There are 16097 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeSUE 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
Graham Clark (born 1941) - Etching and coloured aquatint - "Mallards in Flight", 13.5ins x 21.5ins, signed in full in pencil and titled (trial proof), complete with explanation leaflet indicating an edition of 250 copies, published by Christie's Contemporary Art, June 1979, in grained wood and gilt moulded frame and glazed
Graham Clarke (born 1941) - Limited edition etching and coloured aquatint - "Quercus Berserkus", 13.5ins x 21ins, signed in full in pencil and titled (trial proof - unnumbered edition), complete with explanation leaflet indicating an edition of 250 copies, published by Christie's Contemporary Art, June 1979, in grained wood and gilt moulded frame and glazed
BRYAN ORGAN (BRITISH, CONTEMPORARY) Bull's Head, colour print, artist's proof, signed and dated 1980 in pencil lower right, 70cm x 56cm; with MARTIN BROADBENT (BRITISH, CONTEMPORARY), Bay with Distant Bridge, colour print, artist's proof 2/3, signed in pencil lower right, 49cm x 70.5cm; and three large art prints of apples, by an unknown hand, all unframed, (5).
RICHARDSON (Jonathan) Two Discourses: I. An Essay on the Whole Art of Criticism as it Relates to Painting Two Discourses…, II. An Argument in behalf of the Science of a Connoisseur, 1719, 8vo, worn binding; [CAMDEN (William)] Remaines Concerning Brittaine, fourth edition, incomplete, contemporary vellum, damaged and worn; three other works, including bindings (5)
* DAMIEN HIRST (BRITISH b.1965), HEART unique acrylic on card, signed and stamped Damien Hirst verso, also with embossed 'Hirst' stamp 53cm x 53cm Mounted, framed and under glass Notes: This large spin painting was created at Damien Hirst's retrospective 'Requiem' Exhibition at The Pinchuk Art Centre, Kiev in April 2009. Very few of Hirst's spin paintings are heart-shaped and, amongst these, signed works are extremely rare. Provenance: Vogtle Contemporary, Geneva, Switzerland.
CONTEMPORARY SCOTTISH SCHOOL, OBSCURE GREEN, THROUGH THE BLUE, and THROUGH THE RAILS pastel on paper, pastel on paper, and mixed media on paper, signed and dated '89 24cm x 33cm, 27cm x 35cm, and 15cm x 16cm Each Framed and under glass Labels verso: The Arthur Andersen & Co. Art Collection, Accession number 1020, Accession date 1987; Accession number and date 950, 1987; and Accession number and date 1214, 1991, respectively.
SERPENTINE GALLERY PAVILION 2005 DESIGNED BY ELVARO SIZA, EDUARDO SOUTO DE MOURA ,,,, L, Serpentine Gallery 2005, orig pict bds + JEFFREY COOK: THE ARCHITECTURE OF BRUCE GOFF, 1978, 1st edn, orig faux leather d/w, ex lib, ink stpd ttl pge, no other lib markings + ART AND ARCHITECTURE, L, Institute of Contemporary Arts 1983, orig wraps + SHERBAN CANTACUZINO: WELLS COATES A MONOGRAPH, L, Gordon Fraser 1978, 1st edn, orig cl silvered, d/w + BIANCO ALBERTINI AND SANDRO BAGNOLI: SCARPA ARCHITECTURE IN DETAILS, Trans Donald Mills, 1988, 1st UK edn, orig cl, d/w + MORRIS ADJMI (ED): ALDO ROSSI THE COMPLETE BUILDINGS AND PROJECTS 1981 TO 1991, 1992, 1st UK edn, orig wraps, ex lib (6)
Jivan Ram, Raja (fl. 1825-1840) - Portrait of Lieutenant Jasper Trower, of the Bengal Horse Artillery Oil on canvas Signed and dated Jeewun Ram 1827 lower left, with indistinct Sanskrit inscription underneath 35.5 x 31 cm. (14 x 12 1/4 in) Provenance: the Trower family; by descent to the present owner Comparative literature: William Sleeman, Rambles and Recollections , London, 1844, vol. ii, pp.285-7 J.P. Losty, Of Far Off Lands and People: Paintings from India 1783-1881 , Indar Pasricha Fine Art exh. cat., London, 1993) J.P. Losty, Indian Portraiture in the British Period , The Indian Portrait, 1850-1860', ed. by Rosemary Crill and Kapil Jariwala, National Portrait Gallery, 2010 J. P. Losty, A new portrait miniature by Jivan Ram acquired , Asian and African studies blog, British Library website, 12th January 2014 A previously unrecorded and unpublished oil painting by the Indian artist Raja Jivan Ram, whose work, miniatures and oils, are rarely available on the open market. Oil paintings by Ram are almost exclusively held in public institutions, with small collections in the British Library, London, and the Bodleian Library, Oxford. Ram is recorded in contemporary literature by William Sleeman who described him as an excellent portrait-painter, and a very honest and agreeable person, [who] was lately employed to take the Emperor's portrait ( op. cit., vol. ii, pp. 285-7). A preliminary drawing is unfortunately all that remains of the portrait described by Sleeman, but the fact that the Mughal Emperor Akbar II (1806-37) commissioned his portrait to be painted by Ram highlights the regard that the artist had with the Indian, as well as the British, elite. [The drawing is now held in the British Library s India Office and Private Papers collection, ref.: Add.Or.3167] The high regard held for Ram by his contemporaries is further shown with his appointment in the 1830s by the famous Begum Samru of Sardhana (1745-1836), whose palace was decorated with some twenty of his oil paintings ( op. cit., Losty, Jan. 2014). The European influence on Indian portrait painting, which began in the 18th century, and was continued by artists travelling and working in India such as George Chinnery (1774-1852) and Thomas Hickey (1741-1824), is clearly apparent in the portrait of Lieutenant Jasper Trower. The most comparable portrait by Ram to the present work is that of Captain Robert McMullin, which is similarly dated 1827, and may well have been executed in close succession (currently held by the British Library, ref.: F863). The sitter, Lieutenant Jasper Trower (c.1807-1845) of the Bengal Horse Artillery, later a Captain in the 7th Light Field Battery, was killed in action during the Battle of Mudki, Punjab, 1845. We have been unable to find any record for an oil painting by Raja Jivan Ram available on the open market for the last 20 years.
Design: Circuit Bus Artist: Eloise Kerr About the artist Eloise Kerr is a Scottish artist and designer. She graduated from Glasgow School of Art in 2006 with a BA Honours in Design and since then she has been working on community art projects, undertaking various art and design commissions and developing work in various disciplines. With a design background, as well as a qualification in Contemporary Art Practice, Eloise works on both concept-led and stylised designs as well as expressive artworks. About the design While researching for this design Eloise focused on maps of transport routes in central London and began to visualise the routes and stops as the lines and shapes on a circuit board. By interpreting the routes in this format, the idea represents the constant flow of energy through the city today, as well as making reference to advances in transport technology. Location: Dingwall Road Dimensions: Length- 2.4m Width 0.5m Height- 0.95m
Lots 301-391 are from the Private Collection of Tim Ellis. A passionate collector of modern British art and sculpture, Tim Ellis amassed a breath-taking collection of hand selected works throughout his career in the City of London. Upon retirement Ellis moved from the idyllic Georgian architecture of London's West Square, where the collection had been a much loved part of his home, and made the difficult decision to disperse his collection and begin afresh. The artwork he amassed is a true reflection of his eclectic tastes, and unwavering interest in the modern and contemporary British art scene. He collected without bias or concern for the reputation of, or the market for, the artist, and without concern for the medium of the artwork. "I didn't buy for investment, or with a strategy: I've only acquired works that I have fallen in love with, that I couldn't resist, that I felt I just had to live with. I haven't even thought of myself as a collector." His refreshing approach to amassing this collection is apparent in the estimates given to the works, making them affordable additions to a home or collection. It is Ellis's hope that the dispersal of the collection will inspire a new generation of collectors to buy works by lesser-known and in his own word "criminally neglected" artists. His cardinal rule was to never buy a work that didn't fit into the back of a London taxi, a rule he broke for one lady, the artist who would be his future wife, and the catalyst for the move from West Square. Ellis says "Living with a painter has certainly had an effect on me as a collector: I now have a greater insight into and appreciation of a more language of paint. I also feel a greater commitment to support living artists." His new collection will comprise works from living artists whose integrity and dedication he admires. Alfonso Amaya, Spanish, 20th century- Bravura; bronze on marble base on a wooden plinth, from an edition of 2499, height 7cm, length 11cm. (including base, excluding plinth) (may be subject to Droit de Suite) Provenance: Presented to the current owner for speaking at a conference in Barcelona Note: A certificate of authenticity accompanies this lot CONDITION REPORT: appears in overall good original condition with no noticeable signs of defects some knocks to wooden plinth
Maurice Cockrill RA, British 1936-2013- "Red Bridge"; oil on canvas, signed, titled and dated 2002 on the reverse, 20.5x25cm, (may be subject to Droit de Suite) Provenance: Purchased from Archeus Fine Art London, Exhibition of new work by the artist, September 2002 CONDITION REPORT: in a contemporary frame appears in overall good original condition with no noticeable signs of defects
Roy Turner Durrant, British 1925-1998- Head no 37.5390; mixed media on cardboard, signed and numbered, 14.5x11cm, (may be subject to Droit de Suite) Provenance: Purchased from Andrew D'Arcy Fine Art in 2010: from the Artist's Family, according to the label attached to the reverse of the frame CONDITION REPORT: mounted in a large contemporary gilt frame with exhibition mount, slight scuff to upper left gilding appears to be laid down to black back board appears in overall good original condition
PIPER JOHN: (1903-1992) English Painter. Typed Manuscript Signed, John Piper, one page, 4to, Henley-on-Thames, 16th June 1975. The manuscript, with several holograph corrections, is Piper’s foreword to Stained Glass in England 1150-1550 by Brian Coe, and states, in part, ‘I welcome this enlightened and well-informed book. When I was nineteen or twenty I began to try to study the art of English medieval stained glass. Books about the craft existed all right….Otherwise, one could scuffle through Methuen’s Little Guides to individual counties, or Murray’s Handbooks, or the few volumes of the Victoria County History then existing. Adequate illustrations were extremely rare. Much less has happened since the early 1920s to alter this situation than one might think. Herbert Read’s book of 1926 showed - almost for the first time in Great Britain - that stained glass was art, or could be so; not just craft. Baker and Lammer’s book of 1960 has fine coloured illustrations….But there is plenty of room for this book, and I find myself delighted by the splendour of the colour photography, by the care of the author’s topographical research….I hope this work will stimulate deans of cathedrals and incumbents of churches in the production of more and better reproductions, posters, books and postcards of English stained glass….’ Signed and dated at the foot. Together with an A.L.S., John Piper, two pages, 8vo, Henley-on-Thames, 16th June 1975, to Mr. Mills. Piper states that he hopes his correspondent will find the foreword adequate, and explains ‘I mention Baker and Lammer’s book, because this is how I know it, rather than Baker & Herbert Read, as Mr. Coe calls it in his Bibliog. Would you be kind enough to check this with him - and call it anything he fancies?’, concluding by remarking that he looks forward to the production. Also including a contemporary photocopy of Piper’s manuscript with several additional ink corrections in an unidentified hand. VG, 3
ARTISTS: A good selection of A.Ls.S. etc., by various contemporary artists, many written on postcards or greetings cards featuring colour reproductions of the artist's work, including Dexter Dalwood (illustrated with an original pencil drawing), Grayson Perry (2; one an A.L.S., in part, 'You don't have to go to art school to be an artist but if you want a career as a contemporary artist you will struggle if you have not been to art school', and the other a simple original pen and ink drawing), Ciara Phillips, Laure Prouvost, Michael Raedecker, Philip Sutton, Eileen Cooper, Norman Ackroyd, Rineke Dijkstra, Cornelia Parker, Mona Hatoum, Sam Taylor-Wood, Antony Gormley, Michael Craig-Martin, Mike Nelson, Jeremy Deller, Ron Arad etc. Some of the letters have interesting content relating to art. VG to EX, 21
THOMAS KRUGER (20TH CENTURY) ARTIST SIGNED LIMITED EDITION COLOUR LITHOGRAPH 'Reflections' (44/200) 16 1/4" x 21 3/4" (41cm x 55cm) with CHRISTIES 'CONTEMPORARY ART' Certificate verso K. MELLING (20TH CENTURY) ARTIST SIGNED LIMITED EDITION COLOUR PRINT Kite Flying (250/600) 15" x 19" (38.1cm x 48.3cm) (2)
A good quality 19th century coal bucket with applied copper handle and further twisted iron looping handle fitted within applied brass mounts together with a copper pan and further copper clad brush with embossed decoration in the Art Nouveau manner, a polished oak letter rack stamped to the reverse' Pilot, British Made', a contemporary hardwood bracket, a pair of fire tongs, etc
* A contemporary silver pedestal racing trophy cup and cover, in the Art Deco style, the cover with horse and jockey finial, the body of tapering form, to stepped circular foot, maker Wakely & Wheeler, London 1980, 17oz, h.25.5cm Condition Report / Extra Information Very small dent to underside of cover Some light surface scratches and tarnishing throughout Stands well Cover fits well Generally good order
SUE ATKINSON (b. 1949) Framed, signed, oil on canvas, Contemporary Naive coastal composition, titled on stretcher verso, 'A Mystery Catch', various figures and children gathered around striped bucket on sunny beach, 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., 34cm x 44.5cm. Provenance: Purchased directly from the artist. (ARR).
SUE ATKINSON (b. 1949) Framed, signed, oil on board, Contemporary composition, showing a red bus before a busy street scene. 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., 22cm x 22cm. Provenance: Purchased directly from the artist. (ARR).
SUE ATKINSON (b. 1949) Framed, signed, oil on canvas, Contemporary coastal composition, with various figures along the beach and paddling in the 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., 23cm x 29cm. Provenance: Purchased directly from the artist. (ARR).
A pair of contemporary geometric diamond earstuds, each designed as an elongated hexagonal matte plaque with a border of round brilliant cut diamonds and a raised collet set larger diamond at either end, in bi-coloured precious metal stamped '750', length 2.1cm, gross weight 10.2g; together with a certificate/receipt from Jewel & Art, Grünwald, dated 15.02.2000, stating the gold to be 750 (18ct), that the twenty-eight diamonds have a total weight of 1.20cts, their colour range is D-F, and their clarity range is IF-VS; the price was 6,500 Deutsche Marks (just prior to the full introduction of the €)
Pete Matthew, Briar Wood No2 signed, limited edition 24/30 etching; A pair, Cottages in the hills, a coastal town, signed, dated 1968 and 1969, watercolour; A signed engraving; a signed print (2); Barbara C. Shaw, Twentieth century, a pair, Moorland Walk Haworth; Kilsey Cray, signed and titled to verso, oil on board (2); English school, 20th century, The Harbour at Dover, oil on board; Geoffry Web, Twentieth century Tempera, Col de la Haute, Maritime Alps, signed and titled to verso, Acrylic; Guy Stokes, contemporary, A Garden Lake, signed, signed and dated 1987 to verso, oil;H. Fletcher, Twentieth century, Lake in the Mountains, signed, dated 1900, watercolour; Art Journals - Victorian, 1866, 1860, 1867 and 1872 (4)
* LOUISE RITCHIE, BLUESCAPE oil on canvas, 213cm x 213cm Unframed, as intended Note: Louise Ritchie gained a fine art degree and post graduate diploma in drawing & painting from Duncan of Jordanstone College of Art & Design, Dundee. She has won several major awards including the Glasgow Art Club Fellowship, RGI (1998), the Scottish Art Club Award (1997), and the Millar Homes Paris Scholarship Citie Des Artes (1990). She has exhibited widely, including a solo show 'Land Light Vision' at Glasgow's Compass Gallery (1996), and at the London and Glasgow Art Fairs. Louise was also nominated for the Millar Homes Young Artist of the Year Award (1990 & 1991), and has work in several major collections including, the Mirror Group, London, Dundee District Council and Fife Regional Arts. She was elected to serve on the Council of the SSA, the Society of Scottish Artists in 1998, and has taught in academic institutions in Glasgow and Dundee. Louise was invited to perform within the installation 'Killing Time', a collaboration between artist Graham Fagen and Suspect Cultures Graham Eatough at Dundee Contemporary Arts (2006).
GREGORY GLUCKMANN (RUSSIAN 1898-1973)The Onlookers, oil on panel41 x 51 cm (16 x 20 in.)signed lower rightPROVENANCE:Dalzell Hatfield Galleries, Ambassador Hotel, Los Angeles, CAEstate of Senator William Benton, CTOn indefinite loan to the Museum of Art, University of Connecticut (presently the Benton Museum of Art) from 1973)Bonham's, London, November 28, 2005, Lot 50Private Collection, New York (acquired by the present owner at the above sale)EXHIBITED:Palm Springs Desert Museum, California, Grigory Gluckmann - Contemporary Classicist, November-December 1959Museum of Art, University of Connecticut
THE RELIGIOUS CEREMONIES AND CUSTOMS OF THE SEVERAL NATIONS OF THE KNOWN WORLD, VOLUMES 1-7PICART, Bernard (German, 1673-1733), The Religious Ceremonies and Customs of the Several Nations of the Known World. Represented in a Hundred Copper-Plates, designed by the famous Picart. Together with historical explanations, and several curious dissertations.... London: printed for Nicholas Prevost, 1731-1737. 7 volumes in 6 books. Folio (415 x 265 mm). Contemporary calf binding. Spine with gilded embossed letters and six raised bands. First English edition. 225 plates by Bernard Picart on separate pages (some folding). Titles printed in red and black with engraved vignettes.LOT NOTES:Bernard Picart presented to the reader various Catholic and Protestant ceremonies on par with religious rites of the followers of Confucius and Buddhists from China and Japan, Indian Fire-worshipers and Yogi, South American Pagan Indians, and Christian Orthodox sacramentals, as well as aboriginal Shaman spells of Siberia and Canada. He described a wide variety of religious ceremonies that conduct a person throughout life: in birth, marriage, sacrifice, sortilege, and funeral. A separate chapter was dedicated to the Court of the Inquisition. The issue is a valuable historic source that reveals religious and everyday life of the West European Jews in the 17-18 Centuries. Picart's publication had great success thanks to his general religious tolerance and objective judgment.LITERATURE: P. Kristeller, History of European Etching of 15-18 Centuries, (Moscow: Iskusstvo, 1939);A. Sevostianov The Masterpieces of European Illustration, (Moscow: Terra, 1996);M. Shelkunov The Art of Book Printing, (Moscow - Saint Petersburg: GIZ, 1926).
* ALIISA HYSLOP, MOONLIGHT MELODICUS acrylic on board, signed 24cm x 37cm Framed Verso: Cambridge Contemporary Art stamp Note: Aliisa was born in 1957 of Finnish and Scottish parentage. She attended college in Portsmouth, obtaining a BA Hons in Fine Art, Drawing and Painting, in 1981. Since then she has lived and worked in Edinburgh, developing her own particular style of figurative painting with its mix of joy and melancholy. Aliisa describes her paintings as a world somewhere 'between reality and imagination'. Many of her images have been made into cards and published by Canns Down Press and she achieves prolific print sales. Aliisa has also illustrated book covers, which include novels by Sarah Dykins, Sara Sefchovich and a poetry collection by Marinella Frani in Italy. Her work is frequently exhibited at front line galleries throughout the UK.
* LOUISE RITCHIE, BLUESCAPE oil on canvas, 213cm x 213cm Unframed, as intended Note: Louise Ritchie gained a fine art degree and post graduate diploma in drawing & painting from Duncan of Jordanstone College of Art & Design, Dundee. She has won several major awards including the Glasgow Art Club Fellowship, RGI (1998), the Scottish Art Club Award (1997), and the Millar Homes Paris Scholarship Citie Des Artes (1990). She has exhibited widely, including a solo show 'Land Light Vision' at Glasgow's Compass Gallery (1996), and at the London and Glasgow Art Fairs. Louise was also nominated for the Millar Homes Young Artist of the Year Award (1990 & 1991), and has work in several major collections including, the Mirror Group, London, Dundee District Council and Fife Regional Arts. She was elected to serve on the Council of the SSA, the Society of Scottish Artists in 1998, and has taught in academic institutions in Glasgow and Dundee. Louise was invited to perform within the installation 'Killing Time', a collaboration between artist Graham Fagen and Suspect Cultures Graham Eatough at Dundee Contemporary Arts (2006).
§ Mel Howse, 'Poverty Over' sculpture, 2010, enamel on steel, 220cm high, bowl 120cm diameter, This sculpture was made for and is being sold by Christian Aid. "Poverty: lack of money, food, shelter - but ultimately about inequality and lack of power. This piece explores the gap between those who are living in poverty and those who are not. Here are two circular vessels. The most conspicuous of these, a vertically oriented shallow lens, represents the human eye. It stares challengingly at us. The eye is society's conscience. Beneath sits a deep bowl, it's interior hidden from us. If we come closer we see another eye looking up from it's base. This is the eye of the poor - unseen from a distance and lost as we walk away. This eye requires more from us to get our attention. The juxtaposition of the two vessels implies that one vessel brings attention to the other. In essence they are the same. Poverty is staring at us and can be uncomfortable to witness. But once we have seen, the challenge is to act." The piece was commissioned in 2010 by Christian Aid who exhibited it throughout the cathedrals of Britain over a three year period. It was launched at Southwark Cathedral by Loretta Minghella. The surreal sculpture animated their campaign about poverty, drawing in visitors to see a unique and unusual piece of work formed of two huge enamelled vessels which are in the form of eyes internally. It is made from spun steel and fired industrial enamels. The sculpture is by contemporary glass artist and enameller Mel Howse. It features we believe, the largest hand worked enamelled bowl ever made at a diameter of approximately 1.2m and 600mm deep. Mel is an experimental glass artist who pushes the boundaries within her commissions. Her largest work is a 500m2 glass façade for a Sainsbury flagship store - hand made in fired enamels. Her most unusual piece is the The Artbath in cast iron and vitreous enamel. She has long worked in industrial environments to create glass art despite scale. The auctioneer's are waiving their vendor's commission on the sale to benefit Christian Aid
Emily Kame Kngwarreye (1910-1996) Australian Aboriginal school abstract composition synthetic polymer paint on canvas signed verso 120cm x 88cm, Provenance: Consigned from a deceased estate. Purchased from the Barry Stern Gallery 19-21 Glenmore Road Paddington Australia in 1996. Emily Kame Kngwarreye was an Australian Aboriginal artist from the Utopia community she is one of the most prominent and successful artists in the history of contemporary Indigenous Australian art Kngwarreye started to paint in her late 70's, artistically trained in traditional methods for designs in women's ceremonies in the Utopia community Kngwarreye solo exhibitions include: Coventry, Sydney, 1990 Gabrielle Pizzi, Melbourne, 1990, 91, 92 Hogarth Gallery, Sydney, 1991 Gallery Savah, Sydney, 1994, 1996, 1997. Emily, Oude Kerk Amsterdam 1999 Mbantua Gallery and Cultural Museum, 2007–08 The National Art Center, Tokyo, 2008 National Museum of Australia, Canberra, 2008
Loading...
