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Adrian Davies (Welsh b.1943) Not Far From Home, 1986, signed and titled to verso, acrylic on board, 63 x 93 cmPrivate collection, purchased by the vendor from Exhibition Changing Places, Oriel 53 Charles Street, Cardiff, 1986 - leaflet present Condition:The painting is an oil on board, the frame is additionally painted, the piece is not glazed. The board appears in overall good condition, no obvious warping or splitting. The paint condition appears well preserved and stable, no obvious paint loss or deterioration. The colours are bright and crisp. There is some general surface dirt/dust. The frame has solid joints and is in good condition overall - minor scuff to the outside middle-back - possibly from hanging - not visible when looking at the painting front on.
John Atkinson Grimshaw (British, 1836-1893) 'A Moonlit Street' Oil on Canvas 1874, signed 'Atkinson Grimshaw' lower left, a nocturnal depiction of a figure dressed in white on a path leading to a dimly lit manor house, in a gold painted wood frame, having acrylic protective backing, Richard Green Gallery labels verso, and including paperwork from Richard Green Gallery Property from: a Private Collector, Muncie, Indiana Height: 9 1/4 inches, Width: 13 1/2 inchesFrame Size: 15 1/2 inches by 20 1/2 inches Condition: some retouching with pigment in varnish, '4' within date having in-painting, canvas relined, inspected under UV lighting, conserved by J. H. Cooke, frame having minor finish wear Disclaimers: not examined out of the frame Category: Fine Art > Paintings Estimated Sale Time: 10:20 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8Photograph #9Photograph #10
Jos De Mey (1928-2007): 'Harde kern var. n°5', acrylic on canvas, dated 1970Work: 60 x 55 cm Frame: 62,5 x 57,5 cm Jos De Mey (Sint-Denijs-Westrem, 1928 -Ghent, 22 December 2007) is primarily known for depictions ofimpossible objectsin aphoto-realisticstyle, with acrylic paintings constituting the majority of his work. He frequently depicted characters of other artists, notably Magritte, M. C. Escher and Bruegel. Prior to his focus on painting, he taught and studied at theRoyal Academy of Fine Arts in Ghent (link).
Zita Saville (20th Century British) Improvisation 2,signed with initials lower right,acrylic on board,18cm x 24cm;With a further signed acrylic on canvas panel by Sarah Walsh depicting an abstract landscape of Walberswick, Suffolk, 23cm x 28.5cm (2)Both are in a clean condition with no visible signs of significant marking or damage, apart from some small general marks on the Sarah Walsh painting. The measurements in the description are the aperture size/image size. The frame size for the Savile painting is: 25cm x 41.5cmThe frame size for the Walsh painting is: 31cm x 36.5cm
Man Ray (American, 1890-1976), Natural Painting, signed l.r., circa 1960, acrylic/masonite, 'Panneau Van Eyck 4F' label verso, 31 by 22cm, red painted frameProvenance: gifted by the artist to the current vendor's grandmother, Jacqueline Goddard, nee Barsotti (1911-2003) the free-spirited model to Man Ray.Note: Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work under reference 00448-P-2024 and that this work will be included in the Catalogue of Paintings of Man Ray, currently in preparation. Lot Essay: The surrealist protagonist Man Ray began a new series of experimental paintings, from the 1950s, which involved squeezing paint directly from the tube onto the visual surface, in a random manner, similar in this first instance to his contemporaries in New York such as Jackson Pollock. However, after the application of the paint, another board surface would be applied and removed to create a stippled effect. The paintings known as his Natural Paintings, followed the surrealist principles of painting without the constraints of calculation or self consciousness, differing from the paintings of Oscar Dominguez in 1936 and Max Ernst in the 1940s, which used the same technique, but in a calculated and representative manner. In his autobiography Man Ray expressed: “By spreading the colors according to the impulse of the moment, I abandoned brushes and palette knives, and applied pressure with other surfaces, withdrawing them to produce a variation of the Rorschach test. The results were astonishing, with details that could have been obtained only through long and meticulous labor by hand.” He continued to experiment with these paintings right through to 1971 and the works often appear in brightly painted frames such as this one.
⊕ Trevor Bell (lots 107-114) One of the most important painters working anywhere today is Trevor Bell, and Bell’s first experiments in what we now call shaped canvases began in the late fifties. Patrick Heron, 1970IntroductionBell grew up in Leeds, where he studied at the College of Art (1947-1952) before teaching at Harrogate College of Art. In Leeds he met Terry Frost who was up from St Ives benefiting from a Gregory Fellowship at the university. On Frost's advice Bell and his wife moved to Cornwall in 1955. There Bell became a leading member of the younger generation of St Ives artists, exhibiting with the Penwith Society of Arts from 1956. Used to painting the grimey north of England, Bell responded with vigour and alacrity to the colour and light of his new surroundings capturing the atmosphere of the sea, coast and landscape of the south west in his distinctive and developing abstraction. An early mentor in St Ives for Bell was Ben Nicholson who encouraged him to show in London. Another there who admired his youthful painterly zest was Patrick Heron. Bell's first one man show at Waddington Galleries on Cork Street in 1958 was a sell out success. In the catalogue Heron described him as 'The best non-figurative painter under thirty'. The same year Bell was awarded an Italian government sponsorship; in 1959 he won one of six main painting prizes at the first Paris International Biennale of Young Artists and in 1960 he was awarded a Gregory Fellowship by Leeds University, and moved back north. During the following decade Bell enjoyed considerable commercial success both in the UK and abroad, including a succession of exhibitions at Waddington Galleries (1960, 1962 & 1964). It was during this period that he developed his interest in shaped canvases and the Tate Gallery purchased their first work by him. The decade culminated in a hugely successful show at the Richard Demarco Gallery in Edinburgh which toured to Northern Ireland and the Mappin Art Gallery, Sheffield. In the autumn of 1973 the Whitechapel Art Gallery mounted an exhibition of his recent paintings, and the following year he showed at the Corcoran Gallery, Washington DC. In 1976 Bell moved to Florida to take up the post of Professor for Master Painting at Florida State University in Tallahassee. Availed of a warehouse-sized studio and with time to really develop his painting he produced large-scale, intensely coloured works, reflecting the influence of the climate and landscape on him. A source of inspiration too were the rockets launched from Cape Canaveral, the first he saw being the night time launch of Apollo 17 in December 1972. This and subsequent rocket shots had a lasting influence on his work. Over the 20 years he spent in America exhibitions of his work were mounted at the Academy of Sciences in Washington, the Metropolitan Museum and Art Center, Miami, The Cummer Gallery, Jacksonville and the Museum of Art at Fort Lauderdale, Florida.In 1985 Bell was included in the the Tate Gallery's exhibition on St Ives 1939-64: Twenty-five years of Painting, Sculpture and Pottery and his work was featured in the Tate St Ives' inaugural show in 1993. Retiring from his Florida teaching post in 1996, he returned to Cornwall, setting up studios near Penzance. He was the subject of a full retrospective of his work at Tate St Ives in 2004 and in 2011 a further fourteen works were acquired by the Tate Gallery for their permanent collection. In the UK other examples of his work are in collections of The Arts Council of England, the British Council, the British Museum, Laing Art Gallery and the Victoria & Albert Museum.TREVOR BELL (BRITISH 1930-2017)TWOacrylic on canvas laid on panel and styrafoam56 x 58cm; 22 x 23inunframedPainted in 1967.
Motor Racing - Nicholas Watts (British b.1947) - LeMan 2015 - original acrylic on board painting of the Porsche 919 Hybrid, 2nd LeMan 2015. Driven by Timo Berhard, Brendan Hartley, and Mark Webber. Signed and titled by the artist, and further signed by all three drivers in black ink to the lower edge. Framed. Total size: 59cm x 69cm.
Formula One - Nicholas Watts (British b.1947) - 'Duel At The Station' - original acrylic on board painting of Stirling Moss - winner at the 1961 Monaco Grand Prix, driving Rob Walker's Lotus. Signed and titled by the artist. Further signed in the margin by Sir Stirling Moss (1929-2020) and matted atop an autograph of Rob Walker (1917-2002). Professionally framed. Total size: 55cm x 61cm.
ALEX ECHO, AN ACRYLIC POUR PAINTING ON BOARD 'WHAT MONET MISSED', an abstract study inspired by Monet, signed ALEX ECHO and titled verso with Washington Green label, approximate 56cm x 56cm, Condition Report: good condition (comes with Castle Fine Art receipt dated 2013, original cost £1500)
An original 20th century acrylic & oil on canvas landscape painting of harbour scene. The painting depicting boats & people by pier with houses in the background. Framed in gilt & ebonised frame. Illegibly signed to bottom right, possibly reading David Norman.Measures approx. 65cm x 86cm including frame.
Michael Gutteridge (British 1964-) "Manchester Library Walks" Signed and dated 2008, titled on verso, acrylic on board.49 x 39cm (framed 58 x 48cm)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.
Peter Stanaway (British 1943-) "Two Ladies and Dog" Initialled, acrylic on board.29.5 x 24.5cm (framed 38 x 33cm)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 reframed but not glazed.
David Wilde (British 1918-1978) "Gasometers Toil as the Smog Rolls in" Signed and titled, acrylic on board, along with a signed, limited edition copy of David Wilde, Manchester's Hidden Artist by Chris Kirwan, published 2011 by FastPrint Publishing.41.5 x 63cm (framed 52.5 x 74cm)Qty: 2Artists’ 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 Bez (British 20th/21st century) Northern street scene with figures Signed, acrylic on board.48.5 x 58.5cm (framed 57.5 x 67.5cm)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.
Harold Hemmingway (British 1908-1976) "Oldham from St. Mary's Ward" Signed and dated October 1965, titled on artist's label verso, acrylic on board.49 x 117cm (framed 60.5 x 129cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. The surface of the painting is grubby and the varnish has yellowed in some areas. The painting is ornately framed but not glazed. The frame has some knocks and losses.
John Hanley (British 1947-) "The Intellectuals" after L.S. Lowry Signed and dated 2017 on verso, with certificate of declaration and authenticity, oil and acrylic inks on canvas.58.5cm x 41cm (23in x 16.25in)The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Peter Stanaway (British 1943-) "Fresh Catch, Analong, Northern Island" Initialled, titled on verso, acrylic on board.23.5 x 28.5cm (framed 40.5 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.
Michael Gutteridge (British 1964-) Manchester skyline Signed and dated 2001, acrylic on board.39 x 49cm (framed 48 x 58cm)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 Bez (British 20th/21st century) Northern canal scene Signed, acrylic on board.44.5 x 66cm (framed 54.5 x 76cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. The varnish has yellowed slightly in some areas across the painting. The painting is ornately framed but not glazed.
Donald McIntyre R.I., R.Cam.A., S.M.A. (British 1923-2009) "Port Ban, Iona" Initialled, acrylic on board.28.5 x 39.5cm (framed 45.5 x 56.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There is a small scuff and resultant fleck of paint loss towards the upper right-hand corner of the painting. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Mal Burton (British 20th/21st century) "Lunch Time" Signed, titled and dated 2024 on artist's label verso, acrylic on canvas.30.5 x 30.5cmArtists’ 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 unframed.
Peter Stanaway (British 1943-) "'I Dreamed a Dream' by the Old Canal" Initialled, titled and dated 2022 on verso, acrylic on board.39 x 49.5cm (framed 56 x 66.5cm)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.
David Bez (British 20th/21st century) Canal scene with figures Signed, acrylic on paper.44.5 x 29.5cm (framed 60.5 x 44cm)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 framed and glazed. The frame has some scuffs and knocks.
Sue Atkinson (British 1949-2021) Figures with umbrellas Signed, acrylic on board.29.5 x 39.5cm (framed 38.5 x 48.5cm)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.
Donald McIntyre R.I., R.Cam.A., S.M.A. (British 1923-2009) "Bathers On The Beach" Initialled, titled on artist's label verso, acrylic on board.29 x 39cm (framed 57.5 x 67.5cm)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 board has dropped slightly below the mount. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Peter Stanaway (British 1943-) "Moston Pit" Signed, titled and dated 2022 on verso, acrylic on board.38.5 x 49cm (framed 65 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. The frame has some minor scuffs and knocks commensurate with age.
David Coulter (British 20th/21st century) "The Fort, Cheetham Hill" Signed, titled on verso, acrylic on canvas.24.5 x 29.5cm (framed 39 x 43cm)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) "Long Wet Stroll" Initialled, titled on verso, acrylic on canvas.19 x 49cm (framed 34.5 x 64cm)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.
Peter Stanaway (British 1943-) "Hartshead Pike" Signed, acrylic on board.39 x 49cm (framed 48 x 58cm)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 reframed but not glazed.
Peter Stanaway (British 1943-) "Sue's Cafe" Unsigned, acrylic on board.24.5 x 19cm (framed 33.5 x 28cm)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 reframed but not glazed. The frame has one or two minor knocks commensurate with age.
White (Tim, artist, 1952-2020) Archive of original artwork illustrations for 'Weaveworld' by Clive Barker, comprising three original illustrations for cover and spine designs on boards, and other original variation designs for illustrations or initials of the work on paper, all signed by the artist, some mounted on sheets (one detached), v.s., [1987] (sml qty)*** A remarkable archive documenting the creation of the entire publication of the science-fiction artwork for the first edition of Barker's novel Weaveworld. Tim White is celebrated as a representative of a new school of super-realists that began shaping British science-fiction art in the mid-1970s. Other notable works include designs for Frank Herbert, Robert A. Heinlein, H.P. Lovecraft and August Derleth. The artist was particularly pleased with this work, and described in a letter that the "painting is a bit magical in that in certain light it seems to 'come alive'. I don't know if you have read the book? The carpet design in the book does just that!". Published in White's Chiaroscuro (1988), the illustrator explains the central theme of carpet within the novel: "gradually the idea evolved to use the carpet border to reflect events in the novel...the final design includes 32 separate vignettes, each portraying elements of the story", all of which is surrounded by a border of imagined "viruses, bacteria, parasites"..."whose purpose is to defend the carpet". White even claimed that Collins commissioned the Royal College of Art's Tapestry Studio to create the carpet itself, though the whereabouts is unknown. For the main cover image, White utilised colour theory, and deliberately chose contrasting primary colours to create a visually unsettling effect. While he enjoyed creating the designs for the work, White disliked the time constraints placed on him by the publisher. He recalled having "a bit of a bad time withe art director", and found that of daily nagging phone calls from Collins put him under pressure. Ultimately, though, White's labours were rewarded: "When the book came out and Clive Barker was on the Jonathan Ross show, with his book, he called me a genius!". Archive comprises: 1) 'Uriel', front panel jacket design for 'Weaveworld', airbrush and acrylic on board, signed in image and on board below in pen,c.35 x 245mm ( image c.300 x 155mm (11 ½ x 6 ¼in), taped down.2) 'Magic Carpet', 2 designs for spine and lower panel, airbrush and acrylic on boards, signed in image and on board below in pen, c.350 x 235mm (13 ¾ x 9 ¼in) and 345 x 80mm (13 ¾ x 3 ½ in), taped down.3) Untitled back cover design for lower panel, acrylic on paper, signed by the artist below, 190 x 120 mm (7 ½ x 4 ½ in). 4) 10 designs for 'Weaveworld', mostly illustrations and one jacket design, acrylic and pencil, laid down on 2 sheets, one detached, pencil designs slightly foxed, each signed on image, some with captions below, with inscription "Dear John, here are some ideas for 'Weaveworld', I hope you like them. Kind regards Tim" at top of first sheet, largest image 120 x 65mm (4¾ x 2¾ in), smallest 50 x 30mm (2 x 1 in).5) 4 designs for initials and in-text decorations, black pen and ink on 3 sheets, signed by the artist. 6) First edition of Weaveworld, signed by the author on title, original boards, dust-jacket, spine faded, 1987.
JACOB KASSAY (AMERICAN B. 1984) UNTITLED Acrylic on canvas Signed and dated 11 to wooden support (verso) 153 x 213cm (60 x 83¾ in.)Provenance: Maruani Mercier, Knokke Acquired from the above in 2013 This important artist can be seen at the Collezione Maramotti in Reggio Emilia, Italy Born in New York and based in New York City, artist-critic Jacob Kassay takes a cerebral, minimalist approach to creation. He is represented by 303 Gallery and has exhibited at ICA London, MCA Chicago, and the MFA Boston. Known for his innovative treatment of flat surfaces, Kassay has turned to mirror-like acrylic and canvas scraps in the service of his post-conceptual practice. In its total abstraction, the present work calls attention to the blurred lines between art and the everyday. Were it not for the frame, what would separate Kassay's canvas from the wall behind? Yet, Untitled is not so much the 'zero point' of painting in the mould of Kazimir Malevich's Black Square as a restrained example of decorative art. In constant dialogue with its environment, Untitled catches the light of a room and alters it, adding new dimensions to an interior space. Condition Report: The surface is white and matte. The application of paint is visible in raking light which does produce a slight sheen but the overall effect is matte. There are no obvious condition issues. Update 19/09/24: Under certain lighting a very small imperfection is present in the lower right quadrant. There is no evidence of a protrusion, recto or dent to the reverse. Please note this is only visible under specific lighting and from certain angles. It is not always visible. Updated 25/09/24: Due to changing light throughout the exhibition the mark is not visible in most lighting and difficult to find the majority of the time. Condition Report Disclaimer
λ GERRY JUDAH (BRITISH B. 1951) FRONTIERS 09 Foamboard and acrylic gesso on canvas Signed, titled and dated 2005 (verso) 200 x 150cm (78½ x 59 in.) Unframed Provenance: Acquired direct from the artist in 2005 Calcutta-born Gerry Judah FRSS is especially celebrated for his public sculptural installations. He has designed settings for the BBC, Goodwood Festival, British Museum, and the Natural History Museum, as well as numerous musicians and directors. Straddling painting and sculpture, his works often involve a reflection on the destructive potential of humanity. Judah's 2000 commission from the Imperial War Museum for a model of Auschwitz cemented his reputation as a preeminent chronicler of the horrors of war. Exhibited at the Timber Yard, London in 2005, the 'Frontiers' series demonstrates Judah's command of distinctive materials - extruded foam covered with Lascaux acrylic - and his commitment to historical reality. By evoking conflict zones in the Middle East such as Jenin, Judah calls attention to the artist's responsibility not only to commemorate - as in his World War I memorial at St Paul's Cathedral - but raise awareness of ongoing injustices. There is a palpable tension between the meticulous craftsmanship of this Pompeiian scene, which verges on the serene, and the gutted, deserted buildings jutting out from the surface. As the artist muses on the paradoxical nature of his endeavour, 'You're listening to your CDs. You're making sure that these places are growing out of the canvas. It colonises your soul, because it's not just about the gesso and the texture - it's about destruction' (in Jay Merrick, 'Return to the Conflict Zone', 2005). Condition Report: Some light surface dirt along the upper edge and outside edges of the stretched canvas. Some yellowing to some areas of glue residue. Otherwise the work appears to be in good original condition.Condition Report Disclaimer
λ MICHAEL RAEDECKER (DUTCH B. 1963) INDEPENDENT Acrylic and thread on canvas, two parts Both signed, titled, inscribed and dated 2004 to overlap (verso) Each 90 x 160cm (35¼ x 62 in.) (2) UnframedProvenance: Hauser & Wirth, Zurich Acquired from the above in 2006Once a student of fashion design at the Gerrit Rietveld Academie in Amsterdam, Michael Raedecker has distinguished himself as a creator of composite works that incorporate acrylic paint and thread. Raedecker won the John Moores Painting Prize in 1999 and was nominated for the Turner Prize in 2000; he is represented by GRIMM and has exhibited at Hauser & Wirth, Andrea Rosen Gallery, and Kunsthal Rotterdam. Raedecker's eye for embroidery was honed during his time as an apprentice to Martin Margiela, founder of the eponymous fashion house. Beyond aesthetics, though, the artist engages earnestly with the materiality of his canvases. Textures shift from silken to impasto as spectral forms creep across eerie landscapes. Raedecker's often dark, restrained palette is exemplified by Independent, a scene of unnerving quiet that places a group of slender figures on a receding plane. The picture's surface is at once alienating and alluring, drawing the viewer in just as it refuses to give up the secrets of its genesis. Condition Report: Both works appear to be in good original condition.Condition Report Disclaimer
KAZ OSHIRO (JAPANESE/AMERICAN B. 1967) UNTITLED PAINTING (BLUE PEARL/DUST) Acrylic on canvas laid to board Signed, titled, inscribed and dated (verso) 86.5 x 61cm (34 x 24 in.) UnframedProvenance: Miami Gallery LLC, Miami Acquired from the above in 2010An innovative artist whose practice straddles painting and sculpture, Kaz Oshiro is based in Los Angeles. Oshiro is represented by Galerie Frank Elbaz; he has exhibited at the Royal Academy, Hammer Museum, and LACMA. Oshiro's œuvre is largely comprised of realistic everyday objects, such as amplifiers and dumpsters, which he has constructed and painted to resemble their functional counterparts. This trompe-lʼœil artifice reveals itself only upon approach, however, as it emerges that the artist has stitched together various canvases to give the impression of a solid object. While initially inspired by the hyperrealism of such artists as Richard Estes, Oshiro's later works reflect profound spatial awareness and an abstract sensibility. His folded pictures, such as Untitled Still Life, transform a traditionally two-dimensional medium into a sculptural decorative statement. Drawing on the visual languages of minimalism and abstract expressionism, Untitled Painting (blue pearl/dust) interacts impactfully with its exhibition space. It is as if the firmament has descended upon the viewer, glistering as they move around it.
HOCKNEY DAVID: (1937- ) English painter, an important contributor to the pop art movement in the 1960s. Signed colour 6 x 4 postcard, the image being a reproduction of Hockney´s famous acrylic on canvas painting entitled Mr and Mrs Clark and Percy (1971) depicting the fashion designer Ossie Clark and the textile designer Celia Birtwell in their flat at Notting Hill Gate in London shortly after their marriage, and accompanied by one of their cats, the original painting today housed in Tate Britain. Signed by Hockney in black ink with his name alone to the lower white border. About EX
Formula One - Nicholas Watts (British b.1947) - 'Duel At The Station' - original acrylic on board painting of Stirling Moss - winner at the 1961 Monaco Grand Prix, driving Rob Walker's Lotus. Signed and titled by the artist. Further signed in the margin by Sir Stirling Moss (1929-2020) and matted atop an autograph of Rob Walker (1917-2002). Professionally framed. Total size: 55cm x 61cm.
Formula One - Nicholas Watts (British b.1947) - 'Alberto's Lancia ' - an original acrylic on board painting of Alberto Ascari's Lancia D50 at the Monaco Grand Prix, 1955 - the race in which Ascari's car crashed into the water. Mounted alongside a scarce original autograph of Ascari, signed in pencil to an album page. A unique piece of motor racing history. Professionally framed. Total size: 54cm x 81cm.
Motor Racing - Nicholas Watts (British b.1947) - LeMan 2015 - original acrylic on board painting of the Porsche 919 Hybrid, 2nd LeMan 2015. Driven by Timo Berhard, Brendan Hartley, and Mark Webber. Signed and titled by the artist, and further signed by all three drivers in black ink to the lower edge. Framed. Total size: 59cm x 69cm.
Mosque in Istanbul - Acrylic and oil painting on canvas (mixed technique), 20th-century Italian school, depicting a Mosque in Istanbul. Internal frame dimensions: 50x40 cm. Overall dimensions including frame: 66x56 cm. Signed lower left by an unidentified artist. The artwork is in good condition.
Original Acrylic, Abstract Painting, Pastel Multi-colors overall with contemporary style, design and creativity. Architectually influenced featuring Columns in vivid colors. On Canvas. Very Abstract style. Issued: 1990sDimensions: 30"W x 42"HManufacturer: UnknownCountry of Origin: USACondition: Age Related Wear
Damien Hirst (British 1965-), 'Spin Painting', 2022, unique acrylic on formed paper, signed and dedicated 'for Wes' in blue ink; sheet: 53cm diameter (framed)ARR sheet: 53cm diameter In very good/artists condition No visible knocks, tears or creases to the sheet Multiple areas of ink to the sheet verso and some minor 'pin' holes to the sheet, as a result of the production process and not later damage This work has been framed in a black frame with a white mount This work has not been examined outside of the frame.
Seen (American 1961-), 'Original Painting 1646', 2018, unique spraypaint and acrylic on un-stretched canvas, signed and dated verso, sheet; 76 x 75 cm76 x 75cmIn very good/artists conditionNo knocks, tears or creases to canvasFraying to edges, likely due to the nature of the materialMinor wear/markings to border, potentially from time of productionThis work has been stored flat and not framed
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4345 item(s)/page