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Click here to subscribePair Compton Potters Art Guild Celtic terracotta jardinieres with stands, designed by Mary Seton Watts, cast in low relief with scroll motif, impressed circular wheel stamp mark, Reg. No 409999 58cm. diam. Literature: Veronica Franklin Gould Archibald Knox and Mary Seton Watts, Modern Celtic Art Garden Pottery, page 29 for a contemporary photograph illustrating this design, circa 1899 (One with repair and significant loss to one side)
Thomas Kruger 1918 - 1984 Signed and Numbered By The Artist Ltd Edition Lithographs - Titled 1. ' Sunscapes ' This Is Number 27 of 200. This Lithograph was Published by Christie's Contemporary Art, Printed by Atelier Gourdon Paris 1981 on Arches Paper. Using Up To Ten Colours. Lithograph and Frame Size 18.5 x 22.5 Inches - 46.5 cm x 57 cm. 2. Titled ' Sunscapes ' Half Light. This Is Number 144 of 200 Only. This Lithograph Was Published by Christie's Contemporary Art. Printed by Atelier Gourdon Paris 1981 on Arches Paper. Using up To Ten Colours. With Certificate of Authenticity and Letter to Back of Lithograph. Lithograph Size and Frame 17.5 x 22.5 Inches - 43.5 cm x 57 cm.
A Small Collection Of Silver Marcasite And Stone Set Jewellery Four items in total to include two contemporary crystal and silver set cross pendants, each stamped 925 silver. Also two silver and marcasite set brooches, each marked 925, the first in reproduction Art Deco style set with large central faux pearl. The second, an antique brooch with filigree edges and central mother of pearl disc.
A Mixed Collection Of Contemporary And Vintage Costume Jewellery A Varied Collection To Include Boxed, Faux Pearl And Paste Set Posy Brooch, Faux Pearl Necklace, Silver Tone Green Floral Pate Set Necklace, Silver Tone Maple Leaf Brooch. Also Reproduction Art Deco Style Cocktail Watch. Several Pairs Of Gold Tone 1980's Ear Rings Etc Please See Accompanying Image.
Ralph Steadman and Kurt Vonnegut, Modern Fiction and Art. Prints by Contemporary Authors, Lexington: University of Kentucky Art Museum, Petro III Graphics, 1999, limited edition no 10 of 50, exhibition catalogue signed by Vonnegut, Steadman, Joe Petro II, and Rachael Sadinsky (curator), two screen prints signed by the respective artists, Red Shark by Steadman and Messenger by Vonnegut, each 42.5 x 30.5cm, in black cloth portfolio.
French silver-plated flatware, Christofle & Cie, Paris, c.1930, Moderne Gramont pattern, comprising: 10 dinner forks, 9 dinner spoons, and 7 dinner knives with steel blades, the forks 21.6cm long, 44oz (26)The 'Moderne Gramont' pattern was designed by Bruno Mohring, an architect of Jugendstil in Germany. He was a member of the Deutscher Werkbund Association for Arts and Crafts, and many more. One of his buildings was brought from Germany to Mexico City, and is now The Chopo University Museum of contemporary art.
* DIANE RENDLE, MORNING IN STONETOWN oil on panel, signed 73cm x 73cm Framed and under glass Label verso: The Contemporary Fine Art Gallery, 31 High Street, Eton Note: Born and raised in East Africa, Diane's work is representative of diversity within culture, this combined with a love of travel and stories of explorers, creates work inspired by the vibrancy of foreign lands. Early in life, Diane was immersed in a highly patterned environment with richly coloured flora and fauna, providing a wealth of visual memories to inspire. Diane's work creates a world that cannot be realised, but is representative of a story-telling process, combined with her own imagination and ability to create this world inside her studio near the Scottish Borders. The result is illustrative scenes delicately painted in acrylic with a gentle aesthetic, each one retelling atale, much as a traveller would have done. Diane Rendle was born and raised in East Africa. After graduating from Hornsey College of Art, London in 1981 with a degree in Graphic Design and Illustration she moved to Edinburgh to work for a design consultancy. Diane has had a number of solo exhibitions with the Open Eye Gallery and taken part in many group exhibitions in Scotland. She has work in private collections throughout the UK.
* MICHAEL SCOTT (SCOTTISH 1946 - 2006), COME SAIL YOUR SHIPS AROUND ME oil on canvas, signed 120cm x 117cm Framed Notes: This lot includes a hardback copy of "Michael Scott, Testament" published in 2010. The painting features as a full page image on page 81 and confirms it was completed in 2001.This painting was inspired by "The Ship Song", the 1990 indie classic love song written and first performed by Nick Cave. The title of the painting is the first line of the song. The song has been covered by numerous artists most notably the 2010/11 collaboration of over 100 musicians as a promotional film and song for the Sydney Opera House. What became known as "The Ship Song Project" took almost a year to complete and in the first 24 hours after its launch, the film clip was shared online more than 1.7m times. It became a major media success and is credited with bringing about a 40% increase in ticket sales at the SOH. Michael Scott's large work rarely appears at auction but The Bathers, a 36 x 40 inch oil on canvas sold at Christie's, London on 28th October 2004 (lot 299) for £7170 (premium) and At The Riverbank, a smaller example was sold by McTear's for £4000 (hammer) - lot 1720, 26th August 2014. Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include: The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include: 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include: Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th aniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016.
A collection of prints of the Napoleonic period including: Baines, Edward (publisher) c.20 engraved maps, scenes and portraits from his History of the Wars of the French Revolution published between 1814-1817, some framed, various sizes. Baines (1774-1848) was proprietor of the Leeds Mercury and a determined political commentator, whom William Cobbett called 'the Great Liar of the North'. His History was initially offered in parts, starting in 1814. It would be unlikely many would have anticipated the dramatic return of l'Empereur, making this work one of the first contemporary histories of the war - having not actually finished yet. This discrepancy of dates (some plates before the return, some during the final year, and some from the immediate period after) makes the subjects especially interesting. One of the 1814 plates is a map of the French Empire, showing the heights reached, where one of the latest (1817) is Napoleon's final surrender on Bellerophon. Boussod, Valadon & Cie. (publishers) 5 coloured lithographs, framed, various sizes, late 19thc (post 1884 when Groupil & Cie became Boussod, Valadon & Cie). The publishers were major art dealers in late-19th century Paris. Their core business was the creation and sale of reproductions such as these, but they also sold original works by artists such as Bouguereau, Monet and Corot. The firm played a part in the story of Van Gogh as his uncle Vincent was a partner from 1861 till retirement in 1872, and his cousin Theo joined the firm in 1873. Van Gogh himself worked for them for 6 years in their offices in The Hague, London and Paris until they dismissed him after an unauthorised Christmass absence. With 2 other framed, coloured Napoleonic prints and some others. [Qty]
[§] JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932) MOUNTAINS, SUTHERLAND Signed and dated 1990, oil on board 81cm x 115cm (32in x 45.25in)James Morrison was born in Glasgow in 1932 and attended Glasgow School of Art from 1950 to 1954. This group of four oil paintings, all signed and dated by Morrison, exemplify the panoramic vistas and dramatic skyscapes which the artist is renowned for. In the canon of Scottish art landscape painting has been a symbol of Scottish identity since the eighteenth century and Morrison follows this tradition by exploring the diversity of his native country, drawing inspiration from the remote ruggedness of the West Coast to the rolling fields around his home in Angus where he settled in 1965. The painting, Mountains, Sutherland (1990) depicts a dramatic peak studded landscape cast in partial shadow by a vast sky filled with billowing clouds. Morrison’s descriptive title reflects the faithful naturalistic representation of the northern county’s sweeping moorlands and dramatic geological formations. These paintings were initially executed en plein air and then later finished in the studio which enabled Morrison to record each distinct season, weather or light. However, to describe Morrison as a realist would be to oversimplify his style. The variety of mark making in Morrison’s works subtly reveal the artist’s hand reflecting the impact of the European and American avant-garde who in the 1950s and 1960s were experimenting with a more expressive style of painting. Morrison works back into the painting by wiping away washes of colour to reveal the white gesso ground applied underneath in order to give the clouds their bright appearance and create an illusion of solidity against the opaque blue grey sky. Morrison’s also evokes the variety of textures in the natural landscape by using directional brushstrokes to suggest the movement of wind through the tufts of long grass in the foreground. These gestural marks add a degree of abstraction into Morrison’s landscapes which enable him to bridge the gap between the tradition of Scottish landscape painting and a contemporary expression of artistic individuality.
[§] STEVEN CAMPBELL (SCOTTISH 1953-2007) YOUNG CAMPER DISCOVERING GROTTO IN THE GROUND Oil on canvas 284.5cm x 284.5cm (112in x 112in) Provenance: Asher Faure Gallery, Los Angeles; Purchased by Boake and Marian Sells Exhibited: Solo Exhibition, Barbara Toll Fine Arts, New York, 1983; Artificial Paradise, Asher Faure Gallery, Los Angeles, 1986; British Art: The Literate Link, Asher Faure Gallery, Los Angeles, 1988Steven Campbell was born in Glasgow and originally worked as a maintenance engineer in a steelworks in Cambulsang before attending Glasgow School of Art and becoming one of the leading Scottish figurative painters of his generation.Campbell worked alongside the artists Ken Currie, Peter Howson and Adrian Wiszniewski, a group which later became known as the ‘New Glasgow Boys’. While their artistic output was not homogenous they all shared an interest in figurative painting during the early 1980s which broke away from the conceptual and minimal trends in Modern art at the turn of the twentieth century.After graduating from Glasgow School of Art in 1982 Campbell won a Fulbright Scholarship to study at the Pratt Institute in the United States. Campbell worked from a studio in Brooklyn until 1986 and this period was key in establishing his status as an internationally renowned artist whilst raising awareness of Scottish contemporary art on a global scale.Young Camper Discovering Grotto in The Ground is a major work representative of this period. It appeared in a solo show held at the Barbara Toll Gallery in 1983. Within days of the show, the doyen of the New York art critics, John Russell, fully endorsed the painterly qualities of a young, unknown Scottish artist in his New York Times review. From here it was purchased by significant US contemporary art collectors, Boake and Marian Sells.Campbell had further solo exhibitions across the world in locations as far reaching as Galerie Pierre Huiber in Geneva (1986) and Marlborough Fine Art in Tokyo (1990). His artwork is influenced by a diverse range of literary fiction from tales by the author P.G. Wodehouse to murder mysteries, resulting in his artworks appearing to be humorous and unsettling. Campbell was also influenced by children’s book illustrations accounting for his use of a rich and vibrant palette which intensified after his U.S. period. Campbell’s surreal compositions cannot be read as a conventional fictional narrative and his imaginary worlds intentionally challenge the viewer with their dreamlike quality leaving his artwork open to multiple interpretations.Campbell’s brightly coloured acrylic painting, Rising and Friend, painted in 1994 depicts two figures in blue and red shirts, who seem to float weightlessly within an abstract yellow, purple and green matrix. A figure floats inanimately in the background, his arm limply extended, pupils dilated and a shadow cast across his tilted head while the figure in the foreground confronts the viewer face on with a glassy green eyed stare, the hypnotic effect of which is intensified by the closely cropped composition. The tilted perspective is a common feature of Campbell’s compositions and reinforces the perplexity of the narrative as the figures seem to float across the space in a fantasy world which is exempt from the earthly limitations of gravity.This large-scale ink painting, Untitled (Explorers in a Boat), is a piece from the installation On Form and Fiction which was originally exhibited in 1990 at the Third Eye Gallery, Glasgow (now the Centre for Contemporary Art). The other collective remnants of which were part of the major exhibition GENERATION which celebrated 25 years of Contemporary Art in Scotland reflecting the seminal role Campbell played in the success of the movement.Campbell saw himself as a ‘director, writer and producer’ of these other-worldly scenes and he often repeated the figures in multiple artworks as if they were a cast of actors. The ink painting depicts two figures in a white sailboat struggling to navigate a stormy sea and is typical of the theatrical narratives which Campbell is renowned for. Campbell’s expressive mark making accentuates the drama of the scene as the tempest engulfs the stark white sail giving the painting a captivating kinetic energy and emphasising the peril of the sailors.
[§] STEVEN CAMPBELL (SCOTTISH 1953-2007) RISING AND FRIEND Signed and dated 'Dec' 1994' gallery label verso, acrylic on paper 29cm x 20cm (11.5in x 8in) Exhibited: William Hardie Gallery, GlasgowSteven Campbell was born in Glasgow and originally worked as a maintenance engineer in a steelworks in Cambulsang before attending Glasgow School of Art and becoming one of the leading Scottish figurative painters of his generation.Campbell worked alongside the artists Ken Currie, Peter Howson and Adrian Wiszniewski, a group which later became known as the ‘New Glasgow Boys’. While their artistic output was not homogenous they all shared an interest in figurative painting during the early 1980s which broke away from the conceptual and minimal trends in Modern art at the turn of the twentieth century.After graduating from Glasgow School of Art in 1982 Campbell won a Fulbright Scholarship to study at the Pratt Institute in the United States. Campbell worked from a studio in Brooklyn until 1986 and this period was key in establishing his status as an internationally renowned artist whilst raising awareness of Scottish contemporary art on a global scale.Young Camper Discovering Grotto in The Ground is a major work representative of this period. It appeared in a solo show held at the Barbara Toll Gallery in 1983. Within days of the show, the doyen of the New York art critics, John Russell, fully endorsed the painterly qualities of a young, unknown Scottish artist in his New York Times review. From here it was purchased by significant US contemporary art collectors, Boake and Marian Sells.Campbell had further solo exhibitions across the world in locations as far reaching as Galerie Pierre Huiber in Geneva (1986) and Marlborough Fine Art in Tokyo (1990). His artwork is influenced by a diverse range of literary fiction from tales by the author P.G. Wodehouse to murder mysteries, resulting in his artworks appearing to be humorous and unsettling. Campbell was also influenced by children’s book illustrations accounting for his use of a rich and vibrant palette which intensified after his U.S. period. Campbell’s surreal compositions cannot be read as a conventional fictional narrative and his imaginary worlds intentionally challenge the viewer with their dreamlike quality leaving his artwork open to multiple interpretations.Campbell’s brightly coloured acrylic painting, Rising and Friend, painted in 1994 depicts two figures in blue and red shirts, who seem to float weightlessly within an abstract yellow, purple and green matrix. A figure floats inanimately in the background, his arm limply extended, pupils dilated and a shadow cast across his tilted head while the figure in the foreground confronts the viewer face on with a glassy green eyed stare, the hypnotic effect of which is intensified by the closely cropped composition. The tilted perspective is a common feature of Campbell’s compositions and reinforces the perplexity of the narrative as the figures seem to float across the space in a fantasy world which is exempt from the earthly limitations of gravity.This large-scale ink painting, Untitled (Explorers in a Boat), is a piece from the installation On Form and Fiction which was originally exhibited in 1990 at the Third Eye Gallery, Glasgow (now the Centre for Contemporary Art). The other collective remnants of which were part of the major exhibition GENERATION which celebrated 25 years of Contemporary Art in Scotland reflecting the seminal role Campbell played in the success of the movement.Campbell saw himself as a ‘director, writer and producer’ of these other-worldly scenes and he often repeated the figures in multiple artworks as if they were a cast of actors. The ink painting depicts two figures in a white sailboat struggling to navigate a stormy sea and is typical of the theatrical narratives which Campbell is renowned for. Campbell’s expressive mark making accentuates the drama of the scene as the tempest engulfs the stark white sail giving the painting a captivating kinetic energy and emphasising the peril of the sailors.
LUCINDA WILKINSON (BRITISH CONTEMPORARY) LARSEN B. ICE SHELF NO. 3, FROM 'MOSAIC OF ANTARTICA - INTERNATIONAL POLAR YEAR' Kiln formed, sand blasted and etched glass panel 58.5cm x 92cm (23in x 36.25in) Note: Lucinda is a graduate of the Wimbledon School Of Art and Glasgow School of Art where she obtained a BA Hons degree in Sculpture, and an MFA in Fine Art. Much of her sculpture is inspired by the landscape; looking at rhythms and dimensions, and the 'energy' of the land. In 2008, whilst representing Scotland during an International Polar Year expedition, she produced 'Mosaic Of Antarctica', a series of glass engravings of the Antarctic, documenting climatic environmental changes to the landscape. Collaborating with scientists, the visual imagery was transcribed from satellite data showing the translucence of melting ice from the region's ice shelves, glaciers and sea ice. A visual recording of these environmental changes is archived at the British map Library in London. In her glasswork Wilkinson is committed to producing sculptural artworks which evoke strong environmental messages through beautiful, poignant imagery, which she hopes will serve as a wakeup call to the world.
[§] ALISON WATT O.B.E. (SCOTTISH B.1965) PLANTERS Signed, Glasgow School of Art label verso, oil on canvas 107cm x 138.5cm (42in x 54.5in) Provenance: Alison Watt's degree show at the Glasgow School of Art, 1988, where purchased by the current ownerALISON WATTWe are delighted to present a degree show work by renowned contemporary Scottish artist, Alison Watt, in this auction. Planters dates from 1986, the year before Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours. In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an on-going concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in. The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind. Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.
[§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STILL Signed verso, oil on card, with accompanying copies of two Alison Watt publications by the Ingleby Gallery, produced in a limited edition of 20 and presented in the set's original cloth bound box 16cm x 16cm (6.25in x 6.25in)ALISON WATTWe are delighted to present a degree show work by renowned contemporary Scottish artist, Alison Watt, in this auction. Planters dates from 1986, the year before Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours. In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an on-going concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in. The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind. Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.
[§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) BLUE HIGH SIERRA Mixed media collage on board 80cm x 107cm (31.5in x 42in) Exhibited: The Scottish Gallery, EdinburghBarbara Rae is one of the most distinguished contemporary artists in Scotland. She attended Edinburgh College of Art from 1961 to 1965 and with a travel scholarship, travelled in France and Spain in 1966. In 1967, she had her first solo exhibit in Edinburgh. She lectured at Aberdeen College of Art from 1972 to 1974 and at Glasgow School of Art from 1975 to 1996. Her work has won many awards and recognitions including two Major Scottish Arts Council Awards, the Guthrie Medal, and the Royal Scottish Academy Sir William Gillies Travel Award. In 1983, Rae was elected President of the Society of Scottish Artists. She has had a long association with the Royal Academy and has been a member since 1992 and a Royal Academician since 1996. Rae’s work has been exhibited all over the world and is held in many private collections. Rae’s work is concerned with the passage of time and history. She “distills the presence of mankind,” and often depicts subjects reflective of an area’s history and culture. She spends weeks getting to know the surrounding area and people before beginning her artwork. Highly regarded for her printmaking skills, Rae is also a skilled colourist. In “Overberg,” she uses more than 30 tones to complete the finished effect. Overberg, an area in South Africa, interested Rae because of its beautiful variety, where wheat fields are bisected by dirt roads, and purple mountains rise around them.
[§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) ANCESTOR Signed, mixed media 19cm x 19xcm (7.5in x 7.5in)Barbara Rae is one of the most distinguished contemporary artists in Scotland. She attended Edinburgh College of Art from 1961 to 1965 and with a travel scholarship, travelled in France and Spain in 1966. In 1967, she had her first solo exhibit in Edinburgh. She lectured at Aberdeen College of Art from 1972 to 1974 and at Glasgow School of Art from 1975 to 1996. Her work has won many awards and recognitions including two Major Scottish Arts Council Awards, the Guthrie Medal, and the Royal Scottish Academy Sir William Gillies Travel Award. In 1983, Rae was elected President of the Society of Scottish Artists. She has had a long association with the Royal Academy and has been a member since 1992 and a Royal Academician since 1996. Rae’s work has been exhibited all over the world and is held in many private collections. Rae’s work is concerned with the passage of time and history. She “distills the presence of mankind,” and often depicts subjects reflective of an area’s history and culture. She spends weeks getting to know the surrounding area and people before beginning her artwork. Highly regarded for her printmaking skills, Rae is also a skilled colourist. In “Overberg,” she uses more than 30 tones to complete the finished effect. Overberg, an area in South Africa, interested Rae because of its beautiful variety, where wheat fields are bisected by dirt roads, and purple mountains rise around them.
A Small Collection Of Silver Marcasite And Stone Set Jewellery Four items in total to include two contemporary crystal and silver set cross pendants, each stamped 925 silver. Also two silver and marcasite set brooches, each marked 925, the first in reproduction Art Deco style set with large central faux pearl. The second, an antique brooch with filigree edges and central mother of pearl disc.
Wallis (Alfred). Examples of the Book-Binders' Art of the XVI. and XVII. Centuries selected chiefly from the Royal Continental Libraries. With Descriptions and an Introduction, Exeter and London, privately printed, 1890, half-title, title in red & black, 40 photogravure plates, some spotting mostly to first and last few leaves, front blank with library label, lacking marbled free endpapers, library bookplates and labels to upper pastedown, top edge gilt, contemporary half morocco, neatly rebacked, calf title label to spine, folio Limited edition 55/100. (1)
[King (William)] The Art of Cookery, in Imitation of Horace's Art of Poetry. With some letters to Dr. Lister, and others: Occasion'd principally by the Title of a Book publish'd by the Doctor, being the Works of Apicius Coelius, Concerning the Soups and Sauces of the Antients, half-title, browned, contemporary panelled calf, sympathetically rebacked, corners worn, rubbed at edges, [Bitting p.260; Cagle 794; Maclean p.84; Oxford p.51; Simon BG 908; Vicaire 475], for Bernard Lintott, [1708] § Hearne (Thomas) Vindication of those who take the Oath of Allegiance, engraved portrait frontispiece of the author, some foxing, heavier at start, contemporary panelled calf, sympathetically rebacked, rubbed, no printer, 1731; and a small quantity of others, 18th century English Literature & History, v.s. (Sm.Qty.)
NO RESERVE Jones (Leslie Webber) & C.R.Morey. The Miniatures of the Manuscripts of Terence prior to the Thirteenth Century, 2 vol., original cloth, vol.2 with faded and frayed dust-jacket, Princeton [& others], [1930-31] § Veldeke (Heinrich von) Eneide: Die Bilder der Berliner Handschrift, contemporary half morocco, gilt, rubbed and marked, spine faded, Leipzig, 1939 § Wright (David H.) The Vatican Vergil: A Masterpiece of Late Antique Art, Berkeley & others, 1993; The Roman Vergil and the Origins of Medieval Book Design, 2001, plates and illustrations, some colour, the last two original cloth or boards with dust-jackets; and 2 others on the Vatican Virgil, v.s. (7)
Islamic Art.- Spain & North Africa.- Marcais (Georges) Les Faïences a reflets métalliques de la Grande Mosquée de Kairouan, 26 plates loose in pocket at end, 2 colour, original wrappers, Paris, 1928; Coupole et Plafonds de la Grande Mosquée de Kairouan, slight marginal damp-staining, original wrappers, uncut, Tunis & Paris, 1925 § Lévi-Provençal (E.) Histoire de l'Espagne Musulmane, 3 vol., original wrappers, spines faded, Paris & Leiden, 1950 § Gallotti (Jean) Le Jardin et la Maison Arabes au Maroc, 2 vol., original cloth-backed boards, uncut, 1926 § Terrasse (Henri) L'Art Hispano-Mauresque des origines au XIIIe siècle, contemporary half sheep, Paris, 1932 § Gabrieli (F.) & others. Maghreb Médiéval: L'Apogée de la Civilisation Islamique dans l'Occident Arabe, Lausanne, 1991 § Dodds (J.D.) Al-Andalus: the Art of Islamic Spain, New York, 1992, plates and illustrations, some colour, the last two original cloth with dust-jackets, the rest a little rubbed; and 9 others on Islamic art of Spain and North Africa, 4to & 8vo (19)
The British Printer. Eight original copies of this qto format journal 1904 - 1906. Containing text articles, colour plates and many other illustrations and adverts featuring contemporary notions of art & design. Together with 2 copies of the Caxton Magazine & vol.1 of Practical Printing. CONDITION REPORT: All items exceptionally well preserved.
Pair Compton Potters Art Guild Celtic terracotta jardinieres with stands, designed by Mary Seton Watts, cast in low relief with scroll motif, impressed circular wheel stamp mark, Reg. No 409999 58cm. diam. Literature: Veronica Franklin Gould Archibald Knox and Mary Seton Watts, Modern Celtic Art Garden Pottery, page 29 for a contemporary photograph illustrating this design, circa 1899 (One with repair and loss to one side).
A Collection Of Vintage And Contemporary Resin Jewellery Five items in total to include 1960's Pop Art chunky resin bangle in red an white stripe, 1960's square resin bangle, elasticated mother of pearl and seed bead bracelet, contemporary cocktail ring with large chartreuse cabochon, finally, a long eau de Nil faceted glass bead necklace. Please see accompanying image.
Goethe (Johann Wolfgang von), Faust, Translated by Abraham Hayward, With Illustrations by Willy Pogany, Hutchinson & Co., London 1908, xx, 210pp, [ii], tipped-in coloured plates throughout, contemporary red buckram as issued, the front board embossed gilt and coloured with an Art Nouveau tree and Gothic tracery, early 20th century Pictorial Armorial bookplate to front pastedown, 4to
Miscellaneous - The New, Complete, and Universal History, Description, and Survey of The Cities of London and Weftminfter (sic), The Borough of Southwark, And the Parts adjacent, Including Not only all the Parishes within the Bills of Mortality, But Likewise the Towns, Villages, Palaces, Seats, and Country, To the Extent of above Twenty Miles round; With all the late Improvements and Alterations, Written and Complied from Authentic Records and other genuine Information, By a Society of Gentlemen, The Whole Revised, Corrected, and Improved, by William Thornton, Esq [...], Alex. Hogg, London [n.d., 1784], lacking plates, 19th century boards and calf spine (disbound), crown folio; An Essay on Ornamental Art; containing A Historical Sketch of the Decorative Arts, with Some Inquiry into the Theory of Ornament, Illustrated with Twenty-One Figures, [presumably London, c. 1845], full-page lithographic plates, contemporary buckram boards (disbound), crown folio, [2], (both catalogued with faults)
Yellow Crown - Chris GuestOil on Panel 129.5 x 101.6cmChris Guest is a London based Artist.He creates paintings in a classic figurative tradition, coupled with a contemporary twist, utilising classical drawing and oil painting techniques, learnt at London Fine Arts in Battersea. He began painting and drawing from a very young age, and first started making money from art aged just 14, drawing portraits of music icons for other pupils at school.At age 18, Chris began showing his work in galleries in Cornwall, and has since exhibited extensively throughout the UK and the US.His originals and prints are collected worldwide, and his art has been featured in many magazines, publications and galleries around the globe. Chris also holds regular painting workshops around the UK and US.
Warrior 2011 - Dave WhiteXL Limited Edition Print Giclee on Aquarelle Paper — Hand finished with Platinum Leaf Limited Edition 94 x 127 cmDave White is a contemporary British Artist who dedicates his work to celebrating popular culture and interpreting emotive issues.White graduated with a BA (Hons) Fine Art (Painting) at Liverpool John Moores University. He has enjoyed success from the inception of his career with selection for the Northern Graduates exhibition at the Royal College of Art in 1994, then exhibiting his initial animals series. A highlight of this period was exhibiting at Sotheby's London and international art fairs.White has continued to reflect popular culture and in 2002 he pioneered the 'Sneaker Art' movement with the execution of pop art inspired sneaker portraits. This has led to a long term collaborations with Nike and Brand Jordan. This special relationship continues to this day with his most recent project the Size? x Nike x AM 95 DW released in Europe, Japan and the USA in 2016.International exhibition career highlights include the People's Square Exhibition Hall (Shanghai), Dia Art Centre (New York), Centre for Arts (Rotterdam), Art Basel Week (Miami), Truman Brewery (London), Liverpool International Biennial of Contemporary Art, New Museum of Contemporary Art (New York) on the Project on Creativity with Chuck Close, Hospital Club Gallery (London) and the Goss Michael Foundation (Dallas) for MTV RE:DEFINE with The Future Tense.The Aquatic series was released in 2013 with solo exhibitions in London and Copenhagen. White's first retrospective 'Sold Out' with Loughran Gallery, was also held in London, detailing a limited edition back catalogue since 2010. Other notable highlights include : a collaboration with MTV to customise an EMA Award for a charity auction in London, launching the Staple Clothing (NY) colab collection, BT ArtBox (London), a feature on The Brit List courtesy of Shortlist Magazine and Harpers Bazaar special art edition (Asia).2014 brought a debut solo exhibition with the 'Apex' collection at Gusford | los angeles, to coincide with this a collaboration with Tim Bessell, led to the launch of a Bessell & White Surfboard.The 'Albion' collection launched with Loughran Gallery in London. It was described by fadwebsite as one of the top five exhibitions to see during Frieze week. One of the highlights of this exhibition was a customised E-Type Jaguar which was a hand painted commission, as featured on London Live television.2015 featured international group exhibitions, such as with Joseph Gross Gallery in New York and the launch of the 'Critical' collection in the largest scale sell out London solo exhibition with Loughran Gallery.2016 saw further exhibitions wtih Joseph Gross Gallery at the Texas Contemporary and Art Market at The Hamptons.An international signature sneaker release with Size? x Nike for the AM95 DW, depicting both the Rabbit and Fox artworks from the Albion Collection was released in the UK with Size?, Beams Tokyo and Kith, New York with a colab tee project.2017 has brought solo exhibitions with Nelly Duff and Drang Gallery along with a debut auction and group exhibition at Christie's, London for Rays of Sunshine Charity (special thanks to Loughran Gallery).
Never Never Never Give Up (Pink)Mr Brainwash Silkscreen & Mixed Media on Paper - Framed 127 x 95cmBorn in 1966 in Garges-les-Gonesse, France, Thierry Guetta, professionally known as Mr. Brainwash, moved to Los Angeles with his family when he was 15 after his mother passed away.Guetta owned a vintage clothing store in Los Angeles and occupied himself as an amateur videographer. He was constantly filming his life and those around him, amassing hours of footage. While visiting Paris, he came upon the secret identity of his cousin - street artist Space Invader. During the remainder of the visit, Guetta followed Invader around and filmed him creating his street art. He quickly became fascinated with the clandestine art process and sought another subject when he returned to the states. This led him to Shepard Fairey, a famous street artist in the United States.Guetta followed Fairey around for 10 months, taping his clandestine creations. Around this time Guetta was also taking film of many other street artists. It was soon after that Guetta met Banksy, infamous across the world for his provocative street art. Banksy allowed him to film with the caveat that his identity would be shrouded from the public. After taking thousands of hours of video of these street artists, Guetta edited them into a film. After watching the film, Banksy coopted the footage, telling Guetta that maybe he should try his hand at street art instead. He never knew how literally Guetta would take him.Almost overnight, Guetta adopted the personality of Mr. Brainwash (MBW). Quickly, the new story became about Mr. Brainwash's swift rise to notoriety as he attempted to pull off his debut exhibit Life in Beautiful in Los Angeles in 2008.This was the subject of the Banksy film Exit Through the Gift Shop. Though some were skeptical, the show came together and was enormously successful. The two week show was extended for three months, and Mr. Brainwash made a name for himself in the street art world. Soon, commissions were rolling in.In 2009, he designed the cover for Madonna's Celebration album. Since, he has had many more successful shows, including pop ups at Art Basel Miami and in New York City. Mr. Brainwash's art is a combination of pop imagery and contemporary cultural icons, leading to a pop graffiti street art aesthetic.Mr. Brainwash currently lives and works in Los Angeles.
Sara, titanium white, buff titanium, Oil on Canvas, Roni Stretch (British, 1964) 60” x 44”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Red Tomahawk, paynes grey, Vandyke brown, Oil on Canvas, Roni Stretch (British, 1964) 45” x 53”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Red Dog, paynes grey, Vandyke brown, Oil on Canvas, Roni Stretch (British, 1964) 45” x 53”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lila, titanium white, salt white, Oil on Canvas, Roni Stretch (British, 1964) 60” x 42”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Roma 33, titanium white, first snow, Oil on Canvas, Roni Stretch (British, 1964) 24” x 30”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
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