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Lot 133
Geometrische Abstraktion - Op Art - - Carlos Cruz-Diez. (1923 Caracas, Venezuela - 2019 Paris). Sitges I. 2012. Farblithographie auf starkem, genarbtem Papier. 100 x 25 cm (100 x 25 cm). Signiert und nummeriert. - Teils minimal berieben, insgesamt in wohlerhaltenem Zustand. Eines von 75 Exemplaren. - Hg. v. Polígrafa, Barcelona. Colour lithograph on strong grained paper. Signed and numbered. - Partly minimally rubbed, overall in good condition. - One of 75 copies. - Pub. by Polígrafa, Barcelona.
Lot 134
Geometrische Abstraktion - Op Art - - Carlos Cruz-Diez. (1923 Caracas, Venezuela - 2019 Paris). Sitges III. 2012. Farblithographie auf starkem, genarbtem Papier. 100 x 25 cm (100 x 25 cm). Signiert und nummeriert. - Wohlerhalten. Eines von 75 Exemplaren. - Hg. v. Polígrafa, Barcelona. Colour lithograph on strong, grained paper. Signed and numbered. - In good condition. - One of 75 copies. - Pub. by Polígrafa, Barcelona.
Lot 135
Geometrische Abstraktion - Op Art - - Carlos Cruz-Diez. (1923 Caracas, Venezuela - 2019 Paris). Sitges IV. 2012. Farblithographie auf starkem, genarbtem Papier. 100 x 25 cm (100 x 25 cm). Signiert und nummeriert. - Kanten teils minimal berieben, insgesamt in wohlerhaltenem Zustand. Eines von 75 Exemplaren. - Hg. v. Polígrafa, Barcelona Colour lithograph on strong, grained paper. Signed and numbered. - Edges partly minimally bumped, overall in good condition. - One of 75 copies. - Pub. by Polígrafa, Barcelona.
Lot 389
Zeitgenössische Kunst - Street Art - - Banksy. (1974). The Walled Off Hotel Box Set. Digitaldruck auf Papier, Beton, Sprühfarbe, IKEA Rahmen. 25,5 x 25,5 x 4,5 cm. Verso nummeriert. - Guter Zustand. Beigegeben: Original nummerierte Rechnung. - Jedes Exponat durch die jeweils individuelle Verwendung der Sprühfarbe mit unikatärem Charakter. - Die Arbeit wurde ausschließlich im Walled Off Hotel in Palästina vertrieben und ist seit längerem ausverkauft. Digital print on paper, concrete, spray paint, IKEA frame. Numbered on verso. - Good condition. - Each exhibit with unique character thanks to the individual use of spray paint. The work was sold exclusively in the Walled Off Hotel in Palestine and has been sold out for a long time. - Added: original numbered invoice.
Lot 390
Zeitgenössische Kunst - Street Art - - THE REAL NOT BANKSY FRONT. Just like the real thing but worse (rot). 2019. Farbsiebdruck auf grauem Karton. 47 x 40 cm (64 x 45 cm). Nummeriert, verso m. Stempel und Signatur. - Leichte angestoßen an einer Kante sonst wohlerhalten. Eines von 175 Exemplaren. Screen print on grey cardboard. Numbered, verso with stamp and signature. - Slightly bumped at one edge, otherwise well preserved. - One of 175 copies.
Lot 863
Zeitgenössische Kunst - Street Art Shepard Fairey (1970 Charlston, USA)Obey Icon. 2021. Farboffsetlithographie auf weißem, starkem Papier. 87,5 x 56,5 cm (91,5 x 61 cm). Signiert und datiert. - Wohlerhalten. Colour offset lithograph on white, strong paper. Signed and dated. - In good condition.
Lot 864
Zeitgenössische Kunst - Street Art Shepard Fairey (1970 Charlston, USA)Set aus 2 Arbeiten. 2021. Je Farblithographie auf Papier. Blattmaße je 96 x 57 cm (91 x 61 cm). Je signiert u. datiert. - Insgesamt farbfrische, plaktive Abzüge. set of 2 works. Each colour lithograph on paper. Each signed a. dated. - All in all colour-fresh, plaktive prints.
Lot 12
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '79 image size 54cm x 75cm, overall size 75cm x 95cm Mounted, framed and under glass. Provenance: The Corrymella Scott Gallery. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
Lot 13
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '90 image size 74cm x 54cm, overall size 93cm x 71cm Mounted, framed and under glass. Provenance: The Corrymella Scott Gallery. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
Lot 161
* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941), THE DEPARTURE coloured etching on paper, titled label verso image size 49cm x 62cm, overall size 55cm x 69cm Mounted, framed and under glass. Handwritten label verso. Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.
Lot 21
* JIM NICHOLSON (BRITISH 1924 - 1996), GLEN SANNOX, ARRAN oil on board, signed, further signed, titled and dated 1978 verso image size 81cm x 81cm, overall size 89cm x 89cm Framed. Note: Nicholson came to Edinburgh and worked for an advertising company for nine years, before joining the National Trust for Scotland in 1964, as its first artist designer. He retired in 1983 with the title of Art Director and had contributed immensely to the Trust's growth and effectiveness. He visited St Kilda; many of his paintings were of that world-renowned archipelago, and Trust work there always had his special interest. While being a full-time artist by then, he was also a keen hill walker which enabled him to gain access to other remote parts of Scotland, particularly the North-West and Hebridean Islands. Since the 1970's Jim held over 40 one-man exhibitions throughout Scotland and in London, his work being in great demand. Many of his paintings are in public and private collections in America, Australia, Canada, Germany, Hungary, Japan, South Africa and New Zealand, and throughout Britain, including that of HM Queen Elizabeth the late Queen Mother.
Lot 243
* FRANCIS WYNNE THOMAS (BRITISH 1907 - 1989), ALPINE LANDSCAPE oil on canvas, signed image size 50cm x 60cm, overall size 64cm x 74cm Framed. Note: Wynne was a Painter and art teacher born in Bromley, Kent. He was an architectural graduate from Cambridge University but went on to study art at Heatherleys (1930-34) under Frederick Whiting. During the War Wynne Thomas was an officer in the R.A.F. stationed at the Photographic Interpretation Unit at Medmenham, Buckinghamshire, where his skills of acute observation and detailed knowledge of boats were invaluable. He exhibited at the Royal Academy, the Royal Society of British Artists and the Royal Institute.
Lot 80
* DONALD MORRISON BUYERS RSW (SCOTTISH 1930 - 2003), WINTER VIEW, GARDEN 1996 oil on board image size 75cm x 100cm, overall size 85cm x 110cm Framed. Note: Donald Buyers studied at Gray's School of Art, Aberdeen from 1948-51. Soon after graduating, he was employed as an art therapist with tuberculosis patients in the Aberdeen hospitals. While on honeymoon in Paris in 1955 he saw a retrospective exhibition of Picasso who, with Paul Klee became a lasting influence. Back in Aberdeen, he made a living as a successful commercial artist for some years and then concentrated increasingly on his career as a painter. With three fellow artists, Eric Auld, Bill Baxter and Bill Ord, he formed the ABBO group in 1957 which was to exhibit extensively for many years throughout Scotland as well as in Newcastle and Birmingham. From 1963 to 1985 Buyers taught at Robert Gordon's Institute of Technology as well as being a visiting lecturer at Gray's School of Art. His work is represented in the collections of the Arts Council, Aberdeen Art Gallery and HRH The Duke of Edinburgh.
Lot 89
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), HARBOUR LIGHTHOUSE gouache on paper, signed and dated '83, inscribed 'Porth Tywyn', titled label verso image size 32cm x 41cm, overall size 46cm x 54cm Mounted, framed and under glass. Exhibition label verso: February '85, The Torrance Gallery, Edinburgh (a rare early work by Pam Carter). Note 1: It was with great sadness that we learnt of the passing of Pam Carter in May after an illness which she wrote about to her database of buyers on 24th June 2021: "I feel at last I am retiring somewhat due to ill health. I am not painting very much these days as I am struggling with the daily regime of chemo tablets; it’s hard getting the balance of effective medication and quality of life". Note 2: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
Lot 68
A very fine and interesting art nouveau copper coal bucket with swing handle and raised floral decoration in brass, English, c. 1900. The lion’s heads to either side surmounted by the closed imperial crown indicate that this coal bucket may come from a royal residence of the late Victorian/Edwardian period. Brass collar loose; 2 old repairs to feet. 14 ins high.
Lot 165
Atrributed to Guglielmo Pugi an unsigned late 19th-early 20th century Florentine art nouveau marble bust of a young girl; in white marble on a veined black marble base; the base possibly later; 13 ¼" high 11 5/8" wide x 4 7/8" deep; in perfect antique condition with good patination to the marble.
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640875 item(s)/page