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Click here to subscribeRÖMISCH, 17. JAHRHUNDERTArchitektonische Gestaltung einer Wand mit Satyr, Büste, Konsolen und Girlanden.Feder und Pinsel in Braun, weiss gehöht.25,5 x 29 cm.Provenienz:- Sammlungsstempel 'Stern', nicht bei Lugt. ROME, 17TH CENTURYArchitectural drawing of a wall with satyr, bust, consoles and garlands.Pen and brush in brown ink, heightened in white.25.5 x 29 cm.Provenance:- Collection stamp 'Stern', not in Lugt.
CARLE VERNET (ZUGESCHRIEBEN)(Bordeaux 1758 - 1836 Paris)Diana Göttin der Jagd mit Hunden und erlegtem Wild, ein Wappenschild präsentierend.Feder und Pinsel in Grau und Schwarz, die Umrandung teilweise gedruckt.Am unteren Rand mit schwarzer Feder bezeichnet: Carle Vernet; mit brauner Feder ergänzt: i et f.34 x 49 cm (unregelmässig beschnitten), die Ränder und Eckveduten montiert.Die Zeichnung im Mittelfeld mit einer gestochenen und lavierten Prunkrahmen umgeben. Die gezeichneten Eckveduten jeweils aufgesetzt, ebenfalls die gezeichnete Schleife oben und die Schlossanlage in der Mitte des unteren Rands. Attributed to CARLE VERNET(Bordeaux 1758 - 1836 Paris)Diana, goddess of the hunt, with dogs and game, presenting a coat of arms.Pen and brush and grey and black ink, the edging partly impressed.Inscribed on the lower margin in pen and black ink: Carle Vernet; addition in pen and brown ink i et f.34 x 49 cm (unevenly cut), mounted by the edges and corner vedute.The drawing in the central panel is surrounded by an engraved and washed frame. With drawings of vedute applied at the corners, equally so with drawings of ribbons atop and the castle buildings in the centre of the lower margin.
LUIGI RICCI DI RAVENNA(1823 - 1896)Mappe mit insgesamt 21 Bühnenentwürfen für verschiedene italienische Opern.Schwarze und braune Feder, Aquarell, Graphit. Einige Blätter mit ausgeschnittenen Details, die teils und farbigen Papieren hinterlegt sind.Auf der Vorderseite der Mappe mit schwarzer Feder bezeichnet: Luigi Ricci di Ravenna (1823-1896) 20 Scenographie. Mit einer weiteren Zeichnung geschmückt.Diverse Grössen, überwiegend ca. 25 x 40 cm.Auf den Passepartouts teilweise bezeichnet: 1. La Giovanna d'Arco, scena 1. (Verdi); 2. I Puritani (Bellini); 3. La Straniera - Sala d'armi, datiert: 1831 (Bellini); 4. Luisa Miller (Verdi); 5. Terrazza di Saragosza in casa di D. Giovanni d' Aragona - per 'L'Ernani' (Verdi); 6. Galleria in casa Pisani - per il 'Vittor Pisani' (Achille Peri).Einige der Entwürfe sind auf den Passepartouts mit anderen Künstlernamen versehen: 1. Antonio Basoli (1774-1848); 2. Giuseppe Badiali (1798-1859); 3. Pietro Gonzaga (1751-1831); 4. Bernardino Galliari (1707-1794). Dabei handelt es sich möglicherweise um Werke dieser Künstler oder um spätere Kopien nach deren Bühnenentwürfen. Die stilistisch sehr einheitlich ausgeführten Werke legen die zweite Möglichkeit nahe. - Alle Blätter mit geringen Gebrauchsspuren. Insgesamt in farbfrischer und schöner Erhaltung. - Selten. LUIGI RICCI DI RAVENNA(1823 - 1896)A portfolio with a total of 21 stage designs for various Italian operas.Pen and black and brown ink, watercolour, graphite. Some sheets with cut-out details, which are partly laid on coloured paper.Inscribed in black pen on the front of the portfolio: Luigi Ricci di Ravenna (1823-1896) 20 Scenographie. Decorated by a further drawing.Various sizes, predominantly approx . 25 x 40 cm.Partly inscribed on the mats: 1. La Giovanna d'Arco, scena 1. (Verdi); 2. I Puritani (Bellini); 3. La Straniera - Sala d'armi, dated: 1831 (Bellini); 4. Luisa Miller (Verdi); 5. Terrazza di Saragosza in casa di D. Giovanni d' Aragona - per 'L'Ernani' (Verdi); 6. Galleria in casa Pisani - per il 'Vittor Pisani' (Achille Peri).Some of the designs provided with different artist names on the mats: 1. Antonio Basoli (1774-1848); 2. Giuseppe Badiali (1798-1859); 3. Pietro Gonzaga (1751-1831); 4. Bernardino Galliari (1707-1794). These may possibly be works by these artists or later copies based on their stage designs. The stylistically uniform execution of the works suggest the second option. - All sheets with minor traces of wear. Overall in fine condition with fresh colours. - Rare.
Whistler (Rex).- Swift (Jonathan) Gulliver's Travels, number 48 of 195 copies on hand-made paper from an edition limited to 205, title-vignettes, 12 engraved plates, 5 maps, 4 head- and 4 tail-pieces by Rex Whistler, the 12 plates hand-coloured under the artist's supervision, light offsetting, light spotting to endpapers, original half viridian niger with vellum boards, by Wood, t.e.g., others uncut, spines faded, some marking and staining to covers, some scuffing to extremities, [Whistler & Fuller 426], large 4to, Cresset Press, 1930⁂ Whistler's magnum opus of illustration . Apparently inspired by Richard Bentley's Designs for Six Poems by Mr T.Gray of 1753 he drew the illustrations within elaborate rococo frames, each one different, many reflecting his love of Baroque architecture. He spent months on the detailed pen and ink drawings; according to his brother Laurence he sat up all night drawing one wheatsheaf.
Ghirlandaio (Ridolfo, 1483-1561), Follower of. Madonna & Child, pen and brown ink, on laid paper without watermark, ruled framing line, 125 x 82 mm (4 7/8 x 3 1/4 in), inscribed verso 'Michele di Ridolfo/ PMP' and numbered 'D28599', laid onto thin support sheet and inset at edges into window mount, framedProvenance:Jan Pietersz. Zoomer (1641-1724) [L. 1511]Richard Cosway (1740-1821) [L. 629]; possibly his sale, 14-22 February, 1822 (sold by George Stanley)P. & D. Colnaghi & Co. Ltd, London, [?inventory number verso 'D28599'], their label verso with attribution to 'Michele di Ridolfo [sic] (1795-1854)'Private collection, London⁂ The historic Colnaghi attribution would appear to suggest that the present study was traditionally understood to be by Ridolfo Ghirlandaio's pupil, Michele Tosini, called Michele di Ridolfo del Ghirlandaio (1503-1577). With very few drawings for comparison it is difficult to sustain this attribution with any confidence; Baldinucci listed only one drawing by Tosini in the Medici collections in 1670. The drawing does however show some similarities to Tosini's master, Ridolfo Ghirlandaio (1483-1561). There is a photographic record held in the Royal Collection which illustrates a pen and ink drawing, The Adoration of the Shepherds, which is catalogued as 'a partial copy [after Ridolfo Ghirlandaio] of a drawing now in the Nationalmuseum, Stockholm (inv. no. NMH 293/1863)'; this partial copy appears to be by a very similar hand to the present sheet (see RCIN 850496).
* Pontormo (Jacopo Carrucci, 1494-1557). Monk in full-length habit, standing with hands behind his back, red chalk on pale cream laid paper, with early inscription in brown ink to lower left margin 'Andrea del Sarto nel stile d'Alberto Duro 49.', collector's mark (Lugt 2793) to lower right corner, and a further collector's mark (Lugt 2364) to lower left corner, some overall soiling and one or two surface abrasions, near-horizontal central crease, closed tear or snag to centre left of the sheet (generally without loss), sheet size 369 x 165 mm (14.5 x 6.5 ins), laid down on old laid paper backing sheet, (possible late 17th century or early 18th century), and with ruled border in pale red and brown ink and wash, edge-mounted on early to mid-20th century cream board, with stamped attribution in black ink to lower edge JACOPO CARRUCCI (Pontormo)Qty: (1)NOTESProvenance: Nathaniel Hone (1718-1784), painter (Lugt 2793); Sir Joshua Reynolds (1723-1792), painter (Lugt 2364). The early inscription to this drawing, probably dating from either the late 17th or early 18th century, may be by the Milanese priest at San Filippo Neri in Rome, Padre Sebastiano Resta (1635-1714), collector and historian of old master drawings, a large part of whose collection was acquired by Lord John Somers (1651-1716) between 1710 and 1714, and subsequently sold at auction in London in 1717, following his death. See Genevieve Warwick, The Formation and Early Provenance of Padre Sebastiano Resta's Drawing Collection, Master Drawings, volume 34, no. 3 (Autumn 1996), pages 239-278.
* After Daniel Maclise, (1806-1870). Benjamin Disraeli as a Young Man, monochrome watercolour heightened with bodycolour on paper, full-length portrait of Disraeli standing in nonchalent pose leaning one elbow on a mantelpiece, with a long smoking pipe resting on the sofa behind, and a sheath of ornamental daggers hanging on the wall, titled to lower margin, 12.6 x 8.5cm (5 x 3.25ins), verre eglomise mount, framedQty: (1)NOTESAfter the portrait of Disraeli executed by Maclise for 'Fraser's Magazine' and published in lithograph by James Fraser in 1833. The National Portrait Gallery has a pen & ink drawing of Disraeli by or after Daniel Maclise which is almost identical in compostion (NPG 3093). Novelist and statesman Benjamin Disraeli (1803-1881), who served twice as Prime Minister, was famous for his dandyism. Maclise's portrait, with its flamboyant dress style, careless pose, and smoking pipe, portrays him in this guise.
Tony Hart (British, 1925-2009). Bear with honey pot and bees. Ink on paper, signed. Paper size: 73 x 56cm. Rolled. Provenance: given by Tony Hart to the vendor at a fete in Wokingham in 1983. Sold with three copies of photographs of Tony drawing at the same event. Tony Hart (1925-2009): Norman Antony Hart was a legend of British TV and Childrens programming. An artist and presenter, best known for his work in educating children in art through his role as a children's television presenter. Hart initially worked as an officer in a Gurkha regiment until the start of Indian independence, whereupon he became involved in children's television from the 1950s, working on Blue Peter amongst other shows for a few years before fronting a series of children's art programmes, including Vision On, Take Hart and Hartbeat. He received two BAFTA awards. His first, for Best Children's Educational Programme, came in 1984 for Take Hart, and he was given a Lifetime Achievement Award in 1998. Tony lived in Shamley Green in Surrey from 1967 until he passed away in 2009.
Dutch Old Master School (late 17th/18th century)Solomon and Hiram Exchange Gifts, 1 Kings IX:10-28preparatory drawing, pen, ink and wash on paper, 26cm x 25cmProvenance: with The Folio Society: Collectors' Corner, W1, Stock No. D3593, £25, when erroneously titled 'Pilate washing his hands', label to verso.
Albert Wainwright (1898 - 1943) - Amours Exotiques, a pen, ink and watercolour wash study of a kneeling male nude in a studio setting, smoking and with magazines and other drawings around him, to the reverse, a pen and ink drawing of a seated semi clad female nude to an interior setting, measures 23cm x 17cm.
Albert Wainwright (1898-1943) - Pale Moon, a pen and ink life drawing study of a reclining male nude resting to a series of bold abstract cushions and carpets, to the reverse a double pen and ink sketch showing a semi clad female nude draped in cloth to an interior setting, measures 23cm x 17cm.
Ibrahim El-Salahi (Sudanese, born 1930)Untitled, circa 1960 signed 'Salahi' (lower right)ink and whitewash on paper60 x 45.4cm (23 5/8 x 17 7/8in).Footnotes:ProvenanceThe collection of the artist;The Vigo Gallery, London;A private collection.LiteratureHassan, S. M., 'Ibrahim El-Salahi, A Visionary Modernist', pub Tate, 2013, illust p. 56.El-Salahi is perhaps Sudan's most celebrated living artist. A career spanning five decades, his work was brought to international attention when a major retrospective of his work was held at London's Tate Modern in 2013. The exhibition showcased the breadth of Salahi's oeuvre and explored his key themes: the legacy of colonialism, the creative influence of faith, and his own hybrid identity. Following his graduation from the Slade School of Fine Art in London, El-Salahi returned to Sudan in 1957 where he devoted his attention to the ancient artistic traditions of the region and the study of calligraphy. His works from this period reflect these interests, fusing African, Arab, Islamic and Western influences.Executed circa 1960, this ink drawing is an excellent example. The graceful lines show a clear debt to calligraphy. The dense imagery threatens to burst out from the confines of the page, the dynamic lines pulse with energy and life. As an older man, El Salahi reflected on these early drawings:'It was almost like I had a fever and I had so many ideas coming through me and I had to put them through. So the picture plane was covered, with objects, with figures, with shapes, near and far, big and small, it was packed...there was no space - you cannot travel through it easily...' (El Salahi, interview with Sarah Adams in April, 2002)This drawing is not easily navigable. It asks the viewer to really look, to concentrate and engage. The reward is well worth the effort.A similar piece was sold in these rooms in March 2019.El-Salahi's work can be found in the collections of the Museum of Modern Art, New York, Metropolitan Museum, New York, The Art Institute of Chicago, Chicago, The British Museum, London, Tate Modern, London, The Smithsonian Institute, Washington DC, The Guggenheim Museum, Abu Dhabi, The National Gallery, Berlin, and many others.We are grateful to Toby Clarke from the Vigo Gallery for providing provenance and information used in the above footnote.For further information on this lot please visit Bonhams.com
City gentleman, initialled and dated '03', pencil drawing, 18.5cm x 9.5cm; with another, S* Skillen (British, early 19th century), traveller at rest, inscribed verso, ink and wash, tondo, 8cm diameter and another of a horse and cart, watercolour, 8.5cm x 12cm (3)Part of a Herefordshire Country House EstateCondition report: All ok.
18th Century English school, small ink and watercolour drawing, coastal scene with figures and boats before a windmill and church, indistinctly initialed, possibly H.S., 3ins x 4ins approximately, unframed, together with an album containing a collection of various watercolours, drawings, prints and scraps
18th Century English school, monochrome ink and watercolour, figures in an Italianate landscape, 8ins x 9.75ins, unframed (damages), together with a 19th Century gouache, figures in a landscape before a fortified building, 7ins x 9.5ins, unframed, a pencil drawing study of an oak tree, together with a single sheet bearing a number of pencil sketches
Mary Griffiths The Not Yet Star, 2021 Inscribed Graphite on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mary Griffiths (b. 1965, Wirral. Lives in Manchester) Mary Griffiths' practice begins with drawing and the close observation of urban, rural and industrial ecologies and architectures. These rapid figurative drawings are developed in the studio in graphite, ink, monoprints, paint and digital media. They are also the root of her abstract works, through which their essential geometries are rendered BA English, Newcastle University: MA Fine Art, Manchester Metropolitan University Exhibitions/Awards "Drawing Biennial", Drawing Room, London (Forthcoming, 2021); "Royal Academy Summer/Winter Exhibition" (2020); "Protest and Remembrance", Cristea Roberts Gallery, London (2018); "Wild Honey", The Turnpike, Leigh (2018, solo exhibition); "Prospect Planes", with physicist Kostya Novoselov, for the Great Exhibition of the North, Newcastle/Gateshead (2018); "Wonder Materials: Graphene and Beyond", Museum of Science and Industry, Manchester and touring internationally (2016-18); "From Seathwaite", permanent wall drawing at the National Graphene Institute, Manchester (2015, solo exhibition); "Still Further", Bureau, Manchester (2014, solo exhibition); "Black and White Room" curated by Cornelia Parker, "Royal Academy Summer Exhibition" (2014); "Cabedal", Plataforma Revolver, Lisbon (2012); "Fathom", Bureau, Manchester (2012, solo exhibition); "Memory of a Hope", Ceri Hand Gallery, Liverpool (2011). Arts Council England awards (2020, 2018, 2015); Greater Manchester Combined Authority Creative Commissions (2020) Collections: Arts Council Collection; The Turnpike; The Whitworth; private collections About the postcard artworks "The Not Yet Star" is made of graphite, a form of carbon, the stuff we are all made from. The drawing takes its form from an industrial machine but it becomes a celestial star. Earthly and cosmological, like all of us.
Rebecca Swainston I Awoke with Horns, 2021 Gouache, Pen, Gum Arabic and Printing Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My images examine the complex and ambiguous nature of human experience, it's physiological and psychological impact and the effect on our psyche. I look at the rituals, conventions and visual signs of our beliefs, social idiosyncrasies and the way we express them, consciously and unconsciously. A personal iconography has developed over years of work and draws upon my own experiences in conjunction with a more universal cultural tradition. The lived experiences of those who find their stories reported in mass media and in the general narrative inspire many images. These events hook into and effect each of our lives and combine in the work with personal remembered and daily life. Situated in the subconscious they manifest and surface repeatedly in expressive layered images. Environment, both natural and man-made, animals and objects all provide clues to the many layered narratives and show hidden aspects of ourselves. Themes recur, for example items of clothing, as a metaphor for protection and strength what is projected and what is withheld. The figures reveal an intimate examination of feelings, expressing both vulnerability and determined resistance. They draw us into the centre of an ongoing quest to unearth internal truths. Working primarily with acrylic and oils, I layer over mixed media. Drawing underpins everything both observational and imagined. Education Rebecca has a first-class honours degree - Winchester school of Art. and an M.A. from Chelsea School of Art. Exhibition Rebecca has exhibited her work widely in invited group shows, juried exhibitions and in many solo exhibitions. In May 2019 she had a solo exhibition in London for which an accompanying book was published "Revealed and Concealed" ISBN 978-1 913069-00-1 Gallery Representation Castlegate House Gallery
Tamsin Morse Night Cafe, 2021 Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Morse Education Slade (BA), Chelsea College of Art and Design (MA) Exhibitions Selected solo exhibitions 2010 Coleman Projects, London 2006 One in the Other, Vyner Street, London Selected recent group exhibitions 2019 Trinity Buoy Wharf Drawing Prize, UK 2019 Charlie Smith, 25 years 2019 Studio 1.1, London 2009 MK Fringe, Milton Keynes (winner of MK Fringe Award) 2008 The Future Can Wait, London E1 2008 The Golden Record, Collective Gallery, Edinburgh 2007 Sobe!, with Galerist, Istanbul Bienale, Istanbul, Turkey 2006 Between a Rock and a Hard Place: The Stone in Art, Rove Projects by Kenny Schachter , London Collections Anita Zabludowicz, Timothy Taylor, University of the Arts, The Open University (One in the Other 2005-2009) About the postcard artwork Making work for International Women's Day is a great honour and a subject close to the heart of Tamsin Morse's work. Having taken a ten year break from her studio to raise children and finding her circumstances and options greatly reduced due to her motherhood, once she returned to the studio she felt compelled to bring her experience to the canvas. Her work explores themes of female judgement and expectations, of human insecurities, growing up, relationships, motherhood and recently during the Pandemic, paintings about touch and human need, which many of us are currently living without. The ink drawings submitted on the postcard are from a motherhood series along these themes. Drawing is integral to her work which often results in large canvases. The ink drawings or paintings bridge the gap between pencil and fluidity of paint and becoming a staple of her portfolio.
Tamsin Morse Bath Time, 2021 Ink on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Tamsin Morse Education Slade (BA), Chelsea College of Art and Design (MA) Exhibitions Selected solo exhibitions 2010 Coleman Projects, London 2006 One in the Other, Vyner Street, London Selected recent group exhibitions 2019 Trinity Buoy Wharf Drawing Prize, UK 2019 Charlie Smith, 25 years 2019 Studio 1.1, London 2009 MK Fringe, Milton Keynes (winner of MK Fringe Award) 2008 The Future Can Wait, London E1 2008 The Golden Record, Collective Gallery, Edinburgh 2007 Sobe!, with Galerist, Istanbul Bienale, Istanbul, Turkey 2006 Between a Rock and a Hard Place: The Stone in Art, Rove Projects by Kenny Schachter , London Collections Anita Zabludowicz, Timothy Taylor, University of the Arts, The Open University (One in the Other 2005-2009) About the postcard artwork Making work for International Women's Day is a great honour and a subject close to the heart of Tamsin Morse's work. Having taken a ten year break from her studio to raise children and finding her circumstances and options greatly reduced due to her motherhood, once she returned to the studio she felt compelled to bring her experience to the canvas. Her work explores themes of female judgement and expectations, of human insecurities, growing up, relationships, motherhood and recently during the Pandemic, paintings about touch and human need, which many of us are currently living without. The ink drawings submitted on the postcard are from a motherhood series along these themes. Drawing is integral to her work which often results in large canvases. The ink drawings or paintings bridge the gap between pencil and fluidity of paint and becoming a staple of her portfolio.
Tamsin Morse Waiting for the Bus, 2021 Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Morse Education Slade (BA), Chelsea College of Art and Design (MA) Exhibitions Selected solo exhibitions 2010 Coleman Projects, London 2006 One in the Other, Vyner Street, London Selected recent group exhibitions 2019 Trinity Buoy Wharf Drawing Prize, UK 2019 Charlie Smith, 25 years 2019 Studio 1.1, London 2009 MK Fringe, Milton Keynes (winner of MK Fringe Award) 2008 The Future Can Wait, London E1 2008 The Golden Record, Collective Gallery, Edinburgh 2007 Sobe!, with Galerist, Istanbul Bienale, Istanbul, Turkey 2006 Between a Rock and a Hard Place: The Stone in Art, Rove Projects by Kenny Schachter , London Collections Anita Zabludowicz, Timothy Taylor, University of the Arts, The Open University (One in the Other 2005-2009) About the postcard artwork Making work for International Women's Day is a great honour and a subject close to the heart of Tamsin Morse's work. Having taken a ten year break from her studio to raise children and finding her circumstances and options greatly reduced due to her motherhood, once she returned to the studio she felt compelled to bring her experience to the canvas. Her work explores themes of female judgement and expectations, of human insecurities, growing up, relationships, motherhood and recently during the Pandemic, paintings about touch and human need, which many of us are currently living without. The ink drawings submitted on the postcard are from a motherhood series along these themes. Drawing is integral to her work which often results in large canvases. The ink drawings or paintings bridge the gap between pencil and fluidity of paint and becoming a staple of her portfolio.
Chitra P Merchant Free! Feeding Crows, 2021 Ink Pen and Pyrograph on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Chitra Parvathy Merchant grew up in India and currently works as an artist in Bristol, U.K. After completing a B.A Degree in Psychology, she left India to work for a year in an artist's studio in West Africa. Education She came to England in the early nineties and completed a B.A (Hons) Degree in Illustration from U.W.E Bristol ('98) where she was first introduced to printmaking. In 2001 she based herself at Spike Print Studio where she works. Exhibitions/Awards 2005: PGCE, UWE, Bristol, U.K 1999: Post Extn Studies in Illustration, UWE, Bristol, U.K 1998: BA Hons Illustration, UWE, Bristol, U.K 1995: Foundation Studies in Art and Design, Leeds, U.K 1993: BA Psychology, Bangalore, India2021: Upcoming show at Candida Stevens Fine Art, Sussex 2020: Royal Academy Summer / WInter Show , London 2019: Solo show at Hidden Gallery, Bristol 2018: Summer Exhibition, Royal Academy, London 2018: Art Rooms Fair 2017: 'Good Nature', Candida Stevens Fine Art, Chichester, UK 2017: Brighton Print Fair, UK 2017: SKETCH 2017, Rabley Drawing Centre, Marlborough, UK 2017: 'Drawn', RWA Bristol 2016: NEO: Print Prize 2016 2016: 'ICON', Candida Stevens Fine Art 2016: 'The Story in Art', Candida Stevens Fine Art 2016: Small Print International, Leicester Print Studio 2015: 'Pressing Identities' West Yorkshire Print Studio 2015: 'In The Studio' Videoed by the Royal Academy of Arts 2015: 'Encre 39 / 93' Atelier aux Lilas, Paris 2014: Royal Academy Art, Painter / Printmakers show 2014: AAF Battersea, London 2014: 'Multiplied', Christies, London 2014: Royal Academy Summer Exhibition, London 2013: AAF Battersea, London 2013: 'Multiplied', Christies, London 2013: Royal Academy Summer Exhibition, London 2012: Winter Show, Rostra, Bath 2012: AAF, Battersea, London 2012: 'BITE' Artists Making Prints, Mall Galleries, London 2012: Bristol Affordable Art Fair 2012: May Open Studios, Spike Island, Bristol 2012: London Original Print Fair, Royal Academy, London 2012: Group Show; Victoria Art Gallery and Museum, Bath 2011: Affordable Art Fair , Battersea, London 2011: 'BITE' Artists Making Prints, Mall Galleries, London 2011: Small Print Big Impression, U.K 2011: Affordable Art Fair, Bristol, U.K 2011: May Open at SPS 2010: Group Show at the Create Centre , Bristol 2010: Invited Artist at SNAP Gallery Bristol 2010: R.A Summer Exhibition 2009: IMPACT '09 2009: RWA Open Print, Bristol, U.K 2009: Solo show at BIYC Bristol, U.K 2009: May Open at Spike Print Studio, Bristol, U.K 2009: IMPRESS, GPC, Stroud, U.K 2008: S, M,L,XL, Spike Print Studio, U.K 2008: Group Show at RUH, Bath, U.K 2007: BABE, Arnolfini, Bristol, U.K 2007: Spike Print, Spyglass, Bristol 2006: Spike Print, Paintworks, Bristol 2005: Solo show at Bristol Old Vic 2004: May Open, Spike Print , U.K 2003: Christmas Show at Spike Print Studio, U.K 2002: May Open, Spike Print , U.K 2002: Christmas Show at Spike Print Studio, U.K 2000: Group Show at Centre Space Gallery, Bristol, U.K 1998: Degree Show at Angel Islington art Gallery, London Gallery Representation Candida Stevens Fine Art, Chichester, Sussex About the postcard artworks Growing up in India, and having lived in the West, I am interested in the identities ascribed to and taken on by women. 'Eve' is a cheeky take on a popular creation myth (we all know the one!) And 'Free' is an attempt to look at 'The Feminine' , not as gender but as a quality in this largely patriarchal world we live in.
Alice Herrick Aura I, 2021 Ink and Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Alice Herrick is a London based artist whose multi-disciplinary practice involves drawing and painting, sculpture, installation, photography, film and performance. Alongside her own practice, Alice has championed the work of other artists as the director of Herrick Gallery (2012-19) and for many years as a freelance exhibition and live arts curator in galleries and museums across the UK. Education Chelsea College of Art & Design - M.A. Painting Kingston University - B.A. Fine Art Painting
Alice Herrick Aura III Ink and Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Alice Herrick is a London based artist whose multi-disciplinary practice involves drawing and painting, sculpture, installation, photography, film and performance. Alongside her own practice, Alice has championed the work of other artists as the director of Herrick Gallery (2012-19) and for many years as a freelance exhibition and live arts curator in galleries and museums across the UK. Education Chelsea College of Art & Design - M.A. Painting Kingston University - B.A. Fine Art Painting
Alice Herrick Aura IV, 2021 Ink and Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Alice Herrick is a London based artist whose multi-disciplinary practice involves drawing and painting, sculpture, installation, photography, film and performance. Alongside her own practice, Alice has championed the work of other artists as the director of Herrick Gallery (2012-19) and for many years as a freelance exhibition and live arts curator in galleries and museums across the UK. Education Chelsea College of Art & Design - M.A. Painting Kingston University - B.A. Fine Art Painting
Delphine Lebourgeois Spring Quarantine Study 1, 2021 Ink, Watercolour and Acrylic on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) "Delphine Lebourgeois is a French artist based in London She works in various medium including digital, collage, pencil, pen, ink, watercolour and screenprint but her working process always starts with an initial collage of found elements. Her most recent work draws from various stylistic sources (ranging from Botticelli to comics) mixing symbols and cultural references in a playful and sometimes irreverent way. In 2014, Lebourgeois created a whole series of original drawings on the power of crowds "The Girl has a Gun" that was launched at the Other Art Fair in October 2014. The works explored the realm of power relations and female emancipation. Lebourgeois' latest series are her most feminist to date, as her armies of women have progressively taken on a deeper meaning. Her 2019 Pink Collection explores both erotica, the power to assert one's sexuality, and Mania, a look back on female repression. Lebourgeois has also collaborated with The New Yorker, The Guardian, Le Monde, L'Obs, Amnesty International, Soho House and The Other Art Fair, where she continues to exhibit her work yearly. In 2019, several of her works were featured as street art in the latest edition of Need For Speed Heat, produced by EA Games. She is exhibited around the world, including in the UK, Paris, New York, Hong Kong and Singapore. Education BA Fine Art, Ecole Des Beaux-Arts, Lyon, France MA Illustration, Central St Martins, London, UK Exhibitions UPCOMING 10-14th March 2021 - The Other Art Fair Virtual Edition SELECTED SOLO EXHIBITIONS 2019 - Prélude - Jealous Gallery, London 2017 - Rebels - Gas Gallery, London 2013 - Fall / Gas Gallery / London 2011 - Over the Cover / Frameless Gallery / London SELECTED GROUP EXHIBITIONS 2020 - Women by Women / Liberty Gallery / Royal Over Seas League, London 2020 - Hang Up new gallery launch / Hoxton / London 2020 - The Big Issue, Ben Eine and Our Types charity exhibition / Jealous Gallery / London 2020 - London Art Fair / Jealous Gallery / London 2019 - Salon Des Beaux Arts / Carrousel du Louvre / Paris , France 2019 - Speculative Fiction / Candid Art Trust / 6 artists show / London 2018 - The Other Art Fair / Brooklyn, USA 2017 - Unforeseen / Art Bastion Gallery / Miami, USA 2017 - Art Wynwood / Amnesty International / USA 2017 - The Other Art Fair / Collaboration with Elisabeth Lecourt / London 2017 - London Art Fair / Liberty Gallery / London 2016 - Hibernate / Hang-up / London 2016 - Drawing Lines / group exhibition on drawing / Jealous Gallery / London 2016 - Smoke / Duo show with Andrew Wenrick / Last Supper Gallery / London 2016 - People on the Move, Art for Amnesty / Art Bastion / Miami, US 2015 - Multiplied / Eyestorm / Christies / London 2015 - Dog Days / Hang-up / London - HANG-UP Gallery, JEALOUS, Liberty Gallery. About the postcard artworks: One year ago, in March 2020, it was the first lockdown in the UK. I used to run early in the mornings when London was at its quietest. Blooming magnolias, luscious flowers and almond green buds were literally exploding from front gardens. The lockdown meant that these moments were brief and really precious. This lead to me starting a series of works ""Spring Quarantine"" about our relationship with nature, as individuals and as a society."
C.FARLOW & CO 191 STRAND LONDON BROWN LEATHER TACKLE CASE with leather carrying straps, fitted with a tray and green-based compartments, containing various contents of flies, fishing lures, line, fly tins, and lure tins, etc. with inscription to the top of the case "W. E Eyre, 43 Hartley House, Regents Park, London", 24cm x 50cm, and a pen and ink drawing of a salmon with its details "Length 43.5", girth, 24.5", weight 31lbs, March 11th, 1914, on the river Oich, and signed Eyre. Provenance: the Estate of the late Rufus Eyre.
URS GRAF DER ÄLTERE (IN DER ART DES) Um 1485 Solothurn - vor dem 13. Oktober 1528 wahrscheinlich Basel LAGERDIRNE Öl auf Eichenholztafel. 55 x 34 cm (R. 70 x 51 cm). Verso: Auf der Holztafel zwei alte Wachssiegel. Part. leicht rest., kleinere Retuschen. Rahmen. Der kompositorische Ausgangspunkt des Gemäldes zeigt sich in einer Federzeichnung des Schweizer Renaissancezeichners, Grafikers und Goldschmieds Urs Graf. Die Zeichnung, aus dem Jahre 1525 datiert, trägt den Titel 'Bildnis einer Lagerdirne'. Urs Graf, als Handwerker in Basel und Solothurn tätig, war zudem als 'Reisläufer' (spätmittelalterlicher Schweizer Söldner) unterwegs. Seine meisterhaften und außergewöhnlichen Zeichnungen sowie der Großteil seines künstlerichen Schaffens zeigen Sittenbilder und Darstellungen aus dem 'Lagerleben' der Söldner - häufig mit einer 'gewissen ironischen Distanz'. Provenienz: Rheinische Privatsammlung. URS GRAF THE ELDER (IN THE STILE OF) About 1485 Solothurn - before Oktober 13th, 1528 probably Basel CAMP MISTRESS Oil on oak panel. 55 x 34 cm (F. 70 x 51 cm). Verso: On the panel two old wax seals. Part. slightly rest., smaller retouching. Frame. The compositional starting point of the painting is a pen-and-ink drawing by the Swiss Renaissance artist, draughtsman, graphic and goldsmith Urs Graf. This drawing, dated 1525, is titled 'Portrait of a Camp Misstress'. Urs Graf, who worked as a craftsman in Basel and Solothurn, was also a 'Reisläufer' (late medieval Swiss mercenary). His masterly and extraordinary drawings as well as most of his artistic work show pictures of customs and moral furthermore the 'camp life' of the mercenaries - often with a 'certain ironic distance'. Provenance: Rhenish Private Collection.
* Baden-Powell (Robert, 1st Baron, 1857-1941). British Army Officer, Writer and Founder of the Scout Movement. Grim's Dyke, The House of the Dramatist W.S. Gilbert (1836-1911, English Dramatist and Librettist), 15 May 1894, an original watercolour drawing of the gabled house exterior and garden, drawn on card with a dated signed presentation inscription by Baden Powell in brown ink, the date and first two lines at foot of drawing, continuing on to verso, 'A little bit of the happy retrospect that remains in my / mind - and will long remain there - of my delightful visit to Grims Dyke, RSS Baden Powell', 2 pp., 8vo, contemporary wooden desk frame, framed and partly double-glazed, overall size 20.5 x 16.5 cmQty: (1)NOTESFrom the Pamela Dugdale Collection. Pamela's great-aunt Lucy Agnes Blois Turner (1847-1936) was the wife of Gilbert. Lucy's brother Samuel Compton Turner (1846-1900) married Ellen Lake (b. 1850), their eldest daughter being Ellen Mabel Turner (1875-1958), mother of Pamela Dugdale (1911-2001). Grim's Dyke in Harrow Weald was the home of W.S. Gilbert for the last two decades of his life.
Lethbridge (Thomas Charles, 1901-1971). English Archaeologist, Parapsychologist and Explorer. A group of 23 autograph letters signed, 'Tom', mostly Branscombe, Dorset, 1955-1970, all addressed to C.F. 'Fred' Tebbutt, the Huntingdonshire Archaeologist, about various subjects including dowsing with a pendulum including claims he can date things with it, comments on the Gogmagog controversy, witches, reports on megalith dating, mentions of friends and various events including his various pendulum experiments, various lengths, 8vo, with original envelopes, together with a group of approximately 24 autograph letters signed from Tebbutt to Lethbridge, of similar date and covering shared interests and friendships, various lengths but mostly several pages in length, 8vo, together with a few related cuttings and photocopies, preserved in a quarter morocco gilt solander box with title label to spine, 4to, together with an unpublished typescript of a book by Lethbridge, circa 1950, comprising separately paginated chapters: introduction, Warfare on the Icknield Way (incomplete at end), the Influence of Thralls on Their Masters, Revivals of Roman Culture and The Survival of the Britons, plus a few additional orphaned leaves, some old damp staining throughout with some resultant ink bleeding and paper browning without loss of legibility, recent half morocco gilt, 4to, plus two further unpublished typescripts by Lethbridge, the first a collection of short stories (later reworked as 'Ghost & Ghoul'), written circa 1951, and Ivory Tower: Reminiscences of Archaeology at Cambridge 1920-1950, written circa 1971, recent uniform half morocco gilt, 4to, plus a catalogue of the Archaeology Library of Lethbridge produced by Commin's Bookshop, Bournemouth, compiled by J.R. Ruston, 1973, original pen and ink drawing by Lethbridge loosely inserted, modern calf gilt, 4to, plus a sammelband of 8 archaeological offprints by Lethbridge, circa 1929-31, guarded into a contemporary morocco binding by J.R. Wilson, heavily rubbed and slightly faded, 4toQty: (6)NOTESProvenance: Ex libris John Gadd. John visited Fred Tebbutt as his home in Surrey in 1981 in order to get some background information on Lethbridge, especially in the area of extrasensory perception. John's one-page note is pasted to the front pastedown of the box of letters included with the lot. Lethbridge was a specialist in Anglo-Saxon archaeology, serving as Honorary Keeper of Anglo-Saxon Antiquities at the Cambridge University Museum of Archaeology and Ethnology from 1923 to 1957. He wrote 24 books on various subjects, becoming particularly well-known for his advocacy of dowsing. In 1957 Lethbridge left Cambridge and moved with his wife Mina to Branscombe, Devon. He devoted himself to researching paranormal phenomena, publishing a string of popular books. His research included the use of pendulums for dowsing, the witch-cult hypothesis of Margaret Murray, articulated the Stone Tape theory as an exploration for ghost sightings, and argued that as extraterrestrial species were involved in shaping human evolution. Often derided and ignored by the academic establishment, Lethbridge attracted a cult following, and his work was posthumously championed by esotericists like Colin Wilson and Julian Cope.
Two Women pen and ink on lined notepaper 45 x 37cm Footnote: Brought up as a small boy in Rackheath alongside fellow artist Colin Self, Tidman is a semi-abstract figurative painter. He studied at Great Yarmouth College of Art (1957-61) and then the Royal College of Art (1961-4). He began working as a lecturer at Lowestoft School of Art before painting full-time from 1984. Tidman has gained a string of prizes including First Prize in the East Anglian Artists open in 1986 and First Prize in Drawing for All, 2000. His subject is figurative, ‘an enduring fascination with the body and human relationships,’ Tidman paints clowns, night shelter residents, beautiful women, brutal soldiers. He has exhibited extensively with the Royal Academy as well as in Switzerland an d Finland, and as Artist in Residence for the famous Hippodrome Circus in Great Yarmouth. He has works held at the Imperial College of Science, London, The University of Essex, Norwich Castle Museum, and the Rijkers Art Collection.
‘FISHERMEN IN A LANDSCAPE’, SIGNATURE OF WU ZHEN (1280-1354)Ink on silk. Grippingly painted with two fishermen on a boat in front of high cliffs with a stream flowing in between and two gnarled trees. With a silk brocade frame and mounted as a hanging scroll with finely carved ivory handles.Inscriptions: Top right, poem and seal of Zhang Zhao. Bottom right, poem and seal of Xianyu Biren, the third son of Xianyu Shu (1246-1302), an official and calligrapher during the Yuan dynasty. Center left, signature and seal of Wu Zhen.The exterior of the scroll inscribed: Yuanren jihe shuhua (‘Collection of Paintings from the Yuan Dynasty’). Mi Tai.Provenance: From a private estate in Texas, USA, by repute acquired in Japan between 1945 and 1950, and thence by descent in the same family. Label with collector’s inventory number to one scroll end.Condition: Good condition with some wear, soiling, minor tears and losses, small old repairs and touchups.Dimensions: Size incl. mounting 118 x 61.5 cm, Image size 45 x 47 cmWu Zhen (1280-1354) was a painter during the Yuan dynasty. He lived the life of a recluse and was never very famous or successful during his lifetime, but in the Ming period he came to be designated one of the Four Great Masters of the late Yuan dynasty and his style was favored by many Ming painters, most notably Shen Zhou (1427–1509). Wu was fond of doing ‘ink-plays’, and his drawing shows simplicity and directness.吳鎮款《孤舟漁翁》 絹本設色。山澗中一條小船上兩名漁夫，在高高的懸崖前，兩棵粗狀的樹。錦緞裝裱，立軸，精美雕刻的象牙手柄。 款識：張昭題詞並鈴印；鮮于必仁題詞並鈴印，鮮于必仁為鮮于樞 (1246-1302)第三子, 擅長樂府工書法。吳鎮落款鈴印。 立軸上可見注釋“元人集合書畫“。 來源：德克薩斯私人遺產，據説1945-1950年間購於日本，據説自此保存在同一家族至今。立軸一端有藏家收藏標簽。 品相：狀況良好，有一些磨損，污跡，輕微的撕裂和缺失，少量的舊時維修和修整。 尺寸：含框118 x 61.5 厘米, 畫面45 x 47 厘米
AN IMPERIAL POETRY ALBUM BY YU MINZHONG (1714-1779), WITH CARVED SANDALWOOD COVERS, QIANLONGChina, 1760-1779. The covers finely carved in low relief with five-clawed long dragons, two on the front cover flanking the central incised title inscription and one front-facing on the back cover, surrounded by lingzhi-shaped clouds above crashing waves. 24 pages printed in intaglio with black ink on paper, containing 80 poems about the four seasons. With two imperial yellow silk covers. (3)Provenance: Old French private estate. Galerie de Chartres, Chartres, France, 23rd October 2011. A noted French private collection, acquired from the above. A copy of the original invoice from Galerie de Chartres is accompanying this lot.Condition: Very good condition with minor wear, the wood covers with some natural age cracks and few small losses, the paper with some minor soiling as well as foxing to the reverse only.Weight: 231.5 g (total)Dimensions: Size 15.5 x 10.8 cmYu Minzhong (1714-1779) served as Chief Grand Councilor from 1773 and had been a minister as well as Grand Councilor prior. He was an influential official at court who gained the title of Zhuang Yuan, the highest graduate of the prestigious Hanlin academy, in 1737. By 1760, Yu Minzhong was summoned to the Maoqin Pavilion where he was tasked by the Qianlong Emperor to produce a drawing of a pagoda with the use of text from the Huayan sutra to form the pagoda’s structural outlines. Yu Minzhong’s literary abilities undoubtedly propelled him into the inner circle of Qianlong’s ministers, particularly by working in the Maoqin Pavilion.The Maoqin Pavilion - situated southwest of the Forbidden Palace - was Qianlong’s personal library where the emperor appraised and appreciated paintings in the imperial collection, and it was also a place where he worked on his state papers.Literature comparison: For a closely related book with very similar sandalwood covers, see The Palace Museum (ed.), Gugong jingdian [Classics of the Forbidden City – Imperial Seals of the Ming & Qing Dynasties], p. 160, no. 114. Also compare with an Imperial Prajnaparamita Sutra jade book, with similarly carved sandalwood covers, at Sotheby’s Hong Kong, 9 October 2007, lot 1332.乾隆于敏中《御制生春生夏生秋生冬詩》冊頁，檀木雕刻 中國, 1760-1779年。封面精巧地浮雕一對五爪雲龍，雲龍之中是標題《御制生春生夏生秋生冬詩》，另一隻在封底，周圍是如意祥雲。24頁紙本水墨書寫有關四個季節的80首詩。御用黃色絲綢蓋。 來源：古老的法國私人財產， 2011年10月23日購於法國Chartres藝廊。 隨附有來自Chartres藝廊的原始發票副本。 品相：狀況極佳，磨損很小，木材覆蓋層有一定的自然年齡裂縫，幾乎沒有小缺失，紙張稍有污跡。 重量： 縂231.5 克 尺寸：15.5 x 10.8 厘米 于敏中 (1714-1779) 1773年晉文華殿大學士，兼戶部尚書如故。他曾是一位很有影響力的官員，於1737年一甲一名進士（狀元），授翰林院修撰。到1760年，于敏中被乾隆命為軍機大臣。于敏中以文翰得到高宗賞識，入直懋勤殿，敕書華嚴，楞嚴兩經。 文獻比較: 一本相近的同樣有檀木雕封面的書可見The Palace Museum (ed.), Gugong jingdian [Classics of the Forbidden City – Imperial Seals of the Ming & Qing Dynasties], p. 160, no. 114. 另一本御制《般若經》，有相似的檀木封面，見香港蘇富比2007年10月9日，lot 1332。
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