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David Bomberg

United Kingdom (1890 -  1957 ) Wikipedia® : David Bomberg
BOMBERG David Bomb Store

Sotheby's /Nov 22, 2016
5,799.25 - 9,278.80
16,095.75

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Artworks in Arcadja
415

Some works of David Bomberg

Extracted between 415 works in the catalog of Arcadja
David Bomberg -  The Moor's Bridge

David Bomberg - The Moor's Bridge

Original 1935
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Lot number: 233
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David Bomberg (1890-1957) The Moor's Bridge, Ronda signed and dated 'Bomberg 35' (lower right) and signed again and inscribed 'Royal Academy Summer Exhibition No. 3/The Moors Bridge/Ronda/David Bomberg/41 Queens Gate Mews/Gloucester Road/Kensington/SW7.' (on the artist's label attached to the reverse) oil on canvas 20 x 26 in. (50.4 x 66 cm.) Bomberg's productive second visit to Spain resulted in such rich and successful canvases that he proposed to travel from Cuenca, Santander and Santillana in the north, to Ronda in the south. In June 1934, Bomberg first enlisted the support of the dealer Alfred Willey who the artist hoped could make further sales to the collectors in England who had admired his earlier Spanish landscapes of Toledo, and eventually he advanced the sum of £50 (made up of £25 each from Asa Lingard and Arthur Crossland, the Bradford merchants) to make the journey possible. The Bomberg family had settled in Ronda by the end of 1934, and stayed on until the following June, during which time his daughter Diana was born. The family had a harsh existence, living hand to mouth, as more money from England proved not to be forthcoming. This austerity brought about a productivity and a desire to work quickly, which resulted in bold landscapes that celebrated the majesty of the scenery, often painted at dusk or at night by candlelight. The dramatic landscape of the city, 750 metres above sea level and split by the Guadalevin river and a dramatic gorge, rendered it, in Bomberg's view: 'the most interesting of the towns of Southern Spain', with its 'extraordinary view of the amphitheatre of mountains by which it is surrounded', with a 'gorge - a stupendous rent 250-300 ft wide & 400 ft deep' (the artist, quoted in R. Cork, op. cit., p. 207). The present work depicts the Moor's Bridge, or Puente Romano, over the Tajo Gorge, one of three bridges which link the town. The other two are the Old Bridge or the Puente Viejo, and the New Bridge, Puente Nuevo, which was completed in the eighteenth century (see R. Cork, op. cit., pp. 204-213).
David Bomberg - The Bathers, Tent Family

David Bomberg - The Bathers, Tent Family

Original 1920
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Lot number: 91
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David Bomberg (1890-1957) The Bathers, Tent Family watercolour 21 ½ x 19 ½ in. (54.6 x 49.5 cm.) Executed in 1920. A note from Dinora Davies-Rees of the Bomberg Estate stated this work was from the Strolling Players series. The title, The Bathers, Tent Family was often used by the artist during this period. He knew several of these families who lived in tents near the river in London's East End. They were poor vagrants and Bomberg found their way of life an interesting subject.
David Bomberg - Evening, The Old City And Cathedral, Ronda

David Bomberg - Evening, The Old City And Cathedral, Ronda

Original 1935
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Lot number: 28
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David Bomberg (1890-1957) Evening, The Old City and Cathedral, Ronda signed and dated 'Bomberg 35' (lower left), signed again, inscribed and dated again 'Ronda - SPAIN . David Bomberg/1935' (on the backboard), signed again and inscribed again 'Evening - The Old City &/Cathedral. Ronda, Spain/Evening/David Bomberg' (on a fragment of the artist's label attached to the backboard) oil on panel 20 x 24 in. (50.8 x 61 cm.) Bomberg described Ronda as 'the most interesting of the towns of Southern Spain' and its dramatic setting fascinated the artist and provided him with inspiration for a number of paintings. Ronda was built within an extraordinary landscape. Perched high up in the Andalucian mountains, the town is literally sliced in two by a gorge that drops four hundred feet below and joining the two halves is the Puente Nuevo, 'New Bridge', that was built in 1751, taking 42 years to complete. Bomberg explored the surrounding countryside on a donkey, finding suitable vantage points from which to study and paint this remarkable town. He wrote, 'Leaving my house above, I would sometimes wind my way down the old Moorish path on the edge of the ravine and cross the cultivated valley, climbing up again through the olive groves on the slopes of the opposite ledge, on the afternoons of brilliant Andalusian spring days. Then I would forget everything but the ancient city on its glowing rock until the chill of the mountain shadow touched me - the sun had gone - Ronda was in afterglow and I was packing up to go home. This time, too dangerous to climb down the rocky sharp in the dark, I would prefer to share the roadway home with the peasants and their goats; all of us making for the warmth of the brazier fires of Ronda' (Bomberg, quoted in W. Lipke, David Bomberg: a critical study of his life and work, London, 1967, pp. 78-79). In the catalogue accompanying an exhibition held in Ronda in 2004, Richard Cork wrote, 'Sometimes he [Bomberg] saw Ronda as citadel of stength and grandeur, an impregnable structure carved out of the austere cliff-face supporting it. On other occasions he stressed its vulnerability, and showed how the dizzy plunge of the rift running across the city undermined the city's fortress-like character' (Exhibition catalogue, David Bomberg en Ronda, Ronda, 2004, p. 21). The thick brushstrokes which describe Evening, The Old City and Cathedral, Ronda, are typical of Bomberg's working methods. He would contemplate the landscape for a prelonged period before applying any paint and when he began his painting, his knowledge of his subject matter would enable him to paint quickly and confidently. His wife, Lilian remarked, 'He wouldn't make linear marks - he worked direct in the paint. He would work all over, as a unity. And he'd always know when to stop. He was intuitive. If he wasn't satisfied he'd paint it out and the paint it again: he wouldn't come home until he had something to bring home' (L. Bomberg, quoted in exhibition catalogue, David Bomberg: Spirit in the Mass, Kendal, Abbot Hall Art Gallery, 2006, p. 88). The rooftops of Ronda unfold in front of the Andalusian mountains in this scene and echo that of a charcoal drawing of the same date, The City, Ronda, Spain (see lot 173 in the Modern British & Irish Art Day Sale, Christie’’’’’’’’s, London, 24 November 2016).
David Bomberg - Bomb Store

David Bomberg - Bomb Store

Original 1942
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Lot number: 122
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David Bomberg BOMB STORE 1890-1957 oil on tracing paper 49.5 by 75cm.; 19½ by 29½in. Executed in 1942. Provenance The Artist's step-daughter, Dinora Davies-Rees The Mayor Gallery, London, where acquired by Lord & Lady Attenborough, 6th April 1987 Exhibited London, Whitechapel Art Gallery, David Bomberg: The Later Years, 21st September - 28th October 1979, cat. no.32.
David Bomberg - Self Portrait

David Bomberg - Self Portrait

Original 1956
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Lot number: 143
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David Bomberg SELF PORTRAIT A Conversation Between Pictures: Kate Chertavian & Oliver Barker on David Bowie 1890 - 1957 oil on board 61.5 by 51cm.; 24 by 20in. Executed in 1956. The Artist's family Connaught Brown, London, where acquired by Mr Penti Couri Sale, Christie's London, 23rd November 1993, lot 42, where acquired by David Bowie With a further portrait by the same hand on the reverse.
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