There are 84462 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeTaxidermy Books: A Group of Books Relating to Taxidermy, modern, to include - A Historical Guide Taxidermy, Leoon. L. Pray (paperback), Still Life Adventures in Taxidermy, Melissa Milgrom (hardback, Practical Taxidermy, Montagu Browne (paperback), Speculative Taxidermy, Natural History, Animal Surfaces, And The Art in The Anthropocene, Giovanni Aloi (paperback), Stuffed Animals A Modern Guide to Taxidermy, Divya Anantharaman & Kate Innamorato (hardback), (5)
Modern Dolls House Accessories comprising printed portraits, photographs, an original oil frame still life by Leslie Smith, original watercolours, various volumes include Lilliput books, Anne and Lee Willis taxidermy stag's head, other painted and fur covered animals, musical instruments, candlebras, Vienna wall clock by Keith Bougourde, Aubusson style carpet, silk velvet handworked carpet of oriental style and three machine worked decorative bed covers etc
Attributed to Herbert Davis Richter (1874 - 1955), oil on canvas, still life flowers, unsigned, 77cm x 63cm . Condition Report: The picture is in poor condition, some loss of canvas to top at stretcher, multiple small losses of paint, 1 hole bottom left heavy surface dirt, another small hole top left and top right, craquelure and surface scratches
Berridge (Jesse) The Sonnets of a Platonist, first edition, number 4 of 15 copies on Japanese vellum, bookplate of Robert Garrett, bound in attractive dark blue morocco with gilt-tooled border of tulips, spine gilt in compartments with tulip motifs and five raised bands, turn-ins ruled in gilt with three tulip heads to corners, t.e.g., others uncut, very slight rubbing to edges and a couple of bands, c.145 x 110mm., 1902 § Thomas (Helen) World Without End, first edition, old ink library stamp to rear endpaper, bound in red crushed morocco with border of leafy sprays, small dots and inlaid green flowers all tooled in gilt around title on upper cover and lines of small gilt leaves on lower, spine with vertical title and leafy tendril in gilt, turn-ins with similar flowers, leaves & dots in gilt, g.e., a little rubbed at edges with slight wear to some gilding and spine ends, c.185 x 120mm., 1931, 8vo (2)*** Jesse Berridge, later clergyman, archaeologist and novelist, was a close friend of Edward Thomas until the poet's death in 1917. Helen Thomas married Edward in 1899 while he was still an undergraduate and the second item is the second volume of her frank account of their life together.
MARY FEDDEN (BRITISH, 1915-2012)Red Still Life signed and dated 'Fedden 1965' (lower left) and with signed, dated and titled label (verso) oil on board 57 x 83cm ARR Provenance Private collection, UK Literature Mel Gooding, Mary Fedden, Scolar Press, Aldershot, 1995, p. 16 and illus. p. 29 (as Still Life with Wine Flask)The present lot will be exhibited at Cromwell Place SW7 2JE on 5th & 6th November; please follow the link below for further detailsWinter highlights preview
CONROY MADDOX (BRITISH, 1912-2005)Still Life With Figure signed and dated 'CONROY MADDOX 59' (lower right), signed, titled and dated '1959' (verso) oil on canvas 51 x 76cm ARR Provenance Private collection, UK Literature Silvano Levy, Conroy Maddox, Surreal Enigmas, Keele University Press, 1995, illus. p. 119Condition reportPatch of fine craquelure centre right, on man's waistcoat, probably caused by water damage.A drip/water mark running from this patch of craquelure horizontally left across centre to just left of central object.Several other small drip/splash/water marks, mostly on central object.Inspection under uv light reveals fluorescing on patch of fine craquelure and the drip mark that runs from it.
MARY FEDDEN (BRITISH, 1915-2012)Still life of purple flowers and butterflies signed and dated 'Fedden 1999' (lower right) watercolour and bodycolour 14 x 11cm ARR Provenance Private collection, UKCondition reportThe sheet has uneven, deckled edges and slightly undulated in parts, otherwise good overall condition with strong colour. Framed and under glass, unexamined out of frame.
ARTHUR PAYNE TWO CHELSEA 'STILL LIFE' MODELS; 1929 Glazed ceramic, modelled as miniature bowls of fruit, mounted on square bases. Incised maker's marks, titled, dated and with 'Made in Chelsea'. Bases; 9cm x 9cm Provenance: Gatewick House, West Sussex, UK Condition Report: Multiple small chips/losses to the ends of the pineapple leaves and vine leaves.Condition Report Disclaimer
Bob Dylan, American, b.1941- The Drawn Blank Series: Man on a Bridge; Sidewalk Café; Motel Pool; Woman in Red Lion Pub; Still Life with Peaches; Mexico; Three Chairs; Truck, 2011; giclée print in colours on 350gsm Hahnemühle Museum Etching wove, each signed and numbered 154/295, printed by GTZ editions, New York, published by Washington Green in association with Black Buffalo Artworks, each sheet: 70 x 56 cm, each contained in a branded bespoke grey card box folio, (unframed) (8) Note: each print includes a certificate issued by Washington Green Fine Art.
Bob Dylan, American b.1941- The Drawn Blank Series (Sidewalk Café; Woman in Red Lion Pub; Still Life with Peaches; Motel Pool), 2011; each giclée print in colours on Hahnemühle 350gsm Museum Etching wove, each signed and numbered 109/295 in pencil, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art in association with Black Buffalo Artworks, each sheet: 70 x 56 cm, (framed) (4) Note: each print comes with its own certificate of authenticity from Washington Green Fine Art.
signed and dated 'Cedric Morris 45' (lower right), oil on canvas, 63.5 x 63.5 cm, framed 69.5 x 69.5 cm Provenance Property of Mrs Phyllis Bowen, thence by descent.Exhibited National Museum of Wales, Cedric Morris Retrospective Exhibition, 1968, no.67 (Welsh Arts Council label verso).Footnote Phyllis Bowen (1903 - 1999) started being involved with the Welsh art scene after World War II when living at the Castle House in Laugharne, on the South coast of Carmarthenshire. She began organising exhibitions here and her subsequent move to Cardiff with her husband. In her memoirs, 'The Baker's Daughter - recollections by Phyllis Bowen of Pontypridd', she describes the following, 'The pictures have always been dear to me because I knew personally practically every painter whose work I bought, so that it was like being surrounded by my friends. I think it was probably members of the Contemporary Arts Society who gave a little dinner for me and the society also made me a vice-president at that time, the second one after Cedric Morris'.Another Cedric Morris still life painting in her collection was bequeathed to the National Museums & Galleries of Wales. Overall in good, original condition. Some surface dirt. A few lines of craquelure and one speck of loss to one of the apples. Unlined. No evidence of retouching when viewed under UV light.
Duncan Grant (British, 1885-1978)Still life with flowers signed and dated 'D. Grant/67' (lower left)oil on paper laid on board57.5 x 39.8 cm. (22 5/8 x 15 5/8 in.)Footnotes:ProvenancePrivate Collection, U.K.We are grateful to Richard Shone for his assistance in cataloguing this lot.This 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
Patrick Heron (British, 1920-1999)MANGANESE, ULTRAMARINE AND INDIGO : 1964 signed, titled and dated 'MANGANESE,/ULTRAMARINE/AND INDIGO :/1964/PATRICK/HERON' (verso)oil on canvas101.5 x 152.5 cm. (40 x 60 in.)Footnotes:ProvenanceWith Waddington Galleries, London, where acquired byJudge Dennis Levy, thence by descent to the present ownerPrivate Collection, U.S.A.ExhibitedLondon, The Waddington Galleries, Patrick Heron, November-December 1964, cat.no.4Heron had experimented with pure abstraction as early as 1952 but maintained a figurative base to his painting (see lot 60) until 1955/6 when he began to develop a language of strokes of pure colour which moved away from a definite subject. The 'garden' and 'stripe' paintings of the late 1950s may have been in response to the light and environment of the artist's new home at Eagles Nest, Zennor, in Cornwall. But amongst the many remarkable features of Heron's career was his ability to continually develop and renew his paintings and by 1958/9 a new shift was already emerging. This was evidenced by a simplification of the palette and the introduction of a wider vocabulary of forms which allowed the artist to concentrate on the use of colour to form pictorial space.Discussing this in A Note on my Painting: 1962, written for the artist's exhibition at the Lienhard Gallery in Zurich in January 1963, Heron comments, 'For a very long time, now, I have realised that my over-riding interest is colour. Colour is both the subject and the means; the form and the content; the image and the meaning, in my painting to-day ... It is obvious that colour is now the only direction in which painting can travel. Painting has still a continent left to explore, in the direction of colour (and in no other direction) ... It seems obvious to me that we are still only at the beginning of our discovery and enjoyment of the superbly exciting facts of the world of colour. One reels at the colour possibilities now: the varied and contrasting intensities, opacities, transparencies; the seeming density and weight, warmth, coolness, vibrancy; or the superbly inert 'dull' colours - such as the marvellously uneventful expanses of the surface of an old green door in the sunlight' (Vivien Knight, Patrick Heron, London, 1988, p.34).Heron's work of this period is sometimes compared to that of Mark Rothko, who came to Cornwall in August 1959 to meet those artists he knew of and admired, painting with a freedom he felt difficult to achieve in New York. Much has been written about the cross Atlantic currents that ebbed and flowed between the American Abstract Expressionists and British artists such as William Scott, Alan Davie and Peter Lanyon. But it was Heron, as an art critic, who perhaps engaged most publicly with the wider impact of their work. He had always been impressed by Pollock, Rothko, de Kooning et al, indeed the first time he saw many of their pictures at the Tate in 1956 he was 'instantly elated by the size, energy, originality, economy and inventive daring of many of the paintings'. But he had always felt a lack of resonance in their use of colour. Heron's paintings of this time, such as the present work, are in fact radically different from Rothko's formal, hieratic works. They are more dynamic, more complex – in both colour and handling – and with an innate ability to draw the viewer in. In the present work, the simplification of the picture plane allowed Heron to use large areas of colour to set the tone of the painting. This is taken even further by drawing nearly all the colour from within a single range of blue. Limiting himself in this way ensured that the weight of the forms was not overwhelmed by the contrast of the colours, rather that the differing tones worked together to define and place the forms within the composition.In 1963, the year before MANGANESE, ULTRAMARINE AND INDIGO : 1964 was painted, Heron had begun to plan his compositions through drawing the shapes in charcoal directly onto the canvas. Although these paintings were initially inspired by the hard-edged modernism that Ben Nicholson demonstrated in his ordered reliefs, Heron's evident brush marks convey a more organic practice. Indeed, he famously quipped that ''Unlike Ben Nicholson, I have never in my life drawn a straight line or a purely circular circle or disc'. So, although the abstract shapes hint at geometry, they are emphatically painterly and gestural, gaining brilliance from the white priming beneath. As the decade progressed Heron would reintroduce stronger, more contrasting colours and explore the points at which these colours met, but in MANGANESE, ULTRAMARINE AND INDIGO : 1964 we see him working in 'soft edges' at a point where he relishes the challenge of bringing together a purity of intention and imagination using only restricted means. The result - a deep saturation of the mind's eye that cements the artist's reputation as one of Britain's greatest abstract painters of the 20th Century.The Patrick Heron Trust is in the process of researching the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Patrick Heron Trust, c/o Modern British and Irish Art, Bonhams, 101 New Bond Street, London W1S 1SR or email britart@bonhams.com.We are grateful to Dr Andrew Wilson for his assistance in cataloguing this lot.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
Euan Uglow (British, 1932-2000)Duckoil on panel 74.2 x 49.3 cm. (29 1/8 x 19 3/8 in.)Painted in 1965Footnotes:ProvenanceClare BarkerWith Browse & Darby, London, 1983Lady Cecilia DugdaleExhibitedLondon, Browse & Darby, Euan Uglow: Ideas 1952-1991, 4 April-5 May 1991, cat.no.9Bath, Holborne Museum of Art, Euan Uglow: A Personal Choice by Craigie Aitchison, 14 October 2006-28 January 2007Chichester, Pallant House, The Shape of Things: Still Life in Britain, 11 May-20 October 2024, unnumbered LiteratureKeith Patrick, 'The Basic Idea and Beyond', Art Line International Art News, 1989, vol. 4, no.8, pp.34-40Euan Uglow, Browse & Darby, London, 1998 (ill.)Catherine Lampert, Euan Uglow: The Complete Paintings, Yale University Press, New Haven and London, 2007, p.86, cat.no.197 (col.ill.)Exh.cat The Shape of Things: Still Life in Britain, Pallant House, 2024, fig.142, p.148 (col.ill)Renowned for his still life and figurative work, it is rare to see a 'nature morte' subject by Uglow. However, on the rare occasions when he did portray death (be that deceased bluetits, a sheep skull or a tongue), he treated each as a beautiful object, no different from fruit, flowers or a vase, deserving attention to their form and local colours. In her monograph, Catherine Lampert comments that 'It is hardly a surprise that most of these items are prized by gourmets and that Uglow had a reputation for good cooking and enjoying his food (this picture hung in the house he shared with Clare Barker at Langton Road, Camberwell) (Catherine Lampert, Euan Uglow, The Complete Paintings, Yale University Press, new Haven and London, 2007, p.86).Uglow studied at the Camberwell School of Art from 1948, under former Euston Road School teachers William Coldstream, Victor Pasmore, Lawrence Gowing, John Minton and Kenneth Martin, but as a close protégé of Coldstream followed him to the Slade School of Art in 1951. Considered by David Sylvester to be 'a true descendant' of Chardin (who had painted hanging ducks some two hundred years prior) in regard to his still lives, Uglow was also indebted to Cézanne and the Cubists in his approach to space and plane but maintained a traditional painting technique which relied heavily on painstakingly precise chalk markings and measurements to which the vertical and horizontal markings on his work bear witness.Painted in 1965 and on a large scale, Duck encapsulates this intense scrutiny Uglow fixed upon his subjects as he sought to meticulously capture the structure and essence of an object in painterly form. Here, the duck is suspended by string and bound at the gently inclined feet. There is a tenderness in the portrayal with no overt evidence of the creature's demise and the head resting peacefully on the table below. Set against a plain background, the sensation is theatrical with the duck (and its shadow) centre stage and rendered with Uglow's trademark precision. As with so much of his work, he has left visible the structural, geometric lines of symmetry used to create the perfectly proportioned and centred composition. Yet in the midst of this carefully constructed image, he appears to succumb to the sensual power of colour, luxuriating in the depiction of the duck's pink skin and green and blue plumage.Speaking of his choice to study Gestalt psychology as a supplementary subject during his Slade degree and recalling the genesis of the present work, Uglow thought of the oblique relationship between literature and art:'It doesn't mean you're influenced by the book, but it's nice to know somebody else had that same kind of reaction..... One weekend I tried to paint a dead duck. I suppose I had been painting this duck for five or six days and not seeing anybody. At the same time I was reading [Hermann Hesse's] Steppenwolf. I think it was the Sunday afternoon, I came downstairs and went into the street. Do you remember in Steppenwolf, he was walking along the street and looked into a bar where people were having a tremendously lively time? So I came down from my dead duck and everyone was coming from the Battersea Park Easter Parade and one felt a kind of parallel. And that's like the Gestalt. There was no influence, but one felt a kind of parallel.' (ibid, pp.86-87).With distinguished provenance having been owned both by the Artist's wife and Lady Dugdale, the present work is a tour de force of Uglow's nature morte painting and the finest example to have been offered at auction.We are grateful to Catherine Lampert for her assistance in cataloguing this lot.This 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
Duncan Grant (British, 1885-1978)Still life with Dahlias oil on canvas61.5 x 51.1 cm. (24 1/8 x 20 1/8 in.) Painted circa late 1930sFootnotes:ProvenanceSale; Bonhams, London, 11 November 1999, lot 286With David Messum Fine Art, London, 2 March 2000, where acquired by the present ownerPrivate Collection, U.K.The present work is double sided, with a portrait of Mrs Langsford verso. Grant painted several portraits of Mrs Langsford, who worked as his cleaner from the late 1920s through to the early 1930s at 8 Fitzroy St. In Grant's words 'a real character', she was the 'source of local gossip' (Richard Shone, Private Correspondence, 23.03.2000). A portrait of Mrs Langford is included in the collection of the Beaverbrook Art Gallery, Fredericton NB., Canada. The yellow Spanish vase seen in the present work is still on display at Charleston Farmhouse.We are grateful to Richard Shone for his assistance in cataloguing this lot.This 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
Loading...
