MARTÍN CHIRINO LÓPEZ (Las Palmas de Gran Canaria, 1925- Madrid, 2019)."Atlántica III- The sea", 1988.Wrought iron.Attached certificate issued by the artist.Work reproduced: in the catalogue raisonné of the artist. Nº 295 P.367.- Martín Chirino. Retrospective MNCARS (1991), p.104.- Martín Chirino. Recent sculpture Grace Borgenicht, New York (1988).-Guadalimar, nº 112 Madrid (1991), p.35.-Work exhibited at Grace Borgenicht Gallery. New York (1988).Provenance: Juana Mordó Gallery; Grace Borgenicht, New York.Size: 21 x 204,5 x 32 cm.Through this sculpture Chirino turns the rotundity of wrought iron into a metaphor for the concept of the wave. The work belongs to the Atlántica series, which dealt with concepts of the Mediterranean and the culture of the sea as the guiding thread of a series of sculptures that were conceived without a pedestal, with monumental dimensions. The piece was exhibited at the Grace Borgenicht gallery, which had been very interested in the sculptor's work since his participation in the exhibition at the Museum of Modern Art in New York in 1960.Approximately from 1959, shortly after joining "El Paso", Martín Chirino began to produce pieces that elude an enclosed space and gain in dynamism, evoking materialised gestures. It is in this context that we find his first approaches to the theme of the wind, which the sculptor would often address over the next two decades, and which in fact became one of the fundamental themes of his work. Chirino sculpts the wind in a spiral that points to infinity, an element that the artist himself associates with an Atlantic as well as Mediterranean sign, which emulates the nature of the Canary Islands, his place of origin. Thus, Chirino works the spiral due to its inexhaustible character, stating "You don't know where it begins and where it ends" "A broken spiral in itself is a mystery. It has something of a hypothesis and of reality. It happens with it as with dreams, that what remains when you wake up is not what you felt, but its rumour". In his first steps as a sculptor, Chirino took on the forge, the forge, fire, metal, as an extension of his own, a territory from which to investigate a language, that of abstraction, his artistic role marking a before and after. The works are always based on similar elements, although arranged with different nuances. At the beginning, the line formed by the sculpture is more open and clearly violent, while as time progresses it becomes more concentrated. In these works Chirino plays with wrought iron or bronze, materials that give a certain telluric aspect to the pieces, which provides the gravity in the balance established with the immaterial. Also key to his winds is the work of hammering, marked on the piece as scars of a struggle. The sculptor Martín Chirino trained at the Escuela de San Fernando in Madrid and at the School of Fine Arts in London. After a first series of sculptures, "Reinas Negras" (Black Queens), and exhibitions such as the group show at the Museo Canario, Chirino moved to Madrid in 1955, accompanied by his friends Manolo Millares, Elvireta Escobio, Manuel Padrono and Alejandro Reino. He also spent a month in London, where he saw first-hand the Sumerian and Egyptian sculptures in the British Museum. Only a year later, in 1956, the Museo de Arte Contemporáneo de Madrid acquired two of his works. He then held his first solo exhibition at the Ateneo de Madrid, after which he became a member of the recently founded El Paso group. His recognition grew, and only two years later he was given a special room in the Spanish pavilion at the São Paulo Biennial. In 1960 he took part in a group exhibition at the MOMA in New York, where he presented four pieces, one of which already featured the spiral, the most recurrent theme in his work from those years onwards.
We found 17075 price guide item(s) matching your search
There are 17075 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
17075 item(s)/page
CONSTANTIN BRANCUSI (Pestiani, Romania, 1876 - Paris, 1957)."Anatomy Model", ca.1902.Photograph. Print on gelatin silver.Provenance: Juan Naranjo.Descriptions on the back, written in pencil.Measurements: 16.5 x 5 cm. (photograph); 32,5 x 30,5 cm.(frame).This photograph is part of one of Brancusi's first projects, which he carried out under the guidance of his anatomy teacher, Dimitri Gerota: an "écorché" representation (a statue of a man whose skin has been removed to reveal the muscles underneath) which was exhibited at the Romanian Athenaeum in 1903.Constantin Brancusi began his studies in sculpture at the Bucharest Academy and perfected his skills in Vienna and Munich, before settling in Paris in 1904, where he befriended Amadeo Modigliani and Auguste Rodin and developed most of his career. He had a difficult start, during which he suffered hardship and privation, but after the First World War he established himself as one of the great sculptors of the artistic avant-garde. With the elimination of all accessory attributes, he progressively evolved towards a greater formal essentiality in order to create pure and elemental forms. In his works, Brancusi sought a pure, spiritual beauty, expressed through his favourite figures (the bird, the egg, the female heads) and emphasised by polishing the materials (bronze, marble and occasionally wood). He made several trips to the United States, where he held successful solo exhibitions. In 1937 he returned to Romania to carry out some commissions, such as the Endless Column, almost thirty metres high, for the public park of Tirgu Jiu, near his hometown. That same year he went to India to design the Temple of Meditation, commissioned by the maharaja of Indore. Mademoiselle Pogany, The Newborn and Bird in Space, three of his most appreciated creations, are other examples of Brancusi's quest for pure form that led him to the limits of abstraction, although without completely abandoning figurativism; in any case, his departure from nineteenth-century realist canons paved the way for the abstract sculpture of artists such as Jean Arp and Henry Moore.
Vincenzo Gemito (Italian 1852-1929): 'L'Acquaiolo' (The Water Carrier), a bronze figural sculpture, foundry mark,height 52cmOverall with a light silvered bronze tone throughout, a little oxidised and dirty in places, some verdigris beneath the feet, foundry stamp to the top of the large urn and inscription to the back of the plinth,PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. height 52cm
Himalayan Art A gilt bronze figure of Green Tara Tibet, 19th century . . Cm 21,00 x 26,00. A gilded bronze sculpture depicting the lavishly adorned deity seated in a royal Lalitasana posture surrounded by utpala, the flowering branches of blue lotus in both hands, as a symbol of compassion. The figure of Green Tara, also known by the Sanskrit name of Shyamantara or the Tibetan name of Sgrolljiang, is revered as one of the most representative figures of Tibetan Buddhism. Heavenly consort of the Dhyani Buddha, protector of Tibet, she embodies in herself the values ??of enlightment and compassion. This figure, resting on an oval base in the shape of a lotus corolla, is inspired by 15th-century Tibetan specimen made of bronze or gilded copper and intended for the great Himalayan temples.
Indian Art A bronze figure of Lord Krishna VenugopalaIndia, Orissa, 18th century . . Cm 12,00 x 26,50. Polished bronze sculpture depicting the young Krishna standing on an elaborate lotus base playing the now missing flute. This subject, frequent and widespread throughout the Indian sub-continent, is related to the devotional cult inspired by the figure of Krishna, incarnation of the god Vishnu. Originally promoted by the great Indian mystic Chaitanya Mahaprabhu (1486-1534), this cult, which developed in the Bengal region around the 16th-17th century, established a strong emotional connection with the figure of the young shepherd Krishna playing the flute for his consort Radha. The loving couple establishes the origin of the esoteric bond which, according to the Hindu religion, is at the basis of the male-female duality inherent in the Shakti, the primordial force that moves the universe.
South-Est Asian Art A large bronze standing Buddha Burma, 19th century or earlier . . Cm 53,00. A large bronze sculpture depicting the standing Buddha in varadamudra, his left arm raised and the hand in karanmudra touching the sanghati, or the typical Buddhist vest. The smoothness of the beautiful natural patina highlights the soft movement of the limbs and body. The Ushnisha is surmounted by an unusual architectural structure similar to a stupa, the sacred building in which the relics of the Buddha are contained. Stylistically, this image can be traced back to the bronze statuary from the Pagan era (849-1297), from the 13th century developed in the city of the same name in today's Myanmar.
South-Est Asian Art A large gilt bronze flame shaped Buddha topknot (Ushnisha)Thailand, Ayutthaya (1351-1767), 15th century . . Cm 20,00. Large gilt bronze flame originally part of a colossal sculpture of Buddha where it was placed at the top of the Ushnisha, according to the Buddhist iconography. The Ushnisha is the 32nd of the features attributed to Buddha Shakyamuni and it is a cranial protuberance at the top of the head of Buddha. In Thai iconography, already developed by the 12th century, the Ushnisha is always depicted as surmounted by an elongated flame in order to symbolize the spiritual power of the Buddha and his "enlightenment".
South-Est Asian Art A large bronze sculpture of Bussha Thailand, Lan Na Kingdom, 16th-17th century . . Cm 44,00 x 63,00. Important and rare bronze cast figure of the historical Buddha Shakyamuni portrayed in his canonical iconography; with the left hand softly placed in the lap in the Avakasamudra gesture and the right hand touching the ground in bhumisparsamudra. He is also seated cross-legged on a base with a wide plinth.The figure is wrapped in a light vest that adheres to the body and shows traces of lacquer which can be observed in particular between the curls of the hairstyle and in the corneas of the eyes. Note the refined and delicate rendering of face, hands and feet.Provenance: private collection, Milan, Italy
KRUSE, MAX (1854-1942) "Nenikhkamen" Entwurf um 1900, Bronze patiniert, vollplastische Darstellung des Siegesboten von Marathon auf dreistufiger Plinthe, betitelt, sowie Gießereimarke Gladenbeck GmbH und bezeichnet Max Kruse, H: ca. 37 cm. Lorbeerzweig besch.| KRUSE, MAX (1854-1942) "Nenikhkamen".designed c. 1900, patinated bronze, full length sculpture depicting the victorious messenger of Marathon on a three tiered plinth, titled, as well as foundry mark Gladenbeck GmbH and dedicated Max Kruse, h: approx. 37 cm. Laurel branch dam.
A modern replica bronze sculpture, circa 1990, modelled as a cowboy riding a horse, after the original titled 'Will Rogers' by Charles Marion Russell, bears brass plaque to front of the oval green marble base 'Will Rogers Inspired by C. M. Russell National Cowboy Museum', 26 by 19 by 28cm high.
Doris Lindner bronze equine sculpture, titled Marden Finality - nr 15677, limited edition nr 2/10, approx 29 w x 23 cms. This lot includes two wonderful black and white photographs of Doris Lindner one with her bronze 'Arkle' unveiled at Cheltenham Races and one with Doris and Arkle in his stable block, together with a magazine cutting with Doris Lindner shown in her studio at Broad Campden.
A bronze sculpture of a Buddha head, Thailand, Ayuttahaya period, 15th century or later, modelled with serene expression, elongated earlobes, mounted on a later wooden base, 25.5cm high Provenance: Eileen Power, traveller and historian, fiancee of Reginald Johnston (1928-35), later wife of Sir Michael Postan, the current vendor's direct predecessor.
Clive Barker (British, born 1940)Ball of String, 1969 stamped with initials 'CB' (to underside)chrome plated bronze19.5cm (7 11/16in) widefrom the edition of 8Footnotes:ExhibitedLondon, Hanover Gallery, Clive Barker, 1969, no. 18, illustrated (another cast)London, Whitechapel Art Gallery, New Multiple Art, 1970-1, no. 33, illustrated (another cast)LiteratureA. J. Fermon and M. Livingstone, Clive Barker Sculpture Catalogue Raisonné 1958-2000, Skira Editore S.p.A., Milan, 2002, p. 12, 102, no. 107, illustrated on p. 102Ball of String, 1969, may have been conceived as a homage to Roy Lichtenstein, who six years before created his painting Ball of Twine, 1963, both artists showcasing the everyday object elevated to artistic status.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
A small quantity of pictures and prints depicting animals, including a pair of abstract pictures of horses, by F Kirkwood, signed and titled to the margin, 29 x 40cm, framed, a signed limited edition print of a fox, by Adrian C Rigby, signed and numbered 40/750 to the margin, 33 x 25cm, framed and glazed, a watercolour of a huntsman on horseback, indistinctly signed and dated lower right, 54 x 35cm, mounted, three signed limited edition prints, titled to the margin 'Waiting' and further inscribed 'Preparatory Drawing for a Bronze Sculpture of the Same Name Created for The Brook 2004', indistinctly signed lower left and numbered lower right, nos.10, 11 and 12 of 200, 37 x 50cm, framed and glazed (the glass on no.11 is cracked) and a pastel of a cat, signed and dated June '62 lower left, 29 x 29cm, framed and glazed (8).
Sydney Harpley (1927–1992)"Girl on a Swing"Signed, number 0/0 artist's proof from an edition of 12, bronze, 63cm highProvenance: Duncalfe Galleries, Harrogate, 3/5/1989Literature: This example has been acknowledged by Dr Chris Beetles and will appear in his forthcoming catalogue raisonné on Sydney Harpley. Footnote: Born in London in 1927, Sydney Harpley was a British sculptor known for his depictions of the solitary female form. Following National Service, he studied sculpture at Hammersmith School of Art from 1950-1953, before furthering his studies at the Royal College of Art under sculptor John Skeaping until 1956. During this time, he exhibited in the Young Contemporaries and the Summer Exhibition at the Royal Academy, the beginning of his long career exhibiting nationally and internationally. He was made a Royal Academician in 1981. From the late 1950s Harpley began receiving public commissions, which culminated in a commission for a life-size ‘Girl on a Swing’ for the Singapore Botanical Gardens in 1984. Since his early days at art college, it was the female form which intrigued Harpley the most as a sculptor, heavily influenced by Edgar Degas. Throughout his career he returned again and again to the solitary female, be it in the guise of a dancer, an acrobat or a girl on a swing. His first ‘Girl on a Swing’ was exhibited at the Royal Academy of Arts Summer Exhibition in 1974, and bronzes by this important Neo-Romantic artist can be found in many national and international collections.Condition report: Some light surface dirt. Otherwise in good overall condition.
Miguel Berrocal (Algaidas/Andalusien 1933 - Antequera/Spanien 2006). Maria de la O. 1962/64. Bronze, poliert. Unterseitig gest. Künstlersign. 'berrocal', num. Ex. '178/200'. 15 x 10,5 x 7 cm. - Provenienz: Sammlung F.C. Gundlach, Hamburg. - Spanischer Bildhauer. B. studierte ab 1949 zunächst Architektur in Madrid, später Malerei und Bildhauerei. Begegnungen mit Giacometti und Chillida in Paris 1955 veranlassen ihn, sich ganz der Bildhauerei zuzuwenden. Seit Ende der 50er Jahre schuf er die für ihn typischen demontierbaren Skulpturen. Er stellte u.a. 1964 auf der Documenta aus und erhielt zahlreiche Auszeichnungen. 1966 hatte er eine Gastprofessur an der HfBK in Hamburg. Mus.: New York (MoMA). Lit.: AKL. Berrocal, Miguel (Algaidas/Andalusien 1933 - Antequera/Spanien 2006). Maria de la O. 1962/64. Bronze, polished. Bottom stamped artists signature 'berrocal', num. Ex. '178/200'. 15 x 10,5 x 7 cm. - Provenance: Collection F.C. Gundlach, Hamburg. - Spanish sculptor. B. began studying architecture in Madrid in 1949 but also painting and sculpting. After meeting Giacometti and Chillida in Paris he definitely turned to sculpture. Since the late 1950s he began creating the typical dismountable figures. He exhibited among others at the Documenta 1964 and received many awards. In 1966 he was lecturer at the Hamburg Hochschule für Bildende Künste. Mus.: New York (MoMA). Lit.: AKL.
Skulptur einer achtarmigen Gottheit, Tibet, 18./19.Jh., Bronze, Darstellung in der Hocke sitzend mit Salbgefäss u. Ermutigungs- bzw. Furchtlosigkeitsgeste auf Lotussockel, Betonung des dritten Auges, mit aufgesteckter Aureola, H.ca. 17 cm, Sockel verschlossenSculpture of at eight-armed deity, Tibet, 18./19.th c., Bronze, representation in squatting position with salve vessel and encouragement- respectively gesture of fearlessness on lotus pedestal, accent of the third Eye, Aureola loosely plugged in, H.approx. 17 cm, pedestal cloosed
Prof. Peter Breuer, 1856 Köln - 1930 Berlin, Bronzeskulptur: Venus und Amor', Venus tröstet den kleinen Amor, ein Pfeil liegt am Boden, am Sockel signiert, H. ca. 41 cm, mit Sockel ca. 52 x 32 x 15cmProf. Peter Breuer, 1856 Cologne - 1930 Berlin, Bronze sculpture: Venus and cupid', Venus consoling the little cupid, one arrow lying on base, on pedestal signed, H. approx. 41 cm, with pedestal approx. 52 x 32 x 15cm
Große Skulptur: sog. Raptusgruppe nach Damiano Capelli (1676-1705), Kunstguss, braun patiniert, an einer Ecke l. best., Darstellung des Raub einer Sabinerin, nach der original Bronze im Stift Kloster Neuburg, ca.48 cmLarge sculpture: so-called Raptus group after Damiano Capelli (1676-1705), cast iron, brown patina, at one corner slightly damaged, representation of the rape of the Sabine, after the original bronze in the monastery of Neuburg, approx. 48 cm
Bronzefigur eines Lama, Tibet, um 1900, im vollen Lotussitz auf einem Lotussockel sitzend, Vitarka-mudra und ein Palmbuch haltend, Vergoldung sek., H.ca. 26 cmBronze sculpture of a Lama, Tibet, around 1900, in full lotus position on lotus throne sitting, Vitarka-mudra and holding one palm tree book, gilding sec., H.approx. 26 cm
Skulptur des Yama auf Stier reitend, Tibet, um 1900, Bronze, teils sek. polychrom bemalt u. vergoldet, stierköpfiger Herrscher der Toten auf seinem Reittier, dem Stier in Pratyalidhasana, die Rechte mit einer Waffe erhoben, Dharmapala auf nacktem Körper, H.ca. 26 cm, aufgesteckt auf Holzsockel dieser späterSculpture of the Yama on bull riding, Tibet, around 1900, Bronze, partly sec. polychrome painted and gilt, bull-headed ruler of the Dead on his bull in Pratyalidhasana, the righthand with a weapon raised, Dharmapala on nude body, H.approx. 26 cm, loosely attached on wooden pedestal this later
Grosse Bronzeskulptur, Tibet, um 1880-90, Vajradhara mit Prajna, feiner Guß, reich verziertes Gewand und Sockel, doppelter Lotussockel, nachgestochen, Köpfe später bemalt, H. ca. 38 cmlarge Bronze sculpture, Tibet, around 1880-90,Vajradhara with Prajna, fine cast, opulent decorated garment and pedestal, double lotus pedestal, engraved, heads secondary painted, H. approx. 38 cm
Loading...-
17075 item(s)/page