Robert (1917) Adams Paintings & Artwork for Sale | Robert (1917) Adams Art Value Price Guide

Nov. 21, 2024
Robert Adams, Idea For Sculpture (set of four), 1963
Est: £600 - £800
Robert Adams, British 1817-1984, Idea For Sculpture (set of four), 1963; each screenprint in colours on wove, each signed, dated and numbered from the edition of 50 in pencil, each sheet: 78.3 x 58.3 cm, (unframed) (ARR) (4)
Roseberys
Oct. 31, 2024
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £3,000 - £5,000
ROBERT ADAMS (BRITISH 1917-1984) CURVING FLANGE 1, 1967 (OPUS 297) stamped ADAMS 1967, bronzed steel 31.5cm high, 43.2cm wide, 15cm deep (12 3/8in high, 17in wide, 5 7/8in deep) Estate of the Artist;with Gimpel Fils, London. Exhibited:Gimpel Fils, London, Robert Adams, 1968, no. 5;Gimpel Fils, London, Robert Adams: Bronzed Steel Sculpture 1957-67, 10 September - 25 October 1997, no. 11;Osborne Samuel, London, 20th Century British Art, 26 October - 16 November 2005. Literature:Grieve, Alastair, The Sculpture of Robert Adams, Lund Humphries, London, 1992, no. 552, illustrated p. 225.
Lyon & Turnbull
Oct. 17, 2024
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £800 - £1,200
ROBERT ADAMS (BRITISH 1917-1984) Two Figures 1949 signed, dated and numbered 4/25 in pencil lithograph on wove sheet 57.6 x 45.7 unframed ARR
Chiswick Auctions
Oct. 17, 2024
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £400 - £600
ROBERT ADAMS (BRITISH 1917-1984) Untitled (Linear Abstraction) 1961 signed and dated in pencil monoprint on wove image 35.7 x 13.4cm unframed/mounted ARR
Chiswick Auctions
Oct. 17, 2024
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £300 - £500
ROBERT ADAMS (BRITISH 1917-1984) Untitled 1955 signed, dated and numbered 12/25 in pencil etching on wove together with an unsigned proof, etching on England wove sheets 29.3 x 23cm and 27.2 x 23.7cm unframed ARR 2
Chiswick Auctions
Sep. 28, 2024
ROBERT ADAMS 'TURNING BACK' PHOTO LITHO
Est: $150 - $200
Robert Adams 'Turning Back' photo litho. Sheet measures 21 1/4" x 17".
Antiques & Modern Auction Gallery
Sep. 25, 2024
Robert Adams (British, 1917-1984) Maquette for Architectural Screen, 1956
Est: $10,000 - $15,000
Robert Adams (British, 1917-1984) Maquette for Architectural Screen, 1956 bronze stamped ADAMS 8 3/4 x 29 1/2 x 3 1/4 inches. Property from the Collection of Barbara Lydia Winston, Naples, Florida Provenance: Lydia Winston Malbin, New York Thence by descent to the present owner
Freeman’s | Hindman
Sep. 11, 2024
Robert Adams, Block 4, Opus 324, 1970;
Est: £500 - £1,500
Robert Adams, British 1917-1984 - Block 4, Opus 324, 1970; chromed steel, signed and dated on edge 'Adams 1970', H14.5 x W18.5 x D3.3 cm (ARR) Provenance: with Frederick Charles Art, London, no.3182; the Estate of W. J. Erroll Literature: A. Grieve, 'The Sculpture of Robert Adams', London, 1992, p.230, no.590 Note: Adams was one of the most innovative and important artists working in Post-War Britain, developing a distinct abstract language alongside his contemporaries Kenneth Martin and Victor Pasmore. His work was included in the celebrated British Pavilion at the Venice Biennale 1952, alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull, after which critic Herbert Read dubbed the young group's shared aesthetic the 'Geometry of Fear'. 1970 was an important year for the artist with major open-air exhibitions in Edinburgh, Winchester and Salisbury. Adams's works are now in public collections internationally including the Arts Council Collection, the Tate Gallery, London, the Museum of Modern Art, New York and the Smithsonian Institute, Washington, D.C.
Roseberys
Sep. 11, 2024
Robert Adams, Vertical Movement No.1, Opus 117, 1960;
Est: £7,000 - £9,000
Robert Adams, British 1917-1984 - Vertical Movement No.1, Opus 117, 1960; bronzed steel, unique, approx. H160 x W70 x D11.5 cm when hanging (ARR) Provenance: the Estate of the Artist; private collection, purchased from the above Exhibited: Gimpel Fils, London, 'Robert Adams', 1960, no.27; British Pavilion, XXXI Biennale, Venice, One-man retrospective of 29 sculptures of 1951-62, 1962; Camden Arts Centre, London, 'Robert Adams', 1971, Arts Council Touring Exhibition Literature: A. Grieve, 'The Sculpture of Robert Adams', London, 1992, p.194, no.327, illus. p.195 Note: Adams was one of the most innovative and important artists working in Post-War Britain, developing a distinct abstract language alongside his contemporaries Kenneth Martin and Victor Pasmore. His work was included in the celebrated British Pavilion at the Venice Biennale 1952, alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull, after which critic Herbert Read dubbed the young group's shared aesthetic the 'Geometry of Fear'. Adams's works are now in public collections internationally including the Arts Council Collection, the Tate Gallery, London, the Museum of Modern Art, New York and the Smithsonian Institute, Washington, D.C.
Roseberys
Sep. 11, 2024
Robert Adams, Figure studies, 1949;
Est: £400 - £600
Robert Adams, British 1917-1984 - Figure studies, 1949; ink on paper, signed and dated in pencil lower centre 'R Adams 49', 30.3 x 45.5 cm (ARR) Provenance: with Gimpel Fils, London, no.5611 (according to the label attached to the reverse of the frame) Note: Adams was one of the most innovative and important artists working in Post-War Britain, developing a distinct abstract language alongside his contemporaries Kenneth Martin and Victor Pasmore. His work was included in the celebrated British Pavilion at the Venice Biennale 1952, alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull, after which critic Herbert Read dubbed the young group's shared aesthetic the 'Geometry of Fear'.
Roseberys
Sep. 11, 2024
Robert Adams, Untitled, 1957;
Est: £400 - £600
Robert Adams, British 1917-1984 - Untitled, 1957; pencil on paper, 28.5 x 44 cm (unframed) (ARR) Provenance: with Gimpel Fils, London, no.6035 (according to the label attached to plastic folder) Note: Adams was one of the most innovative and important artists working in Post-War Britain, developing a distinct abstract language alongside his contemporaries Kenneth Martin and Victor Pasmore. His work was included in the celebrated British Pavilion at the Venice Biennale 1952, alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull, after which critic Herbert Read dubbed the young group's shared aesthetic the 'Geometry of Fear'.
Roseberys
Sep. 11, 2024
Robert Adams, Cube, Opus 324, 1970;
Est: £1,000 - £1,500
Robert Adams, British 1917-1984 - Cube, Opus 324, 1970; granite, unique, H14.8 x W15 x D15 cm (ARR) Provenance: the Estate of the Artist; private collection, purchased from the above Exhibited: Camden Arts Centre, London, 'Robert Adams: Retrospective Exhibition', 1971 Literature: A. Grieve, 'The Sculpture of Robert Adams', London, 1992, p.230, no.589 Note: this is a brilliant example of the artist's later work, demonstrating his total command of shape and balance. Adams was one of the most innovative and important artists working in Post-War Britain, developing a distinct abstract language alongside his contemporaries Kenneth Martin and Victor Pasmore. His work was included in the celebrated British Pavilion at the Venice Biennale 1952, alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull, after which critic Herbert Read dubbed the young group's shared aesthetic the 'Geometry of Fear'. Adams's works are now in public collections internationally including the Arts Council Collection, the Tate Gallery, London, the Museum of Modern Art, New York and the Smithsonian Institute, Washington, D.C.
Roseberys
Sep. 04, 2024
Robert Adams, Idea For Sculpture (set of four), 1963;
Est: £1,000 - £1,500
Robert Adams, British 1817-1984, Idea For Sculpture (set of four), 1963; each screenprint in colours on wove, each signed, dated and numbered from the edition of 50 in pencil, each sheet: 78.3 x 58.3 cm, (unframed) (ARR) (4)
Roseberys
Jul. 25, 2024
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £200 - £300
ROBERT ADAMS (BRITISH 1917-1984) Flora 1949 signed, dated and numbered 21/25 in pencil lithograph on wove sheet 57.4 x 45.8cm unframed ARR Size:(57.4 x 45.8cm)
Chiswick Auctions
Jun. 19, 2024
Robert Adams (British, 1917-1984) Split Forms 37.8 cm. (14 7/8 in.) high
Est: £7,000 - £10,000
Robert Adams (British, 1917-1984) Split Forms signed, numbered and dated 'ADAMS/1977/1/6' (on the underside) bronze with a polished patina and black elements 37.8 cm. (14 7/8 in.) high
Bonhams
Jun. 11, 2024
Robert Adams,
Est: £8,000 - £12,000
Robert Adams, British 1917-1984 - Ovoid Variation No.1, 1980; bronze, signed, dated and numbered to the underside of the base 'Adams 1980 2/6', H47.7 x W48.5 x D8.7 cm (including base) (ARR) Provenance: the Estate of the Artist; private collection, purchased from the above Exhibited: Gimpel Fils, London, 'Robert Adams (1917-1984)', 15th September-15th October 1988, cat. no.27 (another cast illus.); Gimpel Fils, London, ‘Robert Adams Late Bronzes’, 26th April-9th June 2012 (another cast) Literature: A. Grieve, 'The Sculpture of Robert Adams', London, 1992, p.224, no.666 (another cast illus.) Note: this is a brilliant example of the artist's later work, demonstrating his total command of shape and balance. The artist created a series of these 'Ovoid Variations', each a celebration of organic abstract form, suggesting growth and the beginnings of life through the oval form. This was a hugely successful period for the artist, with solo exhibitions in Australia, the US and Zurich, as well as his work featuring in the exhibitions 'British Sculpture in the Twentieth Century' Part I and II at the Whitechapel Art Gallery, London in 1981, organised by Nicholas Serota and Sandy Nairn. Adams was one of the most innovative and important artists working in Post-War Britain, developing a distinct abstract language alongside his contemporaries Kenneth Martin and Victor Pasmore. His work was included in the celebrated British Pavilion at the Venice Biennale 1952, alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull, after which critic Herbert Read dubbed the young group's shared aesthetic the 'Geometry of Fear'. Adams's works are now in public collections internationally including the Arts Council Collection, the Tate Gallery, London, the Museum of Modern Art, New York and the Smithsonian Institute, Washington, D.C.
Roseberys
Jun. 11, 2024
Robert Adams,
Est: £400 - £600
Robert Adams, British 1917-1984 - Untitled; stamped ink on paper, stamped with signature lower right 'Robert Adams', 51 x 38.2 cm (mounted/unframed) (ARR) Provenance: with Gimpel Fils, London, GF10574 (according to the label attached to the plastic folder) Note: Adams was one of the most innovative and important artists working in Post-War Britain, developing a distinct abstract language alongside his contemporaries Kenneth Martin and Victor Pasmore. His work was included in the celebrated British Pavilion at the Venice Biennale 1952, alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull, after which critic Herbert Read dubbed the young group's shared aesthetic the 'Geometry of Fear'.
Roseberys
May. 12, 2024
Robert Adams "Untitled" Print.
Est: $200 - $400
Robert Adams (1937-1997): Robert Adams was an American photographer who is known for his black-and-white photographs of the American West, particularly the landscapes of Colorado and Oregon. His work often focused on themes of human impact on the environment. He also wrote several books on photography and taught at various universities. Measures 6.02 x 6.24 Printed circa 1980s Verso is blank. Mounted to archival quality paper.
Morgan Auctions
May. 12, 2024
Robert Adams "Untitled" Print.
Est: $200 - $400
Robert Adams (1937-1997): Robert Adams was an American photographer who is known for his black-and-white photographs of the American West, particularly the landscapes of Colorado and Oregon. His work often focused on themes of human impact on the environment. He also wrote several books on photography and taught at various universities. Measures 6.02 x 5.77 Printed circa 1980s Verso is blank. Mounted to archival quality paper.
Morgan Auctions
Apr. 26, 2024
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £2,000 - £3,000
ROBERT ADAMS (BRITISH 1917-1984) UNTITLED, 1970 Sicilian marble 30.5cm high, 20cm wide, 4.8cm deep (12in high, 7 7/8in wide, 1 7/8in deep) The Estate of the Artist;Gimpel Fils, London.
Lyon & Turnbull
Apr. 26, 2024
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £400 - £600
ROBERT ADAMS (BRITISH 1917-1984) PORTRAIT OF A WOMAN, 1949 signed and dated in pencil (lower left), monoprint on paper plate: 68cm x 49cm (26 3/4in x 19 1/4in); sheet: 75cm x 56cm (29 1/2in x 22in), unframed Gimpel Fils, London.
Lyon & Turnbull
Apr. 25, 2024
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £10,000 - £15,000
ROBERT ADAMS (BRITISH 1917-1984) TWO CURVES, 1959 (OPUS 78) bronzed steel 190.5cm high, 52cm wide, 31cm deep (75in high, 20 1/2in wide, 12 1/8in deep) The Estate of the Artist;Gimpel Fils, London. ROBERT ADAMS (1917 - 1984) TWO CURVES 1959, OPUS 78"The neglected genius of post-war British sculpture". (Brian Glasser, 3 February 1993, "none". Time Out. p. 37.)Standing nearly 2m tall, Two Curves is constructed from a single metal rod attached to a square base with a flat metal top. Mounted in both portrait and landscape profiles two rectangular metal sheets bend inwardly away from the viewer to add body to this simple structure. In so doing they enable the sculpture to create the impression of shapes and forms beyond its physical appearance. Achieving his first success just three years after graduating Northampton Art School with a solo show at Gimpel Fils in 1947 Robert Adams’s early work exemplified Henry Moore’s credo ‘truth to material’, demonstrating a sensitivity to the natural properties of the materials. During this period Adams’s sculpture continually evolved towards pure abstract forms, asymmetric balance and a focused awareness of space so that by 1950 he had completely removed the presence of the human figure. Adams also exhibited in the British Pavilion at the now infamous Venice Biennale, 1952. Alongside his compatriots his work grabbed the attention of the art world becoming known as the Geometry of Fear because of its spiky, alien-looking twisted and tortured figures. Created in pitted bronze or welded metal these sculptures expressed the anxieties and emotions of the post-war period.Created in 1959, Two Curves tells the story of Adams’s artistic journey through a heavily politicized period in history and encourages an interpretation that relates to the themes of the time. However, by applying a purely descriptive title to this abstract work Adams also allows its interpretation to move beyond its time to take on new meaning and relevance within the contemporary spaces of today’s world.
Lyon & Turnbull
Apr. 18, 2024
Robert Adams†(1917ñ1984), British, Standing form
Est: £400 - £600
Robert Adams (1917–1984), British Standing metal form Together with a 2003 Gimpel Fils Gallery invitation to Sonia Rouve (daughter of Pierre Rouve) for a Robert Adams retrospective Provenance: Pierre Rouve Dimensions: 34 in. (H) x 16 in. (W) x 9 in. (D)
Sloane Street Auctions
Apr. 18, 2024
Robert Adams†(1917ñ1984), British, A beaten copper form
Est: £400 - £600
Robert Adams (1917–1984), British A beaten copper form Together with a 1988 Gimpel Fils Gallery invitation to a private view of Adams' late bronzes Robert Adams studied at Northampton School of Art in the 1930s and 1940s. His first exhibit was held at Gimpels Fils Gallery in 1947. In the 1950s travelled to the United States and in 1952 his work was shown at the Venice Biennale. He had a solo exhibit at the 1962 Venice Biennale. His early work was primarily carved in stone and wood and influenced by Henry Moore. Over time his art became more abstract using metals and focusing on asymmetry and balance. Provenance: Pierre Rouve Dimensions: 26.5 in. (H) x 17 in (W) x 31 in. (D)
Sloane Street Auctions
Mar. 31, 2024
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £150 - £250
ROBERT ADAMS (BRITISH 1917-1984) Two Figures 1949 signed, dated and numbered 12/25 in pencil lithograph on wove sheet 57.6 x 45.7 framed ARR
Chiswick Auctions
Mar. 12, 2024
Robert Adams, British 1917-1984 - Untitled sketches for figurative sculp
Est: £400 - £600
Robert Adams, British 1917-1984 - Untitled sketches for figurative sculptures, 1948; ink on paper, 30.5 x 44.6 cm (ARR) Provenance: the Estate of the Artist; with Gimpel Fils, London, no.6047 (according to the label attached to the reverse of the frame) Exhibited: Gimpel Fils, London, 'Robert Adams - A Retrospective', 25th February-5th April 2003, no.4; Note: Adams was one of the most innovative and important artists working in Post-War Britain, developing a distinct abstract language alongside his contemporaries Kenneth Martin and Victor Pasmore. His work was included in the celebrated British Pavilion at the Venice Biennale 1952, alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull, after which critic Herbert Read dubbed the young group's shared aesthetic the 'Geometry of Fear'.
Roseberys
Feb. 22, 2024
Cottonwood, edge of development...signed by Robert Adams
Est: $7,000 - $10,000
Heading: Author: Adams, Robert Title: Cottonwood, edge of development, Longmont, Colorado Place Published: Publisher: Date Published: 1984; print: 2004 Description: Gelatin silver print. 28x35.4 cm (11x14").Signed, titled and dated by Robert Adams on print verso. An important contributor to the New Topographics exhibit of 1975, Robert Adams' work reassesses the western landscape, both acknowledging the sublime conception of Ansel Adams and his contemporaries, but also documenting the ecological and social prices paid in developing the New West. Although he still sees the beauty and promise of the west, Adams' lens also documents what Dorothea Lange termed the "human erosion" resulting when our integral connection to the land is severed and wild nature is objectified into "natural resources".
PBA Galleries Auctions & Appraisers
Feb. 13, 2024
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £250 - £320
ROBERT ADAMS (BRITISH 1917-1984) Two Figures 1949 signed, dated and numbered 8/25 in pencil lithograph on wove sheet 57 x 45.4cm unframed ARR
Chiswick Auctions
Feb. 13, 2024
ROBERT ADAMS (BRITISH 1917-1984) STUDIES FOR 'BOY WITH OWL'
Est: £500 - £700
Robert Adams STUDIES FOR 'BOY WITH OWL' Blue ball point pen 1917 30cm x 44.5cm (12in x 17.5in), unframed Gimpel Fils, London
Lyon & Turnbull
Feb. 13, 2024
ROBERT ADAMS (BRITISH 1917-1984) UNTITLED - 1957
Est: £500 - £700
Robert Adams UNTITLED - 1957 Signed and dated lower right, black crayon 40.6cm x 49.5cm (16in x 19.5in), unframed Gimpel Fils, London
Lyon & Turnbull
Dec. 12, 2023
Â§ ROBERT ADAMS (BRITISH, 1917â1984)
Est: £2,000 - £3,000
Â§ ROBERT ADAMS (BRITISH, 1917â1984) ROBERT ADAMS (BRITISH, 1917â1984) Rectangle with Vees bronzed steel 42 x 29.3 cm. (16 1/2 x 11 1/2 in.) unique Executed in 1965 Provenance With Osborne Samuel, London With Stoops Gallery, Kelbrook, where purchased by the present owner Exhibited London, Gimpel Fils, Robert Adams - Recent Sculpture, 4-29 Oct 1966, no.15 Literature Alastair Grieve, The Sculpture of Robert Adams, published by the Henry Moore Foundation, London, 1992, no.492, p.217 (Opus 251) (ill.)
Chiswick Auctions
Nov. 22, 2023
Robert Adams (British, 1917-1984) Fissure 35 cm. (13 3/4 in.) high
Est: £8,000 - £12,000
Robert Adams (British, 1917-1984) Fissure signed, numbered and dated 'ADAMS/1/6/1973' (underneath) bronze with a dark brown patina, part polished 35 cm. (13 3/4 in.) high
Bonhams
Nov. 16, 2023
Robert Adams (1917-1984) Screen Form, from the Penwith Portfolio
Est: £200 - £400
Robert Adams (1917-1984) Screen Form, from the Penwith Portfolio Lithograph printed in colours, 1973, signed in pencil, inscribed 'AP II/X', one of ten artist's proofs aside from the edition of 90, printed by Curwen Studio, published by Penwith Galleries Ltd., London, on TH Saunders wove paper, 560 x 290mm (22 x 11 1/3in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Forum Auctions - UK
Oct. 27, 2023
§ Robert Adams (British 1917-1984) Vertical Form No.1, 1965, Opus 237
Est: £8,000 - £12,000
§ Robert Adams (British 1917-1984) Vertical Form No.1, 1965, Opus 237 stamped and dated ADAMS 1965 (to base), bronzed steel (154.9cm high (61in high)) Provenance Private Collection; Gimpel Fils, London. Exhibited Gimpel Fils, London, Robert Adams, 4 - 29 October 1966, no. 8. Literature Grieve, Alastair, The Sculpture of Robert Adams, London: Henry Moore Foundation in association with Lund Humphries, 1992, p.216, no. 486, illustrated. The results of Adams’s unusual training of evening classes at Northampton School of Art, followed by two years of independent study and experimentation, gained him his first solo exhibition, at Gimpel Fils in London in 1947; this marked the beginning of a long and fruitful relationship between artist and gallery. A teaching post in the capital’s Central School of Art provided the opportunity to learn how to weld, with the result that Adams became one of the pioneers of this technique in British sculpture, along with Reg Butler and Lynn Chadwick. Vertical Form No. I of 1965 shows how Adams’ mastery of welding resulted in works of dignified, abstracted beauty. It encapsulates his favoured asymmetry and acute sympathy with the quality of his materials and was included in a solo exhibition at Gimpel Fils the following year. As the critic Edwin Mullins wrote in 1968: ‘I believe that the essence of Adams’ brand of non-figurative sculpture lies in its capacity to embody in still metal the tensions and rhythms of the human form in motion.’ (Sunday Times, 15 September 1968, quoted by Alastair Grieve, The Sculpture of Robert Adams, Lund Humphries, 1992, p.9). Moreover, in his introduction to Adams’ touring retrospective exhibition of 1971, Charles Spencer declared: ‘There is a weightless elegance in all his sculpture, the result of superlative craftsmanship, an instinct for design and a refusal to over-state.’
Lyon & Turnbull
Oct. 27, 2023
§ Robert Adams (British 1917-1984) Untitled (Figure, Tree, Bird), 1949
Est: £500 - £700
§ Robert Adams (British 1917-1984) Untitled (Figure, Tree, Bird), 1949 aside from the edition of 20, lithograph with possible hand-colouring (45cm x 33.5cm (17 3/4in x 13 1/4in))
Lyon & Turnbull
Oct. 24, 2023
ROBERT ARNESON - FRUMKIN / ADAMS GALLERY EXHIBITION POSTER
Est: $200 - $400
Lot 273 Robert Arneson American (1930-1992) Frumkin / Adams Gallery Exhibition Poster 18 x 24 inches unframed Provenance: From the Estate of Friede Gorewitz. Previously in the collection of Freda & Rubin L. Gorewitz
Capsule Gallery Auction
Oct. 19, 2023
ROBERT ADAMS (1917-1984) Crescent Edge stainless steel, on a black metal ba
Est: £15,000 - £25,000
ROBERT ADAMS (1917-1984) Crescent Edge stainless steel, on a black metal base 48 in. (122 cm.) high, excluding base
Christie's
Oct. 19, 2023
ROBERT ADAMS (1917-1984) Triangular forms (Suspended) bronzed steel, unique
Est: £7,000 - £10,000
ROBERT ADAMS (1917-1984) Triangular forms (Suspended) bronzed steel, unique 47 in. (119.4 cm.) high
Christie's
Oct. 03, 2023
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £200 - £300
ROBERT ADAMS (BRITISH 1917-1984) White Print No.1 1971 signed, dated and numbered 13/25 in pencil blind embossing on T.H. Saunders wove sheet 39 x 59.1cm unframed ARR Reference: see Tate Britain accession number P77151 for another example of this edition.
Chiswick Auctions
Oct. 03, 2023
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £150 - £250
ROBERT ADAMS (BRITISH 1917-1984) Study for Sculpture 1952 signed and dated in pencil monoprint on wove sheet 38.1 x 48.3cm unframed ARR
Chiswick Auctions
Oct. 03, 2023
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £200 - £300
ROBERT ADAMS (BRITISH 1917-1984) Two Figures 1949 signed, dated and numbered 12/25 in pencil lithograph on wove sheet 57.6 x 45.7 framed ARR
Chiswick Auctions
Jul. 12, 2023
Robert Adams (British, 1917-1984) Crest 24.5cm (9 5/8in) high (excluding base); 27.5cm (10 13/16in) high (including base) (Conceived in 1980)
Est: £3,000 - £5,000
Robert Adams (British, 1917-1984) Crest bronze with a brown patina, and polished bronze 24.5cm (9 5/8in) high (excluding base); 27.5cm (10 13/16in) high (including base) Conceived in 1980
Bonhams
Jun. 28, 2023
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £200 - £300
ROBERT ADAMS (BRITISH 1917-1984) Two Figures 1949 signed, dated and numbered 3/25 in pencil lithograph on wove sheet 57.4 x 45.8cm framed ARR
Chiswick Auctions
Jun. 28, 2023
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £200 - £300
ROBERT ADAMS (BRITISH 1917-1984) Flora 1949 signed, dated and numbered 23/25 in pencil lithograph on wove sheet 57.4 x 45.8cm unframed ARR
Chiswick Auctions
Jun. 28, 2023
§ ROBERT ADAMS (BRITISH 1917-1984)
Est: £300 - £500
ROBERT ADAMS (BRITISH 1917-1984) Study for Sculpture 1952 signed and dated in pencil monoprint on wove sheet 38.1 x 48.3cm unframed ARR
Chiswick Auctions
Jun. 28, 2023
§ ROBERT ADAMS (BRITISH 1917-1984) AGRICULTURAL MACHINERY - 1944
Est: £400 - £600
§ ROBERT ADAMS (BRITISH 1917-1984) AGRICULTURAL MACHINERY - 1944 Signed and dated lower right, pencil, ink and watercolour on buff paper (the sheet 55.5cm x 35cm (21.75in x 13.75in), unframed)
Lyon & Turnbull
Jun. 28, 2023
§ ROBERT ADAMS (BRITISH 1917-1984) UNTITLED - 1957
Est: £300 - £500
§ ROBERT ADAMS (BRITISH 1917-1984) UNTITLED - 1957 Pencil on paper (the sheet 28.5cm x 44cm (11.25in x 17.25in), unframed)
Lyon & Turnbull
Jun. 06, 2023
ROBERT ADAMS, BRITISH 1917-1984 - UNTITLED DRAWING, 1957; CONTÉ PENCIL ON PAPER, SIGNED AND DAT
Est: £400 - £600
Robert Adams, British 1917-1984 - Untitled drawing, 1957; conté pencil on paper, signed and dated lower right 'R Adams 1957', 28.3 x 43.8 cm (mounted/unframed) (ARR) Provenance: with Gimpels Fils, London, inventory no.6036 (according to the label affixed to the reverse of the mount); private collection Note: Adams was one of the most innovative and important artists working in Post-War Britain, developing a distinct abstract language alongside his contemporaries Kenneth Martin and Victor Pasmore. His work was included in the celebrated British Pavilion at the Venice Biennale 1952, alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull, after which critic Herbert Read dubbed the young group's shared aesthetic the 'Geometry of Fear'.
Roseberys