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Lot 237
Paul Hodgson Portrait of E, 2021 Pencil and Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paul Hodgson creates hybrid works that incorporate photography, digital print and paint, and that defy neat categorization. His work is indebted to the history of Western painting, and certain of his earlier works reference the colours, lighting, and figurative poses of iconic art historical works, but they are manipulated and restructured to bring to the fore a contemporary reading of the image. Subsequent works have seen Hodgson concentrate on historical epochs of expansion and transition, using the conventions of portraiture and figure painting to construct large-scale tableaux vivant - alongside intimate studio portraits - to explore moments of great change, but also of ambiguous merit. In recent works, he has chosen to use a relatively confined space in which to construct each scene. Working with a set of simple objects, his focus has been the placement and positioning of objects and figures in space (and in front of a camera) as a means to explore notions of gesture and intentionality within the process of image making. These works operate in an area between painting and photography, both in terms of the language that they employ and the process through which they have been made. Paul Hodgson was born in Shrewsbury in 1972 and lives and works in London. 1998 - 2000 M.A. Printmaking. Royal College of Art, London 1991 - 1995 B.A. (Hons) Fine Art. Newcastle University 1990 - 1991 Foundation Art and Design. Shrewsbury College of Art & Technology Selected Group Exhibitions 2020Summer Exhibition, Royal Academy of Arts, London 2016 Discerning Eye, the Mall Galleries, London. Invited by Michael Glover 2014 Beauty by Design: Fashioning the Renaissance, Scottish National Portrait Gallery 2013 Image Search: Photography from the Collection, Pérez Art Museum Miami 2011 Unbounded, Proje4L, Elgiz Museum of Contemporary Art, Istanbul Selected Solo Exhibitions 2010 Paul Hodgson: Art in the Entrance Hall, Cambridge University Library 2008 Rise + Fall, RISE Berlin, Berlin 2007Sovereign Rights, Marlborough Fine Art, London Awards 2010 Director's Visitor, Institute for Advanced Study, Princeton Over the past twenty years I have been represented by Marlborough Fine Art, London, Feigen Contemporary, New York, and Houldsworth, London. I am currently working with an independent dealer in London. About the Postcards I often make works on paper as a way to reconsider motifs that have featured in larger painted and printed works, and to introduce new elements to my art practice. I like the immediacy and fluidity that working on paper can offer - the unexpected results that can occur when you use various media together, or the simplicity of limiting yourself to a few simple materials. These two portraits were made partly from observation and partly from photographs. They might appear as stages in a process - from concise and pared down, to layered and complex. They are indicative of the 'push and pull' that often happens when I'm making images in the studio.
Lot 238
Paul Hodgson Portrait of E.2, 2021 Pencil, Acrylic and Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paul Hodgson creates hybrid works that incorporate photography, digital print and paint, and that defy neat categorization. His work is indebted to the history of Western painting, and certain of his earlier works reference the colours, lighting, and figurative poses of iconic art historical works, but they are manipulated and restructured to bring to the fore a contemporary reading of the image. Subsequent works have seen Hodgson concentrate on historical epochs of expansion and transition, using the conventions of portraiture and figure painting to construct large-scale tableaux vivant - alongside intimate studio portraits - to explore moments of great change, but also of ambiguous merit. In recent works, he has chosen to use a relatively confined space in which to construct each scene. Working with a set of simple objects, his focus has been the placement and positioning of objects and figures in space (and in front of a camera) as a means to explore notions of gesture and intentionality within the process of image making. These works operate in an area between painting and photography, both in terms of the language that they employ and the process through which they have been made. Paul Hodgson was born in Shrewsbury in 1972 and lives and works in London. 1998 - 2000 M.A. Printmaking. Royal College of Art, London 1991 - 1995 B.A. (Hons) Fine Art. Newcastle University 1990 - 1991 Foundation Art and Design. Shrewsbury College of Art & Technology Selected Group Exhibitions 2020Summer Exhibition, Royal Academy of Arts, London 2016 Discerning Eye, the Mall Galleries, London. Invited by Michael Glover 2014 Beauty by Design: Fashioning the Renaissance, Scottish National Portrait Gallery 2013 Image Search: Photography from the Collection, Pérez Art Museum Miami 2011 Unbounded, Proje4L, Elgiz Museum of Contemporary Art, Istanbul Selected Solo Exhibitions 2010 Paul Hodgson: Art in the Entrance Hall, Cambridge University Library 2008 Rise + Fall, RISE Berlin, Berlin 2007Sovereign Rights, Marlborough Fine Art, London Awards 2010 Director's Visitor, Institute for Advanced Study, Princeton Over the past twenty years I have been represented by Marlborough Fine Art, London, Feigen Contemporary, New York, and Houldsworth, London. I am currently working with an independent dealer in London. About the Postcards I often make works on paper as a way to reconsider motifs that have featured in larger painted and printed works, and to introduce new elements to my art practice. I like the immediacy and fluidity that working on paper can offer - the unexpected results that can occur when you use various media together, or the simplicity of limiting yourself to a few simple materials. These two portraits were made partly from observation and partly from photographs. They might appear as stages in a process - from concise and pared down, to layered and complex. They are indicative of the 'push and pull' that often happens when I'm making images in the studio.
Lot 383
Jayson Lilley Waterloo Sunset 1/4, 2021 Screenprint on Card Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Jayson Lilley works at the forefront of printmaking practices, incorporating painting and collage techniques into his process making each print different from the next. With a passion for urban landscapes, his work is known for its architectural focus, zooming in on familiar landmarks and reproducing iconic structures from the metropolis. These dynamic scenes sit against backdrops of expansive skies, created using large areas of gold, copper or silver leaf. The texture and imperfections of this hand-applied leafing adds to the originality of each piece. In order to pick out the detail in a cityscape, Jayson works with hundreds of individual photographs and redraws each element to create a composite image. This not only presents a unique perspective on the landscape through the eyes of the artist, but also allows the viewer to see the individual details of every structure and building, a level of detail not achievable through a camera lens. "My infatuation comes by the shape that my chosen building or vista makes as it cuts its way into the sky - the negative space draws me in as much as the building itself." - Jayson Lilley
Lot 384
Jayson Lilley Waterloo Sunset 2/4, 2021 Screenprint on Card Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Jayson Lilley works at the forefront of printmaking practices, incorporating painting and collage techniques into his process making each print different from the next. With a passion for urban landscapes, his work is known for its architectural focus, zooming in on familiar landmarks and reproducing iconic structures from the metropolis. These dynamic scenes sit against backdrops of expansive skies, created using large areas of gold, copper or silver leaf. The texture and imperfections of this hand-applied leafing adds to the originality of each piece. In order to pick out the detail in a cityscape, Jayson works with hundreds of individual photographs and redraws each element to create a composite image. This not only presents a unique perspective on the landscape through the eyes of the artist, but also allows the viewer to see the individual details of every structure and building, a level of detail not achievable through a camera lens. "My infatuation comes by the shape that my chosen building or vista makes as it cuts its way into the sky - the negative space draws me in as much as the building itself." - Jayson Lilley
Lot 385
Jayson Lilley Waterloo Sunset 3/4, 2021 Screenprint on Card Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Jayson Lilley works at the forefront of printmaking practices, incorporating painting and collage techniques into his process making each print different from the next. With a passion for urban landscapes, his work is known for its architectural focus, zooming in on familiar landmarks and reproducing iconic structures from the metropolis. These dynamic scenes sit against backdrops of expansive skies, created using large areas of gold, copper or silver leaf. The texture and imperfections of this hand-applied leafing adds to the originality of each piece. In order to pick out the detail in a cityscape, Jayson works with hundreds of individual photographs and redraws each element to create a composite image. This not only presents a unique perspective on the landscape through the eyes of the artist, but also allows the viewer to see the individual details of every structure and building, a level of detail not achievable through a camera lens. "My infatuation comes by the shape that my chosen building or vista makes as it cuts its way into the sky - the negative space draws me in as much as the building itself." - Jayson Lilley
Lot 386
Jayson Lilley Waterloo Sunset 4/4, 2021 Screenprint on Card Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Jayson Lilley works at the forefront of printmaking practices, incorporating painting and collage techniques into his process making each print different from the next. With a passion for urban landscapes, his work is known for its architectural focus, zooming in on familiar landmarks and reproducing iconic structures from the metropolis. These dynamic scenes sit against backdrops of expansive skies, created using large areas of gold, copper or silver leaf. The texture and imperfections of this hand-applied leafing adds to the originality of each piece. In order to pick out the detail in a cityscape, Jayson works with hundreds of individual photographs and redraws each element to create a composite image. This not only presents a unique perspective on the landscape through the eyes of the artist, but also allows the viewer to see the individual details of every structure and building, a level of detail not achievable through a camera lens. "My infatuation comes by the shape that my chosen building or vista makes as it cuts its way into the sky - the negative space draws me in as much as the building itself." - Jayson Lilley
Lot 94
NO RESERVE Broadside Papal Bull.- Dilectis Filiis Universis Catholicis in Fœderato Belgio commorantibus, Rome, Ex Typagraphia Reverendæ Cameræ Aposticæ, 1745; Editto Silvio del Titolo di S. Calisto Prete Cardinal Valenti Segretatio di Stato ... Rome, Nella Stamperia della Reverenda Camera Apostolica, 1749, woodcut figures, arms and initials, faint scattered spotting, c.455x335 mm and c.380x280 mm (2)
Lot 1443
A large collection of Olympus OM 35mm camera equipment to include: OM-2N MD camera bodies x 2, OM Winder 2 x 2, OM Zuiko MC Auto Zoom 1:5 f +85-250mm, OM Zuiko Auto S 1:1.8 F= 50mm, Olympus 2x-a Teleconverter, OM System Zuiko Auto-T A:4.58 F=300mm, OM system G Zuiko Auto -W 1:3.5 F=28mm, OM-System S Zuiko MC Auto Zoom 1:4 F=3.5-70mm, OM System F. Zuiko Auto T 1:5 F=200mm lens with all caps and hard cases, complete with original Olympus Branded Case
Lot 1468
Compact Kern Aarau Bijou Plate Camera: in leather case with additional lens, filter , plates & accessories marked with handwritten name and Address of Local Historain Ernest Warrillow, Together with, A Sociological History of the city of Stoke On Trent: by Ernest J.D,Warrillow, special leather bound gilded limited edition in outer sleeve and signed.
Lot 281
A very good box of mixed vinyl LPs, from a former employee of Virgin Music, to include The Beatles, including 'The White Album', George Harrison, John Lennon, The Smiths, Eurythmics, Boomtown Rats, Bronski Beats, David Bowie, Joan Arma Trading, Kirsty MacColl, Billy Bragg, Simple Minds, Aztec Camera, Prefab Sprout, The Jesus and Mary chain, In Excess, Billy Idol, FYC, Frankie, Genesis, Fleetwood Mac, Fairground Attraction, Duran Duran, Dire Straits, The Cure, The Cult, Communards, The Christians, Big Sound Authority, Big Audio Dynamite, The Rolling Stones, Prince, Public Image Ltd (live in Tokyo), The Beat, Pretenders, Pink Floyd (Relics) etc
Lot 1090
Brander,G.F.: Kurze Beschreibung einer ganz neuen Art einer Camerae Obscurae ingleichen eines Sonnen Microscops. Vorgebunden: Ders. Kurze Beschreibung der neu abgeänderten und mit mehreren Zusätzen versehenen Camera Obscura. Als eine Zugabe zu der Anno 1769 herausgegebenen Beschreibung einer Camera Obscura. 2 Werke in 1 Band. Augsburg, E. Klett Wittwe 1769 u. 1775. Kl.-8°. 27 S.; 40 S. mit 5 gefalt. Kupfertafeln. Pbd. d. Zt. I. Vgl. Poggendorff I, 277. - Zweite Ausgabe, erstmals 1767 erschienen. Neudruck, die Tafeln von denselben Platten. - II. Poggendorff I, 277. - Erste Ausgabe. - Der Augsburger Präzisionsmechaniker u. Instrumentenmacher G. F. Brander (1713-1783) gründete nach seinem Mathematik-Studium in Nürnberg und Altdorf eine Werkstatt für optische Instrumente in Augsburg. Durch seine hervorragenden Instrumente für die Feldmessung und deutsche und internationale Sternwarten wurde er europaweit bekannt. "1759 wurde er Mitglied der Akademie der Wissenschaften zu München und erhielt 1779 die Goldene Medaille der dänischen Akademie. - B.s Geräte sind schön und sorgfältig hergestellt; eine Maschine zur Kreisteilung (1758) und eine solche zur geradlinigen Teilung (1761), z. B. von Glasmikrometern, machten ihn berühmt... Die Arbeiten seiner Werkstätte waren so verbreitet, daß sie noch jetzt in größeren Sammlungen Süddeutschlands, Österreichs und der Schweiz vertreten sind" (E. Zinner in NDB II, 518). - Vgl. auch M. Cantor in ADB III, 240 ff., der auch auf Branders berühmtes mathematisches Werk "Arithmetica binaria s. dyadica, d. i. die Kunst mit zwei Zahlen in allen Fällen und sicher zu rechnen" (Augsburg 1767) eingeht. - Stellenweise etwas gebräunt oder stockfleckig, sehr gute Exemplare. - 2 works in 1 volume. With 5 folded copper plates. Contemporary cased boards. Partly somewhat browned or foxing.
Lot 269
Isherwood (Christopher) Sally Bowles, first edition, signed by the author on title with score through his printed name, original cloth, light fading to spine, dust-jacket, light browning to spine, spotting to panels, small portion of loss to head of spine, foot of spine and corners a little chipped, split to foot of lower joints, a few neat tape repairs to verso, a very good example of a scarce and delicate jacket, [Westby and Brown p.6; Woolmer 411], 8vo, Hogarth Press, 1937.⁂ Rare signed. The first appearance of Isherwood's most famous character; part inspiration, along with I am a Camera, for the musical and film Cabaret. The creation of Sally Bowles gave Isherwood financial security for much of the rest of his life.
Lot 277
Isherwood (Christopher) The Condor and the Cows, first English edition, signed presentation inscription from the author "For Dodie [Smith] and Alec, whose friendship is my constant support, and whose confidence is an unceasing reproach to all my weaknesses this mouse of a book brought forth by mountains. Christopher. November 1949" to half-title, maps and illustrations, pictorial endpapers with light browning and short marginal tear, original cloth, fading to spine ends, dust-jacket, spine browned, some discolouration to panels, chipping and creasing to head and foot, lower 1" of spine deatched, [Westby and Brown p.3], 8vo, Methuen & Co., 1949.⁂ An excellent presentation copy with a warm and personal inscription to the author and playwright Dodie Smith. Isherwood met the couple in Hollywood in the 1940s and the group became close friends. Smith later recalled that Alec had been the person to suggest to John Van Druten that he adapt Sally Bowles for the stage (Van Druten wrote I Am a Camera which would subsequently for the basis for the musical and film Cabaret). Dodie and Alec are also the dedicatees of The World in the Evening. See also lot 285.
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115370 item(s)/page