ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012)."Als Mestres de Catanlunya".Lithography. Copy H.C.Signed and justified in pencil.Size: 100 x 70 cm.This work belongs to the album "Als mestres de Catalunya", made up of eight lithographs and a silkscreen, including the one on the cover, published by Sala Gaspar in Barcelona and printed by Damià Caus (Barcelona, lithographs) and Alexandre Tornabell (Girona, silkscreen).Co-founder of "Dau al Set" in 1948, Tàpies begins to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.
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DON FINK (Duluth, USA, 1923 - Barcelona, 2010).Untitled, 1961.Acrylic on canvas.Signed and dated in the lower right corner.Size: 98 x 130 cm; 108 x 141 cm (frame).A painter born in Duluth, Minnesota, Don Fink settled in Paris in the 1950s, together with the painter Paul Jenkins. There he became part of the French school of lyrical abstraction, with the result that his work was strongly influenced by European Informalism. From 1977 he lived and worked in Barcelona, and continued to hold exhibitions in Europe and the United States, in prominent galleries such as the Lors in London, the Sidenberg and Joan Prats in New York, the Rayuela in Madrid, the Sebastià Jané in Barcelona, and so on. He is currently represented in the Withney and Brooklyn Museums in New York and the Georges Pompidou Museum of Modern Art in Paris, as well as in other public and private collections.
JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954).Untitled, 1988.Mixed media and collage on panel.Signed and dated in the lower margin.Size: 26 x 36 cm; 44 x 54 cm (frame).A painter and sculptor, Josep Riera i Aragó trained at the Barcelona School of Fine Arts. He made his individual debut in 1981 at the Artema gallery in Barcelona. Two years later he took part in the Salón de Otoño in that city, and since then he has shown his work all over the world, in leading galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. Particularly noteworthy are the solo exhibitions he has held at the Musée de Ceret (France, 1989), the Bibliothèque Nationale de Paris (1993), the Oostende Museum of Modern Art (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinery, with a symbolic language marked by an interest in air and sea transport, which he sees decontextualised, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the line/plane and empty/full dialogue. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. With a visual vocabulary limited to simple forms reminiscent of zeppelins, submarines or aeroplanes, Riera i Aragó develops a fertile iconography charged with meaning which, endowed with a clear irony, speaks of the absurd recklessness of man's creations and of the poetic justice that results when these creations turn against him. His work should be understood as a global story, which is related to languages as disparate as astronomy, botany, mathematics and mysticism, and which offers the spectator the possibility of entering a particular and highly lyrical universe, where reality and fiction are no longer opposing categories. Riera i Aragó is currently represented in the Museum of Contemporary Art in Barcelona, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles in France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.
LUIS FEITO (Madrid, 1929-2021).Untitled.Gouache on paper.Work in relation to the first series of the 1970s.Provenance: Jean Robert Arnaud Gallery (Editor of the series); John Flanklin Joenig Collection; Jean Pierre & Françoise Arnaud Collection.Measurements: 65 x 50 cm.Born and trained in Madrid, he was one of the founding members of the El Paso group. In 1954 he held his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums all over the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy, etc.
LUIS FEITO (Madrid, 1929-2021).Untitled, 2001,Acrylic on paper.With information labels on the back from the Galería David Cervelló (Barcelona) and the Centro Cultural Isabel de Farnesio (Aranjuez).Signed and dated in the lower left corner.Measurements: 29 x 41 cm; 62 x 73 cm (frame).This work belongs to one of Feito's last artistic stages. At the beginning of the 2000s the author showed a change with respect to his painting, being a period in which he relaxed his aesthetic work with the strictest geometry, to introduce a more expressive language, where the gesture and the randomness became more important than the sobriety of the geometrical forms.Born and trained in Madrid, he was one of the founding members of the El Paso group. In 1954 he held his first solo exhibition of non-figurative works at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums all over the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy, etc.
JOSÉ DE GUIMARÃES (Portugal, 1939)."Untitled" From the series Negreiros, 2011.Painted iron.Slight damage on the front and back.Signed on the base.Size: 120 x 86 x 21,5 cm.This sculpture representing the profile of a woman with African features, belongs to the series made by the author José de Guimarães in 2011, called Negreiros. In this series, which consisted of drawings, paintings, sculptures and monotypes, the artist explored the human body, especially that of the woman, conceived as a silhouette of voluptuous forms. The sculpture is conceived in the form of a shadow, where the specific features of the protagonist are not discernible, although we can intuit an identity conceived from a collective rather than an individual point of view.José María Fernández Marques, known as José de Guimarães, is one of the most important contemporary artists of his native Portugal. During his youth he entered the military academy and began his engineering studies at the Technical University of Lisbon, where he enrolled in 1957. During this training he acquired knowledge that he later applied to his artistic work. A year later, however, he began his artistic education, taking painting classes from the artist Teresa Sousa and Gil Teixeira Lopes, as well as studying engraving at the Portuguese Engravers' Cooperative Society. In the 1960s he decided to change his surname, adopting the name of his native town as his surname. Between 1961 and 1966 he travelled around Europe, getting to know the work of old masters. Years later, in 1967, he moved to Angola, where he lived for seven years, during which time he forged his own identity as an artist. Throughout his career he has received numerous awards, as well as participating in various solo and group exhibitions. He currently has numerous works in prestigious international collections, including the Wurth Museum in Germany, the Royal Museum of Modern Art in Brussels, the Museum of Modern Art in Sao Paulo (Brazil), Carlton University in Ottawa, the Museum of Contemporary Art in Madrid, the Spanish Ministry of Culture, the Frederick Weisseman Museum in Los Angeles, and the Rockefeller Art Center in New York, among many others.
JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984).Untitled (Harlequin with Painted Face), ca. 1955.Gouache and ink on laid paper.Signed on the back.Work referenced in Joan Ponç's online catalogue.Measurements: 67 x 49 cm; 69 x 51 cm (frame).In this composition, which represents a harlequin with his face painted, a character he painted on numerous occasions, Joan Ponç's imaginary is synthesised in all its splendour. During the 1950s, the period in which he lived in Brazil and to which this painting belongs, Ponç's plastic universe had already been nourished by premonitory visions and hunches, giving shape to a clairvoyant, mystical and existential language. The perspective of time has reaffirmed the relevance and exceptionality of his work, as well as the intensity of his voice and the need for its rediscovery.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972).
"ZUSH"; ALBERTO PORTA (Barcelona, 1946)."Girls of my life", 1988.Oil on paper. Framed in a plexiglass structure.Signed in the upper margin of the recto. Signed, dated and titled on the back.Measurements: 92 x 184 cm.Zush was Alberto Porta's artistic alter ego between 1968 and 2001, the year in which Evru, his new character, was born. Defined by himself as ArtCieMist, artist, scientist and mystic, he trained as a self-taught artist and exhibited for the first time in 1968. That same year he created his own state, an alternative conception of reality called Evrugo, with its own elements and an alphabet of his own invention. In 1975 he received a scholarship from the Juan March Foundation and J. W. Fullbright to study at the Massachusetts Institute of Technology, where he was introduced to the use of new technologies. From the 1970s onwards he took part in solo and group exhibitions that made him internationally known. Some of these exhibitions were Documenta in Kassel (1977), "New images of Spain" (Guggenheim, New York, 1980), "Les magiciens de la Terre" (Centre Georges Pompidou, Paris, 1989), "Drawing on chance" (MOMA, New York, 1995), "Zush Tecura" (MACBA, Barcelona, 2000) and his retrospective organised in 2000 by the Museo Nacional Centro de Arte Reina Sofía. That same year he was awarded the City of Barcelona Prize for the Plastic Arts. He has participated in different editions of the Cologne and Chicago art fairs, and in all the editions of the Basel fair. In his new phase as Evru, in 2004, he presented the exhibition "From Zush to Evru: the second reincarnation" at the Haim Chanin Gallery in New York. His work can be found in public and private collections all over the world, including the Museum of Modern Art and the Guggenheim Museum in New York, the Reina Sofía Art Centre, the MACBA, the Valencia Museum of Modern Art and the Georges Pompidou Centre in Paris, among many others.
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Five art exhibition posters, including 'The Dark Monarch: Magic & Modernity in British Art' at the Tate St Ives, October 2009-January 2010, 42cm x 30cm, a 'Pop Art (Jasper Johns: Double Flag', 1991, 80cm x 60cm, 'Frida Khalo' at the Tate Modern 2005, 76cm x 52cm, 'Psycho Buildings' at The Hayward, 70cm x 48.5cm and 'Javier Marin' at the Piazza del Duomo, Pietrasanta, Italy, 2008, 99cm x 69cm
§ § Gino Severini (Italian 1833-1966) 'Arlecchino e Pedrolino'lithographsigned in pencil, 89/12069 x 53cmLooks to be in good condition with good strength of colour, unprinted paper round the border is an even dull whiteish tone, modern stepped card mount and plain blue frame, label for Royall Fine Art of Tunbridge Wells.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 69 x 53cmSeverini (Italian 1833-1966), Gino
A TRIANG ULTRA MODERN DOLLS HOUSE AND TOY GARAGE, comprising dolls house in need of restoration modelled as an art deco two storey detached house, with a flat roof, two doors open to reveal five rooms over two floors with garage, balconies, roof terrace, hallway, staircase and landing, original art deco fireplaces in three rooms, Triang triangular mark to back, height 37cm, width 73.5cm, depth 29cm, with a few items of furniture, and a toy garage with BP, Firestone and Michelin decals, petrol pumps, ramp to roof parking, service bays and office (Condition report: sd to garage 'wall', would benefit from a clean, dolls house is missing windows, external front and garage doors, all repainted in white gloss, hinges on dolls house have slightly dropped) (2)
* DAVID HOCKNEY OM CH RA (BRITISH b. 1937),PICTURE OF A STILL LIFE THAT HAS AN ELABORATE SILVER FRAME lithograph on paper, numbered artist's proofimage size 77cm x 57cm, overall size 92cm x 72cmMounted, framed and under glass.Note: from A Hollywood Collection, 1962.Note 2: An accomplished painter, printmaker, photographer, and stage designer, David Hockney began showcasing his talent as a draftsman while studying at his hometown's Bradford School of Art as a teenager. At London's Royal College of Art in the early 1960s, he worked in a style that combined figuration, abstraction, and text, which identified him with the British Pop art movement. His work, however, defies categorization. It consists of still lifes and portraits rendered with delicacy and frankness and, after moving to Los Angeles, has included bold, colourful images of California's sun-drenched settings. Rooted in his personal relationships, his homosexuality, and his literary interests and travels, Hockney's art is, above all, deeply autobiographical. Printmaking has played a central role in Hockney's practice, and many of his most significant early works take the form of narrative print series. The linearity of etching matches his natural inclination for drawing, and lithography allows him to explore dazzling colour. He has also made editions with paper pulp and inventive prints using a photocopy machine. In all Hockney has created more than five hundred prints, collaborating with celebrated printers and workshops in Europe and America and also experimenting on his own. A copy of the print is in the Museum of Modern Art.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues. Additional images have been uploaded to our website. Picture comes from a Private Scottish Collection.
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),GRAZALEMA oil on board, signedimage size 45cm x 45cm, overall size 65cm x 65cm Framed and under glass.Note: Inscribed verso in the artist's hand "Grazalema 12.09.01" although obscured by the back board.Note 2: Grazalema is a "white village" located in the north-eastern part of the province of Cádiz, in the autonomous community of Andalucia, Spain. It is situated in the foothills of the Sierra del Pinar mountain range.Note 3: 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.
* IAN HUGHES (SCOTTISH 1958 - 2014),BATHERS BY THE HAVEL (GERMANY)acrylic on paper, signed and titled image size 71cm x 97cm, overall size 85cm x 110cmMounted, framed and under glass.Label verso: The Scottish Gallery, Edinburgh (1989).Note: Painter, art therapist, photographer and installations artist, born in Glasgow. Hughes studied at Duncan of Jordanstone College of Art, Dundee, 1976–80. For much of the 1980s he chose to work with the mentally sick, in the art therapy department at Stobhill Hospital, Glasgow, then at Royal Edinburgh Psychiatric Hospital. He had his first one-man show at Andrew Brown's 369 Gallery, Edinburgh in 1985. Famously one of the seventeen artists in the landmark Vigorous Imagination Exhibition (1987) with four paintings, along with Howson, Currie, Wiszniewski, Conroy, Colvin, Mach, Braham, Gwen Hardie and others. In 1988–9 he was invited (above his peers) to be artist-in-residence at The Scottish National Gallery of Modern Art, Edinburgh; had a major and celebrated solo show there in 1989 and in that year started to show widely on the continent. Multiple solo shows in London, Russia, Poland, France, Germany and Spain. Several large museums, as well as the Scottish National Gallery of Modern Art, hold twenty-seven examples of his work in the UK. Many more in prestigious public collections around Europe and in the US. Most of his paintings were deeply influenced by his time with the mentally troubled which can be sad and disturbing but nonetheless powerful. Hughes was an artist's artist and he worked with scant regard for what might be popular or "commercial". Perhaps unsurprisingly at the time, his work was more popular in London and mainland Europe than it was in Scotland. Despite this, his work was admired greatly by art critics and his contemporaries, several of whom were his close friends. He won many of the major awards and prizes at public exhibitions in Scotland. Notable private collectors included Sean Connery, Peter Gabriel, Marti Pellow, Madonna, Bob Geldof and others. Known corporate collections include: Shell Investments, Standard Life, Coutts & Co, The Fleming Collection, The Rowett Research Centre and the BBC (Glasgow).
* PETER GRAHAM ROI (SCOTTISH b. 1959),OLD TOWN, ALTEAoil on board, signed and dated '89image size 75cm x 62cm, overall size 90cm x 70cm Mounted, framed and under glass.Note: A rare appearance at auction for one of Scotland's and the UK's most successful contemporary artists. 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 brush work 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 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.
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),SILENT GODHEADoil on canvas, signed verso, titled and dated 1983 labels versoimage size 213cm x 160cm, overall size 215cm x 162cmFramed. 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.
JON SCHUELER (AMERICAN 1916-1992), "W/C 139", UNTITLED, (Romasaig, Scotland, June 1973) watercolour on paper, signed and dated '73, titled label verso image size 26cm x 36cm, overall size 45.5cm x 54cm Mounted, framed and under glass. Handwritten artist's label verso. Provenance: The authenticity of this lot has been confirmed by Magda Salvesen, Curator of The Jon Schueler Estate (New York, USA) who confirms "w/c 139" (the Estate inventory reference) and that this picture was exhibited: 1973 Exhibited in Jon Schueler: The Sound of Sleat. An Exhibition of Paintings Arranged by Richard Nathanson at the Edinburgh College of Art and 1975 Exhibited: Paintings by Jon Schueler at The Pitlochry Festival Theatre Gallery. Note: Jon Schueler (September 12, 1916 – August 5, 1992), was an American painter known for his abstract compositions which evoke nature. Recognized first as a second-generation Abstract Expressionist he lived in New York City and in Mallaig, Scotland, inspired by the dramatic skies over the Sound of Sleat. His work is included in international collections such as the Scottish National Gallery of Modern Art (Edinburgh), Whitney Museum of American Art (New York), and the National Gallery of Australia (Canberra). In 1975 Whitney Museum of American Art director John I. H. Baur described Schueler's distinctive style: "We see his paintings one minute as clouds and sea and islands, the next as swirling arrangements of pure color and light. And they shift back and forth in our vision from one pole to the other, amassing richness from both." In 2006, at the time of solo exhibitions of his work in Edinburgh and New York, art reviewer Janet McKenzie wrote of "his remarkable commitment and development as a mature painter, abstract, yet inspired by natural phenomena." Schueler himself wrote: "When I speak of nature, I’m speaking of the sky, because in many ways the sky became nature to me. And when I think of the sky, I think of the Scottish sky over Mallaig. Jon Schueler's work is held in the collections of more than sixty public museums and galleries in the US and UK. More information available at jonschueler.com .Condition report: Condition is good overall, with no signs of damage or restoration
Blistering performance, classic looks and less than 29,000 miles from new.At launch, AMG's 493bhp, 5.4-litre supercharged V8 propelled the car to 62mph in 4.2 secondsFinished in Obsidian Black over Exclusive Red Leather with Designo Alcantara headlining. Fantastic condition in rare and desirable specification. Superb engine bayThe theatrical metal folding-roof never fails to impressJust 28,495 miles with a full service history from Mercedes-BenzNB: The Cherished Registration Number illustrated (SG 55) does not form part of the saleIntroduced in 2002, after some five years in development, the R230 Series SL Roadster was an engineering ‘tour de force’. Painstakingly modelled on a state-of-the-art supercomputer which enabled the designers to analyse every curve and line, it looked utterly sensational with an air of barely contained aggression that gave it huge road presence. Packed full of sophisticated electronic driver aids which made it immensely safe but still fun to drive, it was an instant success and is widely considered to be the best-looking Mercedes for many years.In late 2003, the stunning SL55 AMG was introduced causing shockwaves in the early-2000s performance car market with near-supercar levels of acceleration and handling, packaged in a comfortable, elegant convertible geared towards touring capability. Seriously powerful and impressively fast, the supercharged 5.4-litre V8 was rated at 493bhp with a stump-pulling 520 lbs.ft of torque. The cars were fitted with an uprated 5-speed automatic featuring AMG's 'Speedshift', there were a number of trim difference including uprated seats and the SL55 sat on a set of striking, multi-spoke AMG alloys.First registered on the 29 September 2003, this SL55 is finished in Obsidian Black over Exclusive Red Leather with Designo Alcantara headlining. The options list in 2003 was packed full of state-of-the-art equipment and, it would appear in this case, most of the boxes had been ticked. The history file is rather nicely stocked for such a modern car and includes many receipts and a full service history from Mercedes. Showing an odometer reading of some 28,495 miles, at the time of cataloguing this car represents incredible value for money. This SL55 AMG presents really, really well and appears almost unmarked. The engine bay appears showroom fresh and the whole car has patently been looked after. Ballistically quick, fabulous looks, continent covering pace, yet as civilised in town as a Toyota Corolla, it's no wonder that some 'supercar' owners tend to get a little upset. SpecificationMake: MERCEDES BENZModel: SL55 AMG R230Year: 2003Chassis Number: WDB2304742F063658Registration Number: YR53 LYOEngine Number: 11399260020260Drive Side: Right-hand DriveOdometer Reading: 28495 MilesMake: RHDInterior Colour: Exclusive Red LeatherClick here for more details and images
AMAZING SPIDER-MAN: ORIGINAL SIN #4 & 5 (2 in Lot) - (2014 - MARVEL) - MODERN KEY BOOKS - First Printings - First and Second appearance of Cindy Moon as Silk + Black Cat and Morlun appearances Humberto Ramos cover and art - Flat/Unfolded - a photographic condition report is available on request
Richard Ansett (British, born 1966)BIRTH, 2018 lightbox128 x 102.5cm (50 3/8 x 40 3/8in).UniqueFootnotes:ExhibitedLondon, Fitzrovia Chapel, 25-30 January 2019London, Somerset House, Sony World Photography Awards Exhibition, 2019Richard Ansett is a renowned photographer and long-time collaborator of Grayson Perry. BIRTH depicts Grayson Perry dressed as his alter ego, Claire, posed in a contemporary reworking of the mother and child motif. Both iconic and iconoclastic, Claire holds an infant in her arms, lit softly from behind and surrounded by flowers and pale pink drapery. Posed as a traditional icon might, with gaze averted into the distance, we are invited to compare this image with one of the most universally recognisable subjects in art and religious history. Originally unveiled by Grayson Perry himself at the Fitzrovia Chapel in London in January 2019, the lightbox was displayed on an altar, illuminating the secular, baroque chapel. Richard Ansett commented on this work: 'Claire is not a natural mother. This is a trans-immaculate conception', going on to comment that: 'The work balances centuries of art history and religious symbolism with a high-camp photographic parody and is a vulgar appropriation for the 21st Century that challenges the archaic boundaries of the heteronormative state that oppresses everyone.'Ansett met Perry for the first time in 2013 at the Tate Modern, Starr Auditorium, while photographing him for the BBC Reith lectures. He has since worked with Perry every year following this for Channel 4, photographing him to promote Perry's documentaries of contemporary British life.BIRTH was awarded First Prize for a Single Portrait in the Sony World Photography Awards in 2019.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A late 19th century morocco drawing-room album, compiled from 1880 into the first-half of the 20th century by various individuals, some leaves hand-scrivened and illuminated, inscribed with verse and illustrated with 18th century and later pictures and prints, including botanical, architectural, topographical, travel, fashion, Arthur Rackham, and other subjects, some of which have been later hand-coloured, contemporary green morocco, outlined and panelled in gilt, all-edges gilt, gilt turn-ins, decorative endpapers, folio (34cm x 26.5cm), (1); a Regency artist's sketchbook, illustrated in pencil with 29 scenes, titled and dated 1817 in ink MS, disbound, oblong 4to, (1); Modern British, an early 20th century art student's anatomical sketchbook, executed in pencil by Petherick, Slade, University College, and enclosing drawings and preparatory studies of the male and female form, some nudes, cloth over board sketchbook, supplied by Newman of Soho Square, 8vo, (1); Leaves from T.L. Rowbotham's Sketch Book, Part 1, London: Printed and Published by George Rowney & Com:py, [n.d., c. 1870], original printed title-label and chromolithographs laid onto later leaves, institutional quarter-morocco over cloth, gilt-lettered and blocked in blind, folio (39cm x 29cm), [4]
China - Giles (Herbert A.), An Introduction to the History of Chinese Pictorial Art, With Illustrations, second edition, London: Bernard Quaritch, Ltd., 1918, contemporary black-quarter calf over textured boards, red-speckled edges, 8vo, (1); Duthuit (Georges), Chinese Mysticism and Modern Painting, Paris: Chroniques du Jour, London: S. Zwemmer, 1936, illustrated, original red cloth over printed boards, oblong 8vo, (1); White (William Charles), An Album of Chinese Bamboos: A Study of a Set of Ink-Bamboo Drawings A.D. 1785, first edition, The University of Toronto Press, 1939, original pictorial green cloth gilt, 4to, (1); Waley (Arthur), An Introduction to the Study of Chinese Painting, first edition, London: Ernest Benn, Limited, 1923, colour plates, cloth, 4to, (1); etc., [13]
Designer-Tischlampe "Oluce Atollo 233"Oluce. Italien. Entwurf: 1977. MAGISTRETTI, Vigo(1920 Mailand - 2006 Mailand) Weiß lackiertes Aluminiumgestell. H ca. 70 cm, Ø ca. 48 cm. Große 2-flammige, dimmbare Tischleuchte in zeitloser, geometrischer Formensprache aus Halbkugel, Zylinder und Kegel, deren Licht vollständig nach unten ausgerichtet ist Funktion nicht geprüft. Italienischer Architekt und Industriedesigner, der für den Entwurf der Tischlampe "Atollo" im Jahr 1979 den bedeutenden "Compasso d'Oro" Industriedesignpreis erhielt, ebenso wurde dieses Modell bereits 1978 in die Sammlung Museum of Modern Art, New York City aufgenommen. Versand : Nicht verfügbar.
David Low (British, 1891-1963)The Modern Rake's Progress (the complete set);The Press Hails a New Celebrity; The Rake Gives a Cocktail Party; The Rake Invests in the Movies; The Rake Backs a Possible World Champion; The Rake on the Crest of a Wave; The Rake Plunges on the Turf; The Rake's Marriage; The Rake at the Gaming Tables; The Rake's Divorce; The Rake at the End of his Tether; The Rake is Thrown Out of his Hotel; The Rake Finds his Level (12)Each signed 'LOW' (variously) Watercolour 42.6cm x 58.8cm (16 3/4in x 23 1/8in).Together with two copies of The Modern 'Rake's Progress' by Rebecca West, with illustrations by David Low (Hutchinson & Co., 1934).Footnotes:ExhibitedLondon, Hayward Gallery, Thirties, British Art and Design Before the War, Organised by the Arts Council, 25 October 1979-13 January 1980 (Four works exhibited)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A selection of 20th century art glassComprising: a Daum glass vase, in buff orange with a long neck and everted rim tapering to a globular body, signed Daum, Nancy, 46.5cm high, a Schneider glass case, of ovoid form with everted rim and raised on a circular footed base, etched signature, 34cm high, a modern Galle vase of tapering ovoid form, an Art Deco bottle and stopper, marked Meco, in frosted glass, in purple, yellow and pink, 17cm high, a pale pink glass spill vase with long stem neck, 30cm high, a Legras yellow and blue vase decorated with a hanging basket of trailing flowers, 22cm high, and a Legras green and red vase painted with poppies (7)For further information on this lot please visit Bonhams.com
LIFESTYLEA selection of Sir Michael Caine's coffee table books relating to lifestyle and interiors, 9 vol., comprising: SLESIN (S.) and S. CLIFF. Indian Style, 1990--SCHOFIELD (MARIA) Decorative Art and Modern Interiors 1977, 1977--REED (BILLY) Thoroughbred, 1990--BETTANE & DESSEAUME. The World's Greatest Wines, 2006--TASCHEN (ANGELIKA) Taschen's Paris, 2008--RENSE (PAIGE) American Interiors, 1978--BALDWIN (BILLY) Billy Baldwin Decorates, 1972--WAGNER (WALTER F.) Great Houses for View Sites..., 1976--WILSON (J.) and A. LEAMAN. Decoration U.S.A., 1965 (9)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Ruskin (John). Pre-Raphaelitism. By the Author 'Modern painters.', 1st edition, London: Smith, Elder, and Co., 1851, 68 pp., bound with 6 other pamphlets by John Ruskin: The opening of the Crystal Palace 1854, Notes on some of the principal pictures exhibited in the rooms of the Royal Academy: 3rd edition,1855, II 1856, 2nd edition 1856, III, 1857, 1st edition 1857, IV 1857, 1858, 1st edition 1858, V, 1859, 1st edition, 1859, 1st edition 1859, Notes on the Turner Gallery at Marlborough House, 1st edition, 1857, marbled edges and endpapers, contemporary half-calf, rubbed and scuffed and spine faded, together withThe Two Paths: being lectures on art, and its application to decoration and manufactures, delivered in 1858-9, 1st edition, London: Smith, Elder and Co., 1859, two monochrome plates, some spotting to preliminary leaves, publishers catalogue at rear, dated December 1859, booksellers ticket of David Bryce, Glasgow to front pastedown, original blind-patterned plum cloth, a little frayed to extremities, and spine somewhat faded, 8vo, plus other Ruskin interest including Modern Painters, five volumes, New York, John W. Lovell, circa 1880, bound in contemporary uniform half-calf gilt, Paul H. Walton, The Drawings of John Ruskin, Oxford University Press, 1972, etc.Qty: (36)
Italian Language. A large collection of early 20th-century & modern Italian language art, architecture & history reference, including Nicholaus e l'arte del sue tempo, 3 volumes, Ferrara: Corbo, 1985, 8vo Gli Estensi Mille anniversary di Astoria, by Luciano Chiappini, Ferrara: Corbo, 2001, 8vo, Descrizione delle Pitture e Sculture della Città di Ferrara, by Carlo Brisighella, facsimile edition, Ferrara: Spazio Libri, 1991, 8vo, many original cloth, some in dust jackets, many paperbacks, G/VG, Qty: (6 shelves & 2 cartons)
Matisse (Henri). Jazz, London: Thames & Hudson, 2012, 19 facsimile colour prints, loose leaves in folder & publishers original blue book box, includes Essays by Francesco Poli and Corrado Mingardi, book box slightly rubbed & marked, folio, together with;Moore (Henry), Sculpture and Environment, 1st edition, London: Thames & Hudson, 1977, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, large 4to, plus other modern art & antiques reference, including publications by Antique Collectors' Club, Yale, Abrams, mostly original cloth in dust jackets, some paperback editions, G/VG, 4to/folio Qty: (3 shelves )
Miscellaneous Reference. A large collection of 19th-century & modern plate books & miscellaneous reference, including art reference, British & European travel, William Shakespeare, George Bernard Shaw, Gardening, some leather bindings, mostly original cloth, some odd volumes, some foreign language, overall condition is generally good, 8vo/folioQty: (6 shelves )
A modern fruitwood (possibly cherry) cocktail cabinet in the Art Deco style, the dome top with angular handles to the doors, which reveal a circle and semicircle mirrored back, two glass shelves and mirrored bottom, flanked by two marble outswept counter sides, marble centred trim to the two-door cabinet base, 182 x 120 x 35cm. CONDITION REPORT Please note that this item should not be moved by lifting the outswept marble countertop, as this will result in damage to the countertop.
A quantity of vintage and modern costume jewellery to include seven pairs of earrings, mostly gold-coloured, some inset with claw set opals, smoky quartz style, amber hoop style, Middle Eastern filigree rope hoops, two small gold chains, five dress rings, one of Art Deco style and a Fabergé egg style necklace pendant.
Four ladies' vintage wristwatches to include a 9ct gold Chateau example, the white enamelled dial set with gold Arabic numerals, crown wind movement in square head, on gold plated flexi strap, a Cinsa Art Deco stainless steel watch with brown leather strap, a modern Lorus gold tone stainless steel watch and one other example (4).
Various mixed antique, vintage and modern collectible pottery and porcelain to include a 19th century Chinese porcelain teapot, depicting a figure in garden, with willows and flowers, in blue and orange, two modern Chinese floral decorated cups, covers, saucers and spoons, six items of Wedgwood jasperware, including candlestick, vases and lidded pots, a Sunderland-style lustre goblet with Hope depicted at one side and Faith at the other, a Wedgwood table clock, four items of Victorian copper lustre to include a twin-handled loving cup, a three-handled small tyg, two Dame Laura Knight designed Coronation cups for King Edward VIII, an art pottery vase and a Worcester blush ivory pot (lacking lid) (19).
Three Art Pottery bowls, two Gwili pottery bowls, one decorated in blue and white with flowers and butterflies, the other in greens, blues, and salmon pinks with flowers and butterflies, with a third unmarked Art Pottery bowl with a modern floral design on a striated brown ground. (3) (B.P. 21% + VAT) No obvious damage.
William Collins RA (1788-1847) A Fish Auction on the South Coast of Devonshire Signed and dated W.Collins/1823 (to the boat) Oil on canvas 85 x 116cm; 33½ x 45¾in Provenance: Commissioned by George Capell-Coningsby, 5th Earl of Essex (1757-1839), Cassiobury House, in 1823 (250gns); By descent to Arthur Capell, 6th Earl of Essex (1803-1892), Cassiobury House; Christie, Manson and Woods, Catalogue of modern pictures, collected early in the century by the late Rt. Hon. George, fifth Earl of Essex, 22 July 1893, lot 42; Roldan, Buenos Aires, 25 May 1968 Literature: W. Wilkie Collins, Memoirs of the Life of William Collins, Esq., RA (London, 1848), Vol.I, pp.215-216, Vol.II, p.345; The Athenaeum, no.3431, 29 July 1893, p.169; Duncan Macmillan, 'A journey through England and Scotland: Wilkie and other influences on French art of the 1820s', in The British Art Journal, (vol.2, no.3, 2001), p.33 Exhibited: London, The Royal Academy, 1823, no.67 Manchester, Art Treasures Exhibition, May-October 1857, no.611 The 1823 Royal Academy exhibition catalogue describes the scene in the present work as 'A Fish Auction on the South coast of Devonshire, where it is the custom of the fishermen to substitute the dropping of a stone, for the stroke of the auctioneer's hammer'. Although a label on the back says that the work was purchased by Agnews from Christie's in 1862, the painting was still in the collection of the Earls of Essex in 1893, so this appears to be erroneous.
Collection of English Art Deco ceramics, comprising a Bretby pottery turquoise glazed compressed globular vase moulded with fish (16cm high), a Staffordshire pottery jug moulded with pomegranates and leaves, a vase glazed in mottled turquoise, red and yellow and a modern Teco Art Deco style vase glazed in green of tapering cylindrical form with tapering square handles
Collection of books, theatre & history, to include The Thespian Dictionary, second edition, London: James Cundee, 1805, illustrated with stipple-engraved portraits; The Modern British Drama, in five volumes, London: William Miller, 1811; The Art of English Poetry, by Edward Bysshe, eighth edition, Vol.I only, London: Clay et al., 1737, bearing armorial bookplate for John Hall Parlby; The History of Rome, in three volumes, London: Strahan & Cadell, 1792, and others, including part-sets, condition varied, sold as found with all faults, in one carton
Assorted volumes to include:- Bryner Jones, Prof C "Livestock of the Farm", vol 6 - Bees, Goats, Dogs, Ferrets, Asses and Mules, the Gresham Publishing Company 1916, photographic illustrations Balzac, H "Droll Stories ...", illustrated by Gustav Dore, John Campden Hotten (1874), plates and illustrations throughout the text, red pictorial cloth Childrens annuals to include Rupert (modern), Uncle Mac's Children's Hour book, 3 vols of daily bible illustrations ..., marbled boards, quarter leather Webb, Mary "Gone to Earth", 1938, dj Various books on art and two vintage Vogue magazines, the gold issue and the silver 2000 millennium issue (3 boxes)
Erik Nitsche (Swiss, 1908 - 1998) "Marina San Gorg in Malta" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Malta Europa 1987 Modern Art - Architecture stamp issued April 15, 1987. The strategic position of the Maltese Islands, situated at the crossroads of Europe and the Islamic World, is reflected in its overall architectural character. The synthesis of these two cultures provides the basis for the Maltese architectural and cultural identity. With the arrival of the Knights of St. John of Jerusalem in the sixteenth century, the introduction of both the massive fortifications of European royalty and the intricate elegance of Islamic design were wed. The architectural culmination of this union can be seen throughout the islands, and especially in the old city of Valletta, Malta's capital. Valletta's structures contrast sharply with the modern designs championed by native-born Maltese architect, Richard England. England has been in the forefront of Malta's modern architectural movement during the past twenty years. He has designed and built most of Malta's modern buildings. This artwork depicts England's Marina San Gorg Apartments built in 1981. It relects the synthesis of Malta's architectural heritage with modern design concepts. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10852)
AMENDMENT: THIS IS NINE CARAT GOLDGENTLEMAN'S ROLEX ART DECO MANUAL WIND WRIST WATCH,the square dial with brushed and polished sections, black wedge hour markers, subsidiary dial at 6, outer railroad seconds track in black, 25mm case, with engraved initials to the reverse dated 1936, on a modern generic brown leather strap, lacking box and papersCondition report: MOVEMENT: Ticking at present. WEAR: Worn condition. DIAL: Heavily marked/discoloured. CRYSTAL/ACRYLIC: Fair condition. HANDS & MARKERS: Intact.CROWN: Intact - hands changing. BRACELET/STRAP: Lightly worn. CLASP: In working order.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Brandung. 1997. Aquarell, 50 x 70 cm, l. u. sign. und dat. S. Sprotte 97, ungerahmt. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a. Sprotte, Siegward (Potsdam 1913 - Kampen/Sylt 2004). Surge. 1997. Watercolour, 50 x 70 cm, lo. le. sign. and dat. S. Sprotte 97, unframed. - Painter and draughtsman with background of philosophical aesthetics. S. was pupil of Emil Orlik in Berlin and master student of Karl Hagemeister in Werder/Havel. He worked and lived in Kampen on Sylt, where he became a central figure of artistic life. Mus.: San Francisco (Museum of Modern Art), Shanghai, Moscow, Stuttgart, Husum a. others. Lit.: Vollmer a. others.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Dunkles Meer. Öl/Holz, 60 x 60 cm, r. u. sign. Sprotte. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a. Sprotte, Siegward (Potsdam 1913 - Kampen/Sylt 2004). Dark Sea. Oil/wood, 60 x 60 cm, lo. ri. sign. Sprotte. - Painter and draughtsman with background of philosophical aesthetics. S. was pupil of Emil Orlik in Berlin and master student of Karl Hagemeister in Werder/Havel. He worked and lived in Kampen on Sylt, where he became a central figure of artistic life. Mus.: San Francisco (Museum of Modern Art), Shanghai, Moscow, Stuttgart, Husum a. others. Lit.: Vollmer a. others.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Dünengräser. Aquarell/Japan, 40 x 55 cm, l. u. sign. S. Sprotte und undeutlich dat., unter Passepartout und Glas gerahmt, ungeöffnet. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a. Sprotte, Siegward (Potsdam 1913 - Kampen/Sylt 2004). Dunes. Watercolour/japan, 40 x 55 cm, lo. le. sign. S. Sprotte and indistinctly dat., matted and framed under glass, uninspected out of frame. - Painter and draughtsman with background of philosophical aesthetics. S. was pupil of Emil Orlik in Berlin and master student of Karl Hagemeister in Werder/Havel. He worked and lived in Kampen on Sylt, where he became a central figure of artistic life. Mus.: San Francisco (Museum of Modern Art), Shanghai, Moscow, Stuttgart, Husum a. others. Lit.: Vollmer a. others.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Gräser am Strand. Tempera/Japan, 46 x 61,5 cm, r. u. sign. S. Sprotte, unter Glas gerahmt, ungeöffnet. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a. Sprotte, Siegward (Potsdam 1913 - Kampen/Sylt 2004). Gras on the Beach. Tempera/japan paper, 46 x 61,5 cm, lo. ri. sign. S. Sprotte, framed under glass, uninspected out of frame. - Painter and draughtsman with background of philosophical aesthetics. S. was pupil of Emil Orlik in Berlin and master student of Karl Hagemeister in Werder/Havel. He worked and lived in Kampen on Sylt, where he became a central figure of artistic life. Mus.: San Francisco (Museum of Modern Art), Shanghai, Moscow, Stuttgart, Husum a. others. Lit.: Vollmer a. others.
Sal, Jack (1954) "Probe/Be", Probedruck des Südkuriers Nr. 201, Mischtechnik auf Zeitung, Edition 11/20, in der Platte signiert und (19)99 datiert, 46x34 (Blatt), 63x47,5 cm mit Rahmen*Jack Sal´s Werke findet man unter anderem in der Kunsthalle Bielefeld, im Gemeentemuseum Den Hag, im Hamburger Museum für Kunst und Gewerbe, im Israel Museum Jerusalem, im Museum Ludwig Köln und im Museum of Modern Art New York
Arik Levy (Israeli b. 1963) Love me tender Brass barbed wire, plated 24 carat gold Signed and dated 2014 (to backboard verso) Overall 77.5 x 77.5cm (30½ x 30½ in.) From an edition of 5. Designer and multi-disciplinary artist Arik Levy was born in Israel in 1963. His most notable works include his public sculptures including his series 'Rock'. In 1988, he participated in his first group sculpture exhibition in Tel-Aviv. Following this exhibition he moved to Europe and gained an distinction in Industrial Design at the Art Center Europe in Switzerland in 1991. Throughout his career Levy has explored new mediums and avenues of design and culture. After time spent in Japan, Levy returned to Europe where he worked with contemporary dance and opera companies designing set displays for production. Levy's studied is based in Paris and his love of art and industrial design prevails. Last year Levy exhibited 'Stick&Structures' at the Venice Design Biennial and in 2020 he was included in Sotheby's, The Blazing World group exhibition in London. Levy is currently working on an installation of 'RockGrowthHermitage' in Moscow, Russia which is due to be installed this year outside the future Hermitage Modern Contemporary Museum. "Creation is an uncontrolled muscle" ARIK LEVY Condition Report: In good original condition. Condition Report Disclaimer
A selection of clocks including Victorian black slate and malachite set striking mantel clock, a French gilt metal striking mantel clock, a walnut cased carved mantel timepiece, a brass lantern form striking mantel clock, 20th century, two cased movements, an Art Deco chrome plated desk timepiece, single fusee clock movement, torsion mantel clock, a French single handed striking wall clock with bracket and a modern Highlands Vienna type wall clock (11)
Watercolor on paper. Painter, draughtsman, engraver, illustrator and sculptor. He studied at the Academy of Fine Arts, the National School of Art (1967-1972) and the Higher Institute of Art (1976-1981), in Havana. He is a member of the Union of Writers and Artists of Cuba (UNEAC) and the International Association of Visual Artists. He has received numerous awards and mentions, including the UNESCO Prize for the Promotion of Plastic Arts in Paris (1996), the National Prize for Plastic Arts (2004), as well as the Distinction for National Culture, both awarded by the Ministry of Culture of the Republic of Cuba. Roberto Fabelo has made more than 30 individual exhibitions and 300 group exhibitions in more than twenty countries. His works are part of the collection of museums, institutions and public and private collections, among which the collection of the National Museum of Fine Arts of Cuba (MNBA), the Wifredo Lam Center in Cuba, the Casa de las Américas in Havana, the Museum of Modern Art in New Delhi, the Museum of Modern Art in the City of Mexico, the “El Chopo” University Museum in Mexico City, the Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 150 x 100 Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 150 x 100 Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 150 x 100
Wax on grasn format cardboard. Painter, draughtsman, engraver, illustrator and sculptor. He studied at the Academy of Fine Arts, the National School of Art (1967-1972) and the Higher Institute of Art (1976-1981), in Havana. He is a member of the Union of Writers and Artists of Cuba (UNEAC) and the International Association of Visual Artists. He has received numerous awards and mentions, including the UNESCO Prize for the Promotion of Plastic Arts in Paris (1996), the National Prize for Plastic Arts (2004), as well as the Distinction for National Culture, both awarded by the Ministry of Culture of the Republic of Cuba. Roberto Fabelo has made more than 30 individual exhibitions and 300 group exhibitions in more than twenty countries. His works are part of the collection of museums, institutions and public and private collections, among which the collection of the National Museum of Fine Arts of Cuba (MNBA), the Wifredo Lam Center in Cuba, the Casa de las Américas in Havana, the Museum of Modern Art in New Delhi, the Museum of Modern Art in the City of Mexico, the “El Chopo” University Museum in Mexico City, the Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 76 x 110 Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 76 x 110 Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 76 x 110
Watercolor on paper. Painter, draughtsman, engraver, illustrator and sculptor. He studied at the Academy of Fine Arts, the National School of Art (1967-1972) and the Higher Institute of Art (1976-1981), in Havana. He is a member of the Union of Writers and Artists of Cuba (UNEAC) and the International Association of Visual Artists. He has received numerous awards and mentions, including the UNESCO Prize for the Promotion of Plastic Arts in Paris (1996), the National Prize for Plastic Arts (2004), as well as the Distinction for National Culture, both awarded by the Ministry of Culture of the Republic of Cuba. Roberto Fabelo has made more than 30 individual exhibitions and 300 group exhibitions in more than twenty countries. His works are part of the collection of museums, institutions and public and private collections, among which the collection of the National Museum of Fine Arts of Cuba (MNBA), the Wifredo Lam Center in Cuba, the Casa de las Américas in Havana, the Museum of Modern Art in New Delhi, the Museum of Modern Art in the City of Mexico, the “El Chopo” University Museum in Mexico City, the Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 150 x 113 Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 150 x 113 Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 150 x 113
Acrylic on embroidered silk. Painter, draughtsman, engraver, illustrator and sculptor. He studied at the Academy of Fine Arts, the National School of Art (1967-1972) and the Higher Institute of Art (1976-1981), in Havana. He is a member of the Union of Writers and Artists of Cuba (UNEAC) and the International Association of Visual Artists. He has received numerous awards and mentions, including the UNESCO Prize for the Promotion of Plastic Arts in Paris (1996), the National Prize for Plastic Arts (2004), as well as the Distinction for National Culture, both awarded by the Ministry of Culture of the Republic of Cuba. Roberto Fabelo has made more than 30 individual exhibitions and 300 group exhibitions in more than twenty countries. His works are part of the collection of museums, institutions and public and private collections, among which the collection of the National Museum of Fine Arts of Cuba (MNBA), the Wifredo Lam Center in Cuba, the Casa de las Américas in Havana, the Museum of Modern Art in New Delhi, the Museum of Modern Art in the City of Mexico, the “El Chopo” University Museum in Mexico City, the Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 150 x 98 cm Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 150 x 98 cm Nordillaan Kunstmuseum in Denmark, the Permanent Collection of the Uffizi Gallery in Florence, the UN headquarters in New York and many galleries worldwide. Dimensions: Provenance: work acquired directly from the artist. Measurements: 150 x 98 cm
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