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Lot 39
A COLLECTION OF SILVER SPOONS, comprising a modern Irish caddy spoon, Dublin 1967, mark of Kilkenny Design; an Art Deco pattern small sauce ladle, Sheffield 1951; a Dutch spoon with galleon finial, stamped 'Sterling'; an American silver sauce ladle, stamped 'Sterling', with cast eagle and serpent handle; a reeded fiddle pattern 'shovel' caddy spoon, Birmingham 1820; and two other small spoons. (7)
Lot 394
•ALEXANDRE BENOIS (1870-1960) Costume design for the Ballet Russes, signed and dated 1928 lower right, watercolour, bodycolour and pencil, 35cm x 25cmAlexandre Benois was a Russian artist, art critic, historian, preservationist, and founding member of Mir iskusstva (World of Art), an art movement and magazine. As a designer for the Ballets Russes under Sergei Diaghilev, exerted what is considered a seminal influence on the modern ballet and stage design.
Lot 251
Lynn Russell Chadwick (1914-2003) - Lion II, bronze with dark brown patina, numbered C49 1/9, conceived and cast in 1986 in a limited edition of 9, 21cm long A.R. Provenance - Private local collection, gifted directly by Lynn Chadwick to the late wife of the current owner. We are grateful to Eva and Sarah Chadwick of Lypitt Studios for confirming this documented information. Literature: Farr, Dennis & Chadwick, Eva, Lynn Chadwick: Sculptor, With a Complete Illustrated Catalogue 1947-1996, Oxford, 1997, no. C49 with illustration p. 328. Number 7 of the edition of 9 sold Sotheby's New York, Impressionist & Modern Art, 11th February 2004, lot 52 Condition: Some light rubbing to surface mainly around the feet - **General condition consistent with age
Lot 323
Ralph Steadman and Kurt Vonnegut, Modern Fiction and Art. Prints by Contemporary Authors, Lexington: University of Kentucky Art Museum, Petro III Graphics, 1999, limited edition no 10 of 50, exhibition catalogue signed by Vonnegut, Steadman, Joe Petro II, and Rachael Sadinsky (curator), two screen prints signed by the respective artists, Red Shark by Steadman and Messenger by Vonnegut, each 42.5 x 30.5cm, in black cloth portfolio.
Lot 344
2nd millennium BC. A restrung necklace of fusiform lapis lazuli beads with later fluted gold biconical spacers with granule detailing; S-shaped hook; modern clasp. 79 grams, 68.5cm (27"). On the London art market since 2011; previously in a private collection since 1970. Very fine condition.
Lot 495
Late Edo Period, circa 1844 AD. A full set of rich brown lacquered iron armour comprising: the cloth-lined zu nari-bachi kabuto helm with five-band shikoro folding neck-guard, the lowermost band gilt, with a gilt wood sun-disk mon affixed to front tsunomoto clip and the separate shomen gorget with five-band yodare-kake bevor chin and throat protector, the lowermost two bands gilt; a banded two-piece unlined cuirass with chest and back elements each with iron back plate and lacquered tape-sewn outer panels, the front with uppermost two bands gilt, with right side tape hinging and long pin and sockets at left side to secure, the back with folding carry handle affixed at top, doubling as the upper support for a sashimono pole standard with the lower support being a square socket at waist of cuirass; eight kusauzi fauld panels of four rows of overlapping wide scales secured and suspended on cloth tapes at waist, all gilt and matching those to the front of the cuirass and with a small lacquered open-D suspended hoop at right side; the two arms with cloth backing and padding to the sode shoulders with six bands affixed, the cloth sleeves supporting the six-strip kote vambraces and tekk? gauntlets comprising back of hand, thumb and fingertip plates, with kusari square kaushi-gusari type mail reinforcements at elbow and hand; the pair of haidate cuisses of nine rows of lacquered scales on cloth backings; the two suneate greaves with six vertical strips to shins on cloth backing and panel of gilt cloth at outside edges with mail areas; together with the cordage, fabric tapes and lacquered toggles and hoops that secure the various elements together; the original pine gusoku-bitsu carry/storage box with paper label inscribed 'Yoroi-bitsu' (chest for suit of armour and helmet) and other inked inscriptions translating generally as 'commissioned May 1843 / repaired (made?) inside the castle / completed 27 May 1844' and 'full set of armour / scaled armour / lacquered'; accompanied by a modern wooden rack intended to stand on the box with the armour displayed in a traditional semi-seated posture. See Absolon and Thatcher, Samurai Armour: The Watanabe Art Museum I - Kabuto & Mengu, Canada, 2011, for information on helmets; see Robinson, H. Russell, Oriental Armour, New York, 2016 and Bottomley and Hopson, Arms and Armour of the Samurai, Defoe, 1988, for much information on Japanese armours. 18 kg total, 150cm tall (when display mounted on rack and box), box 43 x 43 x 57cm high (60 tall, box 17 x 17 x 22 1/2"). Property of an Oxfordshire collector; previously acquired from Japan. Fine condition; some minor flaws and isolated small losses to lacquer.
Lot 26
* BRENDA MARK (PHILIPSON) (BRITISH 1922 - 1960), GIRL AND SUNFLOWERS gouache on paper, signed; titled on exhibition labels verso 34cm x 27cm Mounted, framed and under glass Note Brenda Mark was a talented and successful painter who died tragically young. She and Robin Philipson married in 1949. Her work is held in several public collections including The Scottish National Gallery of Modern Art, The Scottish National Portrait Gallery and Glasgow Museums. Provenance: Aitken Dott and The Scottish Gallery labels verso.
Lot 458
SIR HERBERT HUGHES-STANTON RA RWS (BRITISH 1870 - 1937), LANDSCAPE IN PROVENCE oil on canvas, signed and dated 1911 46cm x 61cm Framed. Label verso: Ian McNicol, 50 West George Street, Glasgow. Inscribed with title and date of 1911. Note: Sir Herbert Edwin Pelham Hughes-Stanton (21 November 1870 – 2 August 1937) was a British watercolour and oil painter, predominantly of landscapes. He was elected an Associate of the Royal Academy in November 1913, elected a full Royal Academician in 1920 and knighted in 1923. He was an Officier l’ordre Leopold II and a member of the Royal Watercolour Society from 1909 and its President from 1920 until 1936. He was born in Chelsea, London, son of William Hughes, a still-life painter, and educated in Corsham, near Bath. His first paintings were exhibited in 1886; and he exhibited regularly at the Paris Salon, Royal Academy (from 1897), Grosvenor Gallery (from 1887), New Gallery, and Royal Institute of Oil Painters, and later at the Fine Art Society. He was awarded gold medals at a Paris Salon in 1907 and 1908. Hughes-Stanton's works are held in public collections including the Tate; the Welsh National Gallery; National Musee, Buenos Aires; Musee Royal, Florence; Musee Modern, Rome; Barcelona Museum; Royal Gallery, Tokyo; Sydney National Gallery; Adelaide National Gallery; Melbourne Museum; Auckland Museum; and the Wellington Gallery; and in the permanent galleries of Manchester, Liverpool, Bradford, Brighton, Aberdeen and Oldham. A Pasturage among the Dunes, exhibited in New Gallery, was purchased for the Chantry Bequest in 1908.
Lot 159a
Laurie Simmons (born 1949) Photograph. Signed, Titled and numbered 14/25 in lower portion. Image size: 17.75 x 12 in. Unframed. Laurie Simmons (born October 3, 1949) is an American artist, photographer and filmmaker. Since the mid-1970s, Simmons has staged scenes for her camera with dolls, ventriloquist dummies, objects on legs, and people, to create photographs that reference domestic scenes. She is part of The Pictures Generation, a name given to a group of artists from a 2009 exhibition at the Museum of Modern Art that includes Cindy Sherman, Barbara Kruger, and Louise Lawler.
Lot 286a
George Marinko (Connecticut, New York, 1908 - 1989) Abstract Mixed media composition. Signed lower right. Marinko's paintings were included in the ground breaking 1936 Surrealist exhibition at the Museum of Modern Art in New York, but he choose to stay out of the limelight and lived quietly in Waterbury, Connecticut where he was known for his works in sculpting, lithography, and painting with subjects of landscapes, villages, boats, as well as abstraction. There he was a prominent local artist, teacher at the Waterbury Art School from 1945 to 1957, and later became director of the Hudson River Museum. He also painted the mural in City Hall's Aldermanic Chambers along with artist Francis Jmanie. Sight Size: 9.75 x 14.5 in. Overall Size: 10.75 x 15.75 in. Framed behind glass.
Lot 33
Francisco Zuniga (Mexico, 1912 - 1998) Figural Lithograph. Pencil Signed, dated (1977) and numbered (53/100) lower left. Sight Size: 21.25 x 30 in. Overall Size: in. Francisco Zuniga is also well-represented in major museum collections, including those of the Museum of Modern Art in New York City and Mexico City, the Phoenix Art Museum, Harvard University, Ponce Art Museum and the Hirshhom Museum and Sculpture Garden in Washington, D.C.
Lot 74
Mihail Chemiakin (New York, Russia born 1943) Lithograph. Numbered (19/225) lower left. Pencil Signed lower right. Image Size: 24 x 17 in. Unframed. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.
Lot 75
Mihail Chemiakin (New York, Russia born 1943) Lithograp. Numbered (22/225) lower left. Pencil Signed lower right. Image Size: in. Unframed. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.
Lot 77
Mihail Chemiakin (New York, Russia born 1943) Lithograph. Numbered (23/225) lower left. Pencil Signed lower right. Image Size: 19 x 16.5 in. Unframed. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.
Lot 78
Mihail Chemiakin (New York, Russia born 1943) Lithograph. Numbered (25/225) lower left. Signed lower right. Image Size: 9 x 15.75 in. Unframed. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.
Lot 79
Mihail Chemiakin (New York, Russia born 1943) Lithograph. Numbered (25/225) lower left. Pencil Signed lower right. Image Size: 18.75 x 16 in. Unframed. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.
Lot 80
Mihail Chemiakin (New York, Russia born 1943) Lithograph. Numbered (45/78) lower left. Pencil Signed lower right. Image Size: 17 x 24 in. Unframed. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.
Lot 401
A Quantity of Military Collectibles, including: A WW1 Princess Mary tin, 2 x Trench Art gas lighters, British Langley Ltd Range finder trigger, 22MM shell from a Spitfire, altitude switch with bracket, 605J GGs Recorder MK II24v, water temperature gauge WWII ex Spitfire, marked AM with kings crown, British ex Lancaster Astro compass MK II, B47 Range commuter, The Erac P.40 camera and film, plus others (15 items).Please note ZIPPO lighter box is a modern reproduction and the lot does not include a zippo lighter.
Lot 26
* BRENDA MARK (PHILIPSON) (BRITISH 1922 - 1960), GIRL AND SUNFLOWERS gouache on paper, signed; titled on exhibition labels verso 34cm x 27cm Mounted, framed and under glass Note Brenda Mark was a talented and successful painter who died tragically young. She and Robin Philipson married in 1949. Her work is held in several public collections including The Scottish National Gallery of Modern Art, The Scottish National Portrait Gallery and Glasgow Museums. Provenance: Aitken Dott and The Scottish Gallery labels verso.
Lot 159
Collection of Pictures - Framed and Glazed John King Signed Limited Edition Hunting Print, Framed and Glazed F A Stewart Limited Edition Signed Hunting Scene Print, Pair of Framed and Glazed Reproduction Chromo-Lithographs of ' Bourne's New System of Indian River Navigation ' entitled War and Peace, Pair of Acrylic Modern Art Paintings and Japanese Embroidery (7) plus Three Framed and Glazed Landscape Watercolours, one signed M E Warden '
Lot 343
A Burgess and Leigh Burleighware 'The Stocks' jug, relief moulded and painted in the round with a village scene, 23 cm [This lot is by descent from E T Bailey, Modeller Designer at Burgess and Leigh from the 1930s until the 1970s. He is credited with notable 1930s designs including sporting jugs and Art Deco tableware, and pioneering relief-moulded jugs with sculptured and figural handles. During the 1950s he was responsible for the introduction of modern designs, and the revival of 19th Century Burgess and Leigh printed patterns. Much of his work is now displayed in Hanley Pottery Museum.]
Lot 344
A Burgess and Leigh Burleigh Ware jug, the handle modelled as a squirrel, 18 cm [This lot is by descent from E T Bailey, Modeller Designer at Burgess and Leigh from the 1930s until the 1970s. He is credited with notable 1930s designs including sporting jugs and Art Deco tableware, and pioneering relief-moulded jugs with sculptured and figural handles. During the 1950s he was responsible for the introduction of modern designs, and the revival of 19th Century Burgess and Leigh printed patterns. Much of his work is now displayed in Hanley Pottery Museum.]
Lot 345
A Burgess & Leigh Burleighware character jug modelled as Sir Winston Churchill, entitled "Victory", and one other similar [This lot is by descent from E T Bailey, Modeller Designer at Burgess and Leigh from the 1930s until the 1970s. He is credited with notable 1930s designs including sporting jugs and Art Deco tableware, and pioneering relief-moulded jugs with sculptured and figural handles. During the 1950s he was responsible for the introduction of modern designs, and the revival of 19th Century Burgess and Leigh printed patterns. Much of his work is now displayed in Hanley Pottery Museum.]
Lot 346
A Burgess & Leigh prototype figural decanter modelled as a Yeoman of the Guard, 31 cm [This lot is by descent from E T Bailey, Modeller Designer at Burgess and Leigh from the 1930s until the 1970s. He is credited with notable 1930s designs including sporting jugs and Art Deco tableware, and pioneering relief-moulded jugs with sculptured and figural handles. During the 1950s he was responsible for the introduction of modern designs, and the revival of 19th Century Burgess and Leigh printed patterns. Much of his work is now displayed in Hanley Pottery Museum.]
![[§] WILLIAM OTWAY MCCANNELL F.R.S.A., R.B.A. (BRITISH 1883–1969) MICHAEL Signed with initials, mixed media on paper 49cm](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/fcd1cbfb-d97b-4a96-d54b-40f381e1d177/468x382.jpg)
![[§] STEVEN CAMPBELL (SCOTTISH 1953-2007) YOUNG CAMPER DISCOVERING GROTTO IN THE GROUND Oil on canvas 284.5cm x 284.5](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/6a0c9ecc-1368-44fa-b264-4e180e7ca540/468x382.jpg)
Lot 149
[§] STEVEN CAMPBELL (SCOTTISH 1953-2007) YOUNG CAMPER DISCOVERING GROTTO IN THE GROUND Oil on canvas 284.5cm x 284.5cm (112in x 112in) Provenance: Asher Faure Gallery, Los Angeles; Purchased by Boake and Marian Sells Exhibited: Solo Exhibition, Barbara Toll Fine Arts, New York, 1983; Artificial Paradise, Asher Faure Gallery, Los Angeles, 1986; British Art: The Literate Link, Asher Faure Gallery, Los Angeles, 1988Steven Campbell was born in Glasgow and originally worked as a maintenance engineer in a steelworks in Cambulsang before attending Glasgow School of Art and becoming one of the leading Scottish figurative painters of his generation.Campbell worked alongside the artists Ken Currie, Peter Howson and Adrian Wiszniewski, a group which later became known as the ‘New Glasgow Boys’. While their artistic output was not homogenous they all shared an interest in figurative painting during the early 1980s which broke away from the conceptual and minimal trends in Modern art at the turn of the twentieth century.After graduating from Glasgow School of Art in 1982 Campbell won a Fulbright Scholarship to study at the Pratt Institute in the United States. Campbell worked from a studio in Brooklyn until 1986 and this period was key in establishing his status as an internationally renowned artist whilst raising awareness of Scottish contemporary art on a global scale.Young Camper Discovering Grotto in The Ground is a major work representative of this period. It appeared in a solo show held at the Barbara Toll Gallery in 1983. Within days of the show, the doyen of the New York art critics, John Russell, fully endorsed the painterly qualities of a young, unknown Scottish artist in his New York Times review. From here it was purchased by significant US contemporary art collectors, Boake and Marian Sells.Campbell had further solo exhibitions across the world in locations as far reaching as Galerie Pierre Huiber in Geneva (1986) and Marlborough Fine Art in Tokyo (1990). His artwork is influenced by a diverse range of literary fiction from tales by the author P.G. Wodehouse to murder mysteries, resulting in his artworks appearing to be humorous and unsettling. Campbell was also influenced by children’s book illustrations accounting for his use of a rich and vibrant palette which intensified after his U.S. period. Campbell’s surreal compositions cannot be read as a conventional fictional narrative and his imaginary worlds intentionally challenge the viewer with their dreamlike quality leaving his artwork open to multiple interpretations.Campbell’s brightly coloured acrylic painting, Rising and Friend, painted in 1994 depicts two figures in blue and red shirts, who seem to float weightlessly within an abstract yellow, purple and green matrix. A figure floats inanimately in the background, his arm limply extended, pupils dilated and a shadow cast across his tilted head while the figure in the foreground confronts the viewer face on with a glassy green eyed stare, the hypnotic effect of which is intensified by the closely cropped composition. The tilted perspective is a common feature of Campbell’s compositions and reinforces the perplexity of the narrative as the figures seem to float across the space in a fantasy world which is exempt from the earthly limitations of gravity.This large-scale ink painting, Untitled (Explorers in a Boat), is a piece from the installation On Form and Fiction which was originally exhibited in 1990 at the Third Eye Gallery, Glasgow (now the Centre for Contemporary Art). The other collective remnants of which were part of the major exhibition GENERATION which celebrated 25 years of Contemporary Art in Scotland reflecting the seminal role Campbell played in the success of the movement.Campbell saw himself as a ‘director, writer and producer’ of these other-worldly scenes and he often repeated the figures in multiple artworks as if they were a cast of actors. The ink painting depicts two figures in a white sailboat struggling to navigate a stormy sea and is typical of the theatrical narratives which Campbell is renowned for. Campbell’s expressive mark making accentuates the drama of the scene as the tempest engulfs the stark white sail giving the painting a captivating kinetic energy and emphasising the peril of the sailors.
![[§] STEVEN CAMPBELL (SCOTTISH 1953-2007) RISING AND FRIEND Signed and dated 'Dec' 1994' gallery label verso, acrylic on](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/426073c5-2e8c-4c06-a2d3-e72b94f43acb/468x382.jpg)
Lot 152
[§] STEVEN CAMPBELL (SCOTTISH 1953-2007) RISING AND FRIEND Signed and dated 'Dec' 1994' gallery label verso, acrylic on paper 29cm x 20cm (11.5in x 8in) Exhibited: William Hardie Gallery, GlasgowSteven Campbell was born in Glasgow and originally worked as a maintenance engineer in a steelworks in Cambulsang before attending Glasgow School of Art and becoming one of the leading Scottish figurative painters of his generation.Campbell worked alongside the artists Ken Currie, Peter Howson and Adrian Wiszniewski, a group which later became known as the ‘New Glasgow Boys’. While their artistic output was not homogenous they all shared an interest in figurative painting during the early 1980s which broke away from the conceptual and minimal trends in Modern art at the turn of the twentieth century.After graduating from Glasgow School of Art in 1982 Campbell won a Fulbright Scholarship to study at the Pratt Institute in the United States. Campbell worked from a studio in Brooklyn until 1986 and this period was key in establishing his status as an internationally renowned artist whilst raising awareness of Scottish contemporary art on a global scale.Young Camper Discovering Grotto in The Ground is a major work representative of this period. It appeared in a solo show held at the Barbara Toll Gallery in 1983. Within days of the show, the doyen of the New York art critics, John Russell, fully endorsed the painterly qualities of a young, unknown Scottish artist in his New York Times review. From here it was purchased by significant US contemporary art collectors, Boake and Marian Sells.Campbell had further solo exhibitions across the world in locations as far reaching as Galerie Pierre Huiber in Geneva (1986) and Marlborough Fine Art in Tokyo (1990). His artwork is influenced by a diverse range of literary fiction from tales by the author P.G. Wodehouse to murder mysteries, resulting in his artworks appearing to be humorous and unsettling. Campbell was also influenced by children’s book illustrations accounting for his use of a rich and vibrant palette which intensified after his U.S. period. Campbell’s surreal compositions cannot be read as a conventional fictional narrative and his imaginary worlds intentionally challenge the viewer with their dreamlike quality leaving his artwork open to multiple interpretations.Campbell’s brightly coloured acrylic painting, Rising and Friend, painted in 1994 depicts two figures in blue and red shirts, who seem to float weightlessly within an abstract yellow, purple and green matrix. A figure floats inanimately in the background, his arm limply extended, pupils dilated and a shadow cast across his tilted head while the figure in the foreground confronts the viewer face on with a glassy green eyed stare, the hypnotic effect of which is intensified by the closely cropped composition. The tilted perspective is a common feature of Campbell’s compositions and reinforces the perplexity of the narrative as the figures seem to float across the space in a fantasy world which is exempt from the earthly limitations of gravity.This large-scale ink painting, Untitled (Explorers in a Boat), is a piece from the installation On Form and Fiction which was originally exhibited in 1990 at the Third Eye Gallery, Glasgow (now the Centre for Contemporary Art). The other collective remnants of which were part of the major exhibition GENERATION which celebrated 25 years of Contemporary Art in Scotland reflecting the seminal role Campbell played in the success of the movement.Campbell saw himself as a ‘director, writer and producer’ of these other-worldly scenes and he often repeated the figures in multiple artworks as if they were a cast of actors. The ink painting depicts two figures in a white sailboat struggling to navigate a stormy sea and is typical of the theatrical narratives which Campbell is renowned for. Campbell’s expressive mark making accentuates the drama of the scene as the tempest engulfs the stark white sail giving the painting a captivating kinetic energy and emphasising the peril of the sailors.
![[§] ALISON WATT O.B.E. (SCOTTISH B.1965) PLANTERS Signed, Glasgow School of Art label verso, oil on canvas 107cm x 1](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/4e1fb410-b6b6-4b13-8046-b0c83d3a344d/468x382.jpg)
Lot 185
[§] ALISON WATT O.B.E. (SCOTTISH B.1965) PLANTERS Signed, Glasgow School of Art label verso, oil on canvas 107cm x 138.5cm (42in x 54.5in) Provenance: Alison Watt's degree show at the Glasgow School of Art, 1988, where purchased by the current ownerALISON WATTWe are delighted to present a degree show work by renowned contemporary Scottish artist, Alison Watt, in this auction. Planters dates from 1986, the year before Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours. In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an on-going concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in. The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind. Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.
![[§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STILL Signed verso, oil on card, with accompanying copies of](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/901f67cb-af97-4f02-9ea4-a7234ef24b34/468x382.jpg)
Lot 186
[§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STILL Signed verso, oil on card, with accompanying copies of two Alison Watt publications by the Ingleby Gallery, produced in a limited edition of 20 and presented in the set's original cloth bound box 16cm x 16cm (6.25in x 6.25in)ALISON WATTWe are delighted to present a degree show work by renowned contemporary Scottish artist, Alison Watt, in this auction. Planters dates from 1986, the year before Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours. In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an on-going concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in. The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind. Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.
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19747 item(s)/page