We found 46611 price guide item(s) matching your search
There are 46611 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
46611 item(s)/page
Lot 1
DAMIEN HIRST (Bristol, United Kingdom, 1965)."Butterfly", 2009.Acrylic on paper. Spin Painting.Signed on the back with the artist's wet stamp and embossed seal.Size: 70 x 56 cm.Work made on 24 April 2009 for the opening of the exhibition "Requiem", at The Pinchuck Art Centre in Kiev, which ran from 25 April to 20 September 2009. Damien Hirst began making spin paintings in 1994, when the artist saw a spinning machine in operation while living in Berlin. Later that year a series of his spinning machine drawings was exhibited at Bruno Brunnet Contemporary Fine Arts, Berlin.Damien Hirst was born in Bristol on 7 June 1965, in a financially troubled suburban environment. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to educate himself from the bottom up, which is perhaps the main reason why Damien Hirst argues that art has no class. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later left to move to London. During this time he was working in construction while also applying to various art schools such as St Martins and the Welsh College. He was eventually accepted at Golsdmiths College, which at the time, due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year, Hirst took on the role of artist and curator, and managed to stage an exhibition that would change the course of British art, his first solo exhibition at the age of 26. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had run out of places to exhibit, he had done it all and too quickly. As a result, he was soon dubbed Hooligan Genius by the media. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspect: wrapped in an aura of romanticism, he made revolutionising the art world look easy. On several occasions he has acknowledged his desire to be famous and in the face of criticism he has defended himself with phrases such as "they couldn't admit to themselves that they wanted to be famous and resented not being famous" or "I think my desire was to be more famous than rich, I think the desire to create art and be famous is like the desire to live forever with two obsessions: death and celebrity".
Lot 108
WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Sacha".Watercolour on paper.Signed with stamp in the lower right corner.With label of the Fernando Alcolea Gallery.Size: 19 x 24 cm; 36 x 42 cm.In this watercolour, Ting combines a colourist language, characterised by the dialogue between the stroke and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of the European stylistic patterns. The line of the representation shows a line of an expressive and meditated character, based on different aspects and shades based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, expressive and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.
Lot 132
JAIME RICO AMADOR (Pamplona, 1978)."Peces 2".Mixed media (acrylic, transfer and drawing) on board.Size: 100 x 70 x 3,5 cm.Jaime Rico Amador graduated in Fine Arts at the Complutense University of Madrid (2004). He obtained an intermediate degree at the Ecole Nationale d'Art Villa Arson, Nice. In 2010 he was awarded the Villa de Aoiz Painting Prize. His most recent solo exhibitions include those held in the galleries Mdv (2012) and Mala Madrid (2010), Ormolú in Pamplona (2006, 2008, 2010), Artevistas in Barcelona (2008), Nave 10 in Valencia (2008), and group exhibitions in the galleries Paz Feliz in Madrid (2011), Muz-Martínez in Alicante (2011) and Ormulú (2011). In post-industrial cities, the global webs of networks and circuits coexist with massive industrial architecture. Jaime Rico Amador reflects on the disorientation of the passer-by immersed in jungles of steel and fibre optics. Each of his pictorial series is dedicated to this: in some he focuses on human flows, others are dedicated to children, others review the post-apocalyptic aesthetics that mythical films have given us. The sum of all of them offers a polyhedral vision of the urban environment. In his paintings, the past leaves an indelible patina on a present that is being built day by day, and denotes a constructive fever that masks this distrust of the future. This can be seen in this "Vertical Desert" where scaffolding and cranes are impregnated with mouldy pollution, and the tiny figures flee towards a void without a horizon. Despite staging dystopian megalopolises, Rico Amador's paintings are strangely warm and poetic because they speak to us of the sensitive memory of space.
Lot 212
PETER STANAWAY (born 1943); acrylic on board, 'The Accordion Player', signed lower right, signed, titled and dated 2014 verso, 29 x 23.5cm, framed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 246
EMRYS WILLIAMS (WELSH 20TH CENTURY); acrylic on panel, 'Looking Towards the Windmill 2001', titled and inscribed verso, 38 x 25cm, framed and glazed. (D) Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 249
RICHARD MONAHAN (born 1979); oil and acrylic on canvas, triptych, 'Wallpaper Composition with God as Seen Through the Eyes of Various Characters', signed to the lower right of the right hand panel and inscribed and titled verso, dated 02/10, the central panel 89 x 68cm, side panels 89 x 29cm, overall size 94 x 136cm, in a stained pine frame. (D)Additional InformationInternally generally clean and bright. The backs of the side panels mounted onto boards. The backs of the side panels are slightly lighter colour throughout, unclear whether this is sun fading or original. Frame with general wear and scuffs.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 272
IAN MOOD; acrylic on board, 'Stockport III', signed verso, 11.5 x 19cm, framed. (D)Additional InformationThe board has vertical lines running through. Light scratches and wear to frame.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 83
‡ NICK HOLLY acrylic - busy scene depicting St Thomas Steet, showing figures under bunting, Kilvey Hill in background, titled verso 'Street Celebration', on Attic Gallery label, 25 x 25cmsProvenance: private collection Swansea, consigned via our Carmarthen officeComments: no apparent problems, framed and glazed
Lot 252
§ Felim Egan (Irish 1952-2020) Foreland, 1998/9 signed and dated (to reverse), oil and acrylic on canvas(210cm high x 210cm wide (82.75in high x 82.75in wide))Footnote: Exhibited: Amsterdam, Stedelijk Museum, Felim Egan, 27 March - 16 May 1998, cat. no. 5 (illustrated on p. 21 of the exhibition catalogue). In the accompanying catalogue to the solo exhibition of the artist’s work where the present work was included at the Stedelijk Museum in Amsterdam in 1998 Marina Vaizey wrote of the artist’s response to the ‘highly individual notion of place, the genius loci, recalling the slow growth from topography into landscape that transformed art several centuries ago. His are not domestic pictures, however domestic in size some may be, and however at home they often are. Rather they are windows looking inward in order to look outward. Moveover, however profound Felim Egan’s paintings are, they are also joyful…Foreland [the present work] is aglow from the sun setting on Donegal’s Bloody Foreland.’ (M. Vaizey, exh. cat. Felim Egan, Stedelijk Museum, Amsterdam, March – May 1998)
Lot 255
§ Michael Craig-Martin (Irish 1941-) Untitled (Green and White), 1991 signed and dated (to reverse), acrylic on canvas on board(51cm x 56cm (20in x 22in))Provenance: Karsten Schubert Ltd., London, 1991; Waddington Galleries, London, 1992; Richard Salmon Gallery, London.Footnote: Exhibited: Richard Salmon Gallery, London, Spatial Harmony in Fixed Diverse Contemporaries: Tony Bevan, Keith Coventry, Michael Craig-Martin, Gary Hume, Bridget Riley and Stuart Taylor, May-June 1999. In 1991 Michael Craig-Martin created a series of monochromatic paintings, covered with uniformed rows of white dashes, suspending working with images of objects for a period. These works continued his interest in the idea of the repeated constituent, as Richard Cork observed, which he had already explored in his Venetian-blind series. Craig-Martin’s intention was to make the most basic works he could imagine, with the ambition that every segment of the painting matched each other, and therefore that the paintings would only stand for themselves. This period in his oeuvre culminated in a set of nine large identical works being shown at the Waddington Galleries in 1991, and in creating this body of work he saw himself as a composer, with the ‘dash’ paintings being reminiscent of musical scores sending meticulous but unreadable messages. (Richard Cork, Michael Craig-Martin, Thames and Hudson, London, 2006, pp.92-3)
Lot 307
Wendy Ramshaw C.B.E. R.D.I. (British 1939-2018) Teddy Bear's Eyes Six Part Ring Set, circa 2007 Silver metal, yellow metal, glass, enamel, on acrylic stand with black bands, the enamelled band hallmarked for London, 1985(Ring sizes: N-O)Provenance: From the Estate of Wendy Ramshaw.Footnote: Ramshaw often revisited older pieces that she had made in order to create a new piece as in this case. Therefore although the enamel band is hallmarked for 1985, the piece as a whole was created circa 2007.
Lot 310
Wendy Ramshaw C.B.E. R.D.I. (British 1939-2018) Three Part Ring Set, 1996/2000 from the Indian Collection, 18ct yellow gold, silver, enamel, gold dust, moonstone on acrylic stand, hallmark on enamel band 1996, hallmark on gold band 2000, plain band unhallmarked(Ring sizes: N-O)Provenance: From the Estate of Wendy Ramshaw.
Lot 357
§ Patrick Caulfield (British 1936-2005) Pipe Smoke initialled (lower right), also signed 'Patrick Caulfield' (on a label attached to the backing sheet), acrylic on paper(16cm x 10cm (6.25in x 4in))Provenance: Sale, Charity Auction at Tate Britain in aid of the Macmillan Cancer Trust, Autumn 1998, donated by the Artist, and where acquired by the present owner.
Loading...-
46611 item(s)/page