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Click here to subscribeQuantity of guitar and music reference books including Joe Dunne - 'Hofner Violin Beatle Bass', John Chappell - 'Digital Home Recording',Brent Kick - 'The Ultimate Musician's Reference Handbook', 'The Guitar Player Handbook', 'D'Addario - A History of Traditional Innovation', Michael Doyle - 'The Art of Amplifier', Richie Fliegler - 'Amps, the Other Half of Rock and Roll', Richie Flielger - 'The Complete Guide to Guitar and Maintenance' and others
JAZZ LPs - POST BOP/FUSION/CONTEMPORARY. More wicked sounds with 61 x LPs here. Artists/titles include Art Pepper/Klemmer/Griffin/Henderson - Ballads By Four, Dave Grusin - One Of A Kind (Digital Master), Paquito D'Rivera inc. Explosion, Weather Report inc. Live In Tokyo (Japanese 40AP 942-3 with obi), Return To Forever, Blue Mitchell inc. Many Shades Of Blue and Graffiti Blues, Eddie Jefferson - Still On The Planet, Boogaloo Joe Jones - What It Is and Shake Rhythm Rock, Harold Land - The Fox, Bill Doggett & His Orchestra, Jerry Fielding, Leo Parker and Moacir Santos. Condition can range from VG to Ex+.
Ruth Rogers UNTITLED, 1999 digital print on perspex with label on reverse 17.50 by 23.50in. (44.5 by 59.7cm) Rogers studied at NCAD from 1996 - 1999 obtaining a 1st Class Honours from the painting Department. Her work concerns itself with unmaking something large and unknowable, to create anti-images, a sharp rebuke to the ease with which our culture produces and consumes images. "Essentially I want to set up a sort of push and pull between functioning as straightforward pictorial or compositional devices on the one hand and what we might call narrative devices on the other." Rogers has said of her work for the CAP Foundation Art Award 2000. In this image a circular black mark is inserted into the picture plane so that instead of playing with an inflatable beach ball, a circle of swimmers find an immense black hole hovering over them. A violent interference with paradise. Rogers has also been honoured with the Arts Council of Ireland Artflight Award (Milan/Venice). Exhibitions include a solo show at Kilkenny Arts Festival as well as group exhibitions EV + A, Limerick City Gallery and Absolut Secret, RHA Gallery Dublin.
THE BEATLES ILLUMINATED, THE COMPLETE PHOTOGRAPHIC ARCHIVE OF MIKE MITCHELL.On February 11, 1964, just two days after their momentous American debut on The Ed Sullivan Show, the Beatles performed their first live US concert at the Washington Coliseum. At the young age of 18 and already working for two publications in Washington DC, photographer Mike Mitchell managed to procure a press pass to the concert and shot hundreds of photographs, capturing the excitement of this first British Invasion. Mitchell had exceptional access to the events including their arrival at Union Station, the press conference preceding the performance and unrestricted, stage-front access for the entirety of the historic Coliseum concert. Mitchell went on to photograph The Beatles again when they returned to the US later in the year, playing at the Baltimore Civic Centre on 13th September 1964. The resulting negatives, taken only with ambient light, since Mitchell had no flash, were put away in a box and sat for decades in his basement. The advent of digital technology allowed them to be fully realised as luminous records of this historical moment. The photographs are intimate, due to Mitchell's proximity to the band; they are moody, the result of existing light; and they are innocent, reflecting a time of heightened optimism. The complete archive comprises 413 negatives from the two concerts. The negatives of 46 of the images were digitally restored and seen for the first time in 2011 when Christie's in New York held a special auction dedicated entirely to this collection. Each print was 1/1 by virtue of a tiny 'heart' moniker hidden within. Forty three lots sold for a total of $362,000 (approx. £224,000). This lot includes the entire archive of 413 negatives together with high-resolution digital files of the 46 digitally restored images, a further 10 digitally restored images which were not used, original printed contact sheets and high-resolution scans of all contact sheets. The entire archive is to be sold with full copyright.Apart from the 46 images used in 2011, the remainder of the images are previously unseen/unpublished. In addition, a complete set of 46 prints in a special 1/1 edition (selenium toned gelatin silver fibre fine art prints, various sizes) and a further collection of 24 limited edition fine art prints will be included (full list available on request). All 71 prints are signed by the photographer. A background video is available on You Tube https://www.youtube.com/watch?v=IZDeZBkAk-A Contact sheets for the entire collection together with an inventory of prints sold to data are available on request to serious buyers.***Please contact the auction house for bidding approval for this lot before bidding, otherwise bids will not be accepted.*****Import VAT of 5% will be payable by buyers in the EU**
Various pocket watches, wristwatches, watch and clock parts, an Art Deco wristwatch face with Arabic numerals, 4cm high, Best Patent Lever Bentima pocket watch, various other pocket watches, Swiss made patented wristwatch with plastic casing, a Lucerne digital wristwatch, others by Regency, bangles, spectacles, etc. (a quantity)
§ Richard Drew, known as Zacron (British, 1943-2012) Hypnotic signed lower right "Zacron" and numbered 10/250 87cm (34in) Exhibited: Zacron Collection cat no 730 Edition Other Notes: With the blossoming of computers in creative work, Zacron realised the huge potential of digital imaging. Hypnotic was the first of many archival prints produced by Zacron. Simple in form, it has a 1960s pop-art feel. It exhibits the love of vibrant colour, the fascination with spheres and the energy and passion that runs through all of Zacron's art. Condition is fine. Archival fine art print Framed - world limited edition of 250 Printed using light-fast pigment inks onto 305gsm German etching paper, neutral PH and acid-free, calibrated to exactly match the original 68cm x 88.2cm
Original vintage movie poster for Japanese animation drama Beladonna of Sadness directed by Eiichi Yamamoto. Belladonna of Sadness also known as La Sorciere, Tragedy of Belladonna,[n 1] or simply Belladonna, is a 1973 feature film produced by the Japanese animation studio Mushi Production and distributor Nippon Herald Films. It follows the story of Jeanne, a peasant woman who is raped which leads to her being accused of witchcraft, and is notable for its erotic, violent, and psychedelic imagery. Directed and co-written by Eiichi Yamamoto and inspired by Jules Michelet's non-fiction book Satanism and Witchcraft, it is the third and final film in the Animerama trilogy and the only one to be neither written nor directed by Osamu Tezuka (he left Mushi Production during the film's early stages to concentrate on his comics and his conceptual-stage contribution is uncredited). Belladonna is also of a more serious tone than the more comedic first two Animerama films. Its visuals consist mostly of still paintings panned across and are influenced by western art, such as that of Gustav Klimt, and Tarot illustrations (see also the work of Harry Clarke). The film was a commercial failure and contributed to Mushi Pro becoming bankrupt by the end of the year. The film was entered into the 23rd Berlin International Film Festival. The film was released wide in Europe and Japan, and received a limited screening in the US in 2009 and has undergone a 4K digital restoration for theatrical release in May 2016. Good condition, folded, tears on folds, pin holes in corners, small paper loss in the middles of poster. Country: Japan. Year: 1973. Designer: Unknown. Size: 72.5 X 51.5.
δ Peter Doig (b.1959) Fisherman Digital pigment print in colours, 2014, signed, dated and numbered from the edition of 500 in silver ink, on Somerset photo-rag paper, published by the Montreal Museum of Fine Art, Montreal, the full sheet printed to the edges, 880 x 690mm (34 5/8 x 27 1/8in)(SH) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
GIRL POWERby David Graham1450 mm long x 920 mm high x 700 mm deep, 36 kgThis design depicts a selection of leading ladies from Jane Austen's many novels and acknowledges them as individual heroines, each with their individual traits and style. Austen's intriguing female characters have specific characteristics. Together her female form is a formidable force to be reckoned with, similar to comic book super heroes and their fantastic super powers. The bright colours of the design are in contrast to some of the more sombre hues associated with scenes from Austen's book in order to deliberately emphasise the vitality and relevance of her work in today's society. Austen empowers women.David GrahamDavid is Head of Creative Arts at an all girl's school in Liverpool, where he specialises in Graphic Design and experiments with a wide range of other 2D, 3D and digital media including costume, film and yarn-bombing.David first came across the Wild in Art public sculpture trails when the Superlambananas appeared in the streets of his hometown to celebrate Liverpool becoming the 2008 European Capital of Culture. Since then, he has designed and created a baron for the Baron's Charter in Salisbury, an owl for The Big Hoot in Birmingham, a pig for The Pigs Gone Wild trail in Ipswich and more, and this summer has a number of sculptures appearing for the first time across the country.The Sitting with Jane BookBenches particularly appealed to David as he was keen to celebrate the English heritage associated with Austen as well as the characters of her female characters. His bench designs are in stark contrast to each other.
SHALL WE DANCE?by David Graham1450 mm long x 920 mm high x 700 mm deep, 36 kg This design celebrates Jane's love of dance - the faded images are reminiscent of musical scores, and shows the floorplan and facade of The Vyne, where Jane was known to dance.David GrahamDavid is Head of Creative Arts at an all girl's school in Liverpool, where he specialises in Graphic Design and experiments with a wide range of other 2D, 3D and digital media including costume, film and yarn-bombing.David first came across the Wild in Art public sculpture trails when the Superlambananas appeared in the streets of his hometown to celebrate Liverpool becoming the 2008 European Capital of Culture. Since then, he has designed and created a baron for the Baron's Charter in Salisbury, an owl for The Big Hoot in Birmingham, a pig for The Pigs Gone Wild trail in Ipswich and more, and this summer has a number of sculptures appearing for the first time across the country.The Sitting with Jane BookBenches particularly appealed to David as he was keen to celebrate the English heritage associated with Austen as well as the characters of her female characters. His bench designs are in stark contrast to each other and 'Shall We Dance' reflects on the history of architecture, music and dance with a limited palette of sombre colours.
δ Christo & Jeanne-Claude (born 1935; 1935-2009) Surrounded Islands, Biscayne Bay, Greater Miami, Florida 1980-1983 (Schellmann 203) Seven part leporello, 2009, comprising ten digital pigment prints in colours, on Hahnemühle, signed and numbered from the edition of 75 in pencil, printed by Recom, Ostfildern, published by Schellmann Art, Munich and New York, the full sheet, sheet 320 x 1750mm (12 1/2 x 69in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
20 – FLIGHT TO AUSTRALIA - Artist: Elena NaylorSponsor: Stagecoach in HullAbout the Design:The Flight to Australia moth was inspired both by the life and flying achievements of Amy Johnson, captured in a portrait of Amy and her aeroplane, and Australia, which is illustrated by the road sign featuring a kangaroo and the growing succulents. The artwork was influenced by the Art Nouveau and the Art Deco styles.About the Artist:Elena Naylor is a Russian-born artist, who studied fine art and design for 14 years throughout her education. She uses a variety of subjects and media, from classic fine art to modern digital art, from fairy tale animals to apocalyptic landscapes. Most of her artworks are influenced by the Art Nouveau style.About the Sponsor:Stagecoach in Hull is one of the city’s largest bus operators, providing a comprehensive network of bus services for local people. Every year around 17 million passenger journeys are made on Stagecoach in Hull buses. Bus services play an important role in helping Hull residents and visitors reach work, education, healthcare and the shops.
A Staffordshire pearlware figural group of 'Friendship' attributed to Ralph Wood, circa 1800, titled to the base, 18cm high (bocage repaired)Literature: A similar illustrated at The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection, The New York Public Library. "154. Ralph Wood group, two boys hand in hand; on front of base "Friendship" in red letters. H. 6"; 158. (New York Public Library Digital Collections)
Jane Alexander (South African 1959 - ) Harbinger In Correctional Uniform, Lost Marsh digital print with pigment dyes on cotton paper image size: 30 by 40cm Pep subiros (ed), Jane Alexander Surveys (from the Cape of Good Hope), Museum of African Art, New York, and Actar, Barcelona, 2001, illustrated in colour on p 158
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]
* 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 (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.
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