Louis le Brocquy HRHA (1916-2012) THE TÁIN. CÚCHULAINN IN WARP SPASM, 1969 Aubusson tapestry; (no. 2 from an edition of 9) signed and numbered on label on reverse 72½ x 50½in. (184.15 x 128.27cm) Taylor Galleries, Dublin;Private collection Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland's oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin.The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce's Finnegans Wake drew on its meandering style - but Thomas Kinsella's Táin was the first widely-accessible version, especially when Oxford University Press' 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass' Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation.The images le Brocquy called 'shadows thrown by the text' became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post.Le Brocquy's innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. The present work, Cúchulainn's Warp Spasm, speaks both of calligraphic marks from Sun Tzu's The Art of War and Yves Klein's bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples.The translation into tapestry, via le Brocquy's Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché's subtly-textured cottons and wools freed le Brocquy's black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book's relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or Medb Ruane,April 2012. [Abridged note reprinted from Whyte's Important Irish Art auction catalogue, May 2012]
We found 831 price guide item(s) matching your search
There are 831 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
831 item(s)/page
* PATRICK RAIMONDI TAYLOR, SURVEY MACHINE digital collage 58cm x 58cm Framed and under glass Note: Raimondi Taylor scours electronic fairs for de-funked electronic items he can recreate into new 'viewing' machines. In his studio he assembles these parts that are both have a function and form to administer light, These machines reveal the paths that light can take within them, both optically and electronically. Various components from disassembled machines (scanners, cameras, projectors, etc) have been photographed separately and then re-arranged in order to build new ones. His study of the Rube Goldberg machine, the name itself was made and an official adjective defined as accomplishing something simple through complicated means. Since graduating from Brighton University of Art & Design, Raimondi Taylor has been invited to exhibit at the 'Pingyao International Photography Festival 2014,' as well as the Brighton Photo Fringe and Fotopub in Slovenia.
* PATRICK RAIMONDI TAYLOR, SURVEY MACHINE digital collage 58cm x 58cm Framed and under glass Note: Raimondi Taylor scours electronic fairs for de-funked electronic items he can recreate into new 'viewing' machines. In his studio he assembles these parts that are both have a function and form to administer light, These machines reveal the paths that light can take within them, both optically and electronically. Various components from disassembled machines (scanners, cameras, projectors, etc) have been photographed separately and then re-arranged in order to build new ones.His study of the Rube Goldberg machine, the name itself was made and an official adjective defined as accomplishing something simple through complicated means.Since graduating from Brighton University of Art & Design, Raimondi Taylor has been invited to exhibit at the 'Pingyao International Photography Festival 2014,' as well as the Brighton Photo Fringe and Fotopub in Slovenia.
Buster Fisher,A study of male lion,signed,acrylics on canvas,100 x 100 cm CONDITION REPORT: Some information from the artists website:Buster paints with acrylics and oils as well as doing pencil drawings and digital artwork. He has always had a fascination with nature, wildlife and the fantasy world. With a natural skill for painting and drawing, he studied at Lincoln University and completed a Ba Hons in Illustration with 1st Class Honours. From there he worked as a freelance illustrator and later on he worked at various creative establishments as resident artist, until residing at the P Spowage Gallery in Nottingham. It was there that his work began to gain recognition from corporate and public clients. His work will soon be available to selected retailers nationwide. Through difficult times Buster has always found drawing and painting as an outlet. It was his love of art that helped him to discover that only he could influence his own feelings. Through his art, Buster projects love with every brush stroke to the rest of the world. His images project love, joy and hopes to inspire others to do the same.
* PATRICK RAIMONDI TAYLOR, SURVEY MACHINE digital collage 58cm x 58cm Framed and under glassNote: Raimondi Taylor scours electronic fairs for de-funked electronic items he can recreate into new 'viewing' machines. In his studio he assembles these parts that are both have a function and form to administer light, These machines reveal the paths that light can take within them, both optically and electronically. Various components from disassembled machines (scanners, cameras, projectors, etc) have been photographed separately and then re-arranged in order to build new ones.His study of the Rube Goldberg machine, the name itself was made and an official adjective defined as accomplishing something simple through complicated means.Since graduating from Brighton University of Art & Design, Raimondi Taylor has been invited to exhibit at the 'Pingyao International Photography Festival 2014,' as well as the Brighton Photo Fringe and Fotopub in Slovenia.
@Sellars (David, 1949-2015). Earth-moon, Illustrated by the author, by Ted Hughes, Rainbow Press, 1976, letterpress illustrations in turquoise, some full-page, patterned pastedowns, all edges gilt, near contemporary inlaid and onlaid black and brown morocco (some textured), with binder's monogram blindstamp dated 1982 on rear pastedown, with interlocking circle design, incorporating onlaid 'ties' in reptile skins with appear to emanate from the covers and terminate in clasps with press-stud fasteners, small 4to (13.5 x 13.5cm/5.25 x 5.25ins), housed in a upright scuplted leather case with circular perspex window on both sides, that to front forming part of hinged door with flap, 24.5 x 16.5cm (9.75 x 6.5ins) Limited edition of 266 copies, this unnumbered and unsigned. David Sellars studied at Camberwell College of Arts with Sally Lou Smith, setting up his first studio in Clerkenwell. He taught and lectured widely at various institutions including Camberwell, Brighton Polytechnic, Oxford Brookes University, and The Royal College of Art, as well as at venues in Europe, Canada and North and South America. He wrote courses on the exploration of the book as a fine art medium and embraced the migration to computer generated books and books in digital formats. In the mid seventies David Sellars was awarded Fellowship of Designer Bookbinders and he served as President of the society for four years. His work is represented in most major libraries in the world and many private collections. (1)
@Sellars (David, 1949-2015). L'Infinito in tutte le lingue che l'hanno saputo pronunciare, by Giacomo Leopardi, Urbino, Italy: Edizioni I.S.A., 1997, marbled free endpapers with inset contrasting circle, pastedowns of scored black morocco, marbled silver edges, contemporary marbled black morocco, signed and dated 1998 in pencil on limitation leaf, spine titled in blind, covers scored and with continuous chasm-like cut-away with jagged edges, small folio (30.5 x 21.5cm/12 x 8.5ins), housed on a cloth cradle with labelled spine in a slipcase with patterned paper sides Limited edition, 53/1300 copies. Exhibited: First Italian International Exhibition of Book Art. David Sellars studied at Camberwell College of Arts with Sally Lou Smith, setting up his first studio in Clerkenwell. He taught and lectured widely at various institutions including Camberwell, Brighton Polytechnic, Oxford Brookes University, and The Royal College of Art, as well as at venues in Europe, Canada and North and South America. He wrote courses on the exploration of the book as a fine art medium and embraced the migration to computer generated books and books in digital formats. In the mid seventies David Sellars was awarded Fellowship of Designer Bookbinders and he served as President of the society for four years. His work is represented in most major libraries in the world and many private collections. (1)
@Sellars (David, 1949-2015). Les Miserables, A Novel by Victor Hugo. In the translation by Lascelles Wraxall authorized by the Author. Printed with a new Introduction by André Maurois and with illustrations by Lynd Ward, 5 volumes, New York: Limited Editions Club, 1938, numerous monotone letterpress vignettes, black morocco pastedowns, black edges, later reverse black calf, spines with four inset strips of sculpted black leather, the motif repeated on covers with four horizontal lines each of six strips, 4to, 27 x 19cm/10.5 x 7.5ins), 5 volumes housed together in a sculpted black leather box with cut-out strips to similate prison bars, with hinged door complete with key, 31 x 35 x 23.5cm (12.25 x 13.75 x 9.25ins) David Sellars studied at Camberwell College of Arts with Sally Lou Smith, setting up his first studio in Clerkenwell. He taught and lectured widely at various institutions including Camberwell, Brighton Polytechnic, Oxford Brookes University, and The Royal College of Art, as well as at venues in Europe, Canada and North and South America. He wrote courses on the exploration of the book as a fine art medium and embraced the migration to computer generated books and books in digital formats. In the mid seventies David Sellars was awarded Fellowship of Designer Bookbinders and he served as President of the society for four years. His work is represented in most major libraries in the world and many private collections. (1)
Wise Owl Stunning in its simplicity, Wise Owl is inspired by British artist Anish Kapoor’s ‘Cloud Gate’ in Chicago. The owl conveyed the culture and atmosphere of Birmingham by literally reflecting its community and architectural cityscape. This chic owl was hugely popular on The Big Hoot Trail. Artist: Georgia Henn and Simon Elman Sponsor: Eversheds About the artist: Artist Georgia Henn currently works with digital media, specialising in multi-perspective, structural photography. Her art practice is concerned with fragmentation and skewed reality and she explores these through sculpture and installation. For Wise Owl, she worked with Simon Elman, a specialist in the application of reflective surfaces.
Blodeuwedd The name of this unusual owl comes from a Welsh myth about a woman so beautiful that she was called ‘Blodeuwedd’ or ‘Flower Face’, but she betrayed her lover and was turned into an owl. Mythical and meaningful, this piece is definitely a talking point. Artist: Guy McKinley Sponsor: Wild in Art About the artist: Guy is an illustrator, concept artist and painter from Liverpool who has worked on many national projects. He produces hand-drawn and digital work used in editorials, pre-production concepts, character design and more commercial images for promotional and advertising campaigns.
Jewellery Owl This opulent owl captures the vibrancy of Birmingham’s famous Jewellery Quarter, and references its rich history. Designed to appear as though it is made of silver in a Trompe-l’oeil style, Jewellery Owl creates an optical illusion and the dazzling cut gems stand out and appear real. Artist: Sue Guthrie Sponsor: Birmingham City University About the artist: Artist Sue Guthrie arrived in Birmingham twenty years ago, when she came to study for an MA in Fine Art. She specialises both in painting and digital media and now works predominantly to commission. Her many high profile clients have included BMW, NHS and John Lewis
“Unititled” by Peri Simonson (30x22.5cm) acrylic on canvas - Currently studying Fine art BA at Liverpool John Moore's university, my work comprises of photography, digital manipulation and painting. I'm inspired by a contemplation of the artificiality surrounding us, which for me provokes an easyness in my environment. This running fascination with imagery of cold and desolate spaces acts as a catalyst to soothe an angst felt within build up areas. Starting with photography which focuses on an urban setting, I set out to create compositions for paintings which Comprise of minute extractions of metallic surfaces. These are areas which depict vibrancy and eroding texture.
![TATIANA [TRET] TRETYAKOVA (RUSSIAN 20TH-21ST C.)Smithereens of Time, digital print and assemblage on aluminum101.7 x 101.7 cm](https://cdn.globalauctionplatform.com/8a87a3ff-314a-4add-9123-a50900c77703/1c02915a-3aac-4656-e6ac-9f3603fa80ea/468x382.jpg)
TATIANA [TRET] TRETYAKOVA (RUSSIAN 20TH-21ST C.)Smithereens of Time, digital print and assemblage on aluminum101.7 x 101.7 cm (40 x 40 in.)initialed lower right, signed on versoPLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
** Mat Collishaw (b. 1966) - Pure Sensation, 2003 household paint on ceramic tiles, mounted on to ply wood, in 6 parts each 40 x 42 1/2 in., 101.6 x 108 cm Provenance: Stuart Shave/Modern Art, London. In all, Collishaw produced 7 large scale mosaic works for his exhibition at Modern Art in 2003, of which Pure Sensation is one. The selection process for the original photographic material to be scaled up does not necessarily follow an identifiable logic; he seems to have been more interested in locating images that may not have had sufficient representation with the annals of art history. The overriding focus of this body of works, therefore, is process-driven. The artist describes the series as follows: "During the inception of digital photography it occurred to me that the pixelated format of the electronic image bore a strong resemblance to the ancient technique of forming images with mosaic tiles. The digital image required a meticulous analysis of its subject and was more analogous to the use of code in translating information than the subjective interpretation of a painter. Each patch of skin or braid of hair had a particular colour or tonal value that was recordable and empirically precise. I developed a computer program that scanned an image and determined the exact shade of grey on a scale of 1 to 100. The tones were painted onto ceramic tiles that were arranged in a way that was prescribed by computer, with no room for human intervention." IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Dave Gibbons, Comic Artist, One off diptych artwork entitled 'Whaat' commissioned for the Image Duplicator exhibition in 2013 in London to coincide with the Lichtenstein exhibition at the Tate Modern, the art consists of two large format prints in two perspex box frames, both have been signed & dated on reverse, since the exhibition the piece has been on exhibition at the Cartoon Museum in London, the overall size measures 41 x 94 inchesProvenance: The art has been consigned directly by Dave Gibbons, and a letter will be provided to the successful purchaser. Dave Gibbons was the artist for The Watchmen & The Rogue Trooper character from 2000AD, Gibbons has also recently published Kingsman. A percentage of the sale will be donated to the Hero Initiative.A couple of years ago, the Tate Modern art gallery on LondonÉs South Bank put on a major exhibition of Roy LichtensteinÉs work. I was invited to appear on a BBC TV programme about the exhibition, where I took the opportunity to speak out, as I had done in the past, about my dislike, on both aesthetic and ethical grounds, of the appropriation of comic strip images by pop art. The feeling amongst the comics community has always been pretty much unanimous: we feel patronised and we feel that several of our revered elders have been, frankly, robbed. To us, their creativity and skilled labour has been discounted by considering their work as being merely, in the jargon of the art world, found and they have received no credit or recompense for what amounts to celebrated and expensive copies of their creations.However, it was Rian Hughes, another vociferous critic of the art establishment's attitude who, prompted by the TV show, came up with the brilliant idea of our comic community using its own medium to make public our disapproval. Under the title IMAGE DUPLICATOR, the response from creators was very heartening and we staged an exhibition of several dozen images in the gallery space at Orbital Comics in London.For my part, I created a digital image, appropriated from a comic book panel originally created by Irv Novick, that I entitled WHAATË. This was printed and sold as a tabloid size poster. I also produced a unique, large size print of the image, split into two parts, mounted in clear acrylic and measuring some 41Ë x 94Ë (104 x 238 cm).This gallery-scale print is now being offered for sale in a public auction. I have signed both parts and will provide documentary evidence of its authenticity.All profits from the sale will be donated to the Hero Initiative, as were the proceeds from the earlier exhibition. Your support would be greatly appreciated.Dave GibbonsJune 2015A percentage of the sale will be donated to the Hero Initiative, a US registered charity, which provides a financial safety net for comics creators who may need emergency medical aid, financial support for essentials of life, and an avenue back into paying work.Ë
§ 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.
ALIREZA SADREDDINI (IRANIAN), SILENT PAIN photograph, limited edition 4/5, signed and dated 2011 in pen 107cm x 150cm Framed Note: Alex Sadreddini is a London base visual artist and creative designer who emerged in the wake of the Digital Art Design revolution. At Iran's most prestigious school of arts and architecture, Honar Tehran University, Sadreddini developed acute attention to the disciplines of structural form, graphics, and philosophy. Sadreddini is a recipient of numerous awards and press recognition from Tehran's International Graphic and Painting Biennials (1997 and 1999). In 2011 he was recognized by the world renown Saatchi Online Showcase Competition, making it to the top ten visual artists awarded. Additional achievements include works exhibited in the Art Paris Annual Art Fair (Le Grande Palais) and special invitation to attend the 4th Annual Kustendorf Film Festival (Serbia), organized by award winning director and Cannes Film Festival Juror Emir Kusturica.
Tongue (M. Helen) BUSHMAN PAINTINGS 4to (357 x 266 mm) Copied by M. Helen Tongue, with a preface by Henry Balfour. 48 page booklet containing 2 chromocollotypes - 1 double page and 4 plates, preface, introduction, notes on the Bushmen and list of plates with 1 loose sheet with 2 maps, 54 loose colour plates of Bushman paintings, all contained in a recently made maroon paper-covered solander box matching the original, some foxing on the loose plates mainly restricted to the backs and the edges. M. Helen Tongue was a school teacher at Rockland Girls High during the 1890s and 1900s in the town of Cradock in the Eastern Cape, South Africa. It was here that she met Dorothea Bleek, daughter of famous San linguist and ethnographer, Wilhelm Bleek. The two travelled widely visiting rock art sites in the region. Tongue developed a direct contact tracing technique to record each image (both painted and engraved) in its exact proportions and in its relationship to other images as they appeared on the rock surface. In this way, she took an important step beyond the pioneer recording work of George Stow. Tongues Eastern Cape copies are her earliest. Her first copy was made on a farm in Molteno District. In this early work, she worked alone. But, the bulk of her copies were made during three longer fieldtrips beyond the Eastern Cape border, together with Dorothea Bleek. At the beginning of 1906, Tongue and Bleek made a train trip from Cradock to Bloemfontein and Ladybrand (Free State), where they recorded various rock art sites. Most of the sites visited were located by using the descriptions of George Stow. A second expedition in the summer of 1906/07 took them through the Eastern Cape and into Lesotho. Their third and final expedition was by train to Fauresmith (Free State) and wagon to Luckhoff in the Karoo (Western Cape). In 1908 a selection of Tongue copies were exhibited at the South African Public Library in Cape Town and then at the Royal Anthropological institute in London. In 1909 a series of copies were brought together in a handsome portfolio of 54 plates and an accompanying book with two collotype plates and eight black-and-white photographs. Helen Tongue wrote descriptions for each site and each plate, Dorothea Bleek contributed Notes on the Bushmen and Henry Balfour wrote a preface. The book was titled Bushman Paintings, it was Tongues first and only rock art publication. The African Rock Art Digital Archive: http://www.sarada.co.za/people_and_institutions/researchers/helen_tongue/ Good Oxford At the Clarendon Press 1909
Wesley van Eeden SECRET COUNTRY signed, dated 24/10/13 and enscribed with the title on the reverse mixed media on board Secret Country was completed over 3 days at the inaugural Cape Town Art Fair in October 2013. The work was conceptualized over 3 weeks and incorporates digital design and live painting - the final product being the result of a unique and contemporary application that has become popular with street artists worldwide. With van Eeden having experienced teaching in a disadvantaged school near Durban, he saw first-hand the problems that many of today`s youth face. Through this work he attempts to convey a message of hope; that no matter what situation which we find ourselves in, we can pull ourselves up and rise above it. Wesley van Eeden is a full-time artist and illustrator who works under the name `Resoborg`. He has a degree in illustration and has won numerous awards in the advertising industry. His work is housed in private collections globally. 1 270 by 90cm
A collection of 1960s-70s gowns, some psychedelic, to include a 60s purple crepe evening gown embellished with crystals and pearls with Watteau-effect beaded train, a matching purple crepe bolero with purple buttons, a Jean Allen psychedelic print chiffon gown, tinsel lamé gold jersey with op art print gown, 70s Shelana eau-de-nil jersey high neck gown, Gina Fratini patchwork floral Paisley lace trimmed `boho` dress, Sachs 5th Avenue geometric print cotton velvet maxi dress, digital print Mod mini dress, 60s electric blue satin gown, 60s green crepe gown, 70s grey chiffon gown with angel sleeves and 70s stripy jersey maxi dress. (12)
GABRIEL OROZCO Dot Ball, 1992 / 2006 Firmada y fechada 2006 al reverso. Impresión digital 32 / 40 Con certificado de autenticidad de Carolina Nitsch Contemporary Art, New York. (N. Jalapa, Veracruz, 1962 - ) Forma parte de: "Merce Cunningham Dance Company, New York Photo Portfolio 2006", el cual incluía ocho trabajos de artistas contemporáneos: Darren Almond, Robert Gober, Richard Hamilton, Christian Marclay, Bruce Nauman, Ernesto Neto, Terry Winters y Gabriel Orozco. La edición consta de 40 sets que fueron producidos por Carolina Nitsch. Área impresa: 66 x 91.4 cm papel: 76.2 x 101.6 cm
* CALUM COLVIN DA MA(RCA) RSA OBE VENUS AND PLUTO cibachrome print, signed verso 39cm x 49cm note: Calum Colvin was born in Glasgow and studied art in Dundee and London, before coming to prominence in the mid-1980s. His early interest in sculpture led him to develop his unique style of `constructed photography`, creating small sets from everyday objects to resemble domestic interiors. More recently he has used digital technology to generate images that often ask uneasy questions about what makes one truly Scottish. He has exhibited extensively in Europe and the United States and has worked on a number of commissions by the National Galleries of Scotland. His work is held in numerous collections including the Metropolitan Museum of Modern Art, New York; The Museum of Fine Art, Houston; The Victoria and Albert Museum, London and the Scottish National Portrait Gallery, Edinburgh. (Ref:mctfeb_1926)
Various artists. Ten Artists. Ten Digital Prints, The Integration of Computers within Fine Art Practice, Camberwell College of Arts & Chelsea College of Art and Design, The London Institute, 1998, 10 prints, each numbered and signed by the artist in pencil beneath, sheet size 47 x 33cm (18.5 x 13ins), loose as issued in original red cloth foldover box. Limited edition of 20. (1)
Louis le Brocquy HRHA (1916-2012) THE TÁIN. MAGIC CHARIOT, 1991 Aubusson tapestry; Atelier René Duché; (no. 2 from an edition of 9) signed with initials in the weave on reverse by maître-lissier, René Duché and numbered lower right; with certificate of authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché 72.5 by 50.7in., 184.15 by 128.778cm. Taylor Galleries, November 2000; Private collection Whyte`s, 29 November 2005, lot 112; Private collection Louis le Brocquy: Aubusson Tapestries, Thomas Agnew & Sons, London, 2001, unpaginated (illustrated) Woven at the Atelier René Douche, France. One of a series of 22 tapestries based on le Brocquy`s 1969 illustrations to The Táin. Issued in a limited edition of nine plus two artist`s proofs. "I hope that these images from Táin Bó Cuailgne, transmuted into the woven forms of tapestry, may be seen as a tribute to the poet Thomas Kinsella, who inspired them and to the devoted publisher and designer, Liam Miller, who gave them their original coherence" (Louis le Brocquy, op. cit.). Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland`s oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin. The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce`s Finnegans Wake drew on its meandering style - but Thomas Kinsella`s Táin was the first widely-accessible version, especially when Oxford University Press` 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass` Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation. The images le Brocquy called `shadows thrown by the text` became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in tapestry. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post. Le Brocquy`s innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that resemble both chain mail and hand-writing, and in the H-shaped Cúchulainn confronting Ferdia. Different ages and cultures whisper through the images - and through the twenty tapestries made during 1998-2000, when le Brocquy collaborated with maître-lissier René Duché, whose firm had recently been awarded the honour Meilleur Ouvrier de France. Cuchulainn`s Warp Spasm, for example, speaks both of calligraphic marks from Sun Tzu`s The Art of War and Yves Klein`s bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples. The translation into tapestry, via le Brocquy`s Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché`s subtly-textured cottons and wools freed le Brocquy`s black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book`s relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or sentence. Le Brocquy`s hand reaches out through each one. Medb Ruane April 2012 "
Two boxes containing approximately sixty-four hardback and paperback books subjects to include 'Tattoo Sauce Book', 'Isaac Asimov Trilogy', Adams (Douglas) book set comprising five books subjects to include 'The Hitchhikers Guide to the Galaxy', 'Life the Universe and Everything', etc, also 'The Art of War' and 'Aarrgghh!! It's War', being copies of the original battle picture library and war picture library etc books, 'Scifi' graphic history, 'Digital Fantasy Painting', etc
Louis le Brocquy HRHA (1916-2012) THE TÁIN COLLECTION Aubusson tapestry; Atelier René Duché (each no. 4 from an edition of 9) signed with initials in the weave on reverse by maître-lissier, René Duché and numbered lower right; with certificate of authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché 72.50 by 110in. (184.15 by 279.40cm) Provenance: Agnew`s, London; Where purchased by the current owner Exhibited: `Louis le Brocquy Aubusson Tapestries`, Agnew`s, London, 3-29 May 2001, The Táin Tapestries Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland`s oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin. The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce`s Finnegans Wake drew on its meandering style - but Thomas Kinsella`s Táin was the first widely-accessible version, especially when Oxford University Press` 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass` Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation. The images le Brocquy called `shadows thrown by the text` became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post. Le Brocquy`s innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that resemble both chain mail and hand-writing, and in the H-shaped Cúchulainn confronting Ferdia. Different ages and cultures whisper through the images - and through these twenty tapestries made during 1998-2000, when le Brocquy collaborated with maître-lissier René Duché, whose firm had recently been awarded the honour Meilleur Ouvrier de France. Cuchulainn`s Warp Spasm, for example, speaks both of calligraphic marks from Sun Tzu`s The Art of War and Yves Klein`s bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples. The translation into tapestry, via le Brocquy`s Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché`s subtly-textured cottons and wools freed le Brocquy`s black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book`s relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or sentence. They belong together. The tapestries were last seen at the Irish Museum of Modern Art in 2003, when they were acquired under the Heritage Tax Scheme. It is profoundly moving to see them together in these weeks after the artist`s passing on 25 April 2012. Le Brocquy`s hand reaches out through them. Medb Ruane April 2012 (£202,510-£243,010 approx)
Mudwig (British, b. 1980) Keller’s Dorp Hand finished digital image on box frame Unsigned 150cm x 100cm Original art work donated by the artist.This is a charity auction and Dreweatts take no responsibility for the condition of this lot. It is Dreweatts’ understanding that all lots have been executed, and entered for sale, by the artists specifically for this charitable cause. Dreweatts is taking no buyer’s premium or any other commission on sale, and is proud to be associated with this event.
Paul Pfeiffer b. 1966 FOUR HORSEMEN OF THE APOCALYPSE (5) digital duraflex print 152.3 by 122.7cm.; 60 by 48.25in. Executed in 2000 this work is number 2 from an edition of 6 plus 1 artist's proof. Provenance Thomas Dane Ltd. London Literature Exhibition Catalogue Museum of Contemporary Art Chicago Paul Pfeiffer 2003 p. 25 illustration of another example in colour
Kem Weber (1889 - 1963) An Art Deco 'Zephyr' clock designed circa 1934 for Lawson Time the black and chrome body asymmetrically curved and inset with analogue ivorine digital numbers showing hours minutes and seconds bears label reads 'Lawson Electric Clock/ Pat. # 1990645/ Model P. 40/ Lawson Time Inc. Pasadena Calif./ Style No. 304' 20cm wide Literature; Meikle Jeffrey L. 'Design in the USA' published Oxford 2005 page 113 plate 63
Loading...-
831 item(s)/page