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Ronald William Bolt

(1938 )
BOLT Ronald William  The Yule Log, Cover Design For The Winter Number Of Town & Country

Mellors & Kirk
Sep 20, 2017
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Artworks in Arcadja
119

Some works of Ronald William Bolt

Extracted between 119 works in the catalog of Arcadja
Ronald William Bolt - The Sleeping Land

Ronald William Bolt - The Sleeping Land

Original 1972
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Lot number: 505
Other WORKS AT AUCTION
Description:
Ronald (Ron) William Bolt OSA RCA SCA 1938 - Canadian The Sleeping Land oil on canvas 1972 signed and on verso titled "The Sleeping Land - Tired & Worn" on a piece of tape 33 x 42 1/2 in 83.8 x 107.9cm Provenance: Private Collection, Toronto Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, March 25, 2006, lot 110 Private Collection, Ontario
Ronald William Bolt -  Mackenzie, Abbott, Bowell And Tupper

Ronald William Bolt - Mackenzie, Abbott, Bowell And Tupper

Original 1978-1979
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Lot number: 75
Other WORKS AT AUCTION
Description:
WILLIAM RONALD, R.C.A. FOUR WORKS FROM THE PRIME MINISTERS SERIES: MACKENZIE, ABBOTT, BOWELL AND TUPPER all four oil on canvas all signed but \‘Mackenzie\’, \‘Tupper\’ signed with initials; all but \‘Mackenzie\’ dated \‘79, \‘78 and \‘79, respectively; all titled on the reverse, all but \‘Abbott\’ also signed and dated on the reverse each 20 ins x 20 ins; 50.8 cms x 50.8 cms Literature: William Ronald, The Prime Ministers, Exile Editions Limited, Toronto, 1983, page 17. Robert Belton, The Theatre of the Self: The Life and Art of William Ronald, University of Calgary Press, Calgary, 1999, pages 82-87. Standing in stark contrast to the typical political portraits of recognizable figures, the works in this lot were created by William Ronald (1926-1998) with the intention of capturing the personalities and political decisions of each leader. While formal portraits instill a sense of authority, grandeur and leadership through a direct, though often detached gaze, the intention of these portraits was to describe the impression made by each PM during his term in office. The shift from Modernism to Post-Modernism in the early 1970s saw William Ronald\’s art world star diminish slightly, and his \“bad boy\” reputation and Beat generation self-indulgence clashed with a new era of art criticism as young contemporary artists emerged on the scene. Painted between 1977 and 1984, the Prime Minister series is a lone political statement within Ronald\’s oeuvre. The series was inspired by Ronald\’s interest in what caused certain individuals to defy their humble beginnings to seek out and attain power. Writing about the paintings, he stated: \“I\’ve looked at the world with a small town wonder, the large world of men on a stage, taking hold of their own destinies by the scruff of the neck. I love men and women who take hold of their destinies. So, a few years ago, I decided to paint the portraits of sixteen such men\”. The accompanying catalogue, written in collaboration with professor of history, John Saywell, juxtaposes in concise but informative passages the history of each political leader with Ronald\’s own \“impressionistic musings\” on the paintings themselves and what makes the prime ministers so interesting (see lot 147). Ronald\’s paintings are notoriously filled with colour, and here it is at its most purposeful and connotative. This is evident in \“Mackenzie\”, where the striking blend of colour conveys the anguish and struggle of his leadership term in a period of gradual and oftentimes reluctant separation from Britain. The swirling mass of blue, grey and white that constitutes \“Sir John Abbott\”, illustrates in abstraction the first Canadian born PM\’s reluctance and abhorrence of the political power game, but his dedication to the new Canadian Pacific Railway. The muted central square of paint in \“Bowell\” evidences his general inability to face the rigours of politics, particularly at a moment of extreme crisis with the Manitoba Schools Question in the late 19th century. While he was certainly the wrong man for the job, he accepted an already condemned role at a moment of heightened religious confrontation and is now an integral part of Canadian history. The stark minimalism of \“Tupper\” evokes his decisive role in the Quebec and Charlottetown Conferences, where he was the lone Nova Scotian voice in favour of Confederacy. It is this blend of abstraction, and precise historical detail that has made the Prime Ministers series so enduring.
Ronald William Bolt -  The Yule Log, Cover Design For The Winter Number Of Town & Country

Ronald William Bolt - The Yule Log, Cover Design For The Winter Number Of Town & Country

Original 1948
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Net Price
Lot number: 978
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Description:
†RONALD WILLIAM FORDHAM SEARLE, CBE (1920-2011) THE YULE LOG, COVER DESIGN FOR THE WINTER NUMBER OF 'TOWN & COUNTRY', 1948 signed, pen, ink and watercolour, 24 x 16cm Sold with a copy of the magazine and artist's als, 77 Bedford Gardens, London W8, December 23 '48 [to the 'Town & Country' art editor] with postscript "You should try leaving money on my mantelpiece - that would bring a despondent note into the editorial!" (3) The letter's postscript relates to an incident described on p8 of the magazine where the art editor inadvertently left a packet of cigarettes on Ronald Searle's mantelpiece but "His faith in human nature was given a boost when he found a registered package on his desk the following morning. All 8 cigarettes - were present when he counted them." ++The letter a little grubby with small closed tear at top and a metal staple, the printed magazine rather dog-eared with several p loose the drawing in fine condition, The drawing in fine condition
Ronald William Bolt - Waiting For Spring

Ronald William Bolt - Waiting For Spring

Original
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Lot number: 101
Other WORKS AT AUCTION
Description:
Lot # 101 August 2017 - 2nd Session Online auction Ronald (Ron) William Bolt OSA RCA SCA 1938 - Canadian Waiting for Spring oil on board signed and dated 1993 and on verso signed, titled, dated and inscribed "The Carousel Collection" 16 x 16 in 40.6 x 40.6cm Provenance: Acquired directly from the Artist Corporate Collection, Toronto The Carousel Collection works were produced by Ron Bolt in 1993 as part of a fundraising effort for the restoration of the historic Roseneath Carousel. The Roseneath Carousel dates from circa 1906, and has been in Roseneath since 1932 when the Agricultural Society purchased it. The ride was used during the yearly fairs, until in 1986 insurance costs became prohibitive. In 1988, a committee of residents proposed the restoration of the merry-go-round. Ron Bolt produced 16 square panels, which were then reproduced in larger format and then framed and hung as the interior gear screen panels of the Carousel. These works portray Northumberland County landscape throughout the seasons. The artist wanted to not only reflect Ontario’s scenic countryside with these works, but also wanted to complement the nature of the ride. “I want to make them magic the same way that the carousel is magic – with heightened colours…to complement the mystery and the magic of the carousel without competing with it. There is so much motion with the carousel that the eye needs a few little rest places. These will be scenes from right here – what happens to the snow in spring, the skies in summer…”
Ronald William Bolt -  The Greatest Show On Earth

Ronald William Bolt - The Greatest Show On Earth

Original
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Net Price
Lot number: 18
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Description:
WILLIAM RONALD, R.C.A. THE GREATEST SHOW ON EARTH oil on canvas signed and dated \‘80; also signed, titled and dated \“October 21/80\” on the reverse 48.5 ins x 36 ins; 123.2 cms x 91.4 cms Provenance: Private Collection, Toronto (acquired directly from the artist) William Ronald (1926-1998) was one of the founding members of Painters Eleven, an abstract group of Toronto artists active from 1953 to 1960. He practiced a form of Abstract Expressionism that was well received in New York where he moved in 1955. Refusing to shift to Pop Art, which was in the ascendant in the 1960s, Ronald left the Kootz Gallery, his Manhattan dealer, and returned to Toronto in 1965 where he continued to paint while working as an arts broadcaster. His work from the 1970s and 1980s refers to earlier work from the 1950s, often featuring a central bulging ovoid shape resembling a head. Ronald\’s
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