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Click here to subscribeKANE BOB: (1915-1998) American comic book writer and animator, the co-creator of the superhero Batman. A good original black ink drawing signed by Kane, one page, oblong 8vo, n.p., n.d. Kane has drawn two head and shoulders studies of his most famous characters, Batman and Robin. Signed with his name alone in bold black ink. VG
LITERATURE: A good, small selection of individually signed oblong 12mo cards by various writers, novelists and poets comprising Karen Blixen (1885-1962) Danish author of Out of Africa, signed with her pen name ('Isak Dinesen') and dated New York, 13th February 1959, in her hand; W. H. Auden (1907-1973) British-American poet; A. A. Milne (1882-1956) English author, creator of Winnie-the-Pooh, signed in later years with a somewhat shaky signature; Ray Bradbury (1920-2012) American author of science fiction, bold blue ink signature and inscription, dated November 1972 in his hand; and Allen Ginsberg (1926-1997) American poet and writer associated with the Beat Generation, black ink signature and date, Los Angeles, 21st March 1967, in his hand, with a small additional drawing of a flower at the base of the card in his hand. VG to EX, 5
‘I would not have been so rudely offended by the rigorous application of the law of the last Budget’ LEGENDRE ADRIEN-MARIE: (1752-1833) French mathematician who made numerous contributions to mathematics. A fine, rare A.L.S., Legendre, two pages, small 4to, Paris, 19th December 1817, to the members of the Royal Commission of Public Instruction, in French. Legendre writes following an ordinance of the King relating to the pensions of former members of the Council of the university, stating that he has received their extract of the ordinance and remarking 'Puisqu'une ordonnance du Roy etoit necessaire pour rendre special le tire de chaque pension, peut etre auriez-vous pu profiter de cette circonstance, Messieurs, pour solliciter en notre faveur une interpretation de l'ordonnance du 17 fevrier 1815, qu'eut designe nos pensions par le meme mot dont M. de Fontanes a si heureusement profite, pour empecher que sa pension de 30,000 fr. fut reduite comme les notres a 6000' (Translation: 'Since an ordinance from the King was necessary to make the drawing of each special pension, perhaps you could have taken advantage of this circumstance, gentlemen, to solicit in our favour an interpretation of the ordinance of 17th February 1815, which would have been designated by the same word which M. de Fontanes so happily took advantage of to prevent his pension of 30,000 francs being reduced like ours to 6000') and concluding 'Nous aurions aussi connu le pouvoir d'un mot mis a sa place, et en mon particulier je n'aurois pas ete aussi rudement froisse de l'application rigoureuse de la loi du dernier Budget' (Translation: 'We would also have known the power of a word put in its place, and in my particular case I would not have been so rudely offended by the rigorous application of the law of the last Budget'). With integral address leaf in Legendre's hand. A few contemporary ink annotations in an unidentified hand appear at the head of the first page. VGLouis-Marcelin de Fontanes (1757-1821) Marquis de Fontanes. French poet and politician, commissioned by Napoleon to write a eulogy on George Washington. Fontanes was the lover of Napoleon's sister, Elisa Bonaparte, for several years and the liaison assured him of his fortune. In 1808 Napoleon appointed Fontanes as Grand Master of the University of Paris, a post he held until 1815. Fontanes was accused of servility to Napoleon, although did consistently support religious and monarchical principles and it was therefore easy to foresee the joy with which Fontanes greeted the return of King Louis XVIII at the Restoration. The King rewarded him with a seat in the Chamber of Peers and also made him a Marquis on 31st August 1817. He had already been a Count since 1808 by the grace of the Emperor.
Study of a young boy beside a doorway, signed, pen and ink drawing on tinted tracing paper, 24.5x13cm, unframed; together with eleven further preparatory and unfinished figurative studies - one possibly the artist at his easel, pen, ink and grey wash; other figurative subjects, various sizes, unframed, (12).
After Rembrandt, “Study of a seated, bearded, gentleman”, black and white etching, 14.5x11.5cm (pl), a later 19th century print after the original; together with various further pictures and prints; a faded ink drawing attributed to Sir Muirhead Bone of a church tower and statue; another ink drawing indistinctly inscribed, depicting a continental courtyard with fountain and trees; a small watercolour of trees beside a river, indistinctly signed; an old black and white engraving entitled ‘The Sprightly Tar’, slightly perished; a Japanese print of a hen and chicks, woodblock print, indistinctly signed and titled ‘Naska’; various later prints and a contemporary black and white etching of a landscape with palm trees, various sizes, (a collection).
George Grosz Warriors return. Orig.-Tinten- und Kreidezeichnung. Signiert und bezeichnet '9 warriors return - THIELEN'. November 1937. Auf Zeichenpapier. Darstellungs- und Blattformat: 46 : 59 cm. Mit Nachlaßstempel. Eine Gruppe Chirurgen beugen sich am OP-Tisch über einen Patienten. Das Motiv in Kombination mit demTitel wirken wie ein Kommentar zum drohenden Krieg. - PROVENIENZ: Aus dem Nachlaß George Grosz; Moeller Fine Art Ltd, New York; dann New Yorker Privatsammlung. Orig. ink and chalk drawing on paper, signed and inscribed by the artist. With estate stampe. - Moeller Fine Art Ltd., then New York private collection. Dieses Objekt wird differenzbesteuert angeboten, Folgerechtsvergütung fällt an.
DANIEL BEC (1940-2010)."Film directors; Buñuel and Berlanga".Ink and collage on paper.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Size: 30 x 21 cm; 47 x 37,5 cm (frame).Drawing conceived as a caricature in which the artist starts from a photograph of the filmmaker García Berlanga, to create a caricature drawing of the director. The director, located in the centre of the composition, is accompanied by his camera and a booklet he is carrying under his arm. In the lower area, following the satirical line of the drawing, we can see a male face with an angry gesture representing Buñuel, as indicated by the inscription below the face. The presence of Buñuel and Berlanga coexisting in the same drawing speaks to us of the artist's interest in Spanish cinema, as he has chosen two of its most outstanding protagonists, who represented modernity in one case before the Civil War and in the other during the dictatorship and the beginning of democracy. García Berlanga is considered one of the renovators of Spanish cinema after the Spanish Civil War. His films include several indispensable titles in the history of Spanish cinema, such as ¡Bienvenido Mr. Marshall!, El verdugo and La escopeta nacional.
ANTONIO MINGOTE (Sitges, 1919-Madrid, 2012)."Berlanga and Azcona".Gouache and ink on paper.Provenance: Private Collection of Luis García Berlanga.Signed and dedicated to Luis Berlanga and Rafael Azcona.Size: 17,5 x 26 cm; 20 x 29,5 cm (frame).In this work Mingote pays homage with his particular style to the figures of Rafael Azcona (Logroño, 1926-Madrid, 2008) and Luis García Berlanga (Valencia, 1921-Pozuelo de Alarcón, 2010). Mingote places the two figures in a large space dominated by blue brushstrokes that simulate the sky, in which he intersperses the text "What's going on down there, Luis? The usual, Rafael: crying and laughing, crying and laughing. Let's see if the cinema continues to make the most of it". These words indicate that the drawing was probably made after Azcona's death in 2008, as well as showing a critique that reflects on the future of cinema. The image is completed by the presence of a character holding a shotgun, while a bird perches on his hat, an allusion to the famous film "La escopeta nacional", on which Berlanga and Azcona worked together. The relationship between the two, scriptwriter and filmmaker, was consolidated over the course of seven films, including the aforementioned film and such essential titles in Spanish cinema as "El verdugo", "Placido" and "La vaquilla".Antonio Mingote was one of the most outstanding Spanish satirical cartoonists of the second half of the 20th century, as well as a writer, language scholar and journalist. Initially self-taught, he was a disciple of Ángel Novella and studied philosophy and literature at the University of Zaragoza. He began his career as a cartoonist in the magazine "La Codorniz" in 1946, two years later he published his first novel, and in 1953 he began a collaboration with the newspaper "ABC" which lasted until his death. In 1987 he was appointed a member of the Spanish Royal Academy, and in 1996 he received the Gold Medal for Merit in Work, although he received countless other important awards throughout his career.
* Baden-Powell (Robert, 1857-1941). A Russian Drosky-Sleigh, sketched in Moscow, c. 1911, pen and black ink drawing on wove paper, signed and titled beneath, 110 x 190 mm, framed and glazedQTY: (1)NOTE:Baden-Powell visited Russia in eraly 1911 where he met the Tsar and was entertained by the Russian Boy Scout Committee.
* Baden-Powell (Robert, 1857-1941). 'Sketch for page 187. "A FIZZER". Pig-sticking or hog-hunting, Lord Baden-Powell, [so titled on mount], c. 1923, pencil drawing on wove paper, showing a man on a horse with a pig in pursuit, ink note by Baden-Powell upper right 'H. G. L. & his Waler. 6 to 4 foxhunting. 100 to 1 pig-sticking', minor dust soiling and light fold marks, 12.5 x 33.5 cm, laid down on a modern card mount with printed caption centered on mount beneathQTY: (1)NOTE:Originally published in 1889, a revised and enlarged edition was published in 1924 with 42 new illustrations by the author.
* Hassall (John, 1868-1948). 'Yours to Command', c. 1910, pen and ink and watercolour drawing of four young boy scouts standing to attention in their uniforms and holding sticks on wove paper, signed lower right and captioned in ink to lower margin, some pencil magazine production notes to margins including sizing, large numeral '8' and the words 'half tone' to left and right margins, 135 x 190 mm, corner mounted, framed and glazedQTY: (1)NOTE:John Hassall provided cover illustrations for a wide variety of magazines including Scout magazine and also provided the cover artwork for Baden-Powell's Scouting for Boys.
Shakir Hassan Al Said (Iraq, 1925-2004)The Martyrdom of Imam Hussein ink on paper in two partssigned and dated, executed in 195529 x 22cm eachFootnotes:Provenance:Property from the Artist's Estate These drawings are inspired by the folk art of the annual Ashura mourning processions held in Iraq and elsewhere, which commemorate the martyrdom of al-Husayn bin Ali and other members of the Prophet's family in 680 AD on the plains of Karbala, Iraq. The Ashura processions are based on oral traditions of narration and poetry accompanied by a full costume sombre pageant to recount the three-day events of the besieging of al-Husayn's camp and his martyrdom along with 63 of his companions and family members against a large Umayyad army. In his aforementioned 1954 article, Al Said noted the impact of the Ashura tradition on his visual memory and the mixture of emotions of fear and sadness from seeing the character of Shimmir, the villain, in the processions. Al Said then noted that Shimmir, in turn, showed fear and sadness in the Qajari posters that circulated in Iraq during the 1950s; these posters brought to visual form the myths and oral traditions of Shimmir's fate and torture. In the bottom right corner of the Qajar poster, Shimmir is seen seated inside a large cauldron on fire with his mouth open wide, screaming, and a piercing agonising frontal gaze as his scull is cracked open by repeated strikes from a bearded figure standing behind Shimmir holding a baton, with his raised right hand about to land another blow on Shimmir's head. Al Said's line drawing, with his well-established Mesopotamian-Islamic motifs, renders the figures with a modern interpretation of pain and fear in the context of vengeance. In contrast to Shimmir's drawing, the portrait of Ali with his son Abbas is more formal and symbolic to reflect perhaps a counterpart to Shimmir's predicament. The myths of Shimmir's torture mention that Ali and his sons and daughters sit and watch the torture of Shimmir and the other killers of al-Husayn. Abbas (al-Husayn's half-brother) is identified from the distinctive two feathers in his helmet, while Ali (al-Husayn's father) is identified by his two-pronged sword, known as Thulfiqar.- Dr Ahmed NajiDr Ahmed Naji is an independent researcher and cultural advisor on art in Iraq and the Arab world. He is the author of Under the Palm Trees: Modern Iraqi Art with Mohamed Makiya and Jewad Selim, Rizzoli New York, 2019. (Instagram: ahmednaji_alsaid)For further information on this lot please visit Bonhams.com
Three small Tunbridge ware boxes, comprising a square example, the pull off lid with a mosaic of a cockerel, the lid interior with ink drawing of a ship and inscribed 'Came to Margate 25th May 1862 Given by MaB', and with a further inscription 1866, 4.5cms sq., a rectangular geometric mosaic box with internal printed label 'From Taylor's Fancy Repository, 27 King's Road, Brighton', 5.7cms, and another box with stick ware lid, 5.6cms. (3) From the collection of Dr. Brian Austen
Full title: German school: The Holy Family, ink on paper, 16th/17th C.Description:Work: 26,3 x 18,1 cm Paper: 33,7 x 22,5 cm The watermark of the paper is unfortunately difficult to decipher, without removing the drawing from the support. The representation of the Blessed Virgin with the Child and Joseph in the background with a book is a popular theme in art (e.g. link). The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Flemish school, after Jacques de Gheyn II (1565-1629): Fourteen emblems, ink and watercolour on paper, 17th C.Description:Dia.: 11,5 x 12,2 cm (the smallest and the largest drawing) The emblems taken from the 'Emblemata Amatoria' by Daniel Heinsius (1580-1655), printed in Amsterdam by Dirck Pietersz. in 1608 (link). The original designs made bij Jacques de Gheyn II, as shown by some drawings in the collection of the Herzog Anton Ulrich-Museum, Braunschweig (e.g. inv./cat.nr Z. 542, link). An emblem always consists of an image (pictura) with a saying (inscriptio/motto) and a short poem (subscriptio) and can have all kinds of subjects. Around 1600 Daniël Heinsius made the first Dutch emblem collection, 'Quaeris sit amor?' or 'Emblemata amatoria', which contained only emblems about love. The emblems of Heinsius consist of a pictura with an inscriptio in Latin and an eight-line subscriptio in Dutch (both the Dutch - see verso - and the Latin text - above the emblems - were copied with each emblem). In 1608 a second Dutch collection of love emblems followed, made by Otto Vaenius, a painter and humanist from Antwerp. Poems were published in three languages ​​for the first time in this collection. P.C. Hooft his 'Emblemata amatoria' is the third collection of love emblems in Dutch. As visible, love emblems were a very popular 17th-C. genre. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Walter Richard Sickert A.R.A. (British, 1860-1942)The Artist's Home in New Orleans pen and ink, charcoal and white heightening39.3 x 33.6 cm. (15 1/2 x 13 1/4 in.)Executed circa 1913-14Footnotes:ProvenanceWalter TaylorProbably Dr Robert EmmonsWith Arthur Tooth & Sons, LondonLord CottesloeSale; Sotheby's, London, 14 July, 1965, lot 69, where acquired byM. Knoedler & Co., New YorkSale; Sotheby's, London, 15 December 1971, lot 21, where acquired byP. SolomonSale; Christie's, London, 13 June 1980, lot 50 (as Degas at New Orleans)Sale; Sotheby's, London, 2 May 1990, lot 48 (as Degas at New Orleans)Private Collection, U.S.A.With Hirschl & Adler Galleries, New YorkSale; Swann Auction Galleries, New York, 8 March 2016, lot 43, where acquired by the present ownersPrivate Collection, U.S.A.ExhibitedLondon, Carfax Gallery, Paintings and Drawings, 1914, cat.no.8Probably London, Thomas Agnew & Sons, Exhibition of Paintings and Drawings by W.R. Sickert from the Collection of Robert Emmons, May-June 1947, cat.no.16New Orleans, Museum of Art, Degas and New Orleans: A French Impressionist in America, 1 May-29 August 1999; this exhibition travelled to Copenhagen, Ordrupgaard, 16 September-28 November 1999LiteratureWendy Baron, Sickert, Phaidon, London, 1973, p.367, cat.no.354Wendy Baron, Sickert Paintings and Drawings, New Haven and London, 2006, p.409, cat.no.419 (ill.b&w)The present drawing depicts the interior of Sickert's Granby Street studio which he used between 1908 and 1914.In a letter to Anna Hope (Nan) Hudson in February 1914 Sickert wrote: 'The daylight is coming back to London which shifts my centre of activity ... to my theatre in Granby Street...' The term 'theatre' is revealing. To Sickert each of the many rooms he rented as studios in houses in and around Camden Town was a stage. He rearranged the furniture – iron bedsteads, bedside cabinets, mantelshelf ornaments, chests of drawers, a sagging chaise-longue, washstands, even a grand piano - to create individual stage sets. It took little to spark off his imagination. In this case, it seems to have been the black model who between 1912 and 1914 features in the work of several painters besides Sickert, including Glyn Philpot and Malcolm Drummond. Black models were uncommon at this period. Sickert immediately thought of a place where black people were not rare, the Deep South of the United States, which in turn led him to remember his mentor, Edgar Degas, whose mother was Creole from New Orleans. Hence the allusive title: in his mind's eye, Sickert visualised his own Camden Town studio as the Degas family home. The same corner, alternatively staged, and the male model standing by the fireplace, 'Hubby', both feature in Sickert's Ennui (Tate, London).We are grateful to Dr. Wendy Baron for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Biswajit Goswami (Bangladeshi, B.1981)Traveling with mother signed 'Biswajit 2022' lower rightchinese ink on fabriano paper, framed128 x 132cm (50 3/8 x 51 15/16in).Footnotes:'MA-a sound, a concept – there is no expectation, only omnibenevolence. When Bishwajit visited China for a third time, for an art project in 2015, his wife was pregnant; distance made him contemplate about his wife and baby. He started to ruminate, 'is my mother also missing me in the same way? How I'm missing...' the beautiful universal thought insisted him and provided energy to make a journey with an art project named 'Travelling with Mother'.He used an iconography 'MA' for this art project that was made by a traditional rickshaw painter from Bangladesh. In this project, he performed with general people in different cultures and geographical areas publicly. In the same way, he introduced Bengali sound 'MA' as an Art form to the different parts of the world. The people who have the same feeling about their mother or motherhood, they were the part of this work. 'Traveling with Mother', conveyed universal emotions of the global citizens.'Born in Netrakona, Bangladesh, Goswami is an artist and educator based in Bangladesh. He obtained his B.F.A in Drawing & Painting from the University of Dhaka, where he is now a lecturer, and subsequently obtained his M.F.A in Painting from Bharti University, Santiniketan, India. His works focus on revealing aspects of his surroundings which have a profound impact on contemporary culture. He employs photography, printmaking, painting to illustrate this. His works have been exhibited at the Dhaka Art Summit (2012,2014 and 2016), the Asian Art Biennale of Bangladesh (2008, 2010, 2012 and 2014), the Beijing International Art Biennale (2012 and 2015) and the Setouchi Triennial in Japan (2013). Recently in September 2022, his works were presented at the Victoria and Albert Museum, London as part of the Bureau 555 exhibit at the annual Digital Design weekend.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Spain.- Illustrated philosophical manuscript.- Bonifant (Franciscus) Ph[ilosphi]ae Cursus..., manuscript in Latin and Spanish, on paper, principally in a single italic hand (Bonifant's?), although with others present, several large initials and sub-titles in ink in a variety of styles, 392pp., with an original whole-page watercolour, tipped-in, an original ink illustration, and 2 engraved plates tipped-in, title browned with minor chipping to fore-edge, a few pages with small holes, damp-staining, some light soiling, a few instances of cracking to gutter, worst at first page with title inner margin laid down to front endpaper, but stitching holding firm, endpapers renewed, contemporary vellum, a little creased and toned, ties present, ?Spain, [late 17th - early 18th century]⁂ Philosophy lessons, mostly in Latin, relating predominantly to Saint Thomas Aquinas (stated on title). The original watercolour, still bright in colour, depicts a fountain in the baroque style; at the foot water gushes from a gargoyle's mouth into a pool with two ducks; ornate architectural carving of shields and banners display Aristotelian contradictions while above on a footbridge a countryman drives a donkey with a whip. The original, half-page ink drawing shows the Ptolemaic System of the planets in concentric circles. The two engraved plates relate to Saint Thomas of Villanova and Saint Jerome.
Original works in pen and ink by veteran stage and lighting designer David Jackson to include: one affixed to a sheet of black thin stock paper (drawing 35 x 28cm) with handwritten annotation 'The Temple - Design Proposal for Scorpions 1983' and a separate work affixed to card (trimmed to one corner) with a stencilled title 'scorpions proposal #2'.
* JOHN NICHOLSON (SCOTTISH 1921 - 2004), LEDA watercolour on paper, signed and titled image size 21cm x 31cm, overall size 46.5cm x 56.5cm Mounted, framed and under glass. Note: John Nicholson was only five when his love affair with ships began. John was fascinated by the workings of a paddle steamer on a day trip to the Isle of Man in 1925 and he was still enjoying sailing on the paddle steamer PS Waverley 78 years later. Drawing was also an interest from a very young age and family holidays on the Clyde in the 1930s provided the subject matter for many of his early paintings. John served in WWII and spent four years as a POW. In the early 1950s he began receiving commissions. Pen and ink drawings appeared in several shipping magazines and from 1984 until 1987, John was commissioned to paint all new vessels to the Cal/Mac fleet. His attention to detail in all his pictures often led to extended correspondence with those wanting a painting of a ship in a particular livery or location. His regular trips to the Isle of Man resulted in a commission from Captain Jack Ronan to paint three Steam Packet ships for him. In 1993 he was commissioned to do a set of paintings of The Isle of Man Steam Packet ships for postage stamps issued by the Isle of Man Post Office. John was a renowned marine artist and his works will remain as a permanent memorial to his abiding interest in all things to do with the sea and, for more than 25 years, he provided the PS Waverley with artwork for their postcards, posters, timetables and advertisements - and all completely free of charge. Early in 1990, the publishers Hart, Maclagan & Will were printing their first book in The Memories of the Clyde series, The Duchess of Fife. They were searching for a suitable front-cover illustration and contact was made with John Nicholson. In 1992 the second title, Steamers of the Clyde, featured all 24 illustrations painted by John Nicholson. In 1994, Liners of the Clyde was published. This book contained illustrations of 24 liners all painted by John with his own authoritative descriptions. He followed this with another work on the steamers of the Clyde and Western Isles with the words provided by himself, Robin Boyd and Iain Quinn.
2000 AD Judge Dredd 'The Day the Law Died' original artwork by Mick McMahon for 2000 AD prog 90 page 6, 11 Nov 1978. So the story goes, Dave Gibbons (with whom Mick shared a studio in St Albans) literally took the mick out of McMahon who had declared that drawing a 'fish' as a Deputy Chief Judge was his 'worst ever artwork panel' (source: Mick McMahon - The 2000 AD Thrill Cast, Lockdown Tapes Interview - You Tube 2016). Recently, in May of this year the publishers of the Apex Edition of Mick McMahon's Art took a digital copy of this artwork for their archive with the owner's permission. Indian ink and black marker pen with Letratone on card. 17 x 20 ins. Framed and glazed
Paul Cadmus (American, 1904-1999). Ink on paper drawing of a nude female figure with her leg raised, ca. 1937. Signed along the lower left. With a tag from Midtown Payson Galleries.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 11 in x width: 7 in.
Martin Wiener (1913-2001): The Rolling Stones Hands1970,ink on paper, depicting hand-drawn 'hands' from the artists' 'Hands Series' in which he got musical personalities to sign their hands, with large signatures by Mick Jagger, Bill Wyman and Charlie Watts in black inks, 40in x 27in (101.5m x 68.5cm)Footnotes:Provenance:Gifted by the Artist's Estate to the current vendor who was a long-term friend of the artist and his family.Raised in Brooklyn, Wiener found art when he moved to California having drifted into writing plays and comedy sketches for radio, television and films. 'The only incident that sticks in my mind is the weekend I spent with Roy Rogers, American Cowboy singer in San Francisco', says Wiener. 'Then one day lightning struck! I was assigned to write a comedy sketch for Dinah Shore and Peter Lind Hayes...This new experience of drawing opened my eyes and heart to the one activity that now had real meaning to me.' After moving through drawing, watercolours and oils, he gave up his Hollywood activities and moved to Paris to focus on his art.The subject of 'hands' was a recurrent theme in Wiener's work. He had an exhibition called 'A Show of Hands' (an exhibition of musical drawings) held and displayed at the Royal Opera House Covent Garden for a number of months in 1971. Other notable people's hands include the Stan Getz Quartet, Yehudi Menuhin, Sir Colin Davis, Golda Meir and many other great musicians, conductors and political figures of the 60's and 70's. His work has been exhibited at numerous institutions in the UK, USA, France and beyond, including the Tate, Barbican, BFI, American Embassy Cultural Centre in Jerusalem, the San Diego Museum, Bodley Gallery in New York, and Oxford University, among many more.Literature:Wiener, Martin, 'Taking a Line for a Walk', Scarecrow Press, London, 1985.For further information on this lot please visit Bonhams.com
Daniel Maclise (1806-1870) Design for Cork Art Exhibition Medal, 1852, sepia ink on paper, Inscribed “Daniel Maclise Design for Cork Art Exhibition Medal 1852” Depicting an allegorical figure of Hope reaching out to assist Hibernia, this sepia drawing by Daniel Maclise is a significant work of art by the most successful painter to have emerged from Ireland in the nineteenth century. It is also a record of a key event in Cork’s economic and social history. The inscription records that the drawing was submitted by Maclise as a design for a medal to commemorate the Cork Exhibition of 1852. Promoted by John Francis Maguire, the first “Irish Industrial Exhibition” was intended to compensate for the low representation of Irish goods at the Great Exhibition held in London the previous year, and also to boost the economy in a part of Ireland badly affected by the Great Famine. In his Dictionary of Irish Artists, (Vol II, p.562) Walter Strickland mentions two medals struck by William Woodhouse (1805-1878) commemorating the Cork Exhibition; both were designed by Maclise. The first was for the overall exhibition, while the second, for which this is the preparatory drawing, included figures of Hope and Hibernia, and was for the opening of the Fine Art section of the exhibition. Displayed in the Fine Art Hall, in the southern transept of the main exhibition building, were paintings and sculptures by Irish artists, including Stephen Catterson Smith, George Petrie, Frederick William Burton, Francis Danby, John Henry Foley and Michelangelo Hayes. The architect John Benson received a knighthood for designing the huge building that housed the Cork Exhibition. Originally sited near City Hall, this wooden structure was later dismantled and the Fine Art Hall was re-erected as the “Athenaeum” theatre, alongside the old Custom House. It served well for over a century as the Cork Opera House, but was destroyed by fire in the late 1950’s. Born in Cork in 1806, Daniel Maclise was a student at the School of Art established in that city while he was still a young teenager. He went on to study at the Royal Academy Schools in London, where he was an award-winning student. His history paintings were often inspired by literary works, such as the plays of Shakespeare, and he produced many designs for engravings in works of literature, such as Tom Moore’s Irish Melodies, the poems of Alfred Tennyson, and woodcuts for the ‘Christmas books’ of Charles Dickens. Many of Maclise’s friendships centred on the periodical Fraser’s Magazine, for which he produced dozens of lithographed portraits of leading writers and politicians. However, the high point of his career was reached in the mid-1840’s, when he was commissioned to paint murals for the Houses of Parliament. One of these works, The Marraige of Strongbow and Aoife (1854) is now in the National Gallery of Ireland, but the two largest works, The Meeting of Wellington and Blücher (1861) and The Death of Nelson (1865) are in the Royal Gallery in the House of Lords. After the death of Prince Albert, Maclise discontinued his work in the Houses of Parliament. Although he strove for, and achieved, success, when Maclise was offered the presidency of the Royal Academy, he refused, and he refused also the offer of a knighthood.
Francis Nicholson, OWS, British 1753-1844- Album of drawings; 79 drawings with indices, including views of Kent, Yorkshire, Lancashire, Hampshire, Shropshire, Somersetshire, Monmouthshire, and Wales in leather boards (binding detached), variously pencil on paper and pen and black ink on paper, variously inscribed, the album 50.5 x 38 cm. Provenance: Collection of William Drummond.; Private Collection, UK.Note: The lead drawing depicts one of the famed ancient trees at Fountains Abbey in Yorkshire. Its grand scale is emphasised by the artist's placement of a figure by its trunk, who is dwarfed in comparison with the tree's colossal form. Further illustrations depict Beckenham, Dover, Wookey Hole, Brenton Hall at Cheshire, near Hayes in Kent, near Plaistow in Kent, the church at Old Melton, Whitby Abbey, St Mary's Abbey in York, Fountains Abbey, Rievaulx Abbey, Furness Abbey, Kirkstall Abbey, and Kirkham Priory. Please refer to department for condition report
Salvator Rosa,Italian 1615-1673-Study of a standing man;black chalk, pen and brown ink and wash on laid paper, 14 x 7.7 cm.Provenance: John Isaacs.; Peter Palumbo.; Sale, Sotheby's, London, 12 March 1963, lot 139B.; Anon. sale, Sotheby's, London, 13 December 1973, lot 38.; with Thomas Agnew & Sons, London, 1974 [no.38365].; Private Collection, UK, since 1975.; By descent.Exhibited: London, Thomas Agnew & Sons, 'Master Drawings and Prints', March-April 1974, no.4.Literature: M. Mahoney, ‘The Drawings of Salvator Rosa’, New York and London, 1977, no.46.4 (illustrated), 'A man turned to the left resting his right arm on a high block and holding a staff in his left hand'.Note: The present drawing relates to Rosa's preliminary studies for his set of 62 etchings of genre and military subjects entitled 'Figurine' - a group of 62 etchings of soldiers, peasants and other figures, depicted either individually or in groups of two, three or more - on which he was working from 1656 to 1657. It has been suggested that, apart from helping to spread Rosa’s fame, these 'Figurine' etchings may also have served to rebut claims, made by the artist’s critics, that he was merely a landscape painter without the ability to depict figures. As Richard Wallace has noted, ‘Rosa was very touchy about his reputation as a figure painter...With the Figurine he undoubtedly meant to show everyone, including his detractors...that he could master the human figure in an almost infinite variety of poses and expressive states.’ Often acquired as a complete set of prints and bound into albums, Rosa’s 'Figurine' etchings remained popular with collectors well into the 18th century.This study was probably drawn from life on the same scale as the etchings in preparation for Bartsch 43. In the finished etching the soldier wears a helmet and leans on his lance which he carries in his right hand. The essential pose of the body remains the same. Rosa’s individual studies for the ‘Figurine’ are characteristic of his graphic style in general. They are all drawn with swift pen strokes and feather-light touches of wash and they all display the same economy of line from which they derive their spontaneity and vigour. Rosa’s inspiration for the ‘Figurine’ stems from the etched work of Jacques Callot (1592-1635) and Stefano della Bella (1610-1664). The figures, many of whom are soldiers, are frequently turned away from the spectator, as in this drawing, as if secretly brooding some plot or conspiracy. As Dr Mahoney pointed out in the Hayward Gallery’s 1973 ‘Salvator Rosa Exhibition Catalogue’, the ‘Figurine’ gave Rosa the opportunity ‘to express several of his most important artistic attitudes, his most obsessive desire to be known as a master of the human figure in all of its aspects… and his wish to display his originality of invention, his ‘capriccio’’.Please refer to department for condition report
* Forest of Dean. Pinnel (T.), A Plan of the Forest of Dean in the County of Glocester, 1782, pen and ink manuscript map on vellum with sparse contemporary outline colouring, decorative strapwork cartouche, compass rose, list of Cottages within the Forest and a vignette drawing of 'The Speech House', some dust soiling, slight creasing, 560 x 715 mm, mounted, framed and glazedQTY: (1)
MANUEL MOLI (La Portella, Lleida, 1936 - Terrassa, 2016)."Machine with spheres".Oil on canvas.Signed in the lower right corner. Titled on the back.With label on the back of the Godula Buchholz Gallery.Measurements: 73 x 60 cm; 74 x 61 cm (frame).Painter, draughtsman and engraver. His painting reflects the influence of predecessors of surrealism as Brueghel and Goya, characterised by a tenebrous fantasy that acts in conjunction with his figures, fabulous beings and scenic stagings; representations that are the receptacle of an inordinate imagination but at the same time trapped in itself. As for the plastic arts, self-taught, he presented his first exhibitions of ink drawings in 1959 and 1965 at the Centro Excursionista de Terrassa and later in various galleries in Arenys de Mar, Barcelona, Mataró, Sitges and also, of course, at the Friends of the Arts and Musical Youth of Terrassa, until 1973, when he exhibited at the Adrià Gallery in Barcelona, a reference space for the art of the seventies in Catalonia due to its support for the awakening of a new artistic sensitivity in our country. With his incorporation into the world of the great galleries, Molí went from working exclusively in drawing to producing oil paintings that were exhibited for decades in Catalan and Spanish cities as well as in various cities all over the world, including, for example, Asunción, Basel, Stockholm, Munich, New York, Nuremberg... both in individual and group exhibitions, and which can be seen in museums of modern and contemporary art in Barcelona, Stockholm, Madrid, Mataró, Nuremberg, Seville and Tarragona.
Tin Stanton Lovers Leap, 2022 Ink and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Tin Stanton is a creative artist from Bristol with a passion for painting. His study of traditional impressionist techniques and his experience as a photographer enable him to deliver the dramatic through the use of colour and light, giving his paintings an intrinsically cinematic feel. With several works claiming finalist positions in galleries in London, Birmingham and Doncaster in 2021, Tin Stanton has also had his own solo exhibition in the D31 Art Gallery, Doncaster in 2022 as well as a painting displayed in the Royal Academy Summer Exhibition. Education 2019-22 - First Class BA (hons) Drawing & Print (University of West of England) 2022 - 2023 MA Graphic Art (current study) Select Exhibitions/Awards Visitors - D31 Art Summer Exhibition Finalist (D31 Doncaster) 2021 The Heat - Clifton Arts Summer Exhibition (Bristol) 2021 From Dust - UK Coloured Pencil Society 2oth Anniversary Gala(OXO Tower Bargehouse, London) 2021 Above New London - The Artist Lounge Finalist, Artist of the Year (Online, Magazine) 2021 Day at the Beach / Above New London - April Fish - Round Lemon (Zest, Birmingham, Online, Magazine) 2021 Sol IX / The Towers - D31 Art Gallery Winter Exhibition (D31 Doncaster) 2021 Visitors Solo Exhibition - D31 Art Gallery (D31 Doncaster) 2022 Visitors II - Objects In Mirrors Are Closer Than They Appear - UWE / Jan-Philipp Fruehsorge (Centrespace Gallery, Bristol) 2022 Perspective / GET OFF MY LAND! / The Towers II - Doncaster Art Fair (Doncaster, Online) 2022 The Clearing / Dreaming Northward / Fire at Fox Cove - D31 Art Gallery Summer Exhibition (D31 Doncaster) 2022 The Towers II - Royal Academy Summer Exhibition (London) 2022 Statement about AOAP Submitted Artwork Tin Stanton's postcard submissions form part of his ongoing futuristic exploration 'Visitors'; a collection of beautiful yet haunting paintings underpinned by a dark, insightful world of drawings, photographs, digital works, sculpture and text, which raise questions about aspects of our own futures in a way that is both convincing and compelling. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Tin Stanton The Point, 2022 Ink and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Tin Stanton is a creative artist from Bristol with a passion for painting. His study of traditional impressionist techniques and his experience as a photographer enable him to deliver the dramatic through the use of colour and light, giving his paintings an intrinsically cinematic feel. With several works claiming finalist positions in galleries in London, Birmingham and Doncaster in 2021, Tin Stanton has also had his own solo exhibition in the D31 Art Gallery, Doncaster in 2022 as well as a painting displayed in the Royal Academy Summer Exhibition. Education 2019-22 - First Class BA (hons) Drawing & Print (University of West of England) 2022 - 2023 MA Graphic Art (current study) Select Exhibitions/Awards Visitors - D31 Art Summer Exhibition Finalist (D31 Doncaster) 2021 The Heat - Clifton Arts Summer Exhibition (Bristol) 2021 From Dust - UK Coloured Pencil Society 2oth Anniversary Gala(OXO Tower Bargehouse, London) 2021 Above New London - The Artist Lounge Finalist, Artist of the Year (Online, Magazine) 2021 Day at the Beach / Above New London - April Fish - Round Lemon (Zest, Birmingham, Online, Magazine) 2021 Sol IX / The Towers - D31 Art Gallery Winter Exhibition (D31 Doncaster) 2021 Visitors Solo Exhibition - D31 Art Gallery (D31 Doncaster) 2022 Visitors II - Objects In Mirrors Are Closer Than They Appear - UWE / Jan-Philipp Fruehsorge (Centrespace Gallery, Bristol) 2022 Perspective / GET OFF MY LAND! / The Towers II - Doncaster Art Fair (Doncaster, Online) 2022 The Clearing / Dreaming Northward / Fire at Fox Cove - D31 Art Gallery Summer Exhibition (D31 Doncaster) 2022 The Towers II - Royal Academy Summer Exhibition (London) 2022 Statement about AOAP Submitted Artwork Tin Stanton's postcard submissions form part of his ongoing futuristic exploration 'Visitors'; a collection of beautiful yet haunting paintings underpinned by a dark, insightful world of drawings, photographs, digital works, sculpture and text, which raise questions about aspects of our own futures in a way that is both convincing and compelling. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Julia Hamilton Round Sunglasses!, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Born in 1962 in London. Julia lives and works in London and Deal, Kent, UK. Julia Hamilton is a painter working in oils and large ink drawings. She has exhibited widely and is held in private collections. Exhibitions included: The RA Summer Exhibition x 6 years. Her work is inspired by Tudor Portraiture, Matisse, Picasso and Alice Neal. Her subjects are women behind masks: Burlesque dancers, Circus acts Bunny girls come under her scrutiny. She is a female artist looking at women who are used to being looked at. Education 2019 ROYAL DRAWING SCHOOL, SHOREDITCH - 3 MONTHS INTENSIVE TERM 2015 - 2018 TURPS CORRESPONDENCE COURSE 2010 - 2012 CITY & GUILDS SCHOOL OF ART MA in FINE ART 2005 -2008 MARY WARD CENTRE Diploma in Counselling and Psychotherapy BACP approved course 1999 - 2002 CITY & GUILDS SCHOOL OF ART BA HONS FINE ART PAINTING 1993 - 1995 CENTRAL ST MARTINS POST GRAD DIPLOMA PRINTMAKING 1980 - 1983 EXETER UNIVERSITY BA HONS ENGLISH AND FINE ART Select Exhibitions/Awards 2019 Royal Academy Summer Exhibition London 2018 Two Person Show at Linden Hall Studio Gallery Deal, Kent 2017 NEAC Mall Galleries London Alicia David at Affordable Art Fair/New York New York Sim Smith Gallery London Alicia David at Affordable Art Fair/London London Linden Hall Winter Group Show Deal, Kent St Annes Galleries Winter Show Lewes 2016 Columbia Threadneedle Prize London and Florence Winter Show Linden Hall Studio Gallery Deal, Kent Alicia David at Affordable Art Fair Hampstead London Sim Smith Gallery London Discerning Eye, Mall Galleries London 2015 Good Figures, Mall Galleries London 2014 ON Motcomb London The Discerning Eye, Mall Galleries London Royal Academy Summer Exhibition London Small is Beautiful, Flowers Gallery London 2013 Transition Gallery, Group Show London Threadneedle Art Prize London Lamb and Lamb - The Black Country London Creekside Open chosen by Paul Noble, London Two Person Show at Sarah O'Kane Contemporary Lewes Atkinson Gallery Somerset About Town at Sarah O'Kane Contemporary Lewes The London Art Fair with Long & Ryle London Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Sarah Arsenault Essential, 2022 Acrylic on Matte Medium Transfer Signed verso 15 x 10cm (5¾ x 3¾ in.) About Sarah Arsenault is a British-Canadian artist based in London. She is a semi-abstract painter who explores human ecology. Her engagements within the environments that she experiences and the interconnectivity that exists among all things, are the prominent themes she explores. Working largely with Eco acrylic, ink and mediums Sarah depicts how she views the world. Her paintings and collages often explore the environmental crisis through a subtle lens. Education MA Fine Art in Painting from UAL: Camberwell College of Arts, London, UK, 2020. Bachelor of Fine Art in Drawing & Painting OCAD University, Toronto, Canada, 2019. Select Exhibitions/Awards Royal Academy Summer Exhibition 2022 Beyond Future Art Prize 2022, Top 18 Finalist Hastings Museum and Art Gallery Open 2022, shortlisted Unstuck, Cropredy, UK, August 2022 Ruth Borchard Self-Portrait Prize 2021, long listed UAL Art Collection, acquired my work Convergence 1 for their collection Subject to Change, Lewisham ArtHouse, October 2021 Journey into Unknown, The Copeland Gallery, November 2021 Solid Air Artists, no format Gallery, October, 2021 Gallery Representation Represented by Singulart Paris and Partial Gallery Toronto Statement about AOAP Submitted Artwork The health of our natural ecosystems depends on pollinators, which include bees, butterflies and other small creatures. They are largely taken for granted, yet so important to our species well being. These paintings highlight the vital act of pollination, the beauty of the pollinators and through a subtle lens, the trouble they are in. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Sarah Arsenault Indispensable, 2022 Acrylic on Matte Medium Transfer Signed verso 15 x 10cm (5¾ x 3¾ in.) About Sarah Arsenault is a British-Canadian artist based in London. She is a semi-abstract painter who explores human ecology. Her engagements within the environments that she experiences and the interconnectivity that exists among all things, are the prominent themes she explores. Working largely with Eco acrylic, ink and mediums Sarah depicts how she views the world. Her paintings and collages often explore the environmental crisis through a subtle lens. Education MA Fine Art in Painting from UAL: Camberwell College of Arts, London, UK, 2020. Bachelor of Fine Art in Drawing & Painting OCAD University, Toronto, Canada, 2019. Select Exhibitions/Awards Royal Academy Summer Exhibition 2022 Beyond Future Art Prize 2022, Top 18 Finalist Hastings Museum and Art Gallery Open 2022, shortlisted Unstuck, Cropredy, UK, August 2022 Ruth Borchard Self-Portrait Prize 2021, long listed UAL Art Collection, acquired my work Convergence 1 for their collection Subject to Change, Lewisham ArtHouse, October 2021 Journey into Unknown, The Copeland Gallery, November 2021 Solid Air Artists, no format Gallery, October, 2021 Gallery Representation Represented by Singulart Paris and Partial Gallery Toronto Statement about AOAP Submitted Artwork The health of our natural ecosystems depends on pollinators, which include bees, butterflies and other small creatures. They are largely taken for granted, yet so important to our species well being. These paintings highlight the vital act of pollination, the beauty of the pollinators and through a subtle lens, the trouble they are in. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Sarah Arsenault Vital, 2022 Acrylic on Matte Medium Transfer Signed verso 15 x 10cm (5¾ x 3¾ in.) About Sarah Arsenault is a British-Canadian artist based in London. She is a semi-abstract painter who explores human ecology. Her engagements within the environments that she experiences and the interconnectivity that exists among all things, are the prominent themes she explores. Working largely with Eco acrylic, ink and mediums Sarah depicts how she views the world. Her paintings and collages often explore the environmental crisis through a subtle lens. Education MA Fine Art in Painting from UAL: Camberwell College of Arts, London, UK, 2020. Bachelor of Fine Art in Drawing & Painting OCAD University, Toronto, Canada, 2019. Select Exhibitions/Awards Royal Academy Summer Exhibition 2022 Beyond Future Art Prize 2022, Top 18 Finalist Hastings Museum and Art Gallery Open 2022, shortlisted Unstuck, Cropredy, UK, August 2022 Ruth Borchard Self-Portrait Prize 2021, long listed UAL Art Collection, acquired my work Convergence 1 for their collection Subject to Change, Lewisham ArtHouse, October 2021 Journey into Unknown, The Copeland Gallery, November 2021 Solid Air Artists, no format Gallery, October, 2021 Gallery Representation Represented by Singulart Paris and Partial Gallery Toronto Statement about AOAP Submitted Artwork The health of our natural ecosystems depends on pollinators, which include bees, butterflies and other small creatures. They are largely taken for granted, yet so important to our species well being. These paintings highlight the vital act of pollination, the beauty of the pollinators and through a subtle lens, the trouble they are in. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Bronwen Malcolm Black Pond, 2022 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Bronwen Malcolm works in central London. Trained at St Martins, Malcolm had her first exhibition in her second year of her degree. The show sold out. On graduation Malcolm continued to develop her own style, constantly reassessing her own visual language. Her paintings are largely narratives, drawing on her vivid imagination. Her love of drawing led to a series of large nude and horse studies in 1987. These were produced by blowing and brushing graphite powder onto damped paper. The resulting work was shown at a one man show at the Diorama Gallery. Following four months travelling in India and Nepal in 1990, Malcolm produced a body of work based on her travels and the people she had met. By 1993 Malcolm was being represented by the Thackeray Gallery in London, who showed her work extensively both in the UK and the USA. In 2003 Malcolm began a series of paintings based loosely on the lives of the saints. The work was a tapestry of research into not just the saints, but the cults and superstitions that have grown around them. Some of the renderings were based on real people often in contemporary settings, often satirical. Weaving the anecdotal with symbols and often bizarre facts about the saints, the works explored stories that are largely unfamiliar today. The exhibition was at Gallery 286. Since then Malcolm has been experimenting with a new pictorial language that is much looser than her early work. She has had recent success at the Discerning Eye and Royal Academy. Education Wimbledon School of Art 1981-82, St Martins School of Art 1982-85 Select Exhibitions/Awards Statement about AOAP Submitted Artwork They are from a series of work I'm building. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Bronwen Malcolm Squirrels, 2022 Watercolour and Ink on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Bronwen Malcolm works in central London. Trained at St Martins, Malcolm had her first exhibition in her second year of her degree. The show sold out. On graduation Malcolm continued to develop her own style, constantly reassessing her own visual language. Her paintings are largely narratives, drawing on her vivid imagination. Her love of drawing led to a series of large nude and horse studies in 1987. These were produced by blowing and brushing graphite powder onto damped paper. The resulting work was shown at a one man show at the Diorama Gallery. Following four months travelling in India and Nepal in 1990, Malcolm produced a body of work based on her travels and the people she had met. By 1993 Malcolm was being represented by the Thackeray Gallery in London, who showed her work extensively both in the UK and the USA. In 2003 Malcolm began a series of paintings based loosely on the lives of the saints. The work was a tapestry of research into not just the saints, but the cults and superstitions that have grown around them. Some of the renderings were based on real people often in contemporary settings, often satirical. Weaving the anecdotal with symbols and often bizarre facts about the saints, the works explored stories that are largely unfamiliar today. The exhibition was at Gallery 286. Since then Malcolm has been experimenting with a new pictorial language that is much looser than her early work. She has had recent success at the Discerning Eye and Royal Academy. Education Wimbledon School of Art 1981-82, St Martins School of Art 1982-85 Select Exhibitions/Awards Statement about AOAP Submitted Artwork They are from a series of work I'm building. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Boo Saville Untitled Study (Series) (1), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Boo Saville Untitled Study (Series) (2), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Boo Saville Untitled Study (Series) (3), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
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![* Baden-Powell (Robert, 1857-1941). A Montenegrin, [1913], sepia pen and ink drawing on wove paper, signed and titled to lowe](https://cdn.globalauctionplatform.com/232ef99e-da70-4638-9ab5-af42011b5f2d/bfa52931-184b-4c94-b7d1-af4301137d39/468x382.jpg)
![Spain.- Illustrated philosophical manuscript.- Bonifant (Franciscus) Ph[ilosphi]ae Cursus..., manuscript in Latin and Spanish](https://cdn.globalauctionplatform.com/b76c68e7-ed31-4f63-82dc-af4e00b3afa9/1d4f7ed4-4b76-46a5-8d38-af4e00be6576/468x382.jpg)
