VICTOR VASARELY (Pécs, Hungary, 1906 - Paris, 1997)."Untitled", ca.1970-80.Lithograph, copy 29/90.Hand signed and numbered.Size: 66.5 x 66.5 cm; 71 x 71 cm (frame).Syncopated geometric rhythms and patterns immerse us in a work that is completely distinctive of Vasarely's language. In it, the Franco-Hungarian artist relies on pure geometric composition to draw us into a cosmic universe, in which the dice seem to liquefy, defining the vibrant rhythm of his imagery.Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a Bauhaus pupil. He settled in Paris in 1930, where he produced what is now considered the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style shifted from figurative expression to a constructive and geometric type of abstract art, with an interest in the representation of perspective without vanishing points. Between 1936 and 1948 he participated regularly in the Salon des Surindependants and the Salon des Nouvelles Réalités. From 1948 onwards he exhibited regularly at the Denise René gallery. In the 1950s his work moved towards the use of new materials and supports, such as aluminium and glass. He also began to produce works that integrated with space, such as Homage to Malevich. In the 1960s he took part in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received during his lifetime, the Guggenheim Prize (1964), the Brussels Art Critics' Prize and the gold medal at the Milan Triennial are particularly noteworthy. In 1970 he was made a Knight of the Order of the Legion of Honour. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important contemporary art centres in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice and the Reina Sofía in Madrid.
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FREDERIC AMAT NOGUERA (Barcelona, 1952)."L'estrany i l'ocell", 1994.Mixed media on paper adhered to wood.Signed and dated in the lower left-hand corner.Size: 46 x 38 cm; 52,5 x 44,5 cm (frame).A painter, engraver and set designer, Amat's work belongs to the experimental and conceptual tendencies of the 1970s. His themes revolve around death, violence, sex and architectures, real or imaginary. Trained in Barcelona, between 1975 and 1982 he travelled around North Africa, Mexico and the United States. He has not only worked in the field of painting, but has also developed his facet as a sculptor, as well as creating stage designs linked to dance and theatre. He has directed and organised various opera performances, such as Caldara's "Maddalena ai piedi di Cristo". He has exhibited his work both nationally and internationally, notably in France, Germany, Italy and the United States. Between 1993 and 1994 he was the subject of a major retrospective at the Museo Rufino Tamayo in Mexico, the Joan Miró Foundation and the Instituto de América in Granada. In 2007 he was awarded the National Visual Arts Prize of Catalonia, granted by the Catalan Government, in recognition of the exhibition held at the Carles Taché Gallery. Today his work is divided between important private collections and different art centres, notably the Museum of Contemporary Art of Barcelona.
FREDERIC AMAT NOGUERA (Barcelona, 1952)."Gran testa", Barcelona, 1998.Mixed media on canvas and cardboard.Signed and dated in the lower left-hand corner.Size: 53 x 73 cm; 68 x 88 cm (frame).A painter, engraver and set designer, Amat's work belongs to the experimental and conceptual tendencies of the 1970s. His themes revolve around death, violence, sex and architectures, real or imaginary. Trained in Barcelona, between 1975 and 1982 he travelled around North Africa, Mexico and the United States. He has not only worked in the field of painting, but has also developed his facet as a sculptor, as well as creating stage designs linked to dance and theatre. He has directed and organised various opera performances, such as Caldara's "Maddalena ai piedi di Cristo". He has exhibited his work both nationally and internationally, notably in France, Germany, Italy and the United States. Between 1993 and 1994 he was the subject of a major retrospective at the Museo Rufino Tamayo in Mexico, the Joan Miró Foundation and the Instituto de América in Granada. In 2007 he was awarded the National Visual Arts Prize of Catalonia, granted by the Catalan Government, in recognition of the exhibition held at the Carles Taché Gallery. Today his work is divided between important private collections and different art centres, notably the Museum of Contemporary Art of Barcelona.
JAMES ROSENQUIST (United States, 1933)."Spring Cheer (2nd state)", 1978.Etching, issue 6/78.Aripeka Ltd. Editions publisher, Charles Levine printer.Signed, dated, titled and justified by hand.Measurements: 44.5 x 91 cm (print); 58 x 101 cm (paper).Work catalogued in "Time dust James Rosenquist, Complete Graphics: 1962-1992", by Constante W. Glenn, no. 129A (Rizzoli, 1993).An exponent of American Pop Art, Rosenquist moved to New York in 1955 to join the Art Students League. However, he left school a year later and began painting billboards. In 1960, however, he quit this job and rented a small studio in Manhattan, where his neighbours included artists such as Robert Indiana, Ellsworth Kelly and Jack Youngerman. Two years later he held his first solo exhibition at the Green Gallery in New York. From then on his work would be included in the groundbreaking exhibitions that would establish Pop Art as a movement. In 1965 Rosenquist achieved international recognition with his monumental work "F-111" (MoMA), in which he combined painting with a collage of prints, drawings and other elements. Since the 1960s the artist has received numerous awards: he was chosen as a Young Talent in the Arts in America in 1963, honoured by the National Council on the Arts in 1978, and in 1987 he was made a Fellow of the American Academy and Institute of Arts and Letters. In 1972 the first retrospective exhibition of his work was held at the Whitney Museum of American Art and the Wallraf-Richartz Museum in Cologne, and since then he has been the subject of numerous exhibitions held in museums and galleries around the world. He is currently represented at the Metropolitan Museum, MoMA, the Brooklyn and Whitney Museums in New York, the Tate Gallery in London, the Guggenheim Museums in New York and Bilbao, the National Gallery in Washington D.C., the San Francisco Museum of Modern Art, the Albright-Knox Gallery in Buffalo, the Museum of Modern and Contemporary Art in Trento, the Thyssen-Bornemisza in Madrid and many others.
RAFAEL CANOGAR (Toledo, 1935)."The shroud", 1964.Oil on canvas.Signed and dated in the central right area; signed, dated and titled on the back.Work reproduced and inventoried in the artist's online catalogue.EXHIBITIONS:- 1965. Canogar. Madrid, Juana Mordó Gallery, 27 March-2 April.- 1966. Rafael Canogar. Trieste (Italy), Sala Comunale di Palazzo Constanzi, 10-27 February.- 2001. International art in Prato. Open Art, sguardi sul presente. Prato (Italy), Galleria Open Art, April.BIBLIOGRAPHY:- Canogar. Madrid, Galería Juana Mordó, 1965 (Repr. bl. and n. s/pag.)- Rafael Canogar. Trieste, Asociazione Laureati dell'Università di Trieste / Roma, Istituto Grafico Tiberino, 1966 (Cit. s/p., nº 22) cat.exp.Size: 146 x 114 cm; 152 x 120 cm.Between 1963 and 1964, after his strictly informalist period (being one of the founders of El Paso), Rafael Canogar's work turned towards political criticism and social commitment. It was a (brief but significant) parenthesis in the heart of his abstract practice, during which, both in the titles and in the veiled references to a gloomy reality, Canogar felt the need to pierce the difficult historical moment in which Spaniards were stuck: Franco's dictatorship, State crimes, repression and summary trials. "La mortaja" is fully in line with this courageous conceptual shift. Canogar, however, chooses to suggest with a subtle plastic rather than simply "represent", thus evading a literal reading of the subject and favouring an ambiguous and universal interpretation.Rafael Canogar trained with the painter Daniel Vázquez Díaz between 1949 and 1954. During these years he worked along the lines of the avant-garde, soon moving towards abstraction. Co-founder of the group "El Paso" in 1957, during the fifties he developed a fully informalist work, which in the sixties became an increasingly complex narrative figuration. From the 1960s onwards he achieved international recognition as a guest professor at the Milles College in California to teach the art course 1965-66, and as a guest artist at the Tamarind Lithography Workshop in Los Angeles in 1969. Between 1972 and 1974 he was also invited by the D.A.A.D. in Berlin as an artist in residence. During his mature period, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expressed through the mask, the head, the face, as a representation of man who loses his individuality and becomes a plastic sign. His work was also recognised in Spain, and during the 1980s he was a member of the Advisory Council of the General Directorate of Fine Arts of the Ministry of Culture, of the Board of Trustees of the National Museum of Contemporary Art in Madrid, and a member of the Board of Directors of the National Heritage. Throughout his career, Canogar has held countless solo and group exhibitions. Among the personal exhibitions, several have been retrospectives, including: Museo Nacional de Arte Contemporáneo and Biblioteca Nacional de Madrid, Musée d'Art Moderne de la Villa de Paris, Sonia Heine Foundation in Oslo, Konsthalle de Lund in Sweden, Paris Art Center, Bochum Art Museum in Germany, Istituto di Storia dell'Arte de Parma, Museo de Bellas Artes de Bilbao, Fundación Casa del Cordón de Burgos, Museo de Santa Cruz de Toledo, Museo Reina Sofía in Madrid, etc. He has been awarded various prizes and distinctions, including the Grand Prize at the São Paulo Biennial (1971), the Grand Prize at the International Triennial of Painting in Sofia (1982), the National Prize for Plastic Arts in Madrid (1982), etc. Canogar is currently represented in the most important modern art collections around the world, such as the Reina Sofía Museum, the MoMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburgh, the Rufino Tamayo Museum in Mexico and the Chicago Art Institute, among many others.
Haydn Gear (Welsh School Contemporary) Welsh hillside village landscape, oil on board, measurements 60.5 x 76 cm. Submitted to Royal College of Art for admission application while studying at Goldsmiths College.Condition report: The painting is an oil on board, framed without glazing. The paint surface appears well preserved and there is no obvious evidence for deterioration- there are some surface scratches to the lower centre and one small chip to the paint lower left (please see additional photographs) The board is in good condition, the colours are well preserved. The frame has wear and tear, the top right corner is a little loose.
* GRAEME WILCOX (SCOTTISH b. 1967), BLURRY HEAD oil on canvas, signed and titled verso image size 37.5cm x 28.5cm, overall size 52cm x 43cm Framed. Provenance: McTear's, November 2017. Note: After graduating from Glasgow School of Art in 1993, Wilcox continues to prosper as a painter based in Glasgow. He exhibits regularly in solo shows and group exhibitions throughout the UK and Europe. Recent work depicts people and events experienced in public spaces around the city. These paintings show figures engaged in ambiguous actions in half-remembered spaces. These situations and scenes have lodged in the memory due to some resonance or poignancy that can't quite be dismissed. The resulting paintings are partly an attempt to balance a sense of stillness with a sense of movement; a tension that hopefully generates a heightened feeling of the strangeness of everyday life and those around us. Graeme has collaborated on a number of multimedia projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. The most recent example of Graeme Wilcox's work we have offered was "On the Same Page" (a 112 x 102 cm oil on canvas) which was sold in The Scottish Contemporary Art Auction of 28th March 2021, lot 722 for £5000 (hammer).
* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), IN THE STUDIO mixed media on paper, signed image size 64cm x 49cm, overall size 82cm x 66cm Mounted, framed and under glass. Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed a prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist, he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, said: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world. In The Scottish Contemporary Art Auction of 24th October 2021 "The Baptism" a 40 x 50cm gouache by Goudie sold for £2600 (hammer).
* ALICE MCMURROUGH PAI RGI RSW (SCOTTISH b. 1956), MHAIRI'S SECRET oil on panel, titled labels verso image size 19cm x 14cm, overall size 29cm x 24cm Framed and under glass. Artist's label verso. Label verso: Open Eye Gallery, Edinburgh. Note: Alice McMurrough studied Fine Art at Glasgow School of Art from 1973 to 1978. She then attended St. Andrews College of Education where she graduated with a Diploma in Education in 1979. She held various teaching posts including Acting Principal Teacher in the 1990s and marker and moderator for the Scottish Qualifications Authority, until she left the profession in 2007 to devote her time to painting and organising group painting trips in Europe. McMurrough has won many awards including the James Torrance Award at the Royal Glasgow Institute of Fine Arts in 2011, the Joe Hargan Award at the Paisley Art Institute and the Anne Stevenson Memorial Award from East Dunbartonshire Council in 2012 and in 2013 the Dalrymple Award at the inaugural Maclaurin Annual Fine Art Exhibition. She was elected member of the Royal Glasgow Institute, Paisley Art Institute and Royal Scottish Society of Painters in Watercolour in 2013. McMurrough is a Diplomate of the Paisley Art Institute, Artist Member of the Glasgow Art Club and Associate Artist Member of Hospitalfield Alumni Association. She exhibits regularly with the Royal Glasgow Institute of Fine Arts, the Royal Scottish Academy, the Royal Scottish Society of Painters in Watercolour, the Paisley Art Institute, the Glasgow Art Club and at galleries throughout the UK. Her works are held in private collections worldwide. Alice's paintings rarely appear at auction, but in The Scottish Contemporary Art Auction of 24th October 2021 "Above Us Only Sky" (a 15 x 21cm oil) by McMurrough sold for £950 (hammer).
* MARGOT SANDEMAN (SCOTTISH 1922 - 2009), SHORE SCENE (ARRAN) mixed media on paper, signed and dated '89 image size 29cm x 57cm, overall size 46cm x 72cm Mounted, framed and under glass. Provenance: Hughson Gallery, Glasgow. Note: Margot Sandeman was an accomplished Glasgow painter, who worked with Ian Hamilton Finlay and became Joan Eardley`s longest-standing friend, a friendship that lasted until Eardley`s death in 1963. At the Glasgow School of Art she was quickly singled out, along with Eardley, by Hugh Adam Crawford, head of drawing and painting, for an experiment in which a very small number of outstanding students in that 1939 session were selected for special attention. This effectively amounted to a three-year course in two years, with Crawford himself as tutor. The war interrupted her painting career as did the bringing up of her children following her 1946 marriage to ceramicist James Robson. In 1970 she won the Guthrie Award of the Royal Scottish Academy, the Redpath Award from the Society of Scottish Artists and a Scottish Arts Council prize. In 1988-89 she produced a series of large canvases of bathers echoing Matisse and Seurat and in 1989 she was the Scottish Winner of the prestigious Laing Competition. She also collaborated with her old contemporary Ian Hamilton Finlay on his texts and also created a parallel series of still-lifes plus all the illustrations for his "concrete poetry". Sandeman contributed to mixed exhibitions in the UK and US, with her principal solo exhibitions being at the Demarco Gallery in Edinburgh and the Hughson Gallery in Glasgow, with a final show at the Talbot Rice Gallery in Edinburgh in 2006. Her work is represented in public and private collections in Scotland and in private collections in the US and UK.
* WILLIE RODGER RSA RGI (SCOTTISH 1930 - 2018), MARY, WIFE OF WILLIAM OF ORANGE linocut on paper, signed, titled and numbered 52/100 image size 29cm x 18cm, overall size 51cm x 42cm Mounted, framed and under glass. Note: The Royal Scottish Academy website describes Willie Rodger as "one of the most significant artist-printmakers in recent Scottish art history". Born in Kirkintilloch in 1930, Rodger studied Graphics and Printmaking at Glasgow School of Art from 1948 to 1953. He received a rigorous education from a course that, at the time, only accepted the most skilled draughtsmen. By graduation Rodger had already sold two prints to the Victoria and Albert Museum, London, and went on to a career in advertising. However, he became disillusioned with the cut and thrust of the commercial world and an opportunity to change careers and return to Scotland came about with a teaching vacancy at Lenzie Academy, then as Principal Teacher of Art at Clydebank High School, a post he held until early retirement in 1987. He was elected to the Royal Scottish Academy in 1989 and awarded an honorary doctorate by the University of Stirling in 1999. Our auctions have established several new UK auction record prices for Willie Rodger prints and in The Scottish Contemporary Art Auction of 28th February 2021 lot 562 "Reverie" by Willie Rodger achieved a new (and current) auction record for a print by the artist selling at £1200 (hammer).
JAK (Raymond Jackson) ? Contemporary. Original art work depicting Speaker of the House of Commons and MP?s in the chamber with BBC reporter and cameraman titled ? Try and Control your language, Mr Speaker. This is for the BBC!? black ink on blue paper, signed JAK top right, together with a hand written recollection of the events in The House by the Rt. Hon. Bernard Weatherill. Provenance: The Estate of Lord Weatherill, former Speaker of the House of Commons.
Pop-Art - - Robert Indiana. (1928 New Castle, Indiana (USA) - 2018 Vinalhaven, Maine (USA)). American Dream. 24 (von 30 - hier fehlend 4 signierte, lose Originalgraphiken) Farbserigraphien und 7 großformatig reproduzierte Photographien von Namuth, Jody Dole u. Bill Katz. El Segundo, MFA Contemporary Atelier, 1997. Unpaginiert (51 Blätter). Imperial Folio. OLedereinband mit rotgeprägtem Titel und Rücken in OKassette. (Leichte Gebrauchs- u. Abriebspuren.) Ein Exemplar von 395. Nummeriert auf dem Titelbl. - Druck bei El Segundo, Marco Fine Arts Studio. Mit beiliegendem Zertifikat. Signiert im Impressum v. Verleger. - Die eindrucksvollen Farbserigraphien, die das breite Werk des Künstlers widerspiegeln, werden begleitet von in Rot- und Schwarzdruck alternierenden Texten. Darunter ein poetischer Beitrag von Robert Creeley, einem Vorwort von Susan Ryan`s sowie photographischen Aufnahmen von Michael McKenzie. Robert Indiana gilt als ein Hauptvertreter der Pop Art. Opulente Ausgabe auf kräftigem handgeschöpftem Papier. - 2 Seiten mit minimalen Fingerspuren, Innenfals am Impressum angeplatzt. Insgesamt eine eindrucksvolle und seltene Ausgabe mit kräftigen Farben und vorzüglichen Abdrücken. One of 395 cipies. 24 of 30 colour silk screens and 7 reproduced photographs by various photographers, as named above. Orig.-leather with red printed title and back in original box. - The impressive serigraphs, which are reflecting Indianas work, one of the primary representative of the pop art artists, are accompanied with in red and black printed alternating texts by Creeley, Ryan and photographs by McKenzie. Luxurious edition on hand-made paper. - 2 pages with minimal finger marks, inner fals chipped at imprint. Altogether an impressive and rare edition with intense colours and excellent prints.
Kranz, Kurt - - Sammlung diverser Publikationen von und über Kurt Kranz. Enthält: Kurt Kranz. Variationen über ein geometrisches Thema. München, Prestel, 1956. - 2 Ex. von: Kurt Kranz 1960. Ausst.-Kat. Museum für Kunst und Gewerbe Hamburg, 1960. - 5 Ex. mit verschiedenfarbigen Umschlaggestaltungen von: Exposition Kurt Kranz. Retrospective Bauhaus and Today. Form Sequences and Folding Objects. Ausst.-Kat. Museum of Contemporary Art Montréal, 1972. - Kurt Kranz. Bandolina und Harlekin. Bielefeld, Kunstsalon Otto Fischer, Februar 1948. - 2 Ex. von: Kurt Kranz. Bauhaus and Today. Ausst.-Kat. USA 1973-75. - 1 Ausg. der Zeitschrift Gebrauchsgraphik. Nr. 7, 1955. - Das Lerchen-Ei. Schulzeitschrift der Landeskunstschule. Nr. 3, (1952). Hrsg. von G. Hassenpflug. Redigiert und gestaltet von K. Kranz u. K. Tegtmeier. - 3 versch. Prospekte der Landeskunstschule Hamburg. 1950er-Jahre.- 2 Ex. von: Kurt Kranz. Aquarelle. Ausst.-Kat. Galerie Denise René Hans Mayer Düsseldorf, 1973. - Kurt Kranz. Fotomontagen + Formsequenzen. Ausst.-Kat. Galerie Elke Dröscher Hamburg, 1980. - Insgesamt wohl erhalten.
Johannes Staricius. Neu-vermehrter Helden-Schatz das ist, naturkündliches Bedencken uber und bey vulcanischer, auch natürlich-magischer Fabrefaction und Zubereitung der Waffen des berühmten Helden Achillis in Griechen-Land. Mit 4 Textholzschnitten u. einigen Schlussvignetten. Frankfurt u. Leipzig, o.V., 1734. 4 Bll., 452 (recte 352) S., 15 Bll., 6 weiße Bll. Kl.-8°. Pgt. d. Zt. mit gepr. RTitel u. Rotschnitt (fleckig u. angeschmutzt). Graesse, BMP, 122. - Vgl. Jahns 986. Ackermann V, 864. Rosenthal 807. Jantz 2399. Dorbon 4655. Duveen 563 (Ausg. 1684): "A curious book of secrets." - Sechste Auflage dieses erstmals 1615 in Aschaffenburg erschienenen Werkes. - Bei grossen Teilen des Werkes handelt es sich wohl um eine Abschrift aus dem 1608 erschienenen Traktat "De Igne Magorum" von Heinrich Khunrath. Der grosste Teil vom "Heldenschatz" knupft an den Mythos von der Herstellung der Waffen Achills durch Vulcanus an und enthält Anweisungen zur Kriegstechnik, Hausmitteln, Vorschriften zur Fabrikation von Ölen und Metallen, kuriose bzw. magische Rezepten medizinischer, gastronomischer und kosmetischer Art, sowie Anleitungen für Haus- und Landwirtschaft. - Johann Staricius war um 1641 in Nurnberg als Chemiker tatig und gab 1618 erstmals die Paracelsus-Schrift "Philosophia de limbo" heraus. - Gebräunt. 1 weißes Bl. am Ende mit handschr. Besitzvermerk u. -Eintragung (datiert 1832). Book of secrets. - With 4 small woodcuts in the text and a few tail-pieces. - Sixth edition of this work first published in Aschaffenburg in 1615. - Large parts of the work are probably a copy of the treatise "De Igne Magorum" by Heinrich Khunrath, published in 1608. The largest part of the "Heldenschatz" is linked to the myth of the manufacture of Achilles' weapons by Vulcanus and contains instructions on war technology, household remedies, regulations for the manufacture of oils and metals, curious or magical recipes of a medical, gastronomic and cosmetic nature, as well as instructions for housekeeping and agriculture. - Johann Staricius was a chemist in Nurnberg around 1641 and published Paracelsus' "Philosophia de limbo" for the first time in 1618. - Contemporary vellum with spine title and red edges (stained and slightly soiled). Browned. First blank leaf at the end of the book with handwritten ownership's inscription and annotation.
Pan. (Vierteljahresschrift) Mit 92 (von 106) Original-Graphiken sowie zahlr. Kunstbeilagen und prächtigem Buchschmuck. Jg. I-V in 10 Bde., 21 Hefte (= alles Erschienene). Berlin, Pan u. (ab Jg. II) Fontane, 1895-1900. Folio. 9 braune HLdr. auf 6 Bünden mit blindgepr. RTitel und 1 brauner Ganzleder mit goldgepr. DTitel und RTitel (dieser berieben und beschabt, die anderen etwas berieben und teils leicht angeschmutzt, Deckel braunfleckig). Söhn HDO 525-530. Bauch 236. Garvey/Wick 98. Diesch 2663. Schlawe I, 48ff. Schauer I, 20ff. - Je eines von 1100 bzw. 1400 Exemplaren. "Einer der großen Sammelplätze und Aufbruchsorte der neueren deutschen Buchkultur" (Schauer). - Enthält zahlreiche Original-Graphiken in unterschiedlichen Techniken namenhafter deutscher und internationaler Künstler der Zeit, darunter Holzschnitte, Radierungen und Lithographien von Peter Behrens, Otto Eckmann, Félicien Rops, Paul Signac, Félix Vallotton, Max Liebermann, Ludwig von Hofmann, Artur Illies, Max Klinger, Käthe Kollwitz, Emil Orlik, Maurice Denis, Maximilien Luce, Henri Edmond Cross, Theo van Rysselberghe, Auguste Rodin und Hans Thoma. Teils in der Platte bzw. im Stein oder Stock signiert. Auf verschiedenen hochwertigen Papieren gedruckt, u.a. Japan, China, Bütten und Kupferdruckpapier. - Es fehlen die kompletten Graphiken aus dem Jg. I, Hefte 3-5 (darunter die Farblithographie "Mademoiselle Marcelle" von H. Toulouse-Lautrec) sowie die Radierung von Köpping in Jg. III Heft 4. - Je ohne OUmschläge eingebunden. Der in Ganzleder gebundene Bd. 2 (fälschlicherweise als Bd. 1 betitelt) mit den Heften 3-5 aus Jg. I mit gelöstem Buchblock, losen Lagen und weiteren Defekten. Teils etwas braunfleckig. Die OGraphik von Behrens (Der Kuss) stockfleckig. Insgesamt wohl erhalten mit zahlreichen wundervollen Original-Graphiken. With 92 (of 106) original graphics as well as numerous art supplements and splendid book decoration. 5 vols. bound in 10, 21 issues (= all published). 9 brown half leather on 6 bands with blindstamped title and 1 brown full leather with gilt title on cover and spine (the latter rubbed and scuffed, the others somewhat rubbed and partly slightly soiled, covers brownstained). - One of 1100 or 1400 copies. - "Pan was the first significant German periodical of the Nineties devoted to contemporary art and literature." (Garvey/Wick). - Contains numerous original prints in various techniques by renowned German and international artists of the time, including woodcuts, etchings and lithographs by Peter Behrens, Otto Eckmann, Félicien Rops, Paul Signac, Félix Vallotton, Max Liebermann, Ludwig von Hofmann, Artur Illies, Max Klinger, Käthe Kollwitz, Emil Orlik, Maurice Denis, Maximilien Luce, Henri Edmond Cross, Theo van Rysselberghe, Auguste Rodin and Hans Thoma. Partly signed in the plate. Printed on various high-quality papers, including Japan, China and laid paper. - The complete original prints from year I issues 3-5 (including the colour lithograph "Mademoiselle Marcelle" by H. Toulouse-Lautrec) as well as the etching by Köpping in Jg. III issue 4 are missing. - Bound in without orig. wrappers. The full-leather bound vol. 2 (erroneously titled vol. 1) with issues 3-5 from vol. 1 with detached book block, loose layers and other defects. Some brown spotting. The orig. print by Behrens (The Kiss) foxed. Overall well preserved with numerous wonderful original prints.
*PABLO PICASSO (1881-1973) 'Jacqueline de Profil' (Mourlot 294, Bloch 833, Reuße 702) 1957, signed in red crayon (heavily faded) lower right, numbered 47/50 in pencil lower left, signed and dated (in reverse) in plate upper left, lithograph, on Arches wove paper, deckle edges left and right, the full sheet 76cm x 57cm Provenance: Purchased from Christie's Contemporary Art, August 1985
*JOHN PIPER (1903-1992) 'Scotney Castle II' (Levinson 344) signed and numbered 11/50 in pencil to the margin, coloured etching on Velin Arches paper, printed by Kelpra Studio in 1982 and published by Kelpra Editions in 1983, the image 19cm x 38cm Provenance: Christie's Contemporary Art, with Certificate of Authenticity
*JOHN PIPER (1903-1992) A large pottery dish decorated with 'The Green Man' the interior decorated with the foliate pagan symbol against a deep blue or black ground, the undecorated exterior signed to the underside "J.P. 1981" surrounded by foliate brushstrokes, 39.5cm diameterProvenance: Private family collection, Dorset, formed over generations, including pictures selected by Edward Wolfe RA (1897-1982), a family friend. 'The Green Man' was a recurrent theme in Piper's work, the Artist finding inspiration from medieval church roof bosses and column capitals. The symbol of spring and rebirth was used in his paintings, prints and ceramics, including a collaboration with Wedgwood commissioned by Art Fund, seeing Piper alongside other contemporary artists, such as Peter Blake, Patrick Caulfield, Patrick Heron, Bruce McLean and Sir Eduardo Paolozzi designing a collection of plates.
§ Henry Moore O.M.,C.H (British 1898-1986) Figurine, 1983 5/9, signed and numbered, bronze(the bronze 10cm high, 5cm wide (4in high, 2in wide))Provenance: Christies Contemporary Art Galleries, London, October 1985; Private Collection, USA; Sothebys, New York, 7 December 2015, Lot 66; Private Collection, UK.Footnote: Literature: Bowness, Alan (ed.), Henry Moore: Complete Sculpture, 1980-86, vol. 6, London 1986, p.54, cat. no. 884 (another cast illustrated).
§ Vassilakis Takis (Greek 1925-2019) Signal, 1968 series 3, number 96, titled and numbered on 'Unlimited Bath Widcome Manor' label (to underside), enameled aluminium, chrome-plated metal, plastic, glass and electric system(220cm high, 23cm wide, 26cm deep (86.7in high, 9in wide, 10.25in deep))Footnote: “It’s only about revealing, in one way or another, the sensory vibrations or the interlacing potentials for energy that exist in the universe […] I think that’s the role of an artist” (Takis in an interview in G. Brett & M. Wellen (ed.s), Takis, Tate Modern, London and tour, exh. cat., 2019) Panayiotis Vassilakis, known as Takis, is considered one of the most important figures of international contemporary art. Despite having no formal training and not beginning to practice art until the age of twenty, Takis became one of the leading artists of the twentieth and twenty-first century, in particular for his development of kinetic art from the late 1950s. His early work in the 1940s was strongly influenced by Picasso and Giacometti – their exaggerated, caricatural figures were particularly interesting to the young artist. The 1950s saw Takis begin his instantly recognizable Signals series, one which he returns to throughout his career. It is said that his inspiration for this series arose while waiting for a train and becoming fascinated by the trackside signals, which provoked him to reject representational art and pursue sculpture that includes light and movement. These sculptures are imposing, otherworldly creations topped with metal shapes or flashing lights which sway in response to vibrations around them. This series would go on to include motors, bulbs, and fireworks and demonstrates his interest in researching movement and energies. His interest in the interlacing potentials for energy was so prolific that he was awarded a scholarship at the Massachusetts Institute of Technology in the Center of Advanced Visual Studies where he continued his studies into electromagnetic forces and the importance of energy binding us together. We are delighted to offer the important number 96 from Series 3 of the Signals series dating to 1968. This piece comprises two long enamelled aluminium poles standing over two metres high with flashing green, amber, and orange lights to the top. These long, flexible rods bend and move to create an almost musical harmony of colour and vibration. Takis’s legacy is clear from his extensive career: from his first one-man show in London in 1955 to his retrospective at Tate Modern in 2019, months before his death at the age of 93. Not only remembered for his important contribution as a visual artist, in 1969 he was also a co-founder of the Art Workers’ Coalition who fought for economic and political rights for artists in New York. Moreover in 1986 he founded the Takis Foundation in Athens, a foundation whose mission is to research and develop the arts and sciences, continuing his work and ensuring his legacy. The works of Panayiotis Vassilakis are important both in the development of a new aesthetic language exploring vibrations and light, and in their scientific exploration of energy. His work, and particularly his celebrated Signals series can be found in many important public collections such as Tate Modern in London, MoMA in New York, and in the UNESCO art collection in Paris.
§ Ian Davenport (British 1966-) Untitled, 1988 signed and dated (to reverse), oil on canvas(55.5cm x 55.5cm (21.9in x 21.9in))Provenance: Richard Salmon Gallery, London. Instantly recognisable for his signature pouring of paint onto a tilted surface, the work of abstract artist Ian Davenport occupy a significant place in contemporary British art. These early paintings date from the formative period of his career between graduating from Goldsmiths College in 1988, and his first solo exhibition in 1990 and Turner Prize nomination in 1991. His abstract paintings are created by pouring layers of paint onto prepared canvases or board making complex colour combinations that visualise the artist’s fascination with colour and its importance in establishing the boundaries between representation and abstraction, evoking the processes of the Post-painterly Abstraction movement in America in the 1950s and 60s. Often employing unconventional materials such as electric fans and nails, Davenport’s work explores the materiality of paint as a subject matter in its own right, creating compositions that considers the act of painting as well as the importance of visual harmony.
§ Ian Davenport (British 1966-) Untitled, circa 1989 signed and dated (to reverse), oil on canvas(151.5cm x 113.5cm (59.6in x 44.75in))Provenance: Karsten Schubert Ltd., London; Timothy Taylor Gallery, London; Richard Salmon Gallery, London. Instantly recognisable for his signature pouring of paint onto a tilted surface, the work of abstract artist Ian Davenport occupies a significant place in contemporary British art. These early paintings date from the formative period of his career between graduating from Goldsmiths College in 1988, and his first solo exhibition in 1990 and Turner Prize nomination in 1991. His abstract paintings are created by pouring layers of paint onto prepared canvases or board making complex colour combinations that visualise the artist’s fascination with colour and its importance in establishing the boundaries between representation and abstraction, evoking the processes of the Post-painterly Abstraction movement in America in the 1950s and 60s. Often employing unconventional materials such as electric fans and nails, Davenport’s work explores the materiality of paint as a subject matter in its own right, creating compositions that considers the act of painting as well as the importance of visual harmony.
§ ‡ Lino Tagliapietra (b.1934), Alfred De Credico (1944-2010) and Toots Zynsky (b.1951) Vase, circa signed 'Decredico / Tagliapietra / Zynsky', glass(32cm high, 31cm wide (12.6in high, 12.2in wide))Provenance: A Private European Collection of Studio & Contemporary Glass.Footnote: This work stems from a short period of fruitful collaboration between the three artists around 1995 to 1997. Alfred De Credico stated of their collaboration at the Rhode Island School of Design Museum (RISD) in 1996: "My interest in the collaborative process lies primarily in the opportunity it affords me to test my artistic voice and question the vocabulary I have been building as "abstraction language." Through the interaction of the glass collaboration I am forced to consider forms and colors that I ordinarily would not bring into play in the construction of my images. These elements are joined with and become part of the drawings I construct on the pasteralli. The result has often been startling to me and consequently raise new questions for me to ask myself both in the process of constructing the next glass vessel in the hot shop and back in my studio when making other art with the materials I am accustomed to using. Working with an artist of the caliber of Toots Zynsky, whose focus is so acute and intense and the excellent craftsman blowers that I have been fortunate to be working with, forces me to rethink moves which can often be taken for granted or assumed in the construction of an image. It is this questioning that causes artistic inquiry to push beyond what is known in order to find the point of resistance at which meaningful images are created. It heightens one's sense of the "formal" in the construction of an image, i.e. structure, shape, form, and space and opens the door through which the creative mind must pass in order to abandon what is known and invent new idioms in the development of artistic language."
§ ‡ Lino Tagliapietra (b.1934), Alfred De Credico (1944-2010) and Toots Zynsky (b.1951) Vase, circa glass(25cm high, 26cm wide (9.9in high, 10.25in wide))Provenance: A Private European Collection of Studio & Contemporary Glass.Footnote: This work stems from a short period of fruitful collaboration between the three artists around 1995 to 1997. Alfred De Credico stated of their collaboration at the Rhode Island School of Design Museum (RISD) in 1996: "My interest in the collaborative process lies primarily in the opportunity it affords me to test my artistic voice and question the vocabulary I have been building as "abstraction language." Through the interaction of the glass collaboration I am forced to consider forms and colors that I ordinarily would not bring into play in the construction of my images. These elements are joined with and become part of the drawings I construct on the pasteralli. The result has often been startling to me and consequently raise new questions for me to ask myself both in the process of constructing the next glass vessel in the hot shop and back in my studio when making other art with the materials I am accustomed to using. Working with an artist of the caliber of Toots Zynsky, whose focus is so acute and intense and the excellent craftsman blowers that I have been fortunate to be working with, forces me to rethink moves which can often be taken for granted or assumed in the construction of an image. It is this questioning that causes artistic inquiry to push beyond what is known in order to find the point of resistance at which meaningful images are created. It heightens one's sense of the "formal" in the construction of an image, i.e. structure, shape, form, and space and opens the door through which the creative mind must pass in order to abandon what is known and invent new idioms in the development of artistic language."
§ Ben Nicholson O.M. (British 1894-1982) Oh Boy!, circa 1933 mixed media and collage on board(17.7cm x 7.9cm (7in x 3.25in))Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner.Footnote: Oh Boy! is at once an immensely fun work of art made by the artist for his young son, whilst also being an important example of how Ben Nicholson progressed towards the pioneering reliefs for which he is acclaimed. Nicholson is remembered for his sense of humour and playfulness, which formed the basis of his relationship with his oldest son Jake. In 1934 Ben wrote to Winifred ‘Jake and I have such a good and easy contact, I do enjoy him enormously and always have but now very especially – and I know in return I can give him endless things.’ (letter from Ben Nicholson to Winifred Nicholson of 12 April 1934 quoted in Andrew Nicholson, Unknown Colour: Paintings, Letters, Writings by Winifred Nicholson, Faber & Faber, London, 1987, p. 146). In 1988 Jake affectionately recalled his father’s ‘jokey side’ as borne out in illustrated letters featuring dogs called Booboo or Ponto and horses called George or Rufus, who also appeared in paintings. (Jake Nicholson, ‘Ben Nicholson’s Fabrics’, The Nicholsons: A Story of Four People and Their Designs, York City Art Gallery, 1988, exh. cat., p. 38). Jake explained ‘he would build up a serious comment about art or life, then would suddenly pull the rug from under your feet with a pithy joke – perhaps about ginger biscuits.’ (Jake Nicholson, op.cit., p. 39). In Oh Boy! two collaged figures are formed from simple elements as if the result of a game. One is presented within a rectangle, like a goalkeeper to the other, at whose foot a ball is seen moving at speed. The moment of sporting drama is encapsulated in the title, written at the centre right. It is known that Ben and Jake enjoyed playing football together, not least due to a letter recounting a visit they paid to the artists Jean Arp and Sophie Taeuber-Arp in 1935, in which Ben wrote ‘Jake & I played a good deal of football all over Meudon.’ (letter from Ben Nicholson to Barbara Hepworth of 10 May 1935, quoted in ed. Lee Beard, Ben Nicholson: Writings and Ideas, Lund Humphries, London, 2019, p. 121.) At the same time, Oh Boy! shows how Nicholson was exploring the visual and structural possibilities of working in three dimensions – here collaged, but soon to be carved. The simplification of the human form, the abstracted and graphic representation of facial features and the emphasis on the circle to convey rhythm all speak to his contemporary, more serious concerns. Planes of colour in a palette dominated by black, white and red illustrate opposing team strips as well as emphasising a sense of surface. Nicholson made his first relief in December 1933 whilst in Paris visiting Winifred and their children. He reported this in a letter to Barbara Hepworth a day later, in which he wrote ‘I carved it all day long, it…looks like a primitive game. Jake and Kate came in at various stages and we rolled a marble about it.’ (letter of 12 December 1933 as quoted in Jeremy Lewison, Ben Nicholson, Tate Gallery, London, 1993, p. 216 in entry for cat.no. 49). Thus Jake was present at the moment of this breakthrough in International Modernism, which even so, father, son and daughter were able to turn into a game. We are grateful to Dr Lee Beard for his assistance in cataloguing this work.
SHOJI HAMADA (1894-1978) for Leach Pottery; a stoneware bowl covered in celadon glaze with scalloped decoration inlaid in white slip, rare early personal and pottery marks, made 1923, diameter 20cm. A rare, transitional work showing Hamada honing his skills. Almost certainly from the last firing of the original Leach Pottery kiln before it was dismantled and rebuilt. Exhibited: W B Paterson’s Gallery, 5 Old Bond Street, London, 1923. This was Hamada’s first exhibition and ‘the very first solo show of contemporary studio pottery in a Bond Street gallery … a precedent for subsequent exhibitions of all the major English studio potters of the decade’ – Julian Stair, ‘Genius and Circumstance: early criticism of Hamada’s pottery in England’, in T. Wilcox (ed), ‘Shoji Hamada: Master Potter’ (Lund Humphries, London), p. 17. Provenance: Purchased by the sculptor Agatha Walker from W B Paterson’s Gallery, 1923. Gifted by Walker to the potter Adrian Lewis-Evans, 1970. Comparators: A very similar but unmarked example is in the Crafts Study Centre collection in Farnham. For a similar and contemporary vase acquired from the same 1923 exhibition by Walker, and sold at Bonhams, ‘International Contemporary Ceramics’, 19 September 2006, lot 40, see Phillips in association with Maak, ‘The Art of Fire: Selections from the Dr John P Driscoll Collection’, 10 November 2021, lot 5. Additional InformationProfessional restoration to rim, otherwise appears good with no further signs of faults, damage or restorations.
Wolf Kahn (German/American, 1927-2020). Oil on canvas depicting a lush landscape of rolling hills titled "Overview on Ames Hill: Mid-Summer," 1979. Signed along the lower right. Labels from Ollendorff Fine Arts and Flanders Contemporary Art, Minneapolis, Minnesota, are affixed to the verso.Wolf Kahn was born in Stuttgart, Germany, in 1927. His early childhood was idyllic, and he was able to foster his love of art through painting lessons. However, in 1939, he and his family were forced to flee Germany to escape the rise of the Nazis. Once reunited with his musician father in New York City, Kahn was able to return to his artistic education at the New York High School of Music and Art, and later Hans HoffmanÃs School of Fine Art and the University of Chicago. Once working full time as an artist, Kahn was at the forefront of a group of young artists blending the sensibility of Abstract Expressionism with representational subject matter. Overview on Ames Hill: Mid-Summer is representative of KahnÃs work in this movement. The landscape is luminous and clearly reflects the rolling hills and fields of KahnÃs favored rural retreats. The landscape is given movement and emotion through the expressive, gestural brush strokes in the sky, tree, and hills.Unframed; Height: 30 in x width: 40 in. Framed; Height: 31 1/2 in x width: 41 1/2 in.
Edmund de Waal'In a Dark Wood', circa 2005Porcelain, pale blue celadon glaze.Tallest: 91 cm high Each impressed with artist's marks.Footnotes:ProvenanceBonhams, New York, 'International Post-War and Contemporary Ceramic Art', 5 June 2007, lot 136Acquired from the above by the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Daniel Mariga (Zimbabwean, c.1976-2006). 'Scratching Bird', lepidolite sculpture, signed. 51cm x 39cm. Daniel Mariga was the third son of the Zimbabwean sculptor Zoram Mariga, in 1995 he showed at the Chapungu Sculpture Park and became an artist in residence there from 1998, later exhibiting his work in Europe. Provenance: Purchased from Chapungu Sculpture Park in June 2000. Sold with Chapunga Sculpture Park Certificate of Authenticity. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
§ Bernard Dunstan RA (British, 1920-2017). 'An Orchestral Rehearsal', 2010. A study of a conductor and orchestra, oil on board, initialled BD lower left, 25.5cm x 29cm. Framed. With RA Now Auction label verso. Provenance: purchased from the Royal Academy of Arts 'RA Now Auction' in 2012. Sold with copy of RA invoice. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information. Condition Report: § Generally good condition overall, with some surface scratches and chipping to oil board.
George Gault (British, 1916-2001). 'Irish Landscape', tempera and acrylic on board, 1979, initialled GG and dated 79 lower right. 20cm x 26cm. Framed and glazed. Frame size 41.5cm x 44cm. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Kate Cledwyn (British, contemporary). A quadruple photographic image of windows on Perspex panel. 150 x 36cm. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Sina Khosravi (Canadian, b.1983). 'Green Acrylic fruits out of canvas', acrylic and string on canvas. Signed verso to stretcher and dated 20/3/2008. 15 x 10cm. Purchased from Saatchi Art in 2012, sold with copy of online receipt. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
David Willetts (British, b.1939). 'Distant Shores', still life depicting three bottles, oil on board. 18 x 20cm. With Thumb Gallery label verso. Framed. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017. Condition Report: Generally good condition overall, with some fairly minor marks and surface scratches to board.
Jo Tricklebank (British). 'Untitle III', an abstract over three square tiles. Ceramic silip cast forms. Each 19 x 19cm (3). Sold with copy of invoice from Stark Gallery Limited. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
David Renka (American, b.1952). 'Woman With Ivy', 1997. A figure seen behind leaves in terracotta. 61 x 43cm. Purchased directly from the artist in 2005. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Cast composition bust and shoulders of a woman resting her chin on her hand. 28 x 40cm. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Contemporary structural composite stone artwork, with hole at the top, partially hollow. 40 x 40 x 6cm. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Ashley Fitzgerald (British, b.1962). 'Cave Painting 6', 2003. Bright orange abstract, acrylic and pigment on canvas. 51 x 41cm. Signed and dated 03' verso. Sold with certificate of authenticity, signed by the artist, dated 2003. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Ashley Fitzgerald (British, b.1962). 'Orange Sky', 2003. Bright orange abstract, acrylic and pigment on canvas. 51 x 61cm. Signed and dated 2003 verso. Sold with certificate of authenticity, signed by the artist, dated 2003. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
David Renka (American, b.1952). 'The Artist and his Public', 2000. A wall plaque depicting a part male nude, and eye at window. Terracotta. 18.5 x 19.5cm. Purchased directly from the artist in 2005. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
George Gault (British, 1916-2011). 'Cyrano', 1995. A study of a man wearing a helmet, with a sword blade and castle behind, oil. Inscribed 'To Dear Trevor........' and signed verso. 17cm x 13cm. Framed and glazed. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Nino Raciti / Nino Hattingh (Italian, b.1939). A landscape featuring an African tribesman in profile, signed lower right. Oil on board. 8.5 x 16cm. Framed and glazed. Sold with copy of receipt from Camberwell College of Art 1998 Degree Show. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Jean Alexander Foster (American). Aboriginal inspired black dot work with vacant centre, acrylic on canvas. Signed to the stretcher. 51 x 40cm. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Ashley Fitzgerald (British, b.1962). 'Yellow Storm III', 2008. Orange, blue and black rectangular abstract, acrylic and pigment on canvas. 60.5 x 76cm. Signed, titled and dated 2008 verso. Sold with certificate of authenticity, signed by the artist, dated 2008. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Ashley Fitzgerald (British, b.1962). 'Yellow Storm II', 2008. Orange, blue and black square abstract, acrylic and pigment on canvas. 60.5 x 61cm. Signed, titled and dated 2008 verso. Sold with certificate of authenticity, signed by the artist. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Ashley Fitzgerald (British, b.1962). 'Asylum', 2013. A figurine standing within a half room with disintegrating far wall. Recycled materials, book art with figurine, in Perspex case. Case size 33 x 33cm. Sold with Certificate of Authenticity signed by the artist in 2014. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
20th Century English School. A shuttered view of a bridge over water and it's reflection. Initialled RM and dated 82'. Oil on board. 60 x 44.5cm. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Two carved wooden female figures, the tallest 40.5cm (2). From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017. Condition Report: General wear to the sculptures consistent with age, with extensive surface scratches to edges. Some surface discolouration in places.
Macdonald. Still life / abstract. Acrylic on board. 47.5 x 78.5cm. Framed. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Ashley Fitzgerald (British, b.1962). 'Yellow Storm I (Yorkshire Dales)', 2006. Yellow, blue and black square abstract, acrylic and pigment on canvas. 61 x 61cm. Signed, titled and dated 2006 verso. Sold with certificate of authenticity, signed by the artist, dated 2006. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.
Ashley Fitzgerald (British, b.1962). 'Into The Storm II', 2009. A large orange abstract with small blue central line near base. Oil, Acyclic and pigment on canvas. 101 x 101cm. Signed, titled and dated 2009 verso. Sold with certificate of authenticity, signed by the artist, dated 2009. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017
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