of Brown's virtuoso hand that lures and enthrals our gaze with its fluidity, poetry and sensitivity to form. Above all else, Brown is an artist who produces beautiful paintings. But therein lies the complexity and tragedy of his practice that makes his work some of the most challenging conceptual feats of contemporary art. Christoph Grunenberg, Director of the Kunsthalle Bremen, seized upon this essential quality, describing his art as 'one of extreme attraction – in subject matter, execution and look – yet at its heart there is darkness, a melancholic vision of death, destruction and loneliness. Belying their aesthetic perfection, masterly technical dexterity and formal integrity, Brown's paintings reveal surprising contradictions and ambiguities' (Christoph Grunenberg in Glenn Brown, London: 2009, p. 15). In this way, through The Music of the Mountains we are given access to a transcendent vision of art history that reveals fresh narratives and upends contemporary questions by placing them on a timeline that shrinks their fleeting pertinence. Here, Brown's wisps of paint and ink call upon the delicate and unsurpassed sketches of Da Vinci, blending and folding about one another to manifest a ghost-like head of a woman caught in a three-quarter glance, her eyes cast down appearing transfixed and intent. It is an arresting vision whose features evoke the playful fullness of a Boucher, yet her apparent seriousness lends an air of Judith beheading Holofernes. These epistemic questions tug at our knowledge of art history and the history of images themselves, proving an elaborate contemporary challenge to the validity of painting today. Brown thus goes beyond the reproduction of an original image; he reconstructs the composition, subjects it to distortion, and ultimately imbues it with a new sense of narrative. In his skilful handling of paint and conceptual ingenuity grounded in Postmodern critical theory, The Music of the Mountains draws us in with a timeless beauty that teeters on collapse, as exquisite and gossamer as the painted surface is. In opening his practice to the questions and tribulations of originality, Brown places himself amongst a rarefied group of artists for whom appropriation practices have defined their careers, from Marcel Duchamp, Cindy Sherman, Sherry Levine, Richard Prince, and Jeff Koons. Brown stands apart, however. His paintings leave doors open to ambiguity and revivification, not least in his titles that can appear oftentimes as banal or overly romantic, but interestingly turn to music as a source of inspiration. 'The connections between my paintings and my titles are not always obvious but they are never random,' the artist says: 'I am trying to puzzle viewers. The work is supposed to stick in their heads and make them ask why. Again, that is the base with good music; something, perhaps a sense of disharmony or miss alignment of timing, catches your attention but you often cannot articulate why. I think it is the same with a painting: it has to catch you by being enigmatic and intriguing – whether it is through colour or meaning, beauty or ugliness, a celebration of life or the devastation of death' (the artist interviewed by Rochelle Steiner in Glenn Brown, London: 2004, p. 100).In a perfectly balanced synthesis, Brown's execution is bonded to the grandeur of his ideas, which enables him to operate with an unparalleled nuance, cutting right between what the image is and what it represents. Without the masterly hand of the artist, such notions of beauty and decay, of life and death, would not uphold. As evidenced in the present work, these sumptuous swirls and painterly panache permit us to glimpse the sublime. But Brown allows darkness to creep in, where trailing threads and spirals appear to create a kind of smog, a putridity that hangs in the air of the piece. Ultimately, what the artist captures is pure affect – the remnant of an impression that casts itself back through time: 'the naked flesh of the original model may be long dead, but that just aids the imagination Fragonard, Auerbach and Rembrandt painted the living. Their flesh has become paint so I paint paint. The paint is the crusty residue left after the relationship between the artist and his model is over. It is all that there is left of real love, so I paint that' (the artist in Ibid., p. 17).Glenn Brown's The Music of the Mountains is an exemplary painting that illustrates the richness and vastness of his practice. In Brown's dextrous hand, we sense the timelessness of his subject that is conjured spirit-like before us. She hangs in the air as a vision of art that was, and art as it is now – constantly evolving, emerging, dwindling, and reconstituting. Brown continues to be one of the most exciting and talented contemporary artists, whose communion with art history's masters has surely placed him amongst them.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Alejandro Jesus Obregon Roses (Spanish/Columbian, 1920-1992). Acrylic on board painting titled "Condor Chico (Small Condor)" depicting an abstracted Andean condor, 1968. Signed along the lower left. Titled and dated along a label affixed to the verso.Provenance: Center for Inter-American Relations Art Gallery, New York, 1970; Private Minnesota Collection.Lot Essay:Alejandro Obregon was born in Spain but spent the majority of his life in Columbia. His early years were spent in Barranquilla, Columbia as well as Liverpool, England. His early artistic career was influenced by Picasso, Goya, and Graham Sutherland. While he was influenced by European artists, his subject matter often focused on Andean imagery including condors, guitars, and bulls.The condor, a subject to which Obregon returned often, has appeared in nearly 50 canvases during his career. His first condor was painted in 1959. The motif referred not only to the coat of arms of Columbia but to the idea of the might of nature, the ideal of liberty, and the power of vitality.In the 1950s, he became associated with a period of artistic renewal in Columbia. Five artists, dubbed the "Big Five," came to be icons of this time. They included Obregon, Enrique Grau, Fernando Botero, Eduardo Ramirez Villamizar, and Edgar Negret.Height: 8 1/2 in x width: 10 1/2 in.
Peter Ford Young (American, b. 1940). Acrylic on canvas painting titled "White Painting #10" depicting colorful dots against a white background, 1967. Signed along the stretcher bar along the verso.Provenance: Jacobson Howard Gallery, New York; Acquired from previous, private collection, 2009; Christie's New York, Auction 21597 "Post-War & Contemporary Art," July 7-18, 2023, Lot 215; Private California Collection.Lot Essay:Peter Young began as an abstract painter in New York City in the 1960s. While he has continuously defied categorization, he would go on to be associated with the movements of Minimal Art, Post-Minimalism, and Lyrical Abstraction.In the 1960s the artist began to incorporate elements of Pointillism and Aboriginal art to create playful compositions of circles and dots. He focused on color and density to create monumental paintings, often on a monochromatic background. These clusters of dots created dizzying patterns and clusters of color, often only visible by stepping back and allowing oneself to experience the work as a whole, rather than as individual spots of paint.Height: 84 in x width: 84 in.
Alejandro Jesus Obregon Roses (Spanish/Columbian, 1920-1992). Acrylic on wood board painting depicting an abstract composition in brown, red, orange, yellow, black, and white, ca. 1960s. Signed along the lower center.Provenance: Center for Inter-American Relations Art Gallery, New York, ca. 1970; Private Minnesota Collection.Lot Essay:Alejandro Obregon was born in Spain but spent the majority of his life in Columbia. His early years were spent in Barranquilla, Columbia as well as Liverpool, England. His early artistic career was influenced by Picasso, Goya, and Graham Sutherland. While he was influenced by European artists, his subject matter often focused on Andean imagery including condors, guitars, and bulls.In the 1950s, he became associated with a period of artistic renewal in Columbia. Five artists, dubbed the "Big Five," came to be icons of this time. They included Obregon, Enrique Grau, Fernando Botero, Eduardo Ramirez Villamizar, and Edgar Negret.Height: 8 1/2 in x width: 11 in.
Peter Denmark (1950-2014) Acrylic on canvas "Crucifixion" 182cm wide by 248cm high Provenance, the painting was collected from the artist's widow at his home in the Cambridgeshire Fens. Peter Denmark exhibited in London at various venues and galleries from the late 1970s. These included the Colony Room Club and The Groucho Club in Soho. He continued to show in London yearly after moving to the Cambridgeshire Fens in 1999. Many of Peter’s paintings are in private collections, including those of fellow artists Damian Hirst and Gavin Turk. This painting is a statement piece and is very large, please see photos for scale!
William Hartley Waddington (1883-1961), member of The Lake Artists Society, acrylic on board titled "In Westmorland". 31 x 38 cm, framed. CONDITION REPORT: The painting is in generally good condition. It could probably do with a clean as there are dark marks running vertically within the clouds which look like small hairline cracks. There is also a small scratch to the paintwork on the right-hand side above the signature. The frame is in generally good order but does have minor knocks to the corners.
Brian POLLARD (1946) Still Life with Wine and Encyclopedias Acrylic on board Signed, dated 1985 to the verso 40cm x 30cm Postage is available on this lot from £25.22 to a UK address. The encyclopedias in the picture were likely used during the artist's time as a Doctor.There are no condition issues with the painting, but some scuffs to the exremeties of the frame.
λ ANTHONY FROST (BRITISH B. 1951) DESERT-WOLF-GROWL Acrylic on director's chair canvas, plastic netting, onion sacking, sailcloth and canvas Signed, extensively inscribed and dated 2011 (verso) 30 x 40cm (11¾ x 15½ in.)Provenance: Acquired directly from the artist by the present owner The painting describes John French's 'Drumbo' voice on his solo album. French was famously the principle drummer in Captain Beefhearts band.
MARVEL COMICS - Hand-Painted Greg Hildebrandt Daredevil Issue No. 595 Variant Cover Painting - A painting by legendary sci-fi and fantasy artist Greg Hildebrandt for Marvel Legacy's Daredevil issue no. 595, published November 8, 2017. Hildebrandt created this painting for the limited-edition style "G" incentive cover in May 2017. The issue was written by Charles Soule with pencils and inks by Stefano Landini.Rendered in acrylic on canvas and signed by Hildebrandt in the bottom right corner, this painting depicts Kingpin striking Daredevil to the ground in a Hell's kitchen alleyway. The artwork in this lot ships separate from its frame and rolled. Shipping, including within the frame, should be arranged with Propstore prior to bidding. Dimensions: 37" x 28" (94 cm x 71.25 cm)Sold without copyright; see notice in the Buyer's Guide.Stored off-site; see off-site storage notice in the Buyer's Guide.Special shipping required; see notice in the Buyer's Guide.Estimate: $10,000 - 20,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT 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 Wednesday, March 13th or Thursday, March 14th.
Joseph Marioni (Cincinnati/Ohio 1943 – lebt in New York). „GREEN PAINTING“. 2000Acryl auf Leinwand. 102,2 × 103,5 cm (40 ¼ × 40 ¾ in.). Rückseitig mit Filzstift in Schwarz betitelt, signiert, datiert und bezeichnet: GREEN PAINTING Joseph Marioni 2000 ACRYLIC AND LINEN ON STRETCHER JOSEPH MARIONI PAINTER 2000 CAT.# 20.00.22.[3350]Provenienz: Privatsammlung, DeutschlandZustandsbericht: In sehr gutem Zustand. DIe Farbe frisch und leuchtend. Die Leinwand ist nicht doubliert und befindet sich auf dem originalen Keilrahmen. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Sehr schöner harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis 32% Aufgeld.
A collection of contemporary artwork to include the following: John Loker (b. 1938) Untitled - 1983 Lithograph Signed and dated by the artist. Measures 37cm x 34cm. Framed and glazed. Born in Leeds, Loker has lived and worked throughout his career in London and East Anglia. He studied Graphic Design at Bradford College of Art and Design from 1954-58; and went on to study Painting at the Royal College from 1960-63. With the exception of a brief period spent in Manchester in the mid 1960s, he continued to live and work in London until 2002. He has exhibited widely internationally, and was included in many survey exhibitions of British art of the 1970s. In 1980, a travelling retrospective was curated by Lewis Biggs at the Arnolfini in Bristol. Loker’s work is in the collections of the Arts Council of Great Britain; British Council; CODA Museum Collection in Apeldoorn, Holland; Hunterian Collection, Glasgow; Power Institute of Fine Art, Sydney; Royal College of Art; Tate; and the Victoria and Albert Museum. Loker is also represented in the corporate collections of Deutsche Bank, ABH Bank Amsterdam, De Beers and Unilever. Linda Eaves (b. 1967) Unspecified Purpose No. 5 Acrylic, Conte, Charcoal on Paper Measures 66cm x 85cm. Framed and glazed. Chitra P Merchant Devakad Bell Jar - Xl Screen-print on paper Signed titled and numbers by the artist. No 6/30. 58cm x 47cm. Framed and glazed. Chitra Parvathy Merchant grew up in India and currently works as an artist in Bristol, U.K. After completing a B.A Degree in Psychology, she left India to work for a year in an artist's studio in West Africa. She came to England in the early nineties and completed a B.A (Hons) Degree in Illustration from U.W.E Bristol ('98) where she was first introduced to printmaking. In 2001 she based herself at Spike Print Studio where she prints, exhibits and works to commission on a regular basis. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A NEPALESE THANGKA PAINTING Nepal, Kathmandu Valley, 20th century, acrylic on cloth 43.5 x 30cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Karel APPEL (1921-2006) "Face" Acrylic relief painting on wood. Collection of a former French art publisher who collaborated with artists such as Sam Francis, Arman, Corneille, Bram Bogart and Karel Appel. - Weight: 5.10 kg - Shipping available - Sizes: H 590MM X L 450MM - At first glance: good condition
Jack PENDER (1918-1998) Morning Harbour (Mousehole) Acrylic on board,Signed J Pender Further signed and inscribed to verso34 x 29 cm, 13.5 x 11.5 inCatalogue NoteThis work is a smaller version of part of a much larger painting, and was bought directly from the artist when he taught art at Camborne Comprehensive School. This acrylic is in excellent, unrestored condition. Please view additional images uploaded.
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