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Lot 18
18ct white gold solid Princess cut diamond set cross on 18ct white gold necklace, approximately 0.25ct of diamonds, RRP £1200.00 L: 10 mm, chain L: 16'' chain weight is approximately 2.5g Condition Report: Good but used condition. No visible damage or repair. P&P group 1 (£16 for the first item and £1.50 for subsequent items)
Lot 212
TWO CHINESE PORCELAIN TEAPOTS, the first of octagonal section with removable liner, enamel painted with dragon, phoenix and foliage against a cobalt ground, 16cm; the second of circular section, painted with two figures, 14cm. (2)The first in good condition without chips, cracks or restoration. The second with several chips.
Lot 210
THREE CHINESE PORCELAIN WINE CUPS, the first brown-glazed and moulded with four shou symbols, 5.5cm high; the second painted with a five-claw dragon and phoenix, 6cm high; the third also painted with a dragon and phoenix, bears six character mark, 5.7cm high. (3)Brown-glazed cup: Small chip to foot and a tiny chip to rim of bowl.Larger dragon cup: Small rim chip to bowl.Smaller dragon cup: In good condition.
Lot 361
A RARE GENTLEMAN'S OMEGA SPEEDMASTER BRACELET WATCH, CIRCA 1961. Circular black dial painted with luminous baton indexes and outer minute/seconds and 1/5th seconds divisions, chronograph registers at 3/6/9 o’clock with 12 hour and 30 minute registers, applied Omega logo at 12, luminous steel alpha hands, luminous white baton chronograph hand, black bezel with tachometer graduated to 500 UPH, case back engraved with hippocampus, hesalite crystal glass, calibre 321 movement, copper coloured, 17 jewels, straight line lever escapement, index regulator, movement number 18xxxxxx, internally signed case back stamped with reference 2998.61, steel bracelet reference 7912 with number 6 ends dated 3/61, central deploymant clasp. Note: Originally launched in 1959, this is a rare example of a “Pre-Moon” Speedmaster so called by collectors because it pre-dates the first moon landing of 1969. The watch is fitted with the legendary Calibre 321 chronograph movement which was recently relaunched by Omega to celebrate the 50th anniversary of the occasion. Reference CK 2998 is the second generation of Speedmaster and became the first to be worn in space on the wrist of Wally Schirra during the Mercury-Atlas (Sigma 7) mission on October 3 1962, it was subsequently certified by NASA for use by Astronauts in 1965. The Omega Speedmaster has become an iconic watch and it became the first watch worn during an extra vehicular spacewalk when used by Ed White on June 3, 1965. It has since been used in all manned space flights.Engraved with the initials G.W. to the clasp.
Lot 126
AFTER PIERE-JULES MENE bronze sculpture - entitled 'L'Accolade No.2' (The Embrace No.2), bears signature to base, 'P.J.Mene', on black marble plinth base, 64cms long x 28cms wide x 48cms high ~Auctioneer's Note: L'Accolade is one of Mene's most famous works, first exhibited at the Paris Salon in 1852 with the title 'Tachiani and Nedjebe' , depicting a courting Arab mare and stallion. Mene won a medal for the work in 1855 at the Exposition Universelle in 1855. This is the largest of the three sizes that L'Accolade was cast Condition Report: good overall condition.Lots marked with ~ can be collected by couriers by appointment
Lot 102
TWO EARLY 19TH CENTURY NEEDLEWORK SAMPLERS, one by Elizer Field dated April 1826 decorated with flowering urns, shrubs, insects, letters numbers and poem 'Look on this sampler not...', 43 x 33cms, and a wedding sampler dated 1832 for William Walker and Jean Cleland decorated with a Georgian house, trees, ducks, cottages, family initials and crowns, 43 x 31cms +Condition Report: first with some moth holes and stained border, second with small tear to centre on stained linen.Lots marked with + can be collected by Mailboxes Cardiff on Monday April 27th providing that full payment is made to us and Mailboxes by April 23rd. This will be the only collection by Mailboxes
Lot 96
THORBURN, ARCHIBALD. British Birds. London: Longmans, Green & Company 1915-1916. First Edition large quarto, four volumes, 80 colour plates +Condition Report: original red cloth gilt rubbed at edges, some minor staining to boards, foxing to text leavesLots marked with + can be collected by Mailboxes Cardiff on Monday April 27th providing that full payment is made to us and Mailboxes by April 23rd. This will be the only collection by Mailboxes
Lot 44
§ JOYCE CAIRNS P.R.S.A., R.S.A., R.S.W., M.A. (R.C.A.) (SCOTTISH B.1947) POT OF TEA FOR ONEMixed media on paper (Dimensions: 111cm x 81cm (43.75in x 31.75in))Biography: Dr Joyce W. Cairns (b. 1947) is a Scottish painter and printmaker born and raised in Edinburgh. She studied painting at Grays School of Art, Aberdeen and The Royal College of Art, London. She was awarded a Fellowship at Gloucester College of Art and Design from 1974-75, and returned to London where she did an Art Teacher’s Certificate Course at Goldsmiths College, University of London the following year. In 1976 she returned to Aberdeen to teach Drawing and Painting at Grays School of Art. She took an early retirement in 2004, so that she could complete a vast body of work which culminated in ‘War Tourist,’ which was exhibited for 3 months at Aberdeen Art Gallery in 2006 and attracted nearly 30,000 visitors. Her work is mainly autobiographical, based on memories intertwined with present experiences, with inspiration taken from the Scottish landscape and the once fishing village of Footdee at the mouth of Aberdeen harbour. She has been publicly exhibiting since 1969 and her work is held in numerous private and public collections, both within the UK and abroad. Cairns was recently elected the first woman President of the Royal Scottish Academy in 193 years.
Lot 178
§ RAY RICHARDSON (BRITISH B.1964) A PLACE YOU CAN'T PLACE - 2016Screenprint, P.P., signed, dated, titled and editioned in pencil to margin, unframed and two further screenprints by the same artist: 'Friday Street' and 'Mandatomyass' (Dimensions: 30cm x 72cm (11.75in x 28.25in)) (Qty: 3)Biography: Ray Richardson is a contemporary British artist known for his cinematic paintings which employ symbols of working-class London, including English Bull Terriers, soccer pitches, urban landscapes and gritty dockyards. Richardson was born in 1964 in London, in the neighbourhood of Woolwich Dockyard, an area that would eventually deeply influence his art. He attended Saint Martin's School of Art and Goldsmiths College in the 1980s and won his first British Council Award in 1989 followed by the BP Portrait Award in 1990. It was during this time that he gained recognition for his narrative-based representational works and began a long collaborative relationship with three international galleries: Boycott Gallery in Brussels, Galerie Alain Blondel in Paris and Beaux Arts gallery in London. Since 2016, he has collaborated with the Zedes Art Gallery in Brussels. Combining academic pictorial tradition with contemporary culture and his interest in film noir, Richardson’s works capture the everyday scenes in southeast London mixed with social commentary and his personal concerns. In 2014, two of his works were included in the exhibition ‘Reality: Modern and contemporary British painting,' which was held at the Sainsbury Centre for Visual Arts and the Walker Art Gallery. This show highlighted the most influential painters from the last sixty years, exhibiting Richardson’s works alongside the likes of Francis Bacon, Ken Currie, Lucian Freud, and David Hockney.
Lot 104
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) TWO BROTHERSSigned, oil on canvas (Dimensions: 91.5cm x 106.5cm (36in x 42in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
Lot 55
§ ALASDAIR GRAY (SCOTTISH 1934-2019) THE BEAST IN THE PIT - 1952Signed and dated '20.11.52' and inscribed 'I want, I want, let me out, let me out,' ink and watercolour (Dimensions: 76cm x 51.5cm (30in x 20.25in))Literature: Illustrated in A Life in Pictures, p.32 Provenance : A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.
Lot 119
§ BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) NORTHERN SEASCAPESigned in pencil, watercolour (Dimensions: 51.5cm x 49cm (20.25in x 19.25in))Provenance: Compass Gallery, Glasgow Biography: Bet Low was a Scottish landscape and figurative painter whose career spanned the majority of the twentieth century. Her mystical and beguiling landscapes offer great insight into the career of this prolific artist. Born into impoverished conditions in Gourock, Low studied at the Glasgow School of Art during the Second World War before going on to study briefly under James Cowie at Hospitalfield House. Low had a great love of Scottish landscapes and they are a typical theme in her oeuvre - notably of Orkney where she spent numerous summers with her family in Hoy. By the 1960s her works moved further into abstraction, and she is best known for her works in this style. After her studies, Low co-founded the Clyde Group around J.D. Fergusson in 1942 - a group joined together by shared left-wing views and influences from contemporary art in continental Europe. With this group, Low co-organised Glasgow's first open air exhibition in 1956 at the Botanical Gardens. In 1963, she went on to open the New Charing Cross Gallery in Glasgow with John Taylor and Cyril Gerber, which received great critical acclaim for encouraging contemporary art in Scotland. Throughout her career she exhibited widely - including a retrospective of her work in 1985 at the Third Eye Centre (now the Centre for Contemporary Arts), and her work is housed in numerous public and private collections.
Lot 214
§ HOWARD HODGKIN C.H, C.B.E. (BRITISH 1932-2017) UNTITLED (BRUSHSTROKE) - 2010Screenprint, 30/75, signed with initials, numbered and dated in pencil to margin, in original oak wood frame selected by the artist (Dimensions: 36cm x 25cm (14.25in x 9.75in))Note: This series of prints was gifted by the artist to The Art Fund 'Brushstrokes' series, it was distributed to key donors to the fund. Biography: Considered to be one the most important British artists of the twentieth century, Sir Howard Hodgkin was a central figure in the country's modern art movement. Born in 1932 in Hammersmith, London, Hodgkin was determined to become a painter from the young age of five. During the Second World War Hodgkin, along with his sister and mother, were evacuated to Long Island, USA. There his ambitions to paint were reinforced after seeing pictures by Matisse, and Picasso at the Museum of Modern Art in Manhattan. After returning to England he attended Eton College. After running away from school twice, Hodgkin was transferred to Bryanston School in Dorset however he soon ran away again to pursue his ambition of becoming a painter. Hodgkin first trained at Camberwell School of Art, followed by four years studying at Bath Academy of Art. In the mid-1950s a wave of Abstract Expressionism exhibitions in London had an important impact on the development of his style, and to an extent liberated him as an artist. Hodgkin has exhibited at numerous notable institutions including the Hayward Gallery and Gagosian. He was also granted numerous major shows including exhibitions at the Metropolitan Museum of Modern Art, Tate Britain as well as representing Britain at the 1984 Venice Biennale. In 1976 Hodgkin's first retrospective was curated by Nicolas Serota at the Museum of Modern Art in Oxford, and in 1992 he was knighted for his services to the arts.
Lot 7
§ GLEN SCOULLER R.S.W., R.G.I. (SCOTTISH B.1950) PROMENADE L'APRES-MIDI, LA GAUDESigned, oil on canvas (Dimensions: 91cm x 102cm (36in x 40in))Biography: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997. Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
Lot 46
§ BARBARA RAE R.A., R.S.A., R.S.W. (SCOTTISH B.1943) PORTNAHALLY SEA -2002Monotype, signed and titled in pencil (Dimensions: 21.5cm x 27.5cm (8.5in x 10.75in), image size)Exhibited: 'Barbara Rae - an tlarthar - the West,' The Scottish Gallery , Edinburgh - November 2003. Biography: Barbara Rae is one of the most distinguished contemporary artists in Scotland. She attended Edinburgh College of Art from 1961 to 1965 and with a travel scholarship, travelled in France and Spain in 1966. In 1967, she had her first solo exhibit in Edinburgh. She lectured at Aberdeen College of Art from 1972 to 1974 and at Glasgow School of Art from 1975 to 1996. Her work has won many awards and recognitions including two Major Scottish Arts Council Awards, the Guthrie Medal, and the Royal Scottish Academy Sir William Gillies Travel Award. In 1983, Rae was elected President of the Society of Scottish Artists. She has had a long association with the Royal Academy and has been a member since 1992 and a Royal Academician since 1996. Rae's work has been exhibited all over the world and is held in many private collections. Rae's work is concerned with the passage of time and history. She "distils the presence of mankind," and often depicts subjects reflective of an area's history and culture. She spends weeks getting to know the surrounding area and people before beginning her artwork.
Lot 133
§ KENNY HUNTER (BRITISH B.1962) 'WHAT IS HISTORY', MONICA LEWINSKY AND OSAMA BIN LADEN - 1998Numbered 24/100 and incised with initials, cast resin (Dimensions: Each 27cm high (10.67in high)) (Qty: 2)Note: On 'What is History?' the artist commented that it was his 'response to the collapse of the grand narratives and absolute belief systems represented by the traditional historical bust.' Biography: Born and raised in Edinburgh, Kenny Hunter first studied sculpture at the Glasgow School of Art from 1983-1987, followed by a stint studying classical sculpture at the British School in Athens. Hunter typically combines the art historical canon with popular culture in his work. His sculpture is heavily influenced by the bright colours and smooth, flawless finish of plastic toys. He has been commissioned for several major public art projects including Citizen Firefighter, 2001, outside Glasgow’s Central Station, Youth with split apple, 2005 for Kings College, Aberdeen and iGoat, 2010 in Spitalfields, London. He has also exhibited extensively both in Britain and abroad, and is represented by Galerie Scheffel in Germany and Connersmith in the USA. Hunter was awarded an Honorary Doctorate from Aberdeen University in 2008. He is currently a lecturer at Edinburgh College of Art and lives in Glasgow.
Lot 190
§ MAX KAUS (GERMAN 1891-1977) ERINNYE (FURY) - 1964Woodcut on japan paper, 22/25, 2nd state, signed, dated, titled and numbered in pencil to margin, unframed and another 'Head (Kopf)' (plate, after p.308) from the periodical Genius. Zeitschrift für werdende und alte Kunst , vol. 2, no. 2 (Dimensions: 30.5cm x 22.5cm (12in x 9in)) (Qty: 2)Biography: Max Kaus was born in Berlin in 1891. He attended the School for Crafts and the Applied and Decorative Arts in Berlin-Charlottenburg. His work was heavily influence by the expressionist art of the Die Brücke group. A travel grant brought him to Paris in 1914, however, the onset of World War I forced him to return to Germany. He volunteered as an ambulance driver and medical orderly and it was in this work that he met several artists who would influence his work, including Erich Heckel, Anton Kerschbaumer, and Otto Herbig. Around 1916, Kaus began printmaking but moved to more decorative painting after the war. With his reputation growing, he held his first solo show at the Ferdinand Möller Gallery in 1919 and, by the following year, had joined several artist’s groups who furthered the study of Expressionism in Berlin. In 1927 he was awarded the Albrecht Dürer Prize by the city of Nuremburg. By the end of the 1920s, he had taken a teaching position at the Master School for the Applied and Decorative Arts, teaching landscape painting and figurative drawing. Kaus travelled throughout Europe during the 1930s and came to teach in Berlin but was increasingly exposed to persecution by the National Socialists. The Nazis did not approve of his paintings of alienated, lonely figures, and thus his works were removed from public view in 1937 and he was forced to give up teaching until the end of WWII. His home and studio were destroyed by Allied bombs in 1943 and, just two days before the end of the war, Russian artillery destroyed what remained of his work. In July 1945 he accepted a new teaching position at the Hochschule für bildende Künste in Berlin, where he eventually became Deputy Director, and taught until retiring in 1968. He continued teaching and creating art until late in his life.
Lot 174
§ GEORGE BARRIS (AMERICAN 1922-2016) MARILYN MONROE ON SANTA MONICA BEACH - JULY 1962Photograph, later re-print, signed by the photographer (Dimensions: 25cm x 20cm (10in x 8in))Biography: George Barris was an American photographer and photojournalist, best known for his portraits of Marilyn Monroe. Born in 1922 in New York, NY, Barris had a lifelong interest in photography. He first discovered this passion on his sixth birthday, when his brother gifted him a box camera. Barris worked as a photographer for the U.S. Army's Office of Public Relation during the early years of WWII. He covered General Dwight D. Eisenhower’s victory homecoming celebration and many of these photographs were published. After the war, he became a freelance photographer in Hollywood, where he photographed many important celebrities of the 1950s and 1960s, including Elizabeth Taylor on the set of Cleopatra, Marlon Brando, Charlie Chaplin, Frank Sinatra, Clark Gable and Steve McQueen. It was during this time that he first worked with Marilyn Monroe, whom he met while photographing during the filming of The Seven Year Itch. They became close friends, frequently working together, and he was one of the last photographers to capture images of Monroe before her death in August of 1962, in a series that became known as "The Last Photos." In fact, Barris took the last ever photograph of Monroe on July 13, 1962. Devastated by the death of his friend, Barris moved to Paris, where he lived for the next 20 years. Barris died on September 30, 2016, in Thousand Oaks, CA at the age of 94.
Lot 183
§ DYLAN LISLE (SCOTTISH B.1978) DANAESigned with monogram and dated '07, oil on canvas (Dimensions: 88cm x 63cm (34.75in x 24.75in))Biography: Dylan Lisle is part of a new wave of young modern Scottish artists. Finding inspiration in the masterful female forms and chiaroscuro of the Old Masters, Lisle’s work employs a similar technique and style. He contemplates light and texture in his paintings through the swathes of fabric which envelop his sensuous female sitters. His first solo show in London in 2007 was a sell-out. He continues to paint and is now also a tattoo artist based in Manchester.
Lot 96
§ BARBARA RAE R.A. ,R.S.A., R.S.W. (SCOTTISH B.1943) LOCH HA BAIRNESSSigned, inscribed and dated '80, watercolour and gouache (Dimensions: 10cm x 14.5cm (4in x 5.75in))Provenance: Open Eye Gallery , Edinburgh Biography: Barbara Rae is one of the most distinguished contemporary artists in Scotland. She attended Edinburgh College of Art from 1961 to 1965 and with a travel scholarship, travelled in France and Spain in 1966. In 1967, she had her first solo exhibit in Edinburgh. She lectured at Aberdeen College of Art from 1972 to 1974 and at Glasgow School of Art from 1975 to 1996. Her work has won many awards and recognitions including two Major Scottish Arts Council Awards, the Guthrie Medal, and the Royal Scottish Academy Sir William Gillies Travel Award. In 1983, Rae was elected President of the Society of Scottish Artists. She has had a long association with the Royal Academy and has been a member since 1992 and a Royal Academician since 1996. Rae's work has been exhibited all over the world and is held in many private collections. Rae's work is concerned with the passage of time and history. She "distils the presence of mankind," and often depicts subjects reflective of an area's history and culture. She spends weeks getting to know the surrounding area and people before beginning her artwork.
Lot 195
ALEXANDER CALDER (AMERICAN 1898-1976) BLACK AND REDLithograph, 1963, from the special edition of Derrière le Miroir, dedicated to Calder, unframed and two further lithographs from the same publication, including the cover (Dimensions: 38cm x 55.5cm (15in x 21.75in), full sheet) (Qty: 3)Biography Alexander Calder was an American sculptor best known for his innovative mobiles, a type of carefully balanced kinetic sculpture powered by motors or air currents, and his monumental public sculptures. Calder's work first gained attention in Paris in the 1920s and soon he was exhibiting his work internationally. The Museum of Modern Art in New York held a retrospective exhibition of his work in 1943, followed by further major retrospectives held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Although he is primarily known for his mobiles, Calder also worked in paint, print, jewellery, fabric and rug, and miniature sculpture (such as his famous Cirque Calder). Calder's work is in many international permanent collections including the Whitney Museum of American Art, the Guggenheim Museum, the Museum of Modern Art, the National Gallery of Art, Washington, D.C., the Peggy Guggenheim Collection, Venice, and the Centre Georges Pompidou.
Lot 155
§ WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) ORANGE AND RED ON PINK - 1960-91Screenprint, 17/70, signed and numbered in pencil (Dimensions: 76cm x 48cm (29.75in x 19in), full sheet)Provenance: The Scottish Gallery, Edinburgh Biography: Born in St Andrews in 1912, Wilhelmina Barns-Graham's artistic career would span over seven decades, constantly driven by fresh inspiration and an overwhelming creative impulse. During her lifetime she would struggle with the critical eclipse of her work in favour of fellow members of the St Ives School with which her name has become inextricably linked. Undaunted, however, she would continue to produce work of astounding beauty until the last months of her long and full life, and is now recognised as one of the greatest British artists of the 21st century. Barns-Graham divided her time between Cornwall and Fife, and so too her artistic influences and training were fed both by her training at Edinburgh School of Art, and by the fertile creative atmosphere of St Ives. Here from 1940 she would meet and befriend the leaders of the new School; Ben Nicholson, Barbara Hepworth and Naum Gabo. Artistic osmosis was inevitable in this small Cornish town which would become renowned internationally as the seat of Modernism in Britain, yet Barns-Graham would soon develop her own clear pictorial vocabulary. Alongside her later more abstract work, Wilhelmina found constant inspiration in the landscape across Britain. Barns-Graham visited Orkney several times throughout the 1980's, and indeed on an earlier trip she had delighted in the natural geological slab patterns of Warbeth's beach, recreating them in some of her works. Art historians have seen 1988 as the beginning of a final phase in Barns-Graham's development, a late burst of creativity that would last until the end of her life. Having been reminded of her own mortality by a period of severe illness, her work would attain a higher pitch of urgency and freedom of expression. In these later works, we see the masterly draughtsmanship and skilful manipulation of line for which Barns-Graham had first garnered critical praise.
Lot 121
§ BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) NORTHERN WATERS IIISigned in pencil, signed and inscribed on label verso, mixed media (Dimensions: 49.5cm x 37cm (19.5in x 14.5in))Biography: Bet Low was a Scottish landscape and figurative painter whose career spanned the majority of the twentieth century. Her mystical and beguiling landscapes offer great insight into the career of this prolific artist. Born into impoverished conditions in Gourock, Low studied at the Glasgow School of Art during the Second World War before going on to study briefly under James Cowie at Hospitalfield House. Low had a great love of Scottish landscapes and they are a typical theme in her oeuvre - notably of Orkney where she spent numerous summers with her family in Hoy. By the 1960s her works moved further into abstraction, and she is best known for her works in this style. After her studies, Low co-founded the Clyde Group around J.D. Fergusson in 1942 - a group joined together by shared left-wing views and influences from contemporary art in continental Europe. With this group, Low co-organised Glasgow's first open air exhibition in 1956 at the Botanical Gardens. In 1963, she went on to open the New Charing Cross Gallery in Glasgow with John Taylor and Cyril Gerber, which received great critical acclaim for encouraging contemporary art in Scotland. Throughout her career she exhibited widely - including a retrospective of her work in 1985 at the Third Eye Centre (now the Centre for Contemporary Arts), and her work is housed in numerous public and private collections.
Lot 76
§ TRACEY EMIN C.B.E., R.A. (BRITISH B.1963) LOVE IS A STRANGE THING - 2000Off-set lithograph, 210/250, signed and dated 2000, numbered in pencil verso, unframed (Dimensions: 70cm x 54cm (27.5in x 21.25in), full sheet)Biography One of the most infamous artists of the generation of 'Brit Art' artists, christened YBAs, who emerged onto the London art scene in the early 1990s, Tracey Emin, best known for her 'tent' and 'bed', has gone on to become a leading figure in the British art establishment. In August 2006, Emin was selected as Britain's representative in the British Pavilion at the Venice Biennale for 2007. The first major retrospective of her work was held at the Gallery of Modern Art in Edinburgh in August 2008 and included ‘My Bed’ and a monumental, room-sized installation entitled ‘Exorcism of the Last Painting I Ever Made’ dating from 1996. It also featured her appliquéd blankets, paintings, sculptures, films, neon works, drawings and multiples, and travelled to the Centro de Arte Contemporáneo in Malaga and the Kunstmuseum in Bern. Fabric, particularly in the form of appliqué, has been a constant feature of her art. For her, the material itself retains an emotional significance related to its original function and history. In December 2011 Emin was appointed Professor of Drawing at the Royal Academy; drawing has always played a major part in her practice.
Lot 124
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) MAN WITH TOWER BLOCKSigned, pastel (Dimensions: 27.5cm x 20cm (10.75in x 8in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
Lot 110
§ FRANCIS DAVISON (BRITISH 1919-1984) UNTITLEDMixed media collage (Dimensions: 69.5cm x 70cm (27.25in x 27.5in))Biography: Francis Davison spent his childhood in Cannes, the adopted son of George and Joan Davison, who had made their fortune through the Eastman Kodak company. He was sent to boarding school in England, where he met Patrick Heron, who became a life-long friend. Following the Second World War, he moved to St. Ives where Heron introduced him to Margaret Mellis, who later became his wife. Together they moved to London, and then the South of France, where he first started to paint and draw, inspired by the landscape surrounding the family property. They returned to England in 1950, settling in Sussex and establishing a farm. In 1952, Davison started making collages, using torn paper, and a stark colour palette. He only started to receive recognition for his work in the late 1970s, with inclusion in some high-profile exhibitions. His popularity and renown has increased since his death, with several exhibitions and an acknowledgment of him as an inspiration from Damien Hirst.
Lot 200
§ BRYAN PEARCE (BRITISH 1929-2007) HARBOUR - 199160/75, signed, numbered and dated in pencil to margin (Dimensions: 19.5cm x 14.5cm (7.67in x 5.75in))Biography: Bryan Pearce is recognised as one of the U.K.’s leading naïve artists. Born in Cornwall, he suffered from severe health problems and attended a special needs school during the 40’s and 50’s. Encouraged to paint and draw Pearce attended Leonard Fuller’s St.Ives School of Painting from 1953 to 1957. As an artist Pearce depicted his home town and surrounding landscape and on the suggestion of the sculptor Denis Mitchell he joined the Newlyn Society of Artists in 1959. He held his first solo exhibition at the Newlyn Gallery near Penzance in 1959 and subsequent major shows at the Museum of Modern Art in Oxford in 1975 and the Royal Cornwall Museum in Truro in 2000. In his later life he produced a series of prints in small numbered editions and our etching dates from this period.
Lot 68
§ RACHEL WHITEREAD (BRITISH B.1963) HERRINGBONE FLOOR - 2001Laser-cut relief, 331/450, signed with initials, titled and numbered in pencil to mount (Dimensions: 35.5cm x 30cm (13.75in x 11.75in))Biography: Rachel Whiteread studied sculpture at Slade School of Art from 1985 to 1987 under Phyllida Barlow. In her early career she created casts of ordinary domestic objects including ‘Shallow Breath’ the cast of the underside of a bed not long after her father died. She says the casts carry ‘the residue of years and years of use’. In 1992 she exhibited at the first Young British Art show in 1992 where her exhibit ‘Ghost’ was purchased by Charles Saatchi. In 1993 Whiteread won the Turner Art Prize for ‘House’ a concrete cast of an entire terraced house in East London. She has continued to exhibit widely to include the Holocaust Monument a.k.a. Nameless Library in Vienna; Embankment (2005) a commission to fill the vast Turbine Hall at Tate Modern and ‘Cabin’ a concrete reverse cast of a wooden shed located on Governors Island, New York. Whiteread was appointed a Dame of the Oder of the British Empire for services to art in the 2019 Birthday Honours. Her work is represented in many public collections worldwide to include National Gallery of Art, Washington and Tate Gallery, London.
Lot 167
§ ADRIAN RYAN (BRITISH 1920-1988) UNTITLED (BEACH SCENE)Signed, oil on board (Dimensions: 14cm x 20.5cm (5.5in x 8in))Biography: Adrian Ryan joined the Slade School of Art during it’s wartime evacuation to Oxford. Excused military service on medical grounds he shared a studio with Augustus John’s son Edwin and became friendly with the artist Matthew Smith. In 1943 he held his first exhibition at the Redfern Gallery where the painter Edward Le Bas was one of the first to buy a painting. Ryan inherited sufficient money from his grandfather to build an impressive collection of predominantly French artists such as Bonnard, Modigliani, Utrillo and Soutine although they subsequently had to be sold due to his brother’s unwise business ventures. From 1948 he taught first at Goldsmiths and subsequently at Cambridge College of Art. Ryan also spent two lengthy periods living and working in Mousehole in Cornwall and although he knew many of the artists associated with the St. Ives school such as Lanyon and Heron he was never interested in abstraction. Landscapes and still lives were his chosen subject matter and he showed regularly at the Royal Academy Summer Exhibitions.
Lot 186
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) LEERINGSigned, pastel (Dimensions: 27.5cm x 20cm (10.75in x 8in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
Lot 56
§ ALASDAIR GRAY (SCOTTISH 1934-2019) PORTRAIT OF KATEYWith a personal inscription verso, ink and watercolour (Dimensions: 51cm x 63.5cm (20in x 25in))Provenance: A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.
Lot 100
§ MARGARET MELLIS (BRITISH 1914-2009) HOUSE ON SAND - 1974-75Signed, titled and dated verso, oil on canvas laid on board (Dimensions: 63cm x 58cm (24.75in x 22.75in))Provenance: Purchased directly from the artist, by the vendor. Biography: Mellis was born in China to Scottish parents and moved to Britain when she was one year old and shortly after the First World War broke out. She studied at Edinburgh College of Art under the tutelage of S. J. Peploe alongside classmates Wilhelmina Barns-Graham and William Gear, and won a scholarship in 1933 to study in Paris. In 1939, Mellis moved to St Ives with her husband, the writer Adrian Stokes. There, she became a member of the St Ives group of artists and an important figure in the growing modernist movement. It was here that Mellis began to produce collages and constructions of plywood, driftwood and found objects, as well as small abstract paintings. In the 1960s and 1970s she continued experimenting with these constructions and reliefs, working with colour. Mellis left the St Ives area in 1946 after the breakdown of her marriage and subsequent divorce. She later married Francis Davison, also an artist, and became a mentor to the young Damien Hirst.
Lot 149
§ ETHEL WALKER (SCOTTISH B.1941) HYDRANGEASSigned, oil on board (Dimensions: 80cm x 80cm (31.5in x 31.5in))Biography: Ethel Walker studied at Glasgow School of Art 1959-64. After a period of teaching she decided to paint full-time and held her first exhibition in Edinburgh in 1972. Since then she has held a vast number of solo exhibitions not only in Scotland and the south of England but also as far away as New York. Perhaps best known for views of the West Coast of Scotland Walker lives and works in Argyll where she says ‘my inspiration mainly comes from the ever-changing skies and unexpected weather’ She has received numerous awards from the R.G.I., S.A.A.C., and G.W.S.A. and her work is represented in many Corporate and Private collections both home and abroad.
Lot 170
§ VICTOR VASARELY (HUNGARIAN/FRENCH 1906-1997) NOVAEScreenprint, mounted on cardboard, unframed (Dimensions: 58cm x 49cm (22.75in x 19.25in), full sheet)Biography Victor Vasarely was born in Hungary and although initially he spent two years studying medicine he joined the Podolini-Volkmann Academy in 1927. It was during this period that Vasarely first heard of the German Bauhaus school of crafts and fine art. To that end he enrolled in the Bauhaus Muhely Academy in which the basic concepts of the teaching were that all the arts should achieve a unity of purpose based on the cube, the rectangle and the circle. In 1930 Vasarely moved to Paris where much of his work was for advertising agencies. In 1944 Vasarely had his first important exhibition at the Denise René Gallery and it’s success encouraged Vasarely to devote himself to painting. In the late 40’s Vasarely began to move from paintings that were abstract but evolved from representational images to abstract works that were entirely composed of geometric shapes. During the 50’s and 60’s Vasarely began to develop this approach further and he finally achieved international recognition when he exhibited at MOMA alongside other important artists such as Bridget Riley. Vasarely‘s later work explored every aspect of what was to be known as Op Art including distorting and warping images and creating complex three dimensional structures. He was made an honorary citizen of New York Grand Officier de l’Ordre National du Mérite.
Lot 33
§ COLIN MIDDLETON M.B.E. (IRISH 1910-1983) CARNMONEY - 1948Signed, inscribed, numbered '36' and dated 'September 1948', oil on canvas (Dimensions: 25.5cm x 35.5cm (10in x 14in))Provenance: Collection of Dr. Virginia Glenn. Biography: Colin Middleton is a significant Irish artist. Born in Belfast in 1910, he trained at Belfast School of Art and found his greatest artistic inspiration in the work of Van Gogh. He had his first solo exhibition at the Grafton Gallery in 1944, and went on to exhibit internationally. Over the course of his career, Middleton worked in theatre design, taught at art school and produced posters, poems, murals and mosaics. Middleton considered himself the only Surrealist working in Ireland in the 1930s, a contemporary described him as having ‘an inexhaustible capacity for wonder.’
Lot 72
NAN GOLDIN (AMERICAN B.1953) MISTY AND JIMMY PAULETTE IN A TAXI, NYC - 1991Cibachrome print, A.P., signed, titled, editioned and dated verso, unframed (Dimensions: 71cm x 101cm (28in x 39.75in))Note: Nan Goldin is an American photographer best-known for her deeply personal and candid portraiture. Her photographs serve to document herself and those closest to her, particularly the LGBTQ community and associated heroin-addicted subcultures. Influenced by the fashion photography of Helmut Newton and Guy Bourdin, Goldin's earliest photographic works are portraits of close friends glamorously dressed in drag. From the 1970s and throughout the 1980s, while she was living in New York, Goldin continued to socialise with and photograph people of ambiguous gender. She intended her work to be an homage to their beauty and courage; exploring drag and its ability to fulfil the fantasy of reconstructed identities. When Goldin first encountered drag queens in 1972, she quickly became obsessed. She explained: ‘I was eighteen and felt like I was a queen too- they became my whole world. Part of my worship of them involved photographing them. I wanted to pay homage, to show them how beautiful they were. I never saw them as men dressing up as women, but as something entirely different - a third gender that made more sense than either of the other two. I accepted them as they saw themselves; I had no desire to unmask them with my camera.’ ( The Other Side , p.5.) Misty and Jimmy Paulette in a Taxi is part of a large series of colour photographs of glamorous drag queens taken by Goldin in New York, Paris and Berlin in 1991. This picture was taken in a cab as her friends headed uptown to join their float in the New York City Pride March. Misty and Jimmy Paulette stare directly at the camera from the backseat of the taxi. The camera’s flash has illuminated their heavy makeup and shiny clothes. In 2018, Goldin collaborated with the clothing brand Supreme by contributing three of her photographs, Misty and Jimmy Paulette in a Taxi, NYC (1991), Kim in Rhinestones, Paris (1991), and Nan as a dominatrix, Cambridge, MA (1978) to their spring/summer collection. Today, Goldin’s works are held in collections worldwide, including The Museum of Modern Art, New York, the Tate Modern, London, the Museum of Contemporary Art, Los Angeles, and the Centre Georges Pompidou, Paris.
Lot 14
§ SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.Litt., L.L.D. (SCOTTISHDated 1981 on label verso, watercolour (Dimensions: 68.5cm x 102cm (27in x 40in))Biography: Born in Cumbria in 1916, Philipson moved to Scotland with his family when he was fourteen. After training at Edinburgh College of Art, during World War II Philipson served with the King's Own Scottish Borderers in India and Burma, and while unable to paint as much as he would wish under war time conditions, in later life would return to the exotic motifs such as Brahma cattle and Burmese horses first encountered during active service. Following the war, Philipson joined the teaching staff at Edinburgh College of Art in 1947 and taught until his retirement in 1982. His early works were mainly landscapes, still lifes and interiors, but by the 1950s, he had become interested in the work of the American Abstract Expressionists. His works were was strongly influenced by his fellow members of the Edinburgh School, such as Gillies and Maxwell, as well as the works of Kokoschka. This is evident in his energetic brushwork and use of rich, jewel-like colour. His diverse subjects included cathedral interiors, soldiers, wild animals, poppies, and most notably cock fighting. Philipson was a highly influential figure within the Scottish and English art worlds and received many honours throughout his life. He was elected an Honorary Royal Academician and was knighted in 1976 for his services to the arts in Scotland. He served as the President of the Royal Scottish Academy from 1973 to 1983.
Lot 177
§ RAY RICHARDSON (BRITISH B.1964) PASTIME PARADISE - 2016Screenprint, PP, signed, dated and editioned in pencil to margin, unframed and another screenprint by the same artist 'Dreamtime' (Dimensions: 30cm x 72cm (11.75in x 28.25in)) (Qty: 2)Biography: Ray Richardson is a contemporary British artist known for his cinematic paintings which employ symbols of working-class London, including English Bull Terriers, soccer pitches, urban landscapes and gritty dockyards. Richardson was born in 1964 in London, in the neighbourhood of Woolwich Dockyard, an area that would eventually deeply influence his art. He attended Saint Martin's School of Art and Goldsmiths College in the 1980s and won his first British Council Award in 1989 followed by the BP Portrait Award in 1990. It was during this time that he gained recognition for his narrative-based representational works and began a long collaborative relationship with three international galleries: Boycott Gallery in Brussels, Galerie Alain Blondel in Paris and Beaux Arts gallery in London. Since 2016, he has collaborated with the Zedes Art Gallery in Brussels. Combining academic pictorial tradition with contemporary culture and his interest in film noir, Richardson’s works capture the everyday scenes in southeast London mixed with social commentary and his personal concerns. In 2014, two of his works were included in the exhibition ‘Reality: Modern and contemporary British painting,' which was held at the Sainsbury Centre for Visual Arts and the Walker Art Gallery. This show highlighted the most influential painters from the last sixty years, exhibiting Richardson’s works alongside the likes of Francis Bacon, Ken Currie, Lucian Freud, and David Hockney.
Lot 28
§ ANDRE BEAUDIN (FRENCH 1895-1979) NUDE WITH YELLOWColour lithograph, 1961, printed by Mourlot Freres atelier, and published by Editions Verve, unframed and six further lithographs from the same series (Dimensions: 29cm x 21.5cm (11.5in x 8.5in), full sheet) (Qty: 7)Biography Beaudin was born in Mennecy and known for his particular attachment to his native Ile-de-France. He studied at the École des Art Décoratifs in Paris from 1911-1913, until he was called to serve during WWI. His creation of artwork after the war was on hold until he visited Italy in 1921 with his new wife Suzanne Roger. On his return to Paris he began to paint again and, by 1923, he had an exhibition organised at Galerie Percier. The success of this show lead to further shows over the next few years at Galerie Georges Bernheim and Galerie Simon. He developed and honed his individual style during the 1930s, with his technique a reaction to the Cubism of the 1920s. In fact, Beaudin was one of the first younger artists to have responded pictorially against the formulaic Cubist movement. Although his work is considered a descendant of Cubism, Beaudin focussed on the free, intuitive and lyrical quality of paint, therefore contradicting the Cubist formula. In 1937 Beaudin exhibited at the International Paris exhibition, and the following year participated in the L’Art Français Exhibition in Buenos Aires. By the 1940’s he had established an international reputation and held both major solo shows and group shows around the world. He was furthermore awarded the prestigious Grand Prix National des Arts in 1962 in recognition of his contribution to Modern Art. His work is represented in numerous museums of modern art worldwide.
Lot 196
SUNDAY B. MORNING (AMERICAN) CAMPBELL'S SOUPScreenprints, set of 9 with 'Published by Sunday b. Morning' and 'Fill in your own signature' blue ink stamps verso and one 'Golden Mushroom' with 'Fill in your own signature' in black ink, unframed (Dimensions: 89cm x 58.5cm (35in x 23in), full sheet) (Qty: 10)Biography: Sunday B Morning produce high quality silkscreen prints after works by Andy Warhol. The ‘Blue inks’ are the current editions and printed on museum board, they are stamped on the reverse with the original edition of 250 being numbered as well. Sunday B Morning first started producing prints in 1970 with a stamp on the reverse which read ‘Fill in your own signature’. It is not clear whether Warhol was pleased with the prints but he did sign one or two ‘This is not by me. Andy Warhol’ which only made them more desirable. Sunday B Morning continue to produce screen prints from the original Factory photo negative stencils.
Lot 130
§ WILLIAM LITTLEJOHN R.S.A., R.S.W., R.G.I. (SCOTTISH 1929-2006) FISH AND PLUM - 1993Signed and dated, watercolour on handmade paper (Dimensions: 39cm x 60.5cm (15.25in x 23.75in))Biography: William Littlejohn was born in Arbroath, Scotland in 1929 and began his artistic training at the Gray’s School of Art in Aberdeen from 1946-50. Although he explored different approaches to painting, Littlejohn favoured watercolours and collage-based media, often incorporating images of his native Angus and Aberdeenshire into his work. He held his first solo exhibition in 1963 but had already been exhibiting at the Royal Scottish Academy since 1951. He was elected member of the RSA in 1973, and often exhibited with the Royal Society of Painters in Watercolour. Littlejohn taught at his former high school in Arbroath and subsequently at Gray’s School of Art, later becoming Head of Fine Art until his retirement in 1991. He continued to paint late into life and began to experiment with silver and gold leaf in his later works. In 2006, Littlejohn gifted the contents of his studio, including 300 watercolours, oils, drawings, and studio objects, to the Royal Scottish Academy. That same year, the RSA held an exhibition in his honour. His work is held in important collections throughout Britain, including the private collections of Queen Elizabeth II and the Duke of Edinburgh.
Lot 12
§ BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) WINTER LANDSCAPESigned, watercolour (Dimensions: 45cm x 48cm (17.75in x 19in))Exhibited: Royal Scottish Academy Exhibition, 1978 Biography: Bet Low was a Scottish landscape and figurative painter whose career spanned the majority of the twentieth century. Her mystical and beguiling landscapes offer great insight into the career of this prolific artist. Born into impoverished conditions in Gourock, Low studied at the Glasgow School of Art during the Second World War before going on to study briefly under James Cowie at Hospitalfield House. Low had a great love of Scottish landscapes and they are a typical theme in her oeuvre - notably of Orkney where she spent numerous summers with her family in Hoy. By the 1960s her works moved further into abstraction, and she is best known for her works in this style. After her studies, Low co-founded the Clyde Group around J.D. Fergusson in 1942 - a group joined together by shared left-wing views and influences from contemporary art in continental Europe. With this group, Low co-organised Glasgow's first open air exhibition in 1956 at the Botanical Gardens. In 1963, she went on to open the New Charing Cross Gallery in Glasgow with John Taylor and Cyril Gerber, which received great critical acclaim for encouraging contemporary art in Scotland. Throughout her career she exhibited widely - including a retrospective of her work in 1985 at the Third Eye Centre (now the Centre for Contemporary Arts), and her work is housed in numerous public and private collections.
Lot 123
§ DYLAN LISLE (SCOTTISH B.1978) ABSENCESigned with monogram and dated '06, oil on canvas (Dimensions: 112cm x 42cm (44in x 16.5in))Biography: Dylan Lisle is part of a new wave of young modern Scottish artists. Finding inspiration in the masterful female forms and chiaroscuro of the Old Masters, Lisle’s work employs a similar technique and style. He contemplates light and texture in his paintings through the swathes of fabric which envelop his sensuous female sitters. His first solo show in London in 2007 was a sell-out. He continues to paint and is now also a tattoo artist based in Manchester.
Lot 42
§ GUY GLADWELL (BRITISH 1946-2014) STANDING NUDESigned and dated '89, oil on canvas (Dimensions: 111cm x 67.5cm (43.75in x 26.5in))Biography: Guy Gladwell first learnt his trade in Jersey under the artist Sir Francis Barry, quickly establishing himself as an accomplished seascape artist on the island. Gladwell then moved to London and worked with the Nicholas Treadwell Gallery for many years. After parting ways with the gallery, he entered a highly prolific period in London in the 1980s, including earning high-profile portrait commissions including actor Michael Caine and musician Paul Simon. Gladwell exhibited across the U.K. and Europe throughout his career, including various successful entries to the Royal Academy.
Lot 159
§ PETER LASZLO PERI (HUNGARIAN/BRITISH 1899-1967) TWO FIGURESEtching and aquatint, 1950, signed and dated in pencil to margin, unframed, and another unframed etching by the same hand (Dimensions: 28cm x 42cm (11in x 16.5in), image size) (Qty: 2)Biography: Peri was born in Hungary in Budapest and although initially apprenticed as a bricklayer he became a student at the workshops for proletariat fine arts before going on to study architecture for two years. First moving to Paris, followed by Vienna and then Berlin, Peri had the first of two exhibitions with Moholy-Nagy, where he produced irregularly shaped wall reliefs. A radical and left wing thinker Peri was a member of the Association of Revolutionary Visual Artists of Germany and in 1933 Peri emigrated to England with his wife Mary Macnaughton. Once in England Peri was invited to produce a variety of sculptural work for London County Council including the Festival of London and Lambeth Borough. He is represented in museums worldwide including the Tate Gallery, MOMA, Centre Pompidou and the Arts Council. Alongside his sculptural work Peri produced a variety of highly regarded engraved work.
Lot 128
AUBREY WILLIAMS (GUYANESE 1926-1990) THE CHURCH OF SANTA MARIA DELLA SALUTE, VENICESigned and dated '80, signed, inscribed and dated verso, oil on canvas (Dimensions: 45.5cm x 61cm (18in x 24in))Provenance: The vendor knew the artist personally through their work, and they developed a friendship while arranging exhibitions together. Biography Aubrey Williams was a Guyanese artist who was born in Georgetown in 1926. After some informal art training as a child he worked initially on the sugar plantations in the North-West area of the country as an agronomist. In 1952 he moved to London at the height of the Independence Movement and held his first exhibition there in 1954. Over the next fifteen years Williams established himself as a significant member of the post-war avant-garde scene and helped found the Caribbean Artists Movement. In 1970 he worked both in Jamaica and Florida and in 1964 won the prestigious Commonwealth Prize for Painting.
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