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Richard Parkes Bonington

United Kingdom (Arnold, Nottingham 1802 -  London 1828 ) Wikipedia® : Richard Parkes Bonington
BONINGTON Richard Parkes The Remonstrance

Sotheby's
Jan 25, 2017
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Variants on Artist's name :

Bonnington Richard Parkes

 

Artworks in Arcadja
417

Some works of Richard Parkes Bonington

Extracted between 417 works in the catalog of Arcadja
Richard Parkes Bonington - The Count Of Palatino In The Costume Of A Palikar

Richard Parkes Bonington - The Count Of Palatino In The Costume Of A Palikar

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Lot number: 60
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Description:
Richard Parkes Bonington (British, 1802-1828) The Count of Palatino in the costume of a Palikar oil on canvas 15 ¼ x 9 ¼ in. (38.7 x 23.5 cm.) Provenance Lord Charles Townshend sale; Christie's, London, 11 April 1835, possibly lot 13. Acquired at the above sale by Hume on behalf of William Beckford. Webb sale; Paillet, C.P. Bonnefons, Paris, 24 May 1837, lot 28. H. A. J. Munro of Novar, by 1843. with Arthur Tooth & Sons, London, by 1952. with Galerie Alfred Daber, Paris, by 1954.
Richard Parkes Bonington - Flemish Townscape With Figures To The Foreground

Richard Parkes Bonington - Flemish Townscape With Figures To The Foreground

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Lot number: 900
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Richard Parkes Bonington (British 1802 - 1828) Original Oil On Board A historical scene depicting a Flemish townscape with figures to the foreground. Signed by the artist to bottom left, 'R.P. Bonington 1824', paper label to verso in black ink reads, 'by R.P. Bonington 15 1/2 x 12 1/2' Please see accompanying image. A Contemporary of Eugene Delacroix, Bonington was a celebrated English Romantic landscape painter, who moved to France at the age of 14, Bonington entered the École des Beaux-Arts, Paris (1819) He exhibited at the famous Paris Salon of 1824 with John Constable, Sir Thomas Lawrence, and others, where he won a gold medal. Bonington was one of the most important artists of the early nineteenth century, vital to the understanding of French and British art of the Romantic period. His range included history, landscape and subject paintings, He also painted small historical cabinet paintings and was an early exponent of lithography.
Richard Parkes Bonington - The Cathedral

Richard Parkes Bonington - The Cathedral

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Lot number: 186
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Oil on wood panel bearing spurious signature of Richard Parkes Bonington (English, 1802-1828), "The Cathedral," cityscape depicting roadway leading to a central image of Gothic cathedral flanked by buildings on either side, signed LR, in Louis XV carved wood and gilt frame with applied name plaque, suggestion has been made it is much more likely a work by Henry Thomas Schafer (British, 1854 - 1915), expected wear including craquelure, some minor checking to board UL, evidence of frame rubbing along edges, frame regilt with repairs, minor scattered in-painting in left side building, ss: 19 1/2" h. x 14 3/4" w.; along with companion book "Richard Parkes Bonington, The Complete Paintings" by Patrick Noon, 2008, Yale University Press
Richard Parkes Bonington - Study Of A Sixteenth-century Half Suit Of Armor

Richard Parkes Bonington - Study Of A Sixteenth-century Half Suit Of Armor

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Lot number: 56
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Richard Parkes Bonington

STUDY OF A SIXTEENTH-CENTURY HALF SUIT OF ARMOR

ARNOLD 1801 - 1828 LONDON

signed or inscribed on the verso: R.P.Bo (cropped) oil on canvas 9 3/4 by 8 in.; 24.8 by 20.3 cm.

Provenance

Possibly anonymous sale, London, Sotheby's, 31 May 1839, lot 91; Possibly William Hinxman; Possibly his sale, London, Christie's, 25 March 1848, lot 5, to Emory; Anonymous sale, London, Christie's, 16 November 1982, lot 50; With Richard L. Feigen & Co., New York, 1985; By whom sold to Bill Blass, New York, in 1989; His sale, New York, Sotheby's, 21-23 October 2003, lot 32 (as Attributed to Richard Parkes Bonington); There acquired by the present owner.

Literature

P. Noon, Richard Parkes Bonington, The Complete Paintings, New Haven 2008, cat. no. 392, reproduced in color, p. 420.

Although this oil sketch of a 16th-century half suit of armor has traditionally been associated with the visit Bonington made with Eugène Delacroix in July 1825 to the London armor collection of Dr. Samuel Rush Meyrick, Patrick Noon (see Literature) suggests that it likely predates that trip, and may in fact have belonged to Bonington himself until the day he died. While neither the half-suit nor the breast-plate depicted here are identifiable with extant examples, however, this canvas may be identical to at least one of the unfinished, or "imperfect" sketches described in Bonington's 1829 studio sale: "lot 225, A Suit of Steel Armor, not quite perfect, bt. Stanfield." Bonington made numerous sketches of armor in his short career, though to find one in oil, as opposed to his more numerous drawn examples, is a rare occasion. A number of these sketches were produced during the aforementioned Meyrick visit, a number of which are housed in the British Museum collection (fig.1).

Fig. 1

Richard Parkes Bonington, Armour for the German tilt, probably by Anton Peffenhauser of Augsburg, c.1590, formerly from the Meyrick Collection; whole suit of tilting armour, turned to left, supported on wooden stand British Museum, London
Richard Parkes Bonington - The Remonstrance

Richard Parkes Bonington - The Remonstrance

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Lot number: 111
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Richard Parkes Bonington

THE REMONSTRANCE: AN OLD WOMAN ADMONISHING TWO CHILDREN

ARNOLD 1801 - 1828 LONDON

Watercolor over pencil, heightened with bodycolour and gum arabic 77 by 138 mm; 3 by 5 3/8 in

Provenance

Probably Paul Périer (1809-1849); his sale, Paris, 19 December 1846, lot 47; with Paterson Gallery, London, 1913; from whom acquired by W.C. Alexander (1840-1916); by family descent to the present owner

Exhibited

London, Paterson\’\’\’\’\’\’\’\’s Gallery, Loan Exhibition of Pictures and Drawings, 1913, unnumbered; New Haven, Yale Centre for British Art and Paris, Le Petit Palais, Richard Parkes Bonington \‘On the Pleasure of Painting,\’\’\’\’\’\’\’\’ 1991-1992, no. 107

Literature

A. Dubuisson and C.E. Hughes, Richard Parkes Bonington: His Life and Work, London 1924, p. 165; P. Noon, Richard Parkes Bonington, The Complete Paintings, Yale 2008, p. 394, no. 361

Catalogue Note

This jewel-like watercolor, which has been dated to circa 1826, is a particularly radiant example of Bonington\’\’\’\’\’\’\’\’s figure painting – a genre that greatly interested him during the last years of his short life. Inspired by Dutch 17th century painting, Bonington has created an atmospheric interior of deep shadows, half-lights and, in places, intense luminosity. The work is a preparatory sketch for a now lost watercolor which was engraved, under the title The Grandmother, in 1833. The identity of the three figures is unknown, however they each re-appear in other works by Bonington. The children can be found in the lithograph Les Plaisirs Paternels,1 while the old lady is included in his watercolor The Use of Tears.2 Finally, the watercolor has a distinguished provenance. In circa 1913, it was acquired by William Alexander, a successful banker who commissioned Whistler to paint his daughter3 and whose collection of Japanese lacquer-work and porcelain was much celebrated. The work has remained in his descendant's possession until this day. 1. M. Spencer, R.P. Bonington 1802-1828, 1965, p. 121 2. Louvre, Paris 3. 'Harmony in Grey and Green: Miss Cicely Alexander', James Abbott McNeill Whistler (Tate, Britain)
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