* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),ACT, DEATH DREAMoil on board, signed, further signed verso, titled and dated 1974 labels versoimage size 161cm x 130cm, overall size 162cm x 131cm Framed. Artist's labels verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
We found 19747 price guide item(s) matching your search
There are 19747 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
19747 item(s)/page
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),GIRL ON A BEDoil on board, signed verso, titled and dated 1972 labels versoimage size 199cm x 161cm, overall size 200cm x 162cm Framed. Artist's labels verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),VISION (TWILIGHT GARDEN)oil on canvas, signed verso, titled and dated 1984 labels versoimage size 170cm x 119cm, overall size 171cm x 120cm Framed.Artist's labels verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941),ELEGY TO CAPTAIN FERGUSON, FROM A NIGHT OF ISLANDS, 1991colour etching on paper from the edition of 40 signed beneath the backing board 'Will MacLean R.S.A' image size 75cm x 53cm, overall size 90cm x 68cm Mounted, framed and under glass.Label verso: Louise Pickering Fine Art, 58 Clapham Common, London.Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),MEDITERRANEAN HARBOUR oil on board, signedimage size 58cm x 65cm, overall size 78cm x 86cm Framed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. Recent examples of Sheila Macmillan's paintings in The Scottish Contemporary Art Auctions have included prices of £1700, £1400, £1100, £900, £850 & £800 (all hammer prices) which well illustrates the depth of collector interest in Sheila Macmillan's work.
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),LAY-BY ON THE ROAD TO RONDA (10th September 2001 am)oil on board, signed and dated 2001; titled in the artist's hand verso but obscured by the backboard41cm x 43cmFramed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. Recent examples of Sheila Macmillan's paintings in The Scottish Contemporary Art Auctions have included prices of £1700, £1400, £1100, £900, £850 & £800 (all hammer prices) which well illustrates the depth of collector interest in Sheila Macmillan's work.
* GORDON BRYCE RSA RSW (SCOTTISH b. 1943),FRUITSmixed media on board, signed and titled versoimage size 17cm x 21cm, overall size 49cm x 56cm Mounted, framed and under glass.Note: Born in Edinburgh in 1943. Gordon Bryce studied at Edinburgh College of Art, where his tutors were Sir Robin Philipson and Sir William Gillies. His love of colour and texture stems from that time and has remained with him since. After graduating, Gordon moved to Aberdeen, to Gray's School of Art, where he was appointed as a Lecturer in Printmaking. He later became head of Fine Art at Gray's, a post he held from 1986 to 1995 when he began to paint full time. Gordon Bryce is now a highly established figure and his contribution to the UK art scene is considerable. His exhibitions both in London and in Scotland have spanned nearly 30 years. He has won numerous awards Including the RSA Latimer Award, May Marshall Brown Award, Shell Expo Premier Award and Sir William Gillies travelling Scholarship. His work is in many Private and Public Collections worldwide including those of the Fleming Collection and the Scottish National Gallery of Modern Art.
* PETER GRAHAM ROI (SCOTTISH b. 1959),EVENING LIGHTSoil on paper, signedimage size 24cm x 37cm, overall size 37cm x 51cm Framed and under glass.Note: Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brushwork combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio, he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour as the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries. Peter Graham's paintings do not appear at auction frequently but Impressive recent auction prices include (a slightly larger example) "Decorations with Flowers" which was sold at McTear's in The Scottish Contemporary Art Auction for £2800 (lot 580, 26th May 2019).
* FIONNA CARLISLE (SCOTTISH b. 1954), NORTH SEA OIL RIGmixed media, signed and dated 2011image size 69cm x 66cm, overall size 75cm x 70cmFramed and under glass.Note: Fionna Carlisle is a highly respected Scottish artist, notably commissioned by the House of Commons to paint the portrait of the late Rt Hon Robin Cook MP. Her work also appears in the collections of The Scottish National Gallery of Modern Art, SNPG, Scottish Arts Council, IBM, De Beers, Robert Fleming Holdings Ltd. and numerous others.
* AVRIL PATON (SCOTTISH b. 1941),DONALDA'S JUGmixed media on paper, signed, titled and dated 1983 label versoimage size 25cm x 26cm, overall size 41cm x 43cm Framed and under glass.Note: personal inscription on framer's label verso.Note 2: a remarkably rare early work by Avril Paton, the artist who painted "Windows in the West", one of Scotland's best known and most popular contemporary paintings which was acquired for the nation by The Scottish National Gallery of Modern Art and is currently on display at Kelvingrove Gallery, Glasgow. There has been much written about Paton's work from the 1980/90s explaining the meticulous detail and the many months it took to complete a single picture. Paton eventually moved on to a more spontaneous abstract style of work and consequently her earlier paintings are a distinct isolated body of work and the examples from this time are few and rarely, if ever, appear at auction. However, in The Scottish Contemporary Art Auction on 16th August 2020 lot 591 Topping Out Day by Avril Paton was sold for a new auction record price of £8000 (hammer). Paton's early work from this period has been studied as part of the curriculum for many of the nation's youth and there are several talks and discussions on YouTube.
An Art Deco period emerald and diamond cluster ring. Centred with a small early modern round brilliant diamond between small rectangular step-cut emeralds and an eight-cut diamond eight stone surround, all set in platinum-flashed gold unmarked, size O, 2.5 grams gross Condition Report: The emeralds have some very minor surface scratching but no chipping is visible. The gold mount has a small area of damage to piercing which is partially lacking below the diamonds. There is some overall sutface scratching and wear.
AN ART DECO STYLE CORAL, ENAMEL AND DIAMOND BROOCH, two oval pink-orange corals tied by a bar and accented with black enamel and milgrain round brilliant-cut diamonds. Stated total diamond weight 0.20ct, marked '750', 1.5cm by 7cm, 9.4 gramsArt Deco style, modern make not a period piece. Good condition.
A Sèvres 'Coupe Réticulée', made for the Comte de Paris, circa 1845Modelled by Hyacinthe Régnier, the bowl with reticulated double-walled Asian motifs including stylised lotus flowers, the inside decorated with eight vignette still life scenes of flowers and vases, standing on subtle gilt fretwork bases, all surrounding a central rosette in of silvered single flowers placed in abstracted pointed arches in Islamic taste, placed on a circular reticulated baluster pedestal foot, in its original fitted green leather circular case, the coupe: 24.8cm high; the case: 34.5cm diam., crowned LP monogram and SEVRES 1845 (indistinct) within a circle stencilled in blue, gilder's mark B and incised 8VZ(?) - 43 -3Footnotes:Provenance: Delivered to the Comte de Paris on 19 November 1845Le Goût ChinoisIn November 1831 Hyacinthe Régnier was paid an advance for initial designs of elements of a déjeuner simply known as 'Chinois'. His inspiration was drawn from the Chinese objects he would have seen in the famous sale of Chinese art of the Parisian art dealer F. Sallé which began on 11 April 1826. This sale contained a section of 'Openwork Chinese Porcelain'. In a description of the pieces it reads: 'The Chinese make a kind of porcelain with openwork designs resembling paper cut-outs. In the centre is a vessel for liquid. This vessel forms one unit with the openwork' (T. Préaud, The Sèvres Porcelain Manufactory - Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847 (1997), cat.no. 73 and 76). The Sèvres factory was not the first to attempt these 'double walled' objects, indeed the Meissen factory had made similar technically precarious pieces in the earliest days of its existence, and a large double-walled Doccia coffee pot is in the Museo Internazionale delle Ceramiche di Faenza. But Régnier was the first to successfully adapt the intrinsic Chinese patterns to a modern eclectic taste, and manage the huge technical challenges of firing, in several stages, the very delicate pierced outer wall. Chinese influence began to have a major influence on the decorative arts, and many Sèvres piece were inspired by forms, glazes and decorations of authentic Chinese models. As Tamara Préaud notes (op. cit. p.275) careful scientific examination of Chinese wares also prompted the development of new techniques at Sèvres.The déjeuner chinois réticulé instantly became a success, and other shapes and objects, ever more ambitious, were realised in this new, exotic taste. The first design for the present Coupe Réticulée was realised in 1842, around the same time Brogniart decided to undertake a chinoiserie cabinet inspired by Auguste Borget's Sketches of China and the Chinese (1842). Brogniart wrote he took care to avoid imitation of Chinese ornament, whereby he meant that the decoration was closely modelled after 'authentic' Chinese examples, a historically correct approach that was quite new at the time. (Préaud op.cit. p. 307).The original designs for this coupe are kept in the archives of the Sèvres manufactory. Although slightly different, the reticulated walls also show the same stylised lotus flower and foot.Philippe, Comte de ParisThe present coupe is listed in the Sèvres sales register at 650 livres on 19 November 1845 as follows Livré à Son Altesse Royale Monseigneur le Comte de Paris. Le 19 Novembre 1845. Coupe réticulée, fond bleu (...) décor en or et couleurs dans le style chinois. [delivered to HRH the Count of Paris. 19 November 1845. A reticulated coupe, blue (...) with a decoration in gold and colours, in Chinese style.]Prince Philippe, Count of Paris (24 August 1838 - 8 September 1894), became the Prince Royal, heir apparent to the throne, when his father, Prince Ferdinand-Philippe, Duc d'Orléans, died in a carriage accident in 1842. Although there was some effort during the days after the abdication of his grandfather in 1848 to put him on the throne under the name of Louis-Philippe II, with his mother (Helene of Mecklenburg-Schwerin) as Regent, this came to nothing and the family fled as the French Second Republic was proclaimed. Philippe married the Infanta Maria Isabel of Spain in 1864, and during their early married life, the Count and Countess of Paris lived at York House, Twickenham. In 1871 after the Franco-Prussian War and the downfall of Napoleon III, they were allowed to return to France, and many of their properties were restored to them. They did not, however, succeed in claiming the throne in a restored monarchy after the fall of Napleon III. In 1886 the family was exiled again returning to England, where they first lived at Sheen House, near Richmond, and in 1890 they moved to the much grander Stowe House, where Philippe died in 1894.For further information on this lot please visit Bonhams.com
A pair of Sumerian gold earrings Circa 2600-2500 B.C.Each earring of double-lobed 'boat-shaped' form, with curving earwire, 12mm diam of lobe, 1.7g & 1.8g, including modern gold hooks and attachment loop (2)Footnotes:Provenance:Lebanese art market, mid 1960s.With Folio Fine Art Ltd, London.Acquired from the above as a gift for a lady on the 11 December 1967. By decent to the present owner.For further information on this lot please visit Bonhams.com
A Roman carnelion intaglio set in a modern gold ring Circa 2nd Century A.D.Engraved with a grazing quadruped, set in a Greek style gold box ring with twisted band, scrolling and filigree decoration around the sides and a running gorgon in repoussé on the underside of the base, intaglio 1.5cm long, ring size I, 10.2gFootnotes:Provenance:London art market.Theodore Sarmas (1938-2018) Collection.Gifted to the present owner in the 1990s.For further information on this lot please visit Bonhams.com
A Roman agate cameo of Medusa Circa 2nd-3rd Century A.D.Carved in two layers, the face turned slightly to the left, set in a modern gold ring, cameo 1.1cm high, ring size P, 5.2g'Footnotes:Provenance:London art market.Theodore Sarmas (1938-2018) Collection.Gifted to the present owner in the 1990s.For further information on this lot please visit Bonhams.com
A carnelian beaded necklace Circa 1st B.C-2nd Century A.D. and laterIncluding six intaglios of tabloid form engraved with a: two lions; b: two nude males with chlamys on the left arm; c: two warriors; d: XII; e: two herms and a torch; f: a capricorn, Tyche holding a cornucopia and rudder, Minerva, and another figure, Hellenistic-Roman and later; with a central oval Roman intaglio engraved with Harpocrates holding a cornucopia and extending his finger towards his mouth, interspersed with various later shaped carnelian beads and modern gold openwork Byzantine style openwork scrolled discs, 167cm longFootnotes:Provenance:Goddard (1869-1925) and Josephine Cook DuBois (1864-1961) Collection, USA, acquired in Egypt, circa 1901-1907; thence by descent to grandson George DuBois, then passed to his wife Judith on his death; by decent to the present owner.The Goddard & Josephine Dubois Collection was exhibited at the Metropolitan Museum of Art, New York 1920-38, the Museum of Fine Arts Boston, 1945-60, and the Museum of Man California 1968.For an example of a Ptolemaic Period intaglio of tabloid form, cf. J. Boardman and D. Scarisbrick, The Ralph Harari Collection of Finger Rings, London 1977, p.31, fig. 44a-d.For further information on this lot please visit Bonhams.com
A Roman amber and garnet bead necklace Circa 1st-2nd Century A.D. and laterThe amber beads of spherical form interspersed with spherical heart-shaped gold pendants with scrolled terminals, squat spherical garnets encased within filigree decorated discs pendant below, two Byzantine style openwork scrolled discs flanking, the bead section 25cm long, 63cm overall, re-strung with modern goldFootnotes:Provenance:Goddard (1869-1925) and Josephine Cook DuBois (1864-1961) Collection, USA, acquired in Egypt, circa 1901-1907; thence by descent to grandson George DuBois, then passed to his wife Judith on his death; by decent to the present owner.The Goddard & Josephine Dubois Collection was exhibited at the Metropolitan Museum of Art, New York 1920-38, the Museum of Fine Arts Boston, 1945-60, and the Museum of Man California 1968.For further information on this lot please visit Bonhams.com
Grant by Abbot Peter and the community of the Cistercian Abbey of St. Mary, Woburn of local fields and a mill pond to William de Medmenham, in confirmation of an agreement before the king's court at Westminster, fine monastic charter in Latin, on parchment [England (Woburn, Bedfordshire), dated 1203/04] Large single-sheet document, with 13 long lines in an early English court documentary script, with ornamental elongated ascenders, capitals decorated with penstrokes, modern pencil '2' on turnup, reverse with Early Modern and modern endorsements, some folds and few tiny holes, else in excellent condition, seal tag present, but seal wanting, 120+23 by 170mm. This is perhaps one of only three recorded items from the "Registra, computos, rotulos curiae, cartas originales, etc." of Woburn Abbey that the antiquarian James West informed Thomas Tanner were among the holdings of the Duke of Bedford, with Tanner then reporting this in the 1744 edition of the Notitia Monastica. No part of the archive could be located by G. Scott Thomson in 1933 ('Woburn Abbey and the Dissolution of the Monasteries', Trans. of the Royal Historical Society, 4th ser. 16, pp. 129-60, especially 151-2), and there are indications that the Duke no longer had access to this archive even in the 1740s (ibid., pp. 152-3). Scott Thomson suggests that the charters may have fallen to figures such as one Ralph Starky, who in 1619 who was accused of taking "diverse leger books of diverse monasteries" as well as charters and other documents from the Court of Augmentations on its dissolution, or were left in the custody of the bailiffs of the estate and thus did not pass to the ducal archive at Woburn. Apart from the discovery of this item, the only other charters of the house are British Library, Add. Charter 6026 (a grant to the abbey of the reign of John) and Add. Charter 19932 (a confirmation to the abbey of the time of Henry III), these acquired form the collections of the antiquary G. Baker in 1844 and the 1st Viscount Hatton, respectively. This charter re-emerging in the collection of Ian Woodner (1903-1990) of Manhattan, real estate developer, artist and collector, whose substantial collections passed to his daughters, Dian and Andrea Woodner, and were dispersed by Christie's (this 23 June 1993, lot 32); acquired at that sale by the late Jeremy Griffiths of Oxford, and sold by him to Martin Schøyen (his MS. 1688/1), and thereafter kept in his London library.Woburn Abbey was founded as a Cistercian house in 1145 with monks from Fountains Abbey in Yorkshire. Despite being one of the wealthiest houses in England, little is known in detail or with certainty of its history. Thus the emergence of any record, no matter how small, adds significantly to the history of the house. The last abbot received the oath of supremacy from the royal visitors in 1534/5, but came to regret it, and died soon after conscience-stricken over his cowardice. The house was suppressed in 1547, and the estate was gifted by Henry VIII to John Russell, the first Earl of Bedford. It currently houses the splendid art collection of the Dukes of Bedford. Almost nothing survives from its medieval library, with Ker recording only one extant manuscript (N.R. Ker, Medieval Libraries of Great Britain, 2nd ed., 1964, p. 205: Oxford, Balliol College, 178A, a twelfth-century Florus diaconus) and two incunables (British Library, IB 118, and Cambridge, St John's, Bb.6.17).
Valerius Maximus, Factorum et Dictorum Memorabilium, with a large initial enclosing a monastic reader, in Latin, illuminated manuscript on parchment [Italy (probably Bologna), second half of fourteenth century] Single leaf, with a large historiated initial 'N' (opening "Nunc, quo aequiore ...", the opening of book VIII) in pale brown with white penwork, enclosing a reader in a monastic cowl as he holds open a book before him and reads, that before a deep blue ground with white penwork, and the whole initial on burnished gold grounds and with coloured acanthus leaf sprays with gold bezants with single penwork 'tails' in the adjacent margin, large initials in red or blue with contrasting penwork, paragraph marks in alternate red or blue, rubrics and numbers at side of capitula list in hairline penstrokes, main text in double column of 36 lines of a densely written gothic bookhand, grain pattern visible on parchment, some slight cockling, small areas of white paint flaked from surface of open book in initial, else excellent condition, 279 by 195mm. (written space 185 by 128mm.); mounted in modern gilt frame This historiated initial and its border decoration are by a follower of Stefano degli Azzi (documented in Bologna 1363-1400), and shares that artist's facial modelling, tightly scrolling acanthus leaves and bezants with a single flagella-like tail (compare P. Palladino, Treasures of a Lost Art, 2003, pp. 29-30). The depiction of the reader of this secular text as a monk, perhaps even a Augustinian, might suggest that the parent volume was made for monastic house in Bologna or its vicinity, such as the monastery of San Giacomo Maggiore in the city.
MOUNTAINEERING INTEREST; six books comprising 'Modern Mountaineering', 'The Complete Mountaineer' and 'On Alpine Heights and British Crags' by George Abraham, 'The Lonsdale Library Mountaineering', 'The Mountain Men: An Early History of Rock Climbing in North Wales' by Alan Hankinson and 'The Art of Mountain Tramping' by R. W. Hall (6).
A mixed lot of modern, vintage and antique clear and coloured glassware and crystal, to include a Sèvres crystal Art Deco clear glass dancer, a small Burmese pink vase, four glass paperweights, a coloured glass Venetian-style 'Jack in the Pulpit' vase, a Murano-style glass clown, blue and clear glass slippers, a red cased and clear glass Italian-style tri-lobed bowl, an iridescent glass vase of gourd shape, with trailed black web decoration, a green glass funnel vase, some small crystal shell and starfish ornaments, etc (20).
Viktoria Savenkova Autumn, 2022 Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Her artistic journey began in the childhood in an art studio, continued at an art school, then the art college and the Academy of Art (Minsk, Belarus). After a period as an art director at the national film studio "Belarusfilm", she worked as a tattoo artist. In 2014 Viktoria realized that she was meant to express her creativity differently. In her paintings and drawings, Viktoria builds an emotional dialogue with a spectator. The artist creates psychological portraits, sensuous landscapes, figure studies in realistic style. She works with large formats. Is currently based in Minsk, Belarus. Select Exhibitions/Awards 'Portrait of time. Portrait in the Fine Arts of Belarus in the 19th - 21st Centuries'. Exhibition project at the Art-Belarus Gallery. 21.04 - 22.08.2022, Art-Belarus Gallery, Palace of Art. MEAM exhibits its collection in the Vimcorsa Exhibition Hall in beautiful Córdoba (Spain) from 19.11.2021 until 28.02.2022 National Centre of Contemporary Arts - Minsk, Belarus from 27.11.2021 - 23.01.2022 MEAM - Museu Europeu d'Art Modern in Barcelona. Figurativas 2021, from 8.10.2021 to 08.01.2022 ModPortrait from 18th of June 2021 - 3th of October at the MEAM - Museum European d'Art Modern in Barcelona. MEAM - Museu Europeu d'Art Modern in Barcelona. Women Painting All over the World 08.03.21 MEAM - Museu Europeu d'Art Modern in Barcelona. 15.10.2020 - 17.01.2021. 'Eros, your body as an excuse' curated by amazing artist Golucho. Palace of Art - Minsk, Belarus from 19.11.2020. 'Art Minsk 2020' Exhibition Hall of the Aragonese Artistic Group of Zaragoza, Spain, 05.11.2020 - 05.12.2020. 'Something more than realism ... XIV' The exhibition of the Lohengrin painting competition. From 11.03 to May. Organized by the Wagner Club and the MEAM museum in the Liceu Opera Barcelona Zhou B Art Center, Chicago, USA, 18.10 to 20.11.2019. PAINTING THE FIGURE NOW Palace of Art - Minsk, Belarus from 18.10 to 3.11.2019. 'Osenniy salon' with Belgazprombank Ille Arts Gallery in Amagansett, NY, 5.10 - 4.11.2019. MOVIE NIGHT 'Zhou B' Art Center - Chicago, USA, from 31.05 to 12.07.2019. 'Secondary Meanings - Figural Diptych' MEAM Museum - Barcelona, Spain from 31.05 to 21.07. 2019. Modportrait 2018, Galeria Artelibre at the MEAM of Barcelona Palace of Art - Minsk, Belarus from 29 May - 30 June 2019. 'Art Minsk 2019' Edificio Bantierra - Zaragoza from 12.04 to 17.05.2019. Modportrait 2018 MEAM Museum - Barcelona, Spain from 8th March to 9th May 2109. 'Painting Today' International Women's Day Abend Gallery, Denver, USA, 28TH ANNUAL HOLIDAY MINIATURES SHOW, 03.11-24.11.2018 RJD GALLERY, Bridgehampton, NY. 'Women Painting Women | Men Painting Men: Voices with Vision'. Oct 6th - 30t 2018 Gallery 'Kaliarovy šliach' - Orsha, Belarus. 12.10-29.11.2018 (Solo Exhibition) Palace of Art - Minsk, Belarus from 5.10 to 4.11.2018. 'Osenniy salon' with Belgazprombank 'Zhou B' Art Center - Chicago, USA, from 17.08.2018 Gallery 'U Maistra' - Grodno, Belarus. July 2018. 'Refraction'. (Solo Exhibition) Palace of Art - Minsk, Belarus from 27th April to 20th May 2018. 'Art Minsk 2018' National Centre of Contemporary Arts - Minsk, Belarus from 7th March to 22th April 2018. The collective exhibition of contemporary art New Castle - Grodno, Belarus from 1th March to 29th April 2018. 'Artpanorama 2018' The exhibition of contemporary art 'Single Fare 4', a big show of small works, New York, USA, from 16.09.2017 Palace of Art - Minsk, Belarus from 6th October to 5th November 2017. 'Osenniy salon' with Belgazprombank MEAM Museum - Barcelona, Spain from 12th to 28th May 2017. The Final Exhibition of the 4th Concurso ModPortrait Pablo Serrano Museum - Zaragoza from 7th to 30th April 2017. The Final Exhibition of the 4th Concurso ModPortrait The Arsenale of Venice - Venice, Italy from 25th March to 9th April 2017. The Final Exhibition the 11th International Arte Laguna Prize You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
CB Hoyo Study For I Like It, 2021 Acrylic, Water, Colour Pencils, Watersoluble Oil Sticks, Wax Crayons on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) CB Hoyo (Havana, 1995) addresses topics that are usually thought of by many but spoken by a few: social media impact, consumerism, moral values, the human condition, ... The Cuban self-taught artist finds in text art the path to developing his own artistic voice and understanding of life. He works between Instagram, the virtual realm, and his studio in Europe towards creating new dimensions where consciousness and art become a universal language. CB Hoyo is a multidisciplinary artist whose practice consists of paintings, sculptures, and installations. Defying art classical canons with a playful aesthetic, he challenges our painting expectations and thoroughly reinterprets his medium in a modern context. His work is an extension of life that transforms language into a provocative visual spectacle. Vibrant in color and surprising in personality, CB Hoyo's artwork humorously explores humanity's thoughts and behaviors. He captures and satirizes contemporary society's essence. His artworks constitute the artist's prolific and reflexive network of allegories to the new bizarre normality we live in. All of them are proposed from a very personal perspective, marked by his own experiences and observation of human concerns. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Redbellyboy Christ on a Bike, 2022 8 Layer Screenprint Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Ewan Taylor, AKA Redbellyboy is a filmmaker and artist. Originally from Aberdeen, Scotland, he studied at Edinburgh College of Art before moving to London, where he lives with his brilliant wife, beautiful baby boy and constantly hungry cat. He works out of Print Club London in Hackney. He draws inspiration from pop culture, film, graphic design, and loud music and tries to squeeze as much of it into his work as possible. He likes bright colours, bold lettering, intricate designs, a well-placed swear word and trying to add some humour into his work. He dislikes mosquitos and writing about himself in the third person. In 2020 and 2021 Redbellyboy was selected by Print Club London to create a print for the iconic Katharine Hamnett 'Choose Love' charity campaign. In May and October 2021 he was one of 100 artists selected by Saatchi Art to take part in The Other Art Fair, London. FAD magazine underlined him as one of the best five of the fair. Collectors include Caroline Quentin, Paul Whitehouse and Frankie Boyle. Education Edinburgh College of Art - 1st Class Hons Film & TV Select Exhibitions/Awards In 2020 and 2021 Redbellyboy was selected by Print Club London to create a print for the iconic Katharine Hamnett 'Choose Love' charity campaign. In May and October 2021 he was one of 100 artists selected by Saatchi Art to take part in The Other Art Fair, London. He had his first solo exhibition at The Farm's William Facility in Soho, London in November 2021. And was one of 10 artist featured in 'Rebirth' at the 99 Projects Gallery in London in March 2022. Coming up... His print "Women of The World" is part of the RA Summer Exhibition 2022 Redbellyboy returns to The Other Art Fair at the Kings Cross in London, 30th June - 3rd July 2022. Gallery Representation Art Pistol in Glasgow, Hooked in Daventry and Rise Art Statement about AOAP Submitted Artwork Christ On A Bike - I like to play with words and colour and this was a great opportunity to put them both together. I've always liked the phrase "Christ on a bike!", mainly because it makes no sense yet conjures such a strong image. Elvis could be seen as a modern day Christ figure, he certainly continues to inspire such devotion. So I thought it'd be fun if he was our 'Christ' on a bike. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Chris Daniels Machbands Study XX, 2002 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Born 1981, Harrogate, UK. Lives and works in London Education Royal Academy Schools 2005-2008 Post Graduate Diploma in Fine Art Loughborough University 2001-2004 BA Hons Fine Art Painting, 2.1 Selected Group Exhibitions Summer Reflection, JGM Gallery, London, June to October 2020. Wells Art Contemporary, Bishop's Palace, Wells, October 2018 - Awarded Jgm Gallery Prize. Approximated Sunlight, Tannery Arts Project Space, London, October to November 2017. Tannery Arts Group Show, Tannery Arts Project Space, London, January - February 2017. Saturation Point Open Studio, Acme Studios, London, September 2016. Marmite Prize For Painting V, Block 336, London, June-july 2016 And Highlanes Gallery, Drogheda, Ireland, July-september 2016. Union Of Voices, Horatio Jr, London, December 2014 Electric Moon Candy, The Other Art Fair, London, April 2013 Artworks Open 2012, Artworks Project Space, London, August-september 2012 Smaller Than A Lemon, Angelica, High Wycombe, April 2011 Paperview, John Jones Project Space, London, May-july 2009 Royal Academy Show, Dover Arts Club, London, August 2008 Light Pollution, Chris Daniels And James Ryan, Rod Barton Invites, London, May 2008 On/Off, Burlington Gardens, Royal Academy Of Arts, London, February 2008 Influx, Nolia's Gallery, London, April 2007 Premiums, Royal Academy Of Arts, London, February 2007 Royal Academy Summer Show, Royal Academy Of Arts, London, June - August 2006 Graduate Show, Stroud House Gallery, Stroud, May 2005 Quartet, JGM Gallery, London, January to March 2019. Inside Job, Tate Modern Level 5, London, March 2018. Precision of Thought, Se9 Container Gallery, London, April to May 2017. Imperfect Reverse, Camberwell Space, London, October - November 2016, and Ruskin Gallery, Cambridge, November 2016 - January 2017. Summer Mix, Turps Gallery, London, July 2016. London Painting Survey, Blackhorse Lane Project Space, London, September 2015. Julian Brown And Chris Daniels, The Mayor's Parlour, London, September - October 2013 National Open 2012, Motorcade/Flashparade, Bristol, December 2012 Creekside Open 2011, Selected By Phyllida Barlow/Dexter Dalwood, June 2011 Blood Orange, Art Daegu, Daegu, South Korea, June 201 Salon 08, Vinespace, London, December 2008 Royal Academy Schools Show, Royal Academy Of Arts, London, June 2008 Ma Show, The Atkinson Gallery, Somerset, Februry-march 2008 Royal Academy Summer Show, Royal Academy Of Arts, London, June - August 2007 Awarded The British Institute Awar Straight Edge, La Viande Gallery, London, February 2007 La Viande Christmas Show, La Viande Gallery, London, December 2006 Mercury Music Art Prize, Hospital Gallery, London, April 2006 Shortlisted Prize You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Chris Daniels Machbands Study XXI, 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Born 1981, Harrogate, UK. Lives and works in London Education Royal Academy Schools 2005-2008 Post Graduate Diploma in Fine Art Loughborough University 2001-2004 BA Hons Fine Art Painting, 2.1 Selected Group Exhibitions Summer Reflection, JGM Gallery, London, June to October 2020. Wells Art Contemporary, Bishop's Palace, Wells, October 2018 - Awarded Jgm Gallery Prize. Approximated Sunlight, Tannery Arts Project Space, London, October to November 2017. Tannery Arts Group Show, Tannery Arts Project Space, London, January - February 2017. Saturation Point Open Studio, Acme Studios, London, September 2016. Marmite Prize For Painting V, Block 336, London, June-july 2016 And Highlanes Gallery, Drogheda, Ireland, July-september 2016. Union Of Voices, Horatio Jr, London, December 2014 Electric Moon Candy, The Other Art Fair, London, April 2013 Artworks Open 2012, Artworks Project Space, London, August-september 2012 Smaller Than A Lemon, Angelica, High Wycombe, April 2011 Paperview, John Jones Project Space, London, May-july 2009 Royal Academy Show, Dover Arts Club, London, August 2008 Light Pollution, Chris Daniels And James Ryan, Rod Barton Invites, London, May 2008 On/Off, Burlington Gardens, Royal Academy Of Arts, London, February 2008 Influx, Nolia's Gallery, London, April 2007 Premiums, Royal Academy Of Arts, London, February 2007 Royal Academy Summer Show, Royal Academy Of Arts, London, June - August 2006 Graduate Show, Stroud House Gallery, Stroud, May 2005 Quartet, JGM Gallery, London, January to March 2019. Inside Job, Tate Modern Level 5, London, March 2018. Precision of Thought, Se9 Container Gallery, London, April to May 2017. Imperfect Reverse, Camberwell Space, London, October - November 2016, and Ruskin Gallery, Cambridge, November 2016 - January 2017. Summer Mix, Turps Gallery, London, July 2016. London Painting Survey, Blackhorse Lane Project Space, London, September 2015. Julian Brown And Chris Daniels, The Mayor's Parlour, London, September - October 2013 National Open 2012, Motorcade/Flashparade, Bristol, December 2012 Creekside Open 2011, Selected By Phyllida Barlow/Dexter Dalwood, June 2011 Blood Orange, Art Daegu, Daegu, South Korea, June 201 Salon 08, Vinespace, London, December 2008 Royal Academy Schools Show, Royal Academy Of Arts, London, June 2008 Ma Show, The Atkinson Gallery, Somerset, Februry-march 2008 Royal Academy Summer Show, Royal Academy Of Arts, London, June - August 2007 Awarded The British Institute Awar Straight Edge, La Viande Gallery, London, February 2007 La Viande Christmas Show, La Viande Gallery, London, December 2006 Mercury Music Art Prize, Hospital Gallery, London, April 2006 Shortlisted Prize You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Chris Daniels Machbands (Chroma) Study, 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Born 1981, Harrogate, UK. Lives and works in London Education Royal Academy Schools 2005-2008 Post Graduate Diploma in Fine Art Loughborough University 2001-2004 BA Hons Fine Art Painting, 2.1 Selected Group Exhibitions Summer Reflection, JGM Gallery, London, June to October 2020. Wells Art Contemporary, Bishop's Palace, Wells, October 2018 - Awarded Jgm Gallery Prize. Approximated Sunlight, Tannery Arts Project Space, London, October to November 2017. Tannery Arts Group Show, Tannery Arts Project Space, London, January - February 2017. Saturation Point Open Studio, Acme Studios, London, September 2016. Marmite Prize For Painting V, Block 336, London, June-july 2016 And Highlanes Gallery, Drogheda, Ireland, July-september 2016. Union Of Voices, Horatio Jr, London, December 2014 Electric Moon Candy, The Other Art Fair, London, April 2013 Artworks Open 2012, Artworks Project Space, London, August-september 2012 Smaller Than A Lemon, Angelica, High Wycombe, April 2011 Paperview, John Jones Project Space, London, May-july 2009 Royal Academy Show, Dover Arts Club, London, August 2008 Light Pollution, Chris Daniels And James Ryan, Rod Barton Invites, London, May 2008 On/Off, Burlington Gardens, Royal Academy Of Arts, London, February 2008 Influx, Nolia's Gallery, London, April 2007 Premiums, Royal Academy Of Arts, London, February 2007 Royal Academy Summer Show, Royal Academy Of Arts, London, June - August 2006 Graduate Show, Stroud House Gallery, Stroud, May 2005 Quartet, JGM Gallery, London, January to March 2019. Inside Job, Tate Modern Level 5, London, March 2018. Precision of Thought, Se9 Container Gallery, London, April to May 2017. Imperfect Reverse, Camberwell Space, London, October - November 2016, and Ruskin Gallery, Cambridge, November 2016 - January 2017. Summer Mix, Turps Gallery, London, July 2016. London Painting Survey, Blackhorse Lane Project Space, London, September 2015. Julian Brown And Chris Daniels, The Mayor's Parlour, London, September - October 2013 National Open 2012, Motorcade/Flashparade, Bristol, December 2012 Creekside Open 2011, Selected By Phyllida Barlow/Dexter Dalwood, June 2011 Blood Orange, Art Daegu, Daegu, South Korea, June 201 Salon 08, Vinespace, London, December 2008 Royal Academy Schools Show, Royal Academy Of Arts, London, June 2008 Ma Show, The Atkinson Gallery, Somerset, Februry-march 2008 Royal Academy Summer Show, Royal Academy Of Arts, London, June - August 2007 Awarded The British Institute Awar Straight Edge, La Viande Gallery, London, February 2007 La Viande Christmas Show, La Viande Gallery, London, December 2006 Mercury Music Art Prize, Hospital Gallery, London, April 2006 Shortlisted Prize You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Chris Daniels Machbands (Chroma) Study II, 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Born 1981, Harrogate, UK. Lives and works in London Education Royal Academy Schools 2005-2008 Post Graduate Diploma in Fine Art Loughborough University 2001-2004 BA Hons Fine Art Painting, 2.1 Selected Group Exhibitions Summer Reflection, JGM Gallery, London, June to October 2020. Wells Art Contemporary, Bishop's Palace, Wells, October 2018 - Awarded Jgm Gallery Prize. Approximated Sunlight, Tannery Arts Project Space, London, October to November 2017. Tannery Arts Group Show, Tannery Arts Project Space, London, January - February 2017. Saturation Point Open Studio, Acme Studios, London, September 2016. Marmite Prize For Painting V, Block 336, London, June-july 2016 And Highlanes Gallery, Drogheda, Ireland, July-september 2016. Union Of Voices, Horatio Jr, London, December 2014 Electric Moon Candy, The Other Art Fair, London, April 2013 Artworks Open 2012, Artworks Project Space, London, August-september 2012 Smaller Than A Lemon, Angelica, High Wycombe, April 2011 Paperview, John Jones Project Space, London, May-july 2009 Royal Academy Show, Dover Arts Club, London, August 2008 Light Pollution, Chris Daniels And James Ryan, Rod Barton Invites, London, May 2008 On/Off, Burlington Gardens, Royal Academy Of Arts, London, February 2008 Influx, Nolia's Gallery, London, April 2007 Premiums, Royal Academy Of Arts, London, February 2007 Royal Academy Summer Show, Royal Academy Of Arts, London, June - August 2006 Graduate Show, Stroud House Gallery, Stroud, May 2005 Quartet, JGM Gallery, London, January to March 2019. Inside Job, Tate Modern Level 5, London, March 2018. Precision of Thought, Se9 Container Gallery, London, April to May 2017. Imperfect Reverse, Camberwell Space, London, October - November 2016, and Ruskin Gallery, Cambridge, November 2016 - January 2017. Summer Mix, Turps Gallery, London, July 2016. London Painting Survey, Blackhorse Lane Project Space, London, September 2015. Julian Brown And Chris Daniels, The Mayor's Parlour, London, September - October 2013 National Open 2012, Motorcade/Flashparade, Bristol, December 2012 Creekside Open 2011, Selected By Phyllida Barlow/Dexter Dalwood, June 2011 Blood Orange, Art Daegu, Daegu, South Korea, June 201 Salon 08, Vinespace, London, December 2008 Royal Academy Schools Show, Royal Academy Of Arts, London, June 2008 Ma Show, The Atkinson Gallery, Somerset, Februry-march 2008 Royal Academy Summer Show, Royal Academy Of Arts, London, June - August 2007 Awarded The British Institute Awar Straight Edge, La Viande Gallery, London, February 2007 La Viande Christmas Show, La Viande Gallery, London, December 2006 Mercury Music Art Prize, Hospital Gallery, London, April 2006 Shortlisted Prize You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Marina Abramović My Skin, 2022 Unique Pigment Print Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Since the beginning of her career in Belgrade during the early 1970s, Marina Abramović has pioneered performance as a visual art form. She created some of the most important early works in this practice, including Rhythm 0 (1974), in which she offered herself as an object of experimentation for the audience, as well as Rhythm 5 (1974), where she lay in the centre of a burning five-point star to the point of losing consciousness. These performances married concept with physicality, endurance with empathy, complicity with loss of control, passivity with danger. They pushed the boundaries of self-discovery, both of herself and her audience. They also marked her first engagements with time, stillness, energy, pain, and the resulting heightened consciousness generated by long durational performance. The body has always been both her subject and medium. Exploring her physical and mental limits in works that ritualise the simple actions of everyday life, she has withstood pain, exhaustion and danger in her quest for emotional and spiritual transformation. From 1975-88, Abramović and the German artist Ulay performed together, dealing with relations of duality. She returned to solo performances in 1989 and for The Artist Is Present (2010) she sat motionless for at least eight hours per day over three months, engaged in silent eye-contact with hundreds of strangers one by one. Select Exhibitions/Awards Abramović was one of the first performance artists to become formally accepted by the institutional museum world with major solo shows taking place throughout Europe and the US over a period of more than 25 years. Her first European retrospective 'The Cleaner' was presented at Moderna Museet in Stockholm, Sweden in 2017, followed by presentations at the Louisiana Museum of Modern Art in Copenhagen, Denmark, Henie Onstad, Sanvika, Norway (2017), Bundeskunsthalle, Bonn, Germany (2018), Centre of Contemporary Art, Torun (2019), and Museum of Contemporary Art Belgrade, Serbia (2019). The artist's operatic project '7 Deaths of Maria Callas' debuted at the Bayerische Staatsoper, Munich, Germany in 2020, and toured to Palais Garnier, Paris, France and the Greek National Opera, Athens, Greece in 2021. Further performances are scheduled for spring 2022 at Deutsche Oper Berlin, Germany (8-10 April) and Teatro di San Carlo, Naples, Italy (13-15 May). In 2023, Abramović will be the first female artist to host a major solo exhibition in the Main Galleries of the Royal Academy of Arts in London. Select solo exhibitions include 'Akış / Flux', Sakıp Sabancı Museum, Istanbul, Turkey (2020); 'As One', NEON + MAI, Benaki Museum, Athens, Greece (2017); 'The Space In Between Marina Abramović and Brazil', SXSW, Austin, Texas, USA (2016); 'Terra Comunal - Marina Abramović + MAI', SESC, Pompeia, São Paulo, Brazil (2015); '512 Hours', Serpentine Gallery, London, UK (2014); 'Holding Emptiness', Contemporary Art Center, Malaga, Spain (2014); ''The Life and Death of Marina Abramović' (with Robert Wilson), Park Avenue Armory, New York, NY, USA (2013); 'Balkan Stories', Kunsthalle Wien, Vienna, Austria (2012); 'The Abramović Method', Padiglione d'Arte Contemporanea, Milan, Italy (2012); 'The Artist Is Present', Garage Center for Contemporary Culture, Moscow, Russia (2011); 'The Artist is Present', Museum of Modern Art, New York, NY, USA (2010); and 'Seven Easy Pieces' at the Guggenheim Museum, New York, NY, USA (2005). Abramović has participated in many large-scale international exhibitions including the Venice Biennale (1976, 1997) and Documenta VI, VII and IX, Kassel, Germany (1977, 1982 and 1992). She has also established the MAI (Marina Abramović Institute) to support the future exploration and promotion of performance art. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Noa Ironic Adidas Composition in Blue 1, 2022 Acrylic and Gouache on Paper Signed on Front 15 x 10cm (5¾ x 3¾ in.) About Noa Ironic, 28, artist mostly painting, works in Tel Aviv. They have been fully graduated and in the field for 3 years now and are an avid fan of humor in art. Education BFA in fine arts from Shenkar college for art design and engineering Select Exhibitions/Awards Solo exhibitions 2021 Riding your ego, PLAN X, Milan, Italy 2021 Full of myself, Rosenfeld gallery, Tel Aviv, IL 2022 Much Respect, Rosenfeld gallery, Tel Aviv, IL Group Exhibitions 2019 BFA Final show "Horse shit; An analogy of post post post post post modern painting ", Shenkar, Tel Aviv, Israel 2020 Charlottenborg Spring Exhibition, Charlottenborg Kunsthalle Copenhagen, Denmark 2020 ground control, Rosenfeld gallery, Tel Aviv, Israel 2020 fresh paint art fair, Tel Aviv, Israel 2020 Bull in a china shop, tchotchke gallery, NY, US 2021 Nice guys live forever, Moosey art, London, UK 2021 Project Roots, Rosenfeld gallery, Tel Aviv, IL 2021 Radical residency XI, Unit1 gallery workshop, London, UK 2021 House Parte', Carley Packer house takeover, Los Angeles, USA 2021 Lost In Plot, tchotchke gallery, New York, USA 2022 Miscellaneous, Edmond de Rothschild Foundation, Tel Aviv, IL 2022 The Flow, Fir Gallery, Beijing, China Gallery Representation Rosenfeld gallery israel Plan x italy Statement about AOAP Submitted Artwork The postcards I have submitted to this important and wonderful cause are 2 studies of common young Israeli men. Track suits and energy drinks are a staple of small city aesthetic here and in many other places. In my practice I enjoy exploring this kind of imagery. From these studies I have created a full 180\160 cm oil painting, a maze of adidas tracksuit and confused faces. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Noa Ironic Adidas Composition in Blue 2, 2022 Acrylic and Gouache on Paper Signed on Front 15 x 10cm (5¾ x 3¾ in.) About Noa Ironic, 28, artist mostly painting, works in Tel Aviv. They have been fully graduated and in the field for 3 years now and are an avid fan of humor in art. Education BFA in fine arts from Shenkar college for art design and engineering Select Exhibitions/Awards Solo exhibitions 2021 Riding your ego, PLAN X, Milan, Italy 2021 Full of myself, Rosenfeld gallery, Tel Aviv, IL 2022 Much Respect, Rosenfeld gallery, Tel Aviv, IL Group Exhibitions 2019 BFA Final show "Horse shit; An analogy of post post post post post modern painting ", Shenkar, Tel Aviv, Israel 2020 Charlottenborg Spring Exhibition, Charlottenborg Kunsthalle Copenhagen, Denmark 2020 ground control, Rosenfeld gallery, Tel Aviv, Israel 2020 fresh paint art fair, Tel Aviv, Israel 2020 Bull in a china shop, tchotchke gallery, NY, US 2021 Nice guys live forever, Moosey art, London, UK 2021 Project Roots, Rosenfeld gallery, Tel Aviv, IL 2021 Radical residency XI, Unit1 gallery workshop, London, UK 2021 House Parte', Carley Packer house takeover, Los Angeles, USA 2021 Lost In Plot, tchotchke gallery, New York, USA 2022 Miscellaneous, Edmond de Rothschild Foundation, Tel Aviv, IL 2022 The Flow, Fir Gallery, Beijing, China Gallery Representation Rosenfeld gallery israel Plan x italy Statement about AOAP Submitted Artwork The postcards I have submitted to this important and wonderful cause are 2 studies of common young Israeli men. Track suits and energy drinks are a staple of small city aesthetic here and in many other places. In my practice I enjoy exploring this kind of imagery. From these studies I have created a full 180\160 cm oil painting, a maze of adidas tracksuit and confused faces. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Anton Kannemeyer The De-Platformed Blues 1, 2022 Acrylic, Pen and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Anton Kannemeyer is a satirical artist and co-founding editor of "Bitterkomix", an anti-apartheid and socio-political comic magazine in South Africa. Anton lectured at three universities in South Africa as senior lecturer for 15 years, and became a full time gallery artist in 2006. Education 1991: BA Fine Arts (Graphic Design) at the University of Stellenbosch, South Africa. 1993: Honnours in BA Fine Arts (Illustration) cum laude at the University of Stellenbosch. 1997: MA in Fine Arts cum laude at the University of Stellenbosch, South Africa. Select Exhibitions/Awards Anton has exhibited his work extensively in South Africa, Europe and the USA (sixteen solo exhibitions in Johannesburg, New York, Paris, Vienna, Lisbon and Cape Town). He is represented by galeries in New York, Paris, and Vienna. His work has been published in numerous publications and catalogues around the world, and is held in many permanent art collections, including the Museum of Modern Art in New York. His book, "Pappa in Afrika", won the best international graphic novel award at the Amadora BD Festival in Portugal in 2015. Gallery Representation Huberty & Breyne, Paris, Jack Shainman, New York and Ernst Hilger, Vienna. Statement about AOAP Submitted Artwork Anton Kannemeyer has lately been criticized for his satirical works dealing with race. The exact same works were praised in articles in "The New York Times", "Art in America", "Modern Painters", "Art South Africa", etc. in the past. His work has always been anti-racist, yet after a series of attacks in social media in 2020, it has become impossible for him to show his work in South Africa - no gallery dares to exhibit his political work anymore. The liberal media, academics and journalists that used to support him, are all very quiet today, afraid of a backlash on social media. There is, according to him, a strong reaction against satire and irony today, and especially against controversial art. The submitted artworks are satirical, showing a "white man" in the position of the traditional American blues guitarist, a metaphor for the loss of political power. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Anton Kannemeyer The De-Platformed Blues 2, 2022 Acrylic, Pen and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Anton Kannemeyer is a satirical artist and co-founding editor of "Bitterkomix", an anti-apartheid and socio-political comic magazine in South Africa. Anton lectured at three universities in South Africa as senior lecturer for 15 years, and became a full time gallery artist in 2006. Education 1991: BA Fine Arts (Graphic Design) at the University of Stellenbosch, South Africa. 1993: Honnours in BA Fine Arts (Illustration) cum laude at the University of Stellenbosch. 1997: MA in Fine Arts cum laude at the University of Stellenbosch, South Africa. Select Exhibitions/Awards Anton has exhibited his work extensively in South Africa, Europe and the USA (sixteen solo exhibitions in Johannesburg, New York, Paris, Vienna, Lisbon and Cape Town). He is represented by galeries in New York, Paris, and Vienna. His work has been published in numerous publications and catalogues around the world, and is held in many permanent art collections, including the Museum of Modern Art in New York. His book, "Pappa in Afrika", won the best international graphic novel award at the Amadora BD Festival in Portugal in 2015. Gallery Representation Huberty & Breyne, Paris, Jack Shainman, New York and Ernst Hilger, Vienna. Statement about AOAP Submitted Artwork Anton Kannemeyer has lately been criticized for his satirical works dealing with race. The exact same works were praised in articles in "The New York Times", "Art in America", "Modern Painters", "Art South Africa", etc. in the past. His work has always been anti-racist, yet after a series of attacks in social media in 2020, it has become impossible for him to show his work in South Africa - no gallery dares to exhibit his political work anymore. The liberal media, academics and journalists that used to support him, are all very quiet today, afraid of a backlash on social media. There is, according to him, a strong reaction against satire and irony today, and especially against controversial art. The submitted artworks are satirical, showing a "white man" in the position of the traditional American blues guitarist, a metaphor for the loss of political power. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Anton Kannemeyer The De-Platformed Blues 3, 2022 Acrylic, Pen and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Anton Kannemeyer is a satirical artist and co-founding editor of "Bitterkomix", an anti-apartheid and socio-political comic magazine in South Africa. Anton lectured at three universities in South Africa as senior lecturer for 15 years, and became a full time gallery artist in 2006. Education 1991: BA Fine Arts (Graphic Design) at the University of Stellenbosch, South Africa. 1993: Honnours in BA Fine Arts (Illustration) cum laude at the University of Stellenbosch. 1997: MA in Fine Arts cum laude at the University of Stellenbosch, South Africa. Select Exhibitions/Awards Anton has exhibited his work extensively in South Africa, Europe and the USA (sixteen solo exhibitions in Johannesburg, New York, Paris, Vienna, Lisbon and Cape Town). He is represented by galeries in New York, Paris, and Vienna. His work has been published in numerous publications and catalogues around the world, and is held in many permanent art collections, including the Museum of Modern Art in New York. His book, "Pappa in Afrika", won the best international graphic novel award at the Amadora BD Festival in Portugal in 2015. Gallery Representation Huberty & Breyne, Paris, Jack Shainman, New York and Ernst Hilger, Vienna. Statement about AOAP Submitted Artwork Anton Kannemeyer has lately been criticized for his satirical works dealing with race. The exact same works were praised in articles in "The New York Times", "Art in America", "Modern Painters", "Art South Africa", etc. in the past. His work has always been anti-racist, yet after a series of attacks in social media in 2020, it has become impossible for him to show his work in South Africa - no gallery dares to exhibit his political work anymore. The liberal media, academics and journalists that used to support him, are all very quiet today, afraid of a backlash on social media. There is, according to him, a strong reaction against satire and irony today, and especially against controversial art. The submitted artworks are satirical, showing a "white man" in the position of the traditional American blues guitarist, a metaphor for the loss of political power. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Cornelia O'Donovan Red & Black 1, 2022 Gouache on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Cornelia O'Donovan was born in 1981, and trained at the Royal College of Art, London. Cornelia plays with old folklore and poetry, but in a loose and dreamlike way. She draws particularly on tales native to the British Isles, and especially Celtic poetry and myth - from the tale of Prince Llewellyn's grief at the sacrifice of his greyhound Gellert, to the figurative ballads of Ellen O'Leary and lines from WB Yeats. Her paintings are flat, stripped of all perspective or realism, their surfaces hazy and meandering like an old tale retold a thousand times. Roughly rendered yet delicately arranged, she creates patterned compositions reminiscent of old tapestries into which she plants naïve pre-Modern motifs. Education Cornelia O'Donovan trained at Royal College of Art graduating in 2006. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardises the charitable work we do. Anyone found doing will subject to legal action.
Cornelia O'Donovan Red & Black 2, 2022 Gouache on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Cornelia O'Donovan was born in 1981, and trained at the Royal College of Art, London. Cornelia plays with old folklore and poetry, but in a loose and dreamlike way. She draws particularly on tales native to the British Isles, and especially Celtic poetry and myth - from the tale of Prince Llewellyn's grief at the sacrifice of his greyhound Gellert, to the figurative ballads of Ellen O'Leary and lines from WB Yeats. Her paintings are flat, stripped of all perspective or realism, their surfaces hazy and meandering like an old tale retold a thousand times. Roughly rendered yet delicately arranged, she creates patterned compositions reminiscent of old tapestries into which she plants naïve pre-Modern motifs. Education Cornelia O'Donovan trained at Royal College of Art graduating in 2006. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardises the charitable work we do. Anyone found doing will subject to legal action.
LUAP Joy Ride, 2022 Watercolour and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About LUAP, was born in Grimsby in 1982. He is a multidisciplinary British artist who dynamically fuses adventure and art through his paintings and photography. Using different mediums and techniques and drawing from his own experiences, he tackles mental health, the climate and isolation head-on. LUAP's most iconic series features his adult-size Pink Bear. The candy-coloured teddy accompanies LUAP on his travels and serves as a metaphor for discovery and exploration. LUAP's style, although hinting at abstract expressionism, is not confined to one system. His works explode with positive energy, bringing together the bold colours of Pop Art and the soft grunge of modern Urban Art. Exploring existential subjects, but with a contemporary feel, his craft stands alone in its composition and provoking content and subject matter. His Pink Bear suit, in particular, follows LUAP up mountains and across cities to remote spots in far-away places. The bear acts as a tool to juxtapose and create stark contrasts with a chosen context, existing somewhere between reality and make-believe, and youthful innocence and corruption. LUAP has exhibited alongside internationally renowned artists and created bespoke artworks for exclusive Member Clubs. He also works with charities to raise money. A Pink Bear print recently sold for three times the listed price at Christie's. LUAP has featured in publications such as TimeOut, Design Week, Mail Online, GQ, Fad, and more. Education Kent Institute of Art and Design Select Exhibitions/Awards 2021 The Unconscious Therapy New Bond Street - London 2020 Rise Above Yourself Lilford Gallery - Canterbury 2018 The Pink Bear Graffik Gallery - London 2017 The Pink Bear at Home House Home House - London 2016 The Hero's Journey Andipa Gallery - London 2014 The Pop Up Oxford Street - London 2013 The VIP Piccadilly - London Descending The Staircase Exhibition Road - South Kensington - London Gallery Representation Self Represented You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
LUAP My Light My Shadow, 2002 Watercolour and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About LUAP, was born in Grimsby in 1982. He is a multidisciplinary British artist who dynamically fuses adventure and art through his paintings and photography. Using different mediums and techniques and drawing from his own experiences, he tackles mental health, the climate and isolation head-on. LUAP's most iconic series features his adult-size Pink Bear. The candy-coloured teddy accompanies LUAP on his travels and serves as a metaphor for discovery and exploration. LUAP's style, although hinting at abstract expressionism, is not confined to one system. His works explode with positive energy, bringing together the bold colours of Pop Art and the soft grunge of modern Urban Art. Exploring existential subjects, but with a contemporary feel, his craft stands alone in its composition and provoking content and subject matter. His Pink Bear suit, in particular, follows LUAP up mountains and across cities to remote spots in far-away places. The bear acts as a tool to juxtapose and create stark contrasts with a chosen context, existing somewhere between reality and make-believe, and youthful innocence and corruption. LUAP has exhibited alongside internationally renowned artists and created bespoke artworks for exclusive Member Clubs. He also works with charities to raise money. A Pink Bear print recently sold for three times the listed price at Christie's. LUAP has featured in publications such as TimeOut, Design Week, Mail Online, GQ, Fad, and more. Education Kent Institute of Art and Design Select Exhibitions/Awards 2021 The Unconscious Therapy New Bond Street - London 2020 Rise Above Yourself Lilford Gallery - Canterbury 2018 The Pink Bear Graffik Gallery - London 2017 The Pink Bear at Home House Home House - London 2016 The Hero's Journey Andipa Gallery - London 2014 The Pop Up Oxford Street - London 2013 The VIP Piccadilly - London Descending The Staircase Exhibition Road - South Kensington - London Gallery Representation Self Represented You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Kim Booker Torture Garden (1) After Rodin, 2022 Oil and Acrylic on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Kim Booker's practice is rooted in the tradition of painting and the history of modern art. Her work takes influences from German Expressionism, idiosyncratic British painting such as the work of Roy Oxlade, and American abstract expressionism, yet she reinterprets the tradition with a current perspective on contemporary conflicts surrounding identity, gender and relationships. Her paintings are semi-autobiographical, often featuring female figures in poses suggestive of an emotional state. Booker's process and mark making are gestural and intuitive - the physicality of the act of painting is important. Working on large scale canvases, Booker's paintings are an extension of her body and an evolution of her emotions. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardises the charitable work we do. Anyone found doing will subject to legal action.
Kim Booker Torture Garden (2) After Rodin, 2022 Oil and Acrylic on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Kim Booker's practice is rooted in the tradition of painting and the history of modern art. Her work takes influences from German Expressionism, idiosyncratic British painting such as the work of Roy Oxlade, and American abstract expressionism, yet she reinterprets the tradition with a current perspective on contemporary conflicts surrounding identity, gender and relationships. Her paintings are semi-autobiographical, often featuring female figures in poses suggestive of an emotional state. Booker's process and mark making are gestural and intuitive - the physicality of the act of painting is important. Working on large scale canvases, Booker's paintings are an extension of her body and an evolution of her emotions. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardises the charitable work we do. Anyone found doing will subject to legal action.
Tosin Kalejaye Ifesowapo I, 2022 Mixed Media on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Tosin Kalejaye is a self-taught contemporary visual artist from Abuja, Nigeria. From his early childhood, Tosin had a keen interest in drawing portraits. Needless to say, this is where his artistic profession stemmed from. Tosin uses his art as an instrument to convey his ideas and impressions about modern society and the everyday Black experience. His art genre, widely ingrained in storytelling, representation, identity and historical documentation, is intended to incite emotion in his viewers as the required catalyst. It initiates mere social conversations, to ultra-practical actions and liberates one's consciousness. His works, which were displayed in a range of exhibitions globally, including a group exhibition titled 'SELF ADDRESSED', in Jeffrey Deitch Gallery, curated by Kehinde Wiley in Los Angeles, United States, are largely executed in mixed media - oil and charcoal on canvas. Education Adekunle Ajasin University, Akungba Akoko, Ondo State, Nigeria. Select Exhibitions/Awards 2022 VISION OF FIGURE, Badr El Jundi Gallery, Malaga, Spain - Group Exhibition. INTERSECTING IDENTITIES, Arushi Gallery, Los Angeles, United States of America - Group Exhibition. INVESTEC CAPETOWN ARTFAIR, presented by Christopher Moller Gallery, Capetown, South Africa - Group Exhibition. DISCO NAP, Eligere Gallery, Seoul, South Korea - Group Exhibition. HIRAETH, Prior Artspace in collaboration with Phillips Auction House - Group Exhibition. 2021 GIVE THEM THEIR FLOWERS, Context Art Miami Fair, presented by Christopher Moller Gallery, Miami, USA - Solo Exhibition. SELF-ADDRESSED, Jeffrey Deitch Gallery, Curated by Kehinde Wiley/Black Rock Senegal, Los Angeles, USA - Group exhibition. LAX/ORD III: Growng the Focus, Vertical Gallery, Chicago, United States - Group exhibition. POW! WOW! THE FIRST DECADE: FROM HAWAI'I TO THE WORLD, Bishop Museum, Hawaii, United States of America - Group exhibition. Statement about AOAP Submitted Artwork Both work tends to portray why we must show love to one another and extend support to one another as humans. With these gestures, it makes the world a better place for everyone to live and enjoy. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Tosin Kalejaye Ifesowapo II, 2022 Mixed Media on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Tosin Kalejaye is a self-taught contemporary visual artist from Abuja, Nigeria. From his early childhood, Tosin had a keen interest in drawing portraits. Needless to say, this is where his artistic profession stemmed from. Tosin uses his art as an instrument to convey his ideas and impressions about modern society and the everyday Black experience. His art genre, widely ingrained in storytelling, representation, identity and historical documentation, is intended to incite emotion in his viewers as the required catalyst. It initiates mere social conversations, to ultra-practical actions and liberates one's consciousness. His works, which were displayed in a range of exhibitions globally, including a group exhibition titled 'SELF ADDRESSED', in Jeffrey Deitch Gallery, curated by Kehinde Wiley in Los Angeles, United States, are largely executed in mixed media - oil and charcoal on canvas. Education Adekunle Ajasin University, Akungba Akoko, Ondo State, Nigeria. Select Exhibitions/Awards 2022 VISION OF FIGURE, Badr El Jundi Gallery, Malaga, Spain - Group Exhibition. INTERSECTING IDENTITIES, Arushi Gallery, Los Angeles, United States of America - Group Exhibition. INVESTEC CAPETOWN ARTFAIR, presented by Christopher Moller Gallery, Capetown, South Africa - Group Exhibition. DISCO NAP, Eligere Gallery, Seoul, South Korea - Group Exhibition. HIRAETH, Prior Artspace in collaboration with Phillips Auction House - Group Exhibition. 2021 GIVE THEM THEIR FLOWERS, Context Art Miami Fair, presented by Christopher Moller Gallery, Miami, USA - Solo Exhibition. SELF-ADDRESSED, Jeffrey Deitch Gallery, Curated by Kehinde Wiley/Black Rock Senegal, Los Angeles, USA - Group exhibition. LAX/ORD III: Growng the Focus, Vertical Gallery, Chicago, United States - Group exhibition. POW! WOW! THE FIRST DECADE: FROM HAWAI'I TO THE WORLD, Bishop Museum, Hawaii, United States of America - Group exhibition. Statement about AOAP Submitted Artwork Both work tends to portray why we must show love to one another and extend support to one another as humans. With these gestures, it makes the world a better place for everyone to live and enjoy. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Nilima Sheikh Where Did They Hide You ?, 2022 Mixed Tempura on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics. After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings. In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series. In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings. Sheikh lives and works in Baroda, India. Select Exhibitions/Awards Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010). Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Nilima Sheikh At The Root of Which Tree?, 2022 Mixed Tempura on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics. After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings. In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series. In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings. Sheikh lives and works in Baroda, India. Select Exhibitions/Awards Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010). Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Nilima Sheikh In Which Sky?, 2022 Mixed Tempura on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics. After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings. In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series. In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings. Sheikh lives and works in Baroda, India. Select Exhibitions/Awards Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010). Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Nilima Sheikh Under Which Earth?, 2022 Mixed Tempura with Collage and Stencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics. After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings. In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series. In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings. Sheikh lives and works in Baroda, India. Select Exhibitions/Awards Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010). Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Dan Rizzie Wine, 2022 Collage on Card Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About 1951 - Born, Poughkeepsie, New York. Currently resides in Sag Harbor, New York. Education 1975 - M.F.A., Southern Methodist University, Dallas, Texas 1973 - B.F.A., Hendrix College, Conway, Arkansas Solo Exhibitions 2016 - Dan Rizzie, Peter Marcelle Project, Southampton, NY Print Austin: Dan Rizzie at Flatbed, Flatbed Press, Austin, Texas 2015 - Dan RizzieEditions /Variations , The Drawing Room East Hampton NY Dan Rizzie: Prints, Collage, Monograph, Barry Whistler Gallery, Dallas, Texas Dan Rizzie, Peter Marcelle Project, Bridgehampton, NY 2014 - Dan Rizzie: Works, Harmon Meek Gallery, Naples, Florida Dan Rizzie, Peter Marcelle Gallery, Southampton, NY 2013 - A Taste of Rizzie, Sylvester & Co., Sag Harbor, NY Dan Rizzie: NEW WORKS, Dallas Art Fair, Dallas, Texas Dan Rizzie, Peter Marcelle Gallery, Bridgehampton, NY 2012 - Dan Rizzie:WORKS, Peter Marcelle Gallery, Bridgehampton, New York Speed & Rizzie: In One Room, Gerald Peters Gallery, Santa Fe, New Mexico 2011 - Dan Rizzie: Monotypes, Gallery at Amagansett Square, Amagansett, NY Dan Rizzie Works, Christies Art Center, Sag Harbor, NY 2010 - Dan Rizzie, Gerald Peters Gallery, New York, New York Dan Rizzie, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: The Flatbed Years, Galveston Art Center, Galveston, Texas 2009 - Dan Rizzie: Selected Works, Hampton Road Gallery, Southampton, New York 2008 - Dan Rizzie: Selected Works, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie - Islandia, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie, Spanierman Modeern, New York, New York 2007 - Dan Rizzie: Selected Works on Paper 1995-2007, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: Paintings, Drawings and Collages, Gerald Peters Gallery, Dallas, Texas Dan Rizzie: Small Works, Christies Gallery, Sag Harbor, New York 2006 - Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 2005 - Monotipos, Gallery Aurora, San Miguel, Mexico Dan Rizzie: Postcards from Italy, Armory Art Center, Palm Beach, Florida Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York 2004 - Dan Rizzie: Ten for Hendrix, Hendrix College, Conway, Arkansas Dan Rizzie: New Paintings, Gerald Peters Gallery, Dallas, Texas Seductive Surfaces, The Ross Institute, East Hampton, New York 2003 - Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York Dan Rizzie: The Power of Symbols, El Paso Museum of Art, El Paso, Texas New Paintings and Collages, Harmon Meeks Gallery, Naples, Florida 2002 - Dan Rizzie, Harmon Meek Gallery, Naples, Florida Dan Rizzie: New Paintings, Pillsbury Peters Fine Art, Dallas, Texas Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York 2001 - New Works, Flatbed Gallery, Austin, Texas New Work, Lizan Tops Gallery, East Hampton, New York 2000 - Rhythms of Nature, Pillsbury Peters Fine Art, Dallas Texas Dan Rizzie - "A Retrospective", The McKinney Avenue Contemporary, Dallas, Texas 1999 - Lizan Tops Gallery, East Hampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 1998 - "Dan Rizzie: Works on Paper," Dueringer Gallery, Jackson, Mississippi Allene Lapides Gallery, Santa Fe, New Mexico 1997 - Liz Mayer Fine Art, New York, New York Allenen Lapides Gallery, Santa Fe, New Mexico Lizan Tops Gallery, East Hampton, New York West End Fine Arts Gallery, West Palm Beach, Florida 1996 - Allene Lapides Gallery, Santa Fe, New Mexico Gerald Peters, Dallas, Texas 1995 - Allene Lapides Gallery, Santa Fe, New Mexico 1994 - Arthur Roger Gallery, New Orleans, Louisiana 1993 - Helander Gallery, New York, New York Helander Gallery, Palm Beach, Florida 1992 - Arthur Roger Gallery, New Orleans, Louisiana 1991 - Allene Lapides Gallery, Santa Fe, New Mexico 1990 - Allene Lapides Gallery, Santa Fe, New Mexico Eugene Binder Gallery, Dallas, Texas Kimbell Art Museum, Fort Worth, Texas Ruth Siegel Gallery, New York, New York Thomson Gallery, Minneapolis, Minnesota 1989 - Arthur Roger Gallery, New Orleans, Louisiana Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1988 - Arthur Roger Gallery, New Orleans, Louisiana The Club San Simeon, Dallas, Texas Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1987 - Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas 1986 - Arthur Roger Gallery, New Orleans, Louisiana Ruth Siegel Gallery, New York, New York Watson Gallery, Houston, Texas 1985 - Carpenter + Hochman Gallery, Dallas, Texas Gallery LaFayette, New York, New York 1984 - Fuller Goldeen Gallery, San Francisco, California Peregrine Press, Dallas, Texas 1983 - Delahunty Gallery, Dallas, Texas 1982 - Delahunty Gallery, New York, New York 1981 - Delahunty Gallery, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1980 - Modern Art Museum of Fort Worth, Fort Worth, Texas 1979 - Meadows Museum of Art, Shreveport, Louisiana 1978 - Dallas Museum of Art, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1977 - Delahunty Gallery, Dallas, Texas 1975 - University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Dan Rizzie Polka Dot Moon, 2022 Collage, Paint on Card Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About 1951 - Born, Poughkeepsie, New York. Currently resides in Sag Harbor, New York. Education 1975 - M.F.A., Southern Methodist University, Dallas, Texas 1973 - B.F.A., Hendrix College, Conway, Arkansas Solo Exhibitions 2016 - Dan Rizzie, Peter Marcelle Project, Southampton, NY Print Austin: Dan Rizzie at Flatbed, Flatbed Press, Austin, Texas 2015 - Dan RizzieEditions /Variations , The Drawing Room East Hampton NY Dan Rizzie: Prints, Collage, Monograph, Barry Whistler Gallery, Dallas, Texas Dan Rizzie, Peter Marcelle Project, Bridgehampton, NY 2014 - Dan Rizzie: Works, Harmon Meek Gallery, Naples, Florida Dan Rizzie, Peter Marcelle Gallery, Southampton, NY 2013 - A Taste of Rizzie, Sylvester & Co., Sag Harbor, NY Dan Rizzie: NEW WORKS, Dallas Art Fair, Dallas, Texas Dan Rizzie, Peter Marcelle Gallery, Bridgehampton, NY 2012 - Dan Rizzie:WORKS, Peter Marcelle Gallery, Bridgehampton, New York Speed & Rizzie: In One Room, Gerald Peters Gallery, Santa Fe, New Mexico 2011 - Dan Rizzie: Monotypes, Gallery at Amagansett Square, Amagansett, NY Dan Rizzie Works, Christies Art Center, Sag Harbor, NY 2010 - Dan Rizzie, Gerald Peters Gallery, New York, New York Dan Rizzie, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: The Flatbed Years, Galveston Art Center, Galveston, Texas 2009 - Dan Rizzie: Selected Works, Hampton Road Gallery, Southampton, New York 2008 - Dan Rizzie: Selected Works, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie - Islandia, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie, Spanierman Modeern, New York, New York 2007 - Dan Rizzie: Selected Works on Paper 1995-2007, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: Paintings, Drawings and Collages, Gerald Peters Gallery, Dallas, Texas Dan Rizzie: Small Works, Christies Gallery, Sag Harbor, New York 2006 - Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 2005 - Monotipos, Gallery Aurora, San Miguel, Mexico Dan Rizzie: Postcards from Italy, Armory Art Center, Palm Beach, Florida Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York 2004 - Dan Rizzie: Ten for Hendrix, Hendrix College, Conway, Arkansas Dan Rizzie: New Paintings, Gerald Peters Gallery, Dallas, Texas Seductive Surfaces, The Ross Institute, East Hampton, New York 2003 - Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York Dan Rizzie: The Power of Symbols, El Paso Museum of Art, El Paso, Texas New Paintings and Collages, Harmon Meeks Gallery, Naples, Florida 2002 - Dan Rizzie, Harmon Meek Gallery, Naples, Florida Dan Rizzie: New Paintings, Pillsbury Peters Fine Art, Dallas, Texas Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York 2001 - New Works, Flatbed Gallery, Austin, Texas New Work, Lizan Tops Gallery, East Hampton, New York 2000 - Rhythms of Nature, Pillsbury Peters Fine Art, Dallas Texas Dan Rizzie - "A Retrospective", The McKinney Avenue Contemporary, Dallas, Texas 1999 - Lizan Tops Gallery, East Hampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 1998 - "Dan Rizzie: Works on Paper," Dueringer Gallery, Jackson, Mississippi Allene Lapides Gallery, Santa Fe, New Mexico 1997 - Liz Mayer Fine Art, New York, New York Allenen Lapides Gallery, Santa Fe, New Mexico Lizan Tops Gallery, East Hampton, New York West End Fine Arts Gallery, West Palm Beach, Florida 1996 - Allene Lapides Gallery, Santa Fe, New Mexico Gerald Peters, Dallas, Texas 1995 - Allene Lapides Gallery, Santa Fe, New Mexico 1994 - Arthur Roger Gallery, New Orleans, Louisiana 1993 - Helander Gallery, New York, New York Helander Gallery, Palm Beach, Florida 1992 - Arthur Roger Gallery, New Orleans, Louisiana 1991 - Allene Lapides Gallery, Santa Fe, New Mexico 1990 - Allene Lapides Gallery, Santa Fe, New Mexico Eugene Binder Gallery, Dallas, Texas Kimbell Art Museum, Fort Worth, Texas Ruth Siegel Gallery, New York, New York Thomson Gallery, Minneapolis, Minnesota 1989 - Arthur Roger Gallery, New Orleans, Louisiana Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1988 - Arthur Roger Gallery, New Orleans, Louisiana The Club San Simeon, Dallas, Texas Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1987 - Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas 1986 - Arthur Roger Gallery, New Orleans, Louisiana Ruth Siegel Gallery, New York, New York Watson Gallery, Houston, Texas 1985 - Carpenter + Hochman Gallery, Dallas, Texas Gallery LaFayette, New York, New York 1984 - Fuller Goldeen Gallery, San Francisco, California Peregrine Press, Dallas, Texas 1983 - Delahunty Gallery, Dallas, Texas 1982 - Delahunty Gallery, New York, New York 1981 - Delahunty Gallery, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1980 - Modern Art Museum of Fort Worth, Fort Worth, Texas 1979 - Meadows Museum of Art, Shreveport, Louisiana 1978 - Dallas Museum of Art, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1977 - Delahunty Gallery, Dallas, Texas 1975 - University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Dan Rizzie Raven, 2022 Paint, Collage on Card Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About 1951 - Born, Poughkeepsie, New York. Currently resides in Sag Harbor, New York. Education 1975 - M.F.A., Southern Methodist University, Dallas, Texas 1973 - B.F.A., Hendrix College, Conway, Arkansas Solo Exhibitions 2016 - Dan Rizzie, Peter Marcelle Project, Southampton, NY Print Austin: Dan Rizzie at Flatbed, Flatbed Press, Austin, Texas 2015 - Dan RizzieEditions /Variations , The Drawing Room East Hampton NY Dan Rizzie: Prints, Collage, Monograph, Barry Whistler Gallery, Dallas, Texas Dan Rizzie, Peter Marcelle Project, Bridgehampton, NY 2014 - Dan Rizzie: Works, Harmon Meek Gallery, Naples, Florida Dan Rizzie, Peter Marcelle Gallery, Southampton, NY 2013 - A Taste of Rizzie, Sylvester & Co., Sag Harbor, NY Dan Rizzie: NEW WORKS, Dallas Art Fair, Dallas, Texas Dan Rizzie, Peter Marcelle Gallery, Bridgehampton, NY 2012 - Dan Rizzie:WORKS, Peter Marcelle Gallery, Bridgehampton, New York Speed & Rizzie: In One Room, Gerald Peters Gallery, Santa Fe, New Mexico 2011 - Dan Rizzie: Monotypes, Gallery at Amagansett Square, Amagansett, NY Dan Rizzie Works, Christies Art Center, Sag Harbor, NY 2010 - Dan Rizzie, Gerald Peters Gallery, New York, New York Dan Rizzie, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: The Flatbed Years, Galveston Art Center, Galveston, Texas 2009 - Dan Rizzie: Selected Works, Hampton Road Gallery, Southampton, New York 2008 - Dan Rizzie: Selected Works, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie - Islandia, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie, Spanierman Modeern, New York, New York 2007 - Dan Rizzie: Selected Works on Paper 1995-2007, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: Paintings, Drawings and Collages, Gerald Peters Gallery, Dallas, Texas Dan Rizzie: Small Works, Christies Gallery, Sag Harbor, New York 2006 - Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 2005 - Monotipos, Gallery Aurora, San Miguel, Mexico Dan Rizzie: Postcards from Italy, Armory Art Center, Palm Beach, Florida Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York 2004 - Dan Rizzie: Ten for Hendrix, Hendrix College, Conway, Arkansas Dan Rizzie: New Paintings, Gerald Peters Gallery, Dallas, Texas Seductive Surfaces, The Ross Institute, East Hampton, New York 2003 - Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York Dan Rizzie: The Power of Symbols, El Paso Museum of Art, El Paso, Texas New Paintings and Collages, Harmon Meeks Gallery, Naples, Florida 2002 - Dan Rizzie, Harmon Meek Gallery, Naples, Florida Dan Rizzie: New Paintings, Pillsbury Peters Fine Art, Dallas, Texas Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York 2001 - New Works, Flatbed Gallery, Austin, Texas New Work, Lizan Tops Gallery, East Hampton, New York 2000 - Rhythms of Nature, Pillsbury Peters Fine Art, Dallas Texas Dan Rizzie - "A Retrospective", The McKinney Avenue Contemporary, Dallas, Texas 1999 - Lizan Tops Gallery, East Hampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 1998 - "Dan Rizzie: Works on Paper," Dueringer Gallery, Jackson, Mississippi Allene Lapides Gallery, Santa Fe, New Mexico 1997 - Liz Mayer Fine Art, New York, New York Allenen Lapides Gallery, Santa Fe, New Mexico Lizan Tops Gallery, East Hampton, New York West End Fine Arts Gallery, West Palm Beach, Florida 1996 - Allene Lapides Gallery, Santa Fe, New Mexico Gerald Peters, Dallas, Texas 1995 - Allene Lapides Gallery, Santa Fe, New Mexico 1994 - Arthur Roger Gallery, New Orleans, Louisiana 1993 - Helander Gallery, New York, New York Helander Gallery, Palm Beach, Florida 1992 - Arthur Roger Gallery, New Orleans, Louisiana 1991 - Allene Lapides Gallery, Santa Fe, New Mexico 1990 - Allene Lapides Gallery, Santa Fe, New Mexico Eugene Binder Gallery, Dallas, Texas Kimbell Art Museum, Fort Worth, Texas Ruth Siegel Gallery, New York, New York Thomson Gallery, Minneapolis, Minnesota 1989 - Arthur Roger Gallery, New Orleans, Louisiana Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1988 - Arthur Roger Gallery, New Orleans, Louisiana The Club San Simeon, Dallas, Texas Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1987 - Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas 1986 - Arthur Roger Gallery, New Orleans, Louisiana Ruth Siegel Gallery, New York, New York Watson Gallery, Houston, Texas 1985 - Carpenter + Hochman Gallery, Dallas, Texas Gallery LaFayette, New York, New York 1984 - Fuller Goldeen Gallery, San Francisco, California Peregrine Press, Dallas, Texas 1983 - Delahunty Gallery, Dallas, Texas 1982 - Delahunty Gallery, New York, New York 1981 - Delahunty Gallery, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1980 - Modern Art Museum of Fort Worth, Fort Worth, Texas 1979 - Meadows Museum of Art, Shreveport, Louisiana 1978 - Dallas Museum of Art, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1977 - Delahunty Gallery, Dallas, Texas 1975 - University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Dan Rizzie 2025-10, 2022 Collage, Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About 1951 - Born, Poughkeepsie, New York. Currently resides in Sag Harbor, New York. Education 1975 - M.F.A., Southern Methodist University, Dallas, Texas 1973 - B.F.A., Hendrix College, Conway, Arkansas Solo Exhibitions 2016 - Dan Rizzie, Peter Marcelle Project, Southampton, NY Print Austin: Dan Rizzie at Flatbed, Flatbed Press, Austin, Texas 2015 - Dan RizzieEditions /Variations , The Drawing Room East Hampton NY Dan Rizzie: Prints, Collage, Monograph, Barry Whistler Gallery, Dallas, Texas Dan Rizzie, Peter Marcelle Project, Bridgehampton, NY 2014 - Dan Rizzie: Works, Harmon Meek Gallery, Naples, Florida Dan Rizzie, Peter Marcelle Gallery, Southampton, NY 2013 - A Taste of Rizzie, Sylvester & Co., Sag Harbor, NY Dan Rizzie: NEW WORKS, Dallas Art Fair, Dallas, Texas Dan Rizzie, Peter Marcelle Gallery, Bridgehampton, NY 2012 - Dan Rizzie:WORKS, Peter Marcelle Gallery, Bridgehampton, New York Speed & Rizzie: In One Room, Gerald Peters Gallery, Santa Fe, New Mexico 2011 - Dan Rizzie: Monotypes, Gallery at Amagansett Square, Amagansett, NY Dan Rizzie Works, Christies Art Center, Sag Harbor, NY 2010 - Dan Rizzie, Gerald Peters Gallery, New York, New York Dan Rizzie, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: The Flatbed Years, Galveston Art Center, Galveston, Texas 2009 - Dan Rizzie: Selected Works, Hampton Road Gallery, Southampton, New York 2008 - Dan Rizzie: Selected Works, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie - Islandia, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie, Spanierman Modeern, New York, New York 2007 - Dan Rizzie: Selected Works on Paper 1995-2007, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie: Paintings, Drawings and Collages, Gerald Peters Gallery, Dallas, Texas Dan Rizzie: Small Works, Christies Gallery, Sag Harbor, New York 2006 - Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 2005 - Monotipos, Gallery Aurora, San Miguel, Mexico Dan Rizzie: Postcards from Italy, Armory Art Center, Palm Beach, Florida Dan Rizzie: New Work, Hampton Road Gallery, Southampton, New York 2004 - Dan Rizzie: Ten for Hendrix, Hendrix College, Conway, Arkansas Dan Rizzie: New Paintings, Gerald Peters Gallery, Dallas, Texas Seductive Surfaces, The Ross Institute, East Hampton, New York 2003 - Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York Dan Rizzie: The Power of Symbols, El Paso Museum of Art, El Paso, Texas New Paintings and Collages, Harmon Meeks Gallery, Naples, Florida 2002 - Dan Rizzie, Harmon Meek Gallery, Naples, Florida Dan Rizzie: New Paintings, Pillsbury Peters Fine Art, Dallas, Texas Dan Rizzie: New Work, Lizan Tops Gallery, East Hampton, New York 2001 - New Works, Flatbed Gallery, Austin, Texas New Work, Lizan Tops Gallery, East Hampton, New York 2000 - Rhythms of Nature, Pillsbury Peters Fine Art, Dallas Texas Dan Rizzie - "A Retrospective", The McKinney Avenue Contemporary, Dallas, Texas 1999 - Lizan Tops Gallery, East Hampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 1998 - "Dan Rizzie: Works on Paper," Dueringer Gallery, Jackson, Mississippi Allene Lapides Gallery, Santa Fe, New Mexico 1997 - Liz Mayer Fine Art, New York, New York Allenen Lapides Gallery, Santa Fe, New Mexico Lizan Tops Gallery, East Hampton, New York West End Fine Arts Gallery, West Palm Beach, Florida 1996 - Allene Lapides Gallery, Santa Fe, New Mexico Gerald Peters, Dallas, Texas 1995 - Allene Lapides Gallery, Santa Fe, New Mexico 1994 - Arthur Roger Gallery, New Orleans, Louisiana 1993 - Helander Gallery, New York, New York Helander Gallery, Palm Beach, Florida 1992 - Arthur Roger Gallery, New Orleans, Louisiana 1991 - Allene Lapides Gallery, Santa Fe, New Mexico 1990 - Allene Lapides Gallery, Santa Fe, New Mexico Eugene Binder Gallery, Dallas, Texas Kimbell Art Museum, Fort Worth, Texas Ruth Siegel Gallery, New York, New York Thomson Gallery, Minneapolis, Minnesota 1989 - Arthur Roger Gallery, New Orleans, Louisiana Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1988 - Arthur Roger Gallery, New Orleans, Louisiana The Club San Simeon, Dallas, Texas Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1987 - Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas 1986 - Arthur Roger Gallery, New Orleans, Louisiana Ruth Siegel Gallery, New York, New York Watson Gallery, Houston, Texas 1985 - Carpenter + Hochman Gallery, Dallas, Texas Gallery LaFayette, New York, New York 1984 - Fuller Goldeen Gallery, San Francisco, California Peregrine Press, Dallas, Texas 1983 - Delahunty Gallery, Dallas, Texas 1982 - Delahunty Gallery, New York, New York 1981 - Delahunty Gallery, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1980 - Modern Art Museum of Fort Worth, Fort Worth, Texas 1979 - Meadows Museum of Art, Shreveport, Louisiana 1978 - Dallas Museum of Art, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1977 - Delahunty Gallery, Dallas, Texas 1975 - University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Loading...-
19747 item(s)/page