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Click here to subscribeSUE ATKINSON (b. 1949) Framed, signed, 2015, oil on board, Contemporary Naive coastal composition, busy beach scene with figures looking for shells along shoreline, Atkinson is a member of the Leeds Fine Art Club as well as having exhibited widely at the R.A., N.E.A.C., R.W.S. and R.S.M.A., 22.5cm x 33.5cm. Provenance: Purchased directly from the artist. (ARR).
SUE ATKINSON (b. 1949) Framed, signed, Naive Contemporary oil on cardboard, showing various figures, Atkinson is a member of the Leeds Fine Art Club as well as having exhibited widely at the R.A., N.E.A.C., R.W.S. and R.S.M.A., 26cm x 25cm. Provenance: Purchased directly from the artist. (ARR).
An early 20thC Art Nouveau bleached walnut sideboard, the low superstructure incorporating a concave shelf and pierced ends, the base comprising an overhanging top, on decorative brackets, above two in-line drawers with contemporary, triangular, cast brass drop handles on shaped backplates, over a pair of doors, the panels carved with organic whiplash designs, raised on extended stile feet 48''h 54''w
KOROVIN, KONSTANTIN (1861-1939) Street in the South of France , signed and dated 1923. Oil on canvas, 60.5 by 80 cm. Provenance: Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov.Painted by Konstantin Korovin in 1923, Street in the South of France is one of the earliest works from the period which followed his voluntary exile from the Soviet Union. It is part of the cycle of brilliant, masterly pictures that the artist created over a number of years on his trips to the sea. His contemporaries recall that he could interrupt a stroll at any corner or bring his driver to a halt with the words “Stop! I want to paint!” and then on the spot he would sketch a scene, which to those around him would appear unremarkable, but in Korovin’s hands would unexpectedly acquire integrity as a subject worth portraying. In Korovin’s French and Crimean landscapes it becomes especially apparent that the painting is more important to the artist than the subject, and the fragmentary, sometimes incidental composition is only a pretext for creating a veritable poem of light and colour. Street in the South of France is one of these impetuous works which preserve for us Korovin’s mastery of the painter’s art and the maxim that guided his creative effort: “more gladness, more brightness”. Genre paintings such as this were a rarity in Korovin’s oeuvre at the time. The features of the street scene – with its lush gardens and women passers-by all bathed in a midday torpor – call the mind towards the everyday details, which are characteristic of the artist’s earlier productions. The sunlight, dappled with pink and the purple shadows on the road are typical of the artist’s palette. Korovin’s mastery of the brush and outstanding sense of colour, both of which are displayed to full effect in this painting, was aptly described by a contemporary, who said that “All the colours of the world smiled at him.
MID 20TH CENTURY FURNITURE REFERENCE BOOKS'1900-1910s Decorative Art',Taschen,'20s Decorative Art',Taschen,'60s Decorative Art',Taschen,'70s Decorative Art',Taschen,Garner, Philippe,'Twentieth-Century Furniture',Norbury Betty,'Furniture for the 21st Century',Stobart Davies, 1999,'The Furniture of Carlo Mollino',Phaidon, 2006,'Mobel und Wohnraum',Les Editions d'Architecture, 1947,'Lo Stile Liberty in Italia',1967,'Contemporary Classics: Furniture of the Masters',Whitney, 1990,'Il Modo Italiano, Italian Design and Avant-garde in the 20th Century','Furniture & Interiors of the 1970s', andtwelve further books (24)
8th century AD. A convex gilt-bronze mount comprising a chip-carved plaque and beast-head finial; the plaque rectangular with a median panel of regular interlace, flange borders with a row of fine punched triangles and holes for attachment; the beast-head with segmented oval ears, chamfered lateral edges and keeled snout, raised nostrils to the lower edge, rows of fine triangular punchmarks to the top of the head below and above the ears, fine incised concentric curves radiating from below the eyes along the snout; both ears and one eye set with a small glass domed stud, the other eye opened out. Cf. Hammond, B. British Artefacts vol.2 - Middle Saxon & Viking, Witham, 2010, item 1.6-g with interlace panel, 1.6-i with concentric lines below the eyes and raised nostrils; Webster, L. & Backhouse, J. The Making of England. Anglo-Saxon Art and Culture AD 600-900, London, 1991, item 47. The mount belongs to a class of Irish or Irish-inspired beast-head mounts from Anglo-Saxon England in 8th century contexts. A facing beast-head with similar features appears on the Coppergate helmet (Webster & Backhouse, 1991, item 47) where it connects the gilt-bronze crest to the arched brows. It is probable that this Irish influence can be directly related to the close connections between the English church and Irish missionaries, although the artistic influence operated in both directions and created a characteristic Insular Style of decoration which appears on both sides of the Irish Sea and also in European contexts. The tiny scale of execution and the fineness of the detailing are difficult to reproduce photographically and must have been almost invisible to contemporary casual observers. 11 grams, 43mm (1 3/4"). Found near Thetford, Norfolk, UK. Fine condition.
William Crosbie (Glasgow School of Art): Unframed oil on canvas; Surreal Female Form, signed lower left Crosbie 39 (9 x 7 inches). PROVENANCE: Vendor's Father was a contemporary of Crosbie at Glasgow Art School. CONDITION REPORT: Paint loss to lower and upper edges of canvas. In need of a clean. NB. The colour internet image of this painting enhances the actual colour.
A RARE CHINESE PORCELAIN-INLAID LACQUER LARGE TABLESCREEN, one side decorated in gilt with a warrior-guardian, the other side with a porcelain-inlaid calligraphy poem relating to tea drinking, the giltwood stand with scroll supports and a foliate-carved apron, Qing, 17th/18th century, 44.5" high overall. Provenance: Private collection, West Dorset. Porcelain-inlaid calligraphic panels are very rare, making the present lot an exciting discovery. It has been suggested that the technique was first used by the renowned kiln supervisor Tang Ying (1682-1756) owing to several extant examples bearing his signature. It seems likely that this tablescreen is near contemporary with Tang Ying's period of operation. For a discussion of the subject, see Huang Qing-Hua, 'The Forgotten, Excellent Tang Kilns: A first look into the couplets and hanging panels for Tang Ying porcelains', The National Palace Museum Monthly of Chinese Art, no.363, June 2013, pp.110-119. For a related pair of porcelain-inlaid lacquer calligraphic panels, see Sotheby's, Hong Kong, 8th October 2013, lot 3081.
SIX BARRY DAVIES ORIENTAL ART CATALOGUES RELATING TO JAPANESE ART including: "Contemporary Lacquer Unryuan The New Generation", 1993; "Japanese Prints, Images of the Floating World", 1998; "Japanese Lacquer: The Collection of Mike and Hiroko Dean", 2002; "Netsuke from the Teddy Hahn Collection", 1996; "Japanese Enamels of the Golden Age", 1990; "Inro and Lacquer from the Jacques Carre Collection"; and other reference books including "Takarabukuro" by Mitsuhiro; "The Dragon King of the Sea" by Impey & Fairley, 1991; "Treasures of Imperial Japan. Ceramics from the Khalili Collection. National Musuem of Wales", 1994; "Catalogue of the H. Seymour Trower Collection of Japanese Art", edited by Henri Joly, Glendining, London 1913; and "Dance of Life" (11)
Václav Špála (Czech 1885-1946) [ARR]/The Old Tower at the Entrance to Marseille Port/signed and dated 1926/oil on canvas, 63cm x 80cm/Provenance: This picture was brought out of Czechoslovakia in 1938 by its owner, Norbert Gross, a solicitor and a collector of contemporary art. Having been advised by a Sudeten German that he was on a Nazi list, he left Prague hurriedly with his wife Mitzi and arrived in London where he had professional contacts. Thence by descent to the vendor/Literature: Recorded in the artist's archive, No.123/Note: Špála, a painter and graphic designer, studied at Prague Academy. His early work was influenced by Fauvism and later by Cubism. From 1923 he produced many still life paintings and landscapes. He was initially rejected by Czech society, but later lionised and recognised with the title 'National Artist' in 1946 . His work is highly sought after and he is considered to be a 20th Century great by Czech collectors/see illustration/*PLEASE NOTE ARTIST'S RESALE RIGHT MAY APPLY TO THIS LOT* Condition Report: *PLEASE NOTE ARTIST'S RESALE RIGHT MAY APPLY TO THIS LOT*
A Quaint Treatise on "Flees, and the Art a Artyfichall Flee Making, A Quaint Treatise on "Flees, and the Art a Artyfichall Flee Making," first edition , second issue, 2 mounted chromolithographed plates after James Poole within gilt borders (1 loose), 23 flies with dressing elements and 2 large completed flies in 22 sunken compartments, all within red printed borders, foxing throughout, contemporary ink name on half-title, upper hinge broken, , original green gilt-pictorial cloth decorated in black, rubbed, corners worn, g.e., [W p.3], 4to, 1876.
A Concise Treatise on the Art of Angling, The Third edition A Concise Treatise on the Art of Angling, The Third edition, the Jupp copy with Christie's lot number 25 February 1878 on front pastedown, engraved frontispiece, title extensively browned, some foxing, contemporary half calf, gilt, worn, spine ruled in gilt and stamped in blind, [W p.31], 12mo, for B. Crosby, 1794. Edward Basil Jupp (1812-77), lawyer and antiquary; collector of Bewick.
The Art of Angling, The Fourth Edition , title with woodcut vignette The Art of Angling, The Fourth Edition , title with woodcut vignette, engraved frontispiece and woodcut illustrations, frontispiece and some illustrations with contemporary hand-colouring, title slightly offset, browned, ink inscription on Edward William Stillingfleet on front free endpaper, hinges weak, contemporary calf, rubbed, corners worn, joints splitting, 12mo, T. Lowndes, 1774.
Seroux d'Agincourt (Jean Baptiste Louis Georges) - Histoire de l'Art par les Monumens, depuis sa Décadence au IVe Siècle jusqu'à son Renouvellement au XVIe, 6 vol., half-titles, engraved portrait medallion and one or two other text illustrations, 325 engraved plates of architecture, sculpture and painting after Giacomo Machiavelli and others, most with tissue guards, plate LVII in vol.4 torn and creased at fore-edge not affecting image, some spotting and soiling, occasional browning and light marginal staining, engraved book-label of George Cornwall Legh and shelf-label of High Legh library, contemporary blue paste-paper boards, uncut, worn, spines lacking or defective, folio, Paris, 1823. Important record of the art of the Middle Ages, intended as a continuation of Winckelmann's Geschichte der Kunst des Altertums of 1764.
Evelyn (John) - Sculptura, or the History and Art of Chalcography, and Engraving in Copper, second edition, engraved portrait frontispiece, 2 engraved plates, 1 a folding mezzotint, lacks final 3 ff., L 2-4, with the end of The Contents, supplied in photocopy, closed tear to a5 & 6, contemporary speckled calf, gilt rules, rubbed, rebacked, 8vo, J. Payne , 1755.
Charlie Sheard (Australian, b. 1960) Four studies of heads after Francesco Clemente (Italian, b.1952) various mediums including oil, gouache and charcoal (4) 29 x 20cm (11 x 8in) Provenance: From the collection of the late Christopher Hogwood, CBE Charlie Sheard is an Australian visual artist who was born in 1960. Charlie Sheard has had several gallery and museum exhibitions, including at the Flinders Lane Gallery and at the Charles Nodrum Gallery. Several works by the artist have been sold at auction, including 'The Mystical Marriage' sold at Shapiro Auctioneers 'Three Collections of Contemporary Art & Sculpture' in 2015. Various mediums including gouache, pencil, watercolour and pastel - conditon appears fine.
LEYBOURN, W. ‘THE ART OF DIALLING’, Sm. 4to. London, J. Grover, 1681. Two engraved plates (one folding and mounted), numerous woodcut instructions and diagrams, some large, some browning and staining, a few pen trials, contemporary English panelled calf, re-backed, rather worn. Second edition, Wing L1901
African Contemporary Art: A framed oil on board signed Mruta (Hashim Bushier), a student of Tinga Tinga and a member of TACS. Only five students were taught by Tinga Tinga who refused to teach anymore but he let Mruta stay and watch and he went on to become one of the founding members of Tinga Tinga.
* RACHEL HOWARD (BRITISH b. 1969), THE ARTIST'S NEWBORN gloss paint and acrylic on canvas, signed and dated 2006 verso 29.5cm x 42.5cm Framed Note: Rachel Howard (b. 1969, Durham, UK) studied at Goldsmiths College and lives and works in London. She was shortlisted for the Jerwood Drawing Prize in 2004, and won the British Council Award in 2008. Selected solo exhibitions include: At Sea, Jerwood Gallery, Hastings, UK (2015); Northern Echo, Blain | Southern, London (2014); Folie à Deux, Blain | Southern, London (2011); Repetition is Truth- Via Dolorosa, Museo d'Arte Contemporanea Donna Regina, Naples (2011); Still Life / Still Here, Rachel Howard, New Paintings, Sala Pelaires, Palma de Mallorca (2011); Human Shrapnel- oil drawings on paper, Other Criteria, London (2010); and How to Disappear Completely - New Work by Rachel Howard, Haunch of Venison, London (2008). Selected group exhibitions include: Sleepless, Beds in History and Contemporary Art, 21er Haus, Vienna, AT (2015); Drawing Biennial, Drawing Room, London (2015/13/11); Untitled (Unconscious), T. J. Boulting, London (2014); Invitation to a Beheading, curated by Rachel Howard, Marianne Boesky, 64th Street, New York (2013); Freedom Not Genius, Multimedia Art Museum, Moscow (2013-14); The Human Body a Series of Etchings, Alteria Art, London (2012); Gravity and Disgrace, curated by Rachel Howard, Blain | Southern Gallery, London (2012); Summer Exhibition 2012, Royal Academy, London (2012); The Special Edition Show, AFM Collection, CCA Andratx, Mallorca (2012); Over the Rainbow: drawings by Rachel Howard, Poetry by Sue Hubbard, Eleven Spitalfields Gallery, London (2011); Selektionseffekte, Blain | Southern, Berlin (2011); and Contemporary Magic: A Tarot Deck Art Project, Andy Warhol Museum, Pittsburgh, Pennsylvania (2011). Howard has work in many public collections, including: Ackland Art Museum, North Carolina, US; CCA Andratx, Mallorca; Goss-Michael Foundation, Dallas, US; Hiscox, London; Museum van Loon, Amsterdam; and the Olbricht Collection, DE. She is represented by Blain | Southern Gallery, London.
* WILLIAM SELBY RWS RSW ROI RBA NEAC (BRITISH b 1933 - ) STILL LIFE 1 acrylic, signed 55cm x 39cm (21.5 x 15 inches) Framed Provenance: Exhibited The Royal Academy Summer Exhibition (London) 1985. Exhibition label verso. Note: Selby has emerged as an important name in British Art. His contemporary paintings have created an impressive following and Selby has exhibited at the principal Academies, Institutes and Societies of Arts, where he has won many major art awards and fellowships. William Selby's work is exhibited at many of the UK's finest contemporary galleries including Thompson's Gallery (London), The Red Rag Gallery, Whitington Fine Art and Adam Gallery. Selby's paintings rarely appear at auction but notably on 20th June 2013, Bloomsbury Auctions London sold a 73cm x 89cm acrylic still life (lot 47) for £4200 (hammer).
GRAHAM MCKEAN, THE NIGHT SHIFT oil on canvas, signed 92cm x 61cm Framed Note: Graham McKean is one of Scotland's most accomplished artists with a unique style which is instantly recognisable. He has enjoyed solo shows at some of London's most prestigious contemporary galleries and his work has been exhibited all around the world. His enthusiastic collectors include: Standard Life, Oran Mor (Glasgow), Baillie Gifford, Black Appointments, The Scottish Arts Council, Royce Plc, William Grant & Sons Limited, North Ayrshire Council, Mora Marine Services (Vera Cruz, Mexico), The Ralli Museum (Switzerland and Israel), Glasgow Celtic Football Club, Daniel Stewart and Company Financial Services, Aberdeen Asset Management and Demontfort Fine Art.
GRAHAM MCKEAN, IN DEEP oil on canvas, signed 71cm x 51cm Framed Note: Graham McKean is one of Scotland's most accomplished artists with a unique style which is instantly recognisable. He has enjoyed solo shows at some of London's most prestigious contemporary galleries and his work has been exhibited all around the world. His enthusiastic collectors include: Standard Life, Oran Mor (Glasgow), Baillie Gifford, Black Appointments, The Scottish Arts Council, Royce Plc, William Grant & Sons Limited, North Ayrshire Council, Mora Marine Services (Vera Cruz, Mexico), The Ralli Museum (Switzerland and Israel), Glasgow Celtic Football Club, Daniel Stewart and Company Financial Services, Aberdeen Asset Management and Demontfort Fine Art.
GRAHAM MCKEAN, A CAPTAIN OF INDUSTRY oil on canvas, signed 71cm x 51cm Framed Note: Graham McKean is one of Scotland's most accomplished artists with a unique style which is instantly recognisable. He has enjoyed solo shows at some of London's most prestigious contemporary galleries and his work has been exhibited all around the world. His enthusiastic collectors include: Standard Life, Oran Mor (Glasgow), Baillie Gifford, Black Appointments, The Scottish Arts Council, Royce Plc, William Grant & Sons Limited, North Ayrshire Council, Mora Marine Services (Vera Cruz, Mexico), The Ralli Museum (Switzerland and Israel), Glasgow Celtic Football Club, Daniel Stewart and Company Financial Services, Aberdeen Asset Management and Demontfort Fine Art.
§ Adam Lowe (British, b.1959) Nude charcoal 67 x 102cm (26 x 40in) Provenance: The Purdy Hicks Gallery, 65 Hopton Street, London, SE1. Born in Oxfordshire in 1959, Adam Lowe studied at the Ruskin School of Drawing in Oxford, where he met his contemporary Piers Wardle. His work is part of the permanent collection of the Whitworth Gallery at the University of Manchester. He has also exhibited at the MIMA (Middlesbrough Institute of Modern Art). Condition appears fine.
§ Lionel March (British, b.1934) Rotating cruciform with field strictures, 1963 acrylic and collage on board 61 x 61cm (24 x 24in) Provenance: From the collection of Peter Inskip, Trinity House, Cardington, Bedfordshire. Lionel March was born in Hove in 1934, from an early age he excelled in the field of mathematics, in 1954 he won a scholarship to study Mathematics at Cambridge University receiving commendation from Alan Turing for his "imagination and competence". March is renowned as one of the world's first digital artists. His work is influenced by mathematical principles as well as geometric patterns and a desire to conform to the golden ratio. His first solo exhibition was in 1962 at the Institute of Contemporary Art London. March holds a doctorate and has published several papers in notable journals, he is also a respected architect. Lionel March was Rector of the Royal College of Art. Unframed and a little dirty.
After Jacques Adnet, (French, 1901-1984), 'Le Pigeon S'Envole', a large patinated bronze of a stylised bird, the stepped base stamped Adnet, Paris 48cm (19in) Jacques Adnet (1901- 1984 ) was a French art deco designer and architect know particularly for his furniture designs using leather. He believed in design paired down with a geometrical simplicity and is quoted as remarking about his designs "What a lot of work to achieve simplicity". His furniture and designs can be found in the Elysee Palace and headquarters of UNESCO. Contemporary designers acknowledge that he created a legacy of fine design that feels "modern" even today. Likely that this is a casting from the second half of the 20th century, but in excellent condition.
§ Cavendish Morton, RI, ROI (British, 1911-2015) Apple Orchard, Winter, Essex, 1965 signed lower right "Cavendish Morton 1965" mixed media 53 x 73cm (21 x 28in) Provenance: Cavendish Morton, 91st Birthday Exhibition, The Chappel Galleries, 15 Colchester Road, Chappel, Essex, 2-23 February, 2002, No. 23. Cavendish Morton died this year at the age of 103. His pictures hang in many major public and private collections including the British Museum, Glasgow Museum, the Norwich Castle Museum and the Contemporary Art Society. Condition is fine.
§ Frank Runacres, ARCA, NEAC (British, 1904-1974) Girl in Venice signed lower right "F Runacres" oil on board 50 x 63cm (20 x 25in) Frank Runacres studied at St. Martin's School of Art, at the Slade School of Fine Arts, and at the Royal College of Art under Sir William Rothenstein between 1930 and 1933, where he was a contemporary of Edward Bawden and Eric Ravilious. His work is represented in many distinguished private collections, as well as the Tate Gallery and the Manchester City Art Gallery. He exhibited at the Leicester Gallery and the New Marlborough Gallery. He was made an Associate of the Royal College of Arts in 1933 and also taught at the Hornsey College of Art. Condition is fine.
§ David Carr (British, 1915-1968) Abstract I oil on board 38 x 86cm (15 x 34in) Provenance: The Artist's studio sale, Sotheby's, London, 2007; with Louise Kosman, 8 Burgess Terrace, Edinburgh, where purchased by the late owner David Carr was born at Petersham, Surrey, and studied at the Byam Shaw School of Art and the East Anglian School of Painting and Drawing under Cedric Morris and Lett-Haines, alongside Lucian Freud. His work was exhibited in New York in 1969, and he became a founding member of the Norfolk Contemporary Art Society, living in both Norfolk and London with his wife Barbara Gilligan for most of his life. Condition appears fine. Provenance: From the collection of the late Christopher Hogwood, CBE
§ George Fullard (British, 1923-1974) Mother and child signed and dated lower right "Fullard 55" ink and wash 42 x 19cm (16 x 7in) Provenance: Bought by Harwood Stevenson directly from the artist and by descent. George Fullard was born in Sheffield on 15 September 1923 - he served with the 17th/21st Lancers during World War II and was severely wounded at the Battle of Cassino. He studied at the Sheffield College of Arts and Crafts and at the Royal College of Art. By 1958 John Berger, the art critic of the New Statesman, regarded him as Britain's best young contemporary sculptor. He began to exhibit abroad and win prizes: for example “Running Woman”, which can be seen in the grounds of Upper Chapel in Sheffield city centre. Fullard won the "John Moore Prize" in 1957. A little crinkling/fold in the paper toweards the bottom edge, otherwise fine.
§ Geoffrey Robinson (British, b. 1945) Composition 28 signed on the reverse "G Robinson 'March 92" oil on board 48 x 78cm (19 x 30in) Provenance: Cambridge Contemporary Art, Trinity Street, Cambridge, where purchased by the late owner Condition is fine. Provenance: From the collection of the late Christopher Hogwood, CBE
§ Robin Welch (British, b.1936), a monumental stoneware vase, the tapering cylindrical form with waisted band to centre, the top section with pierced rectangles, impressed seal mark 83 x 32cm (32 x 12in) Robin Welch studied at Penzance School of Art and the Central School of Art, London. From 1953-1959 he worked at the Leach Pottery and in 1965 he set up Stradbroke Pottery in Eye, Suffolk. He has designed for many major companies, including Wedgwood, Midwinter and Denby but is highly respected in his own right as a contemporary potter producing individually thrown, coiled or slabbed pots in stoneware. During his career he has explored colour, surface texture, form, detail of edge, and line. His work has been often referenced including "Design Sourcebook Ceramics" by Edmund De Waal, New Holland,1999 and "A guide to Collecting Studio Pottery" by Alistair Hawtin, A & C Black, 2008. His work can be found in public collections throughout the UK with the Victoria and Albert Museum holding several of his pieces.
§ Ray Richardson (British, b.1964) "Get the Girls", 1994 oil on panel 121 x 151cm (47 x 59in) Ray Richardson studied at St Martin's School of Art, 1984-87 and later graduated from Goldsmiths College of Fine Art in 1987, at the same time as his contemporary Damien Hirst. He won a BP Portrait Award in 1990 and two British Council Awards in 1989 and 1999. The English Bull terrier is a common subject in Richardson's work, with a particular series of these paintings created in 2011.
Jo Barrett (British, contemporary) Landscape with Bridge II Oil on canvas 62.5cm x 107cm Please note: this lot may be subject to Droit de Suite. Purchased from Clapham Art Gallery, Venn Street, London on 10th May 2002. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Jo Barrett (British, contemporary) Landscape with Embankment Oil on canvas 63cm x 105cm Please note: this lot may be subject to Droit de Suite. Purchased from Clapham Art Gallery, Venn Street, London on 10th May 2002. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Kerry Strand, California Computer Products, Anaheim, American, mid-late 20th century- "The Snail", publ by Motif editions 58 Frith Street London; lithograph, 50.5x75cm Provenance: The Estate of the Late Mrs Eugene Rosenberg Note: This print was included in the Institute of Contemporary Art exhibition, Cybernetic Serendipity, 2nd August- 20th October 1968 curated by Jasia Reichardt. "Attracting the attention of the national and international press at the time, Cybernetic Serendipity was the first international exhibition in the UK devoted to the relationship between the arts and new technology. This groundbreaking exhibition, designed by Franciszka Themerson, presented the work of over 130 participants including composers, engineers, artists, mathematicians and poets" see Institute of Contemporary Arts, London, Cybernetic Serendipity: A Documentation, 14 Oct 2014-30 Nov 2014 "This is one of a set of seven lithographs by different artists, published by Motif Editions in connection with Cybernetic Serendipity, a major exhibition held at London's Institute of Contemporary Arts in 1968. The portfolio includes two works by the Computer Technique Group, plus single works by Charles Csuri and James Shaffer, William Fetter, Maughan S. Mason, Donald K. Robbins, and Kerry Strand. The complete set was acquired by the Museum in 1969, at a cost of £5", see V&A, London, cat no CIRC.774-1969 CONDITION REPORT: in a glazed metallic frame may be stuck down as unexamined out of the frame full sheet visible some handling creases here and there scuff marks top left and top centre small areas of staining bottom right otherwise good
Andy Warhol, American 1928-1987- "Campbell's Shopping Bag"; screenprint in colours on a shopping bag, from an edition of an unknown size, published for a Warhol exhibition at and by the Institute of Contemporary art, Boston, Massachusetts, October 1966, 63x43.2cm Note: stamped to the base of the bag, 'Guild Paper Products Co. 1154 Intervale Avenue, LU 9-3900 Bronx 59, N.Y.' CONDITION REPORT: in a plastic cover screenprint on the front has some black markings overall that were possibly produced when something was placed on top of it at one point, there is also some noticeable water marks over the printed surface most noticeable in the orange half there is a tear to the front of the bag bottom right edge approx 3.5cm horizontal overall slight grubbiness to the front of the bag base of the bag stained with watermarks back of the bag with some grubbiness overall overall fair/reasonably good condition
Sir Antony Gormley OBE, British b.1950- "Domain Field", from the Baltic Shop; printed posters in colours, two, ea. signed, ea. 34x59.5cm (unframed, rolled) (2) (may be subject to Droit de Suite) Provenance: Baltic Centre for Contemporary Art CONDITION REPORT: Unframed and rolled in hard poster tube, with protective cellophane covering the posters Both posters are hand signed In very good condition
SUE ATKINSON (b. 1949) Framed, signed, oil on board, Contemporary golfing composition showing three golfers in white hats. Atkinson is a member of the Leeds Fine Art Club as well as having exhibited widely at the R.A., N.E.A.C., R.W.S. and R.S.M.A., 15.2cm x 27.2cm. Provenance: Purchased directly from the artist. (ARR).
SUE ATKINSON (b. 1949) Framed, signed, oil and sand on board, Contemporary Naive coastal composition, with figure in striped top, with two small children, looking out to fishing boat further out to sea. Atkinson is a member of the Leeds Fine Art Club as well as having exhibited widely at the R.A., N.E.A.C., R.W.S. and R.S.M.A., 12.5cm x 16.3cm. Provenance: Purchased directly from the artist. (ARR).
Finberg (Alexander J.) - The History of Turner's Liber Studiorum with a new Catalogue Raisonné, one of 650 copies signed by the author, 1924 § Hind (C.Lewis) Turner's Golden Vision, 1910 § Herrmann (Luke) Turner Prints, Oxford, 1990 § Shirley (Andrew) The Published Mezzotints of David Lucas after John Constable, R.A., Oxford, 1930 § Wedmore (Frederick) Studies in English Art, 2 vol., First Series second edition, Second Series with tipped-in A.L.s. from the author to [?G.C. Williamson , 1876-80; Méryon and Méryon's Paris, one of 129 copies, 1892; Etchings, contemporary half morocco, rubbed, 1911, plates and illustrations, some colour and tipped in, all but the last original cloth, the third with dust- jacket; and c.45 others, art and collecting, mostly prints, v.s. (c.55)
ANDY WARHOL (1928-1987) "Campbells Soup Can (Tomato)", 1966, published by The Institute of Contemporary Art, Boston, by Guild Paper Products Company on the occasion of a Warhol exhibition in October and November 1966, screen print in colours on a paper shopping bag, 19.5" x 17". See illustration
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![Václav Špála (Czech 1885-1946) [ARR]/The Old Tower at the Entrance to Marseille Port/signed and dated 1926/oil on canvas, 63c](https://cdn.globalauctionplatform.com/df607019-17a2-4901-818d-a4790104bcb0/a37b4e13-7da4-484f-a7e7-08dcf1fbb589/468x382.jpg)
