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Lot 565
* GEOFF SQUIRE RSA RSW RGI (BRITISH 1923 - 2012), SELF WITH VENETIAN MASK mixed media, signed 43cm x 56cm Mounted, framed and under glass Label verso: The Open Eye Gallery, 75-79 Cumberland Street, Edinburgh. Note:Geoff Squire was a Senior Lecturer at the Glasgow School of Art. He held the position of Governor at Glasgow from 1988-91. He was an inspirational and influential teacher and his students included Alison Watt, John Byrne and Steven Conroy. Painting in oil, acrylic, watercolour and working in pastel, his work has been exhibited extensively and appears in world-wide collections including the RSA, Royal and Ancient Golf Club in St Andrews, New College, Edinburgh and in the collection of HRH The Princess D Maria Cristina, Duchess of Braganza
Lot 5001
Royalty: Two Paper Fans from different decades, commencing with England Since The Conquest, a printed fan, the double paper leaf published by J.Cock and J.P.Crowther in 1793, and mounted on simple varnished wood sticks. The leaf, by S.J. Neele, 352 Strand (London), records England through the ages, from the 11th to the 18th century, printed with all manner of facts, intended, as recorded on the top left border, to educate. ''This Historical page with useful lefsons (sic) fraught, Awakes the mind to every serious thought''. This version, is decorated with a double border, one of leaves, one swagged. The recto starts with William the Conqueror and the verso finishes with George III, and the words ''VIVE LE ROI''. See The Schreiber Collection unmounted leaf 72, English fans 132 and 133. Together with a paper fan celebrating the Coronation 1902 of King Edward VII, and advertising The Carlton Hotel (London), the recto printed with three red and gold crowns, and swags of flowers, to include, roses, thistles, clover. Signed Daudet. Simple gilding to the tan wood guards and gorge. The verso, plain, is marked for Eventails Duvelleroy, Paris; and An 18th Century Bone Fan, the découpé leaf with a Chinoiserie design, in pastel colours, showing ladies holding fans, a beast, and a stylised rocky landscape. The verso is simply painted with berries and leaves (3). The first fan has loss to the leaf on the verso and dark brown stains here and there. The Coronation fan is grubby with some foxing to the verso, and the Chinoiserie Fan has extensive damage to the leaf and problems with the first sticks in from the guards.
Lot 5013
Chinoiserie in the 18th Century: Four 18th Century Fans, the first being early and elaborately decorated, with gold foil shapes to the top border, and in three places extending down the leaf, with the addition of foil shells and other miscellaneous motifs. The leaf, divided into three panels, features figures in robes, a humped bridge, and buildings. Stylised foliage and trees are discretely highlighted with gold. The monture, with plain gorge, is piqué to both guards with the addition of Mother of Pearl in the form of a figure, a fish and a leaf, and thumb guards. The double paper leaf features finely painted flowers and leaves to the verso. Guard length approx. 11 inches or 28cm. Together with a slender early 18th fan with shaped lower monture, giving rise to interesting detail when the fan is closed and viewed from the side, the double paper leaf painted in subtle colours, showing a wealthy gentleman in robes and black hat, escorted by a servant shading him from the sun with an enormous parasol, suddenly encountering a monkey on a tree branch ahead. The verso is plain. Guard length approx. 10 inches or 25.5cm; a third ivory fan, the upper guard and lower gorge sections carved and shaped, the double paper leaf painted to the recto with delicate flowers and unusually figures wearing white robes. The verso is plain. Guard length approx. 11.25 inches or 28.5cm; and finally, a Chinese carved ivory fan with export monture, the guards designed in panels, the flowers and buildings minutely carved, the gorge pierced with a central shield containing entwined initials ''M ?'', intricate and elaborate carving of flowers and leaves climbing a minute lattice filling the remaining space. The double paper leaf, with cream ground, is designed with a central cartouche of a pagoda and walled garden near water, a figure at the bank greeting a passing boatman, mountains rising in the background. The reserves are filled with sprays of flowers and leaves in pastel colours. The verso is painted with larger floral sprays. Guard length approx. 11 inches or 28cm (4). The first fan has damage to the leaf and possibly the right side shortened, crude restoration to split folds seen from the verso. The second example is in good general order. Fan 3 has extensive splitting to the leaf making it difficult to view the scene. The final fan has some damage to the leaf, the upper guard has broken, but the section is present, both still attached to leaf and rivet, and the lower guard has broken off at a similar point and lacks approx. 2.5 m of a plain lower section.
Lot 5042
Japan: A Bone Fan with double paper leaf, the recto painted with a spray of pastel blooms in full flower, two birds in flight approaching. The verso, in similar vein, shows pastel flowers of more delicate and linear species. The upper guard is decorated with unusual features, two lacquered flower-heads beneath two linear and quite Art Nouveau designs, above which an oval, or eye, has a red stone for the centre. Together with A Fan in Jenny Lind or Palmette Form, vibrantly coloured paper or card panels, in strong yellow and orange, featuring centrally a blue bird on a bough, other foliage scattered on other panels. The monture, wood and painted in dark brown, has some colourful scattered painted blooms. The verso, with no decoration to the monture has basic scrolling to one side of each panel; A Large Paper Fan with double leaf, in red, mounted on simple wood, painted to the recto with extravagant blooms and simple foliage, a blue and pink bird in flight amidst. The recto, in similar vein, has one blousy flower and a few more delicate examples; finally, Another Fan in strong red, the wood monture painted, the leaf of paper, one side with bands of design the largest being floral, the recto showing two cranes in flight over a rocky outcrop. (4). The first fan lacks the upper part of one guard, and the leaf folds are rubbed. Rubbing to the paint on the JL fan.
Lot 5045
A Pretty 19th Century Fixed Fan or Face Screen of rectangular form, in cream silk painted with a slender flowering bush in a wooden planter, the flowers attracting butterflies, themselves being chased by two winged cherubs, with another cherub in the foreground. Handle of shaped bone. The verso is a plain, dark golden yellow silk. Together with A Wood Face Screen painted in pastel green, the handle gently rounded, the screen shaped, painted to the recto with a river scene, and to the verso with yellow daisies and delicate hanging flowerheads; and A Near Pair of Black Silk Face Screens, mid-19th century, embroidered with exotic birds and colourful flowers. Both screens are trimmed with braid fringing, and the (presumed) wood handles are covered with glazed black ribbon (3). The cherub face screen's handle has been broken thus it is shorter than usual. Some rubbing to the paint on the second fan.
Lot 5046
A Very Pretty Early 20th Century Mother-of-Pearl Fan, in shades of green and pink (burgau), the leaf with cream background net, overlaid with cream silk cut out in places to reveal the net layer. The silk panels alternate in width, and are painted or sequined, narrow panels with blue sequins in bow shapes, wider panels with delicate flowers in pastel shades of blue and pink. All panels have borders of embroidered sequins and a double border along the top and sides enclosed a further row of flower head spangles. Mounted à l'Anglaise with bone ribs. The verso is plain. Previously part-lot 55 in Phillips London on May 19th 1998.. Clean and strong.
Lot 5053
Five Fans, two with sequins and two in Palmette or Jenny Lind form. To include a fine circa 1900-1910 example, the bone monture incised and painted with flowers in pastel shades, the guards a strong gold, some of the gorge sticks with gold columns. The leaf, on a base of stiffened net/gauze, is overlaid with olive green silk, cut away in places to reveal the net, these areas then painted with colourful flowers. In the centre, the silk is painted with a wealthy lady taking a stroll in the grounds of a castle a white dove fluttering beside her. To the left, a painted panel featuring a tower and bridge over a river, to the right a back view of a grand building with terraces and steps, presumably other views of the castle. Rows of gold sequins border the features and along the top of the fan leaf. The verso is plain. Contained in a card fan box with green exterior, and gold detail to the lid. The second sequin example is a wood fan stained black, the monture incised and clouté, the double cotton leaf embroidered with sequins and paillettes of different shapes, in silver; thirdly, an early 20th century bone fan mounted with a cream gauze leaf, and featuring a couple spending the afternoon collecting flowers or fruits, the lady wearing a robe à la Polonaise, the gentleman in breeches and waistcoat, being observed rather wistfully by another lady in similar costume. Reserves gently painted with pastel flowers and embroidered with sequins; a Palmette fan or Jenny Lind, the panels cream and painted in pastels with flowers; and another Palmette fan, the fabric panels in royal blue, the bone monture most unusually extending onto the leaf and being embroidered with sequins. Note also the shaping to the upper guards (5). The sequin fans are in good order. The gauze fan has issues, a broken guard and subsequent damage to the leaf to the right. The Palmette fans have wear/staining and crumpling to the leaf panels.
Lot 5057
A Slender Wood Brisé Fan, the upper guard carved with a decorative tip and incorporating a mirror. With, unusually, thirty-four inner sticks and two guards, the recto is painted with a tranquil scene of several boats sailing in an estuary. The verso is plain. Fitted with a basic cream cotton tassel. Together with A Painted Black Gauze Fan, mounted on wood sticks, black, the upper guards with gold flowers and fan shapes, the gorge with quite regular gold decoration. The recto is painted with vignettes, one of a lady, holding her fan aloft, on which a tiny bird is perched, the other of her suitor, proffering a red rose, separated by garlands of pastel flowers, gold borders surrounding the images, flowers filling the reserves. The verso is plain; and A Simple Wood Fan, the sticks painted white, with an element of gilding, the cream cotton leaf painted with violets and white blossom within a gold border. (3). Slight splitting to the second fan leaf.
Lot 5066
A Vibrant Circa 1870-1880's Fan, featuring an early autumn outdoor musical gathering within a grand garden, stone urns resplendent with cascading flowers, lush reeds indicating nearby water, leaves turning brown, and a Herm, perhaps of Pan, in the bushes beside the clearing wherein a beautifully dressed lady, sheet music on her lap, listens to music provided by a dandified gentleman wearing doublet and ruff. Accompanied by a young lady seated on the ground, holding a fan. The verso is plain cream, the monture, of unadorned green/pink mother-of-pearl /Burgau. Together with A Bone Fan, the monture plain, the double cream silk leaf painted on the recto in pink with a young lady in early 19th century dress feeding two white doves from crumbs she has carried in her skirt; and A 19th Century Horn Brisé, the stick tips forming a gentle point, all sticks intricately pierced, alternate sticks painted vertically with flowers in colours of orange and blue, or pastel pink roses with green leaves, the verso being similar. Twenty-one inner sticks and, two guards. Barrel head (3). Light wear to folds on the first fan. Small silver metal plate repair to the upper guard. Fan 2 has leaf splits recto/verso. Fan 3 requires a new ribbon.
Lot 5205
A Selection of Interesting 20th Century Chinese and Japanese Fans, starting with a wood example with simple bands of piercing to the gorge and quite a modern linear textile fabric design to each side of the narrow paper leaf. Finished with a simple cord adorned with a green bead. Together with a folding fan with narrow cotton leaf featuring mountain ranges, the gorge with a drawing of an elder and servant passing a stylised tree. The verso has a gorge design of small birds pecking for food. Both sides have calligraphy; a light wood extensively pierced brisé fan, with the addition of a band of sunflowers. Both sides alike; another wood brisé, with folding action, decoratively pierced and featuring a rural scene with pagodas and stylised trees, the verso with a bunch of grapes, and leaves; a wood fan, painted black, the sticks serpentine and shaped at the shoulder, which is actually where the fan sticks pivot to fold in two, and gilded. The paper leaf is painted with a lady dressed in a blue kimono walking in front of water, habitation behind. The verso, in pastel shades, has the effect of haphazardly applied glitter; a paper cockade fan, the leaf a simple design of clouds, with wood sticks to the centre, the smooth handle with a mechanism for folding the fan closed; a fabric fan with mountain scene, the snowy cap in the tallest peak being worked in silk thread; and a cockade fan on dark wood, the handle smooth, the leaf paper with a design of rolling clouds, the handle in two sections clipping together to hold open. (7). Generally all good used condition.
Lot 5206
A Dramatic Fan with black background, featuring mountain ranges and wide river, the land built with ornate temples, the buildings in orange and gold, the figures throughout the scene dressed in robes in pastel green and pink. A dragon boat ferries visitors from one bank to another, most having arrived at the departure point in carriages carried by servants. To the right, a large and ornately decorated dragon boat, figures seen on the upper decks. Dancers in the foreground give rise to the possibility of a major ceremony or celebration. Label with calligraphy to the right of the recto. Monture of mottled wood. The verso is plain black. Together with A Selection of Oriental Tourist Fans to include a pale coloured woven fibre cockade (11)
Lot 5212
A Late 19th Century Japanese Fan, Ogi, the monture of ivory, painted with various colours of lacquer, and inset with shibayama. Featuring wisteria, birds, insects and further foliage, perhaps lilies, the guards are exquisitely worked. The gorge sticks are plain but simply shaped. Embossed detail to the white metal loop. The double paper leaf is painted to the recto with a tranquil scene of cranes by a riverbank and in the water, their depiction very detailed and elegant. Slender, stylised trees fill the background and are supplemented by various floral species in soft pink mid blue and white. The verso is painted with large blousy peonies, and hydrangea, in pastel shades of pink, blue and white. A butterfly and moth approach. Accompanied by a tan wood fan box with characters written on the outside. Together with A Very Vibrantly Presented Late 19th Century Japanese Paper Fan, the leaf mounted on rounded dark wood sticks. The recto is painted in strong orange with autumn leaves contrasting colourfully with a part gold background. The verso, with a dull red background and touch of gold, features spring blossom in light shades of white and pink. Guard length approx. 11.75 inches or 29cm (2). Quite extensive damage to the leaf at both sides on the shibayama fan. The floral fan has some rubbed folds.
Lot 5222
An Early 20th Century Chinese Fan, the monture of bone, plain other than a carved roundel to each guard tip. The cream gauze leaf is embroidered in pastel silk with a dragon. Contained in a Chinese black lacquer fan box with gold flowers painted on the lid. Together with A 19th Century Chinese Goose Feather Fan, Qing Dynasty, the monture incised and gilded, with a figure on the upper guard. The feathers are boldly painted with royal blue flowers and red peonies, highlighted in white, a pair of peacocks facing each other in the centre. The verso is painted with similar flowers; and A Pair of Hand Screens, formed into circles by curving the quills, the feathers dark to the recto and silvered to the verso. The handles, plain, are in wood painted black. (3). The embroidered fan is in good order. The bone feather fan has wear to the feathers and the paint.
Lot 5227
A Good 19th Century Chinese Fan, Qing Dynasty, with unusual wood sticks, the guards with white overlay and calligraphy, the double paper leaf full of symbolism including bats in the borders. The leaf centre, in gold on black, has a central oval with calligraphy, and to each side a dense area of gold symbols surrounding two further vignettes featuring pastel flowers. The verso features a mountain range and rural dwellings. Together with A Second Fan of the period, gorge sticks of bamboo, the guards painted black. The recto features a bird with black wing tips landing on a rocky outcrop close to colourful flowers, the verso is printed with calligraphy and gold coloured flakes; and A Third Chinese Wood Fan, the black leaf featuring a rural landscape with houses, all in shades of green (3). Some rubbing to the folds, fan 1.
Lot 5229
An Early 20th Century Chinese Fan, the sticks and ribs of tortoiseshell, the cream gauze leaf embroidered in pastel silks with a dragon and pearl. The verso is plain, the leaf mounted à l'Anglaise. Fitted with a heavy cream silk tassel. Together with A Simple Pierced Bone Fan of the tea ceremony variety; and A Fixed Fan or Face Screen entirely of tortoiseshell, shaped, and pierced, the central detail including a double-headed bird or beast. Formed in two sections, the screen and the handle. Length approx. 8.25 inches or 21cm by 5 inches or 12.5cm at the widest point (3). Slight foxing to the first fan, and some splitting to the leaf at the bottom edge.
Lot 5255
Five Examples of Ribbon Work, from the early 19th century to the 1920's. Comprising a fine black wool panel, finished at both ends and edged with a deep woven braid, lilac fringing to the bottom edge, the ribbon work design alternating between floral sprays and stylised paisley boteh, all worked in pastel ribbons in creams, green and pale lilac. Approx. 115cm; a silk bag formed with a ribbon work lattice in turquoise against a cream silk ground, turquoise ribbon to three sides, no handle; a cream gauze rectangular mat worked with ribbon work flowers to the borders and a lattice of cream threads on the diagonal to the centre; a 1920's salmon pink hanky case with pink ribbon flowers as an inner border, the back in satin painted with pink and blue flowers, edged in gold braid; and a silk pincushion embroidered in French knot with lilac and peach flowers, bead fringing to all sides.. Very good for the first panel. A couple of light marks to the turquoise bag. No handle. Item 3 is distressed.
Lot 5259
Fine 18th Century Dress Flounces and Fragments, to include a fine white cotton flounce with scalloped bottom, worked with silver metal thread in tiny tambour stitch, with white thread to edge the scalloped border and to form delicate filling designs within flowers. Selvedges to both sides. Probably embroidered in India, approx. 26 inches or 66cm by 11.25 inches by 28.5cm; a fragment of cream embroidery on cotton gauze, featuring a spray of spiky leaves, and buds, two leaves hosting beetles. Appears hand worked; and two more fragments of 18th century embroidery from India, one worked in strong colours and featuring flowers and leaves, the other worked in pastel silks in different stiches (4). First item, a few pinpricks to the cotton near the top but no indication that it has been removed from anything. Second item has been cut from a larger piece; the final two both show signs of being previously part of something. The last item has some scattered holes.
Lot 5261
A Panel of 18th Century Coloured Embroidery on very fine lawn, a part-flounce, the silk embroidery worked in large and repeated motifs. Acid green leaves meander up from the scalloped hem, enclosing royal blue panels with light and dark pink and soft gold detail. Approx. 35.5 cm or 90cm by 7.5 inches or 19cm; seven further 18th century or earlier embroidered fragments, the first the end of a larger article, most likely ecclesiastical as the focal point is a gold embroidered lamb with a cross above. To the reserves, fine and colourful silk embroidery of flowers and leaves, supplemented by some gold metal thread work. Bottom and sides are edged with gold bobbin lace. The top edge is turned under, and a pale turquoise fine silk panel has been added as backing approx. 18 inches or 46cm by 6 inches or 15cm; two cream silk panels, probably part sleeve ruffles, embroidered in tambour stitch in strong colours of red, various greens and mustard, both gathered near the top, backed in part with acid green silk, one fragment edged with bright green and yellow bobbin lace, the lace for the other panel detached but present. Approx. 5 inches or 12.75cm by 10.5 inches or 27cm, the panels not quite equal in length; a dark cream silk square embroidered panel, probably the front of a reticule. Embroidered with small flowers in pastel silk threads, a border meandering around all sides with the addition of a with a metal flower-shaped spangle to the top and bottom edge. Centrally, a slender tree or bush with drooping flowers, atop which are perched a pair of creatures or love birds; a small shaped panel embroidered to the edges in light green and featuring a urn of flowers. Approx. 5.75 inches or 14.5cm square; finally, a lilac silk panel delicately embroidered with pale green leaves and tiny pale pink fruits. A cream gauze ribbon applied in sections, alternatively showing the simply embroidered front and the cream net back. The bottom and sides are hand hemmed and the far right is the selvedge. The very last 2 inches have a cream silk backing suggesting the panel was part of the robe's hem. Approx. 21.5 inches or 54.5 cm by 4.5 inches or 11.5cm (7). The ecclesiastical panel has a large hole to the left side and around/under the lamb the cream silk is splitting. The smallest panel has almost entirely distressed silk ground. The tiny panel is distressed.
Lot 5268
A Collection of Mainly 19th Century Embroidery Samples from Europe, showing different techniques. To include: A 19th century cream satin panel worked in 4 panels with pastel silks and metal threads, in a floral design. From the left, a stomacher, uncut. To the right, two smaller panels, perhaps cuffs, and beneath these a longer, slimmer panel perhaps for a belt. All uncut. Backed with cream gauze, the embroidery through both layers. Bearing a cotton label perhaps indicating eastern manufacture; a turquoise blue silk panel embroidered in taupe with a floral spray tied with a large bow, tiny beads within the bow, above a wide border also worked with the beads; an embroiderer's workbag of lilac silk, fitted inside with red satin panels making several pockets for needlework tools, showing different embroidery designs, and a top section of cream wool for needles. On the back, the word ''Brodeuse'' is embroidered in red. Red edging throughout, front button fastening. Silk ribbon handle; a small hanky case, pink satin, embroidered with an 18th century gentleman holding a staff, his face painted and applied silk. Corded braid edging; a small circular panel of mid Victorian floral plushwork, worked on canvas; a panel of ribbon work and silk embroidery, featuring a flower basket full of flowers, surrounded by Fuchsias; another more simple ribbon work example; a woolwork silhouette showing a young couple dancing, worked in black wool on cream; a circular appliqué panel of red wool, the floral appliqué in velvet and cotton, edged with silks; a machine embroidered panel of cream flowers and motifs on soft pink; a 20th century eastern European mat embroidered in orange and yellow with a lace border; a black velvet bag with similar floral embroidery to both sides. The top edge with a crochet border; a circular panel of Sol lace, more substantial than usual and in many colours, with a decorative mustard border; An embroidered bird with elaborate plumage; a cream panel embroidered with flowers and leaves in wool; two Bargello or flame stitch type embroidery fragments, one in silk with metal thread detail, the other in wool on heavier canvas; and a decorative pelmet, probably French, embroidered in pastel silk outlined in gold cord, on white net. Scalloped bottom edge. Approx. 8.5 inches or 21.5cm by 98 inches or 251cm . The panel with the bow lacks some beads to the wide border. Most other items strong, clean, purchased as examples so not always finished pieces. The pelmet's gold cording is in extensive need of re-securing.
Lot 5282
An Unusual 19th Century Girls or Doll's Hat, beautifully made with panels of hand-made bobbin lace for the rim, in gold metal thread, and a mix of pastel silk thread and gold metal ribbons for the crown. The crown has a stiff interior, in an oval shape, meaning the hat would perch rather than fit securely on the head. The crown is designed with coiled metal ribbon, and silk embroidery in chain stitch, and finished with a pale green and gold ribbon and metal ribbon below that. The rim, with an outer edge shaped over wire, has a particularly intricate lace inner border, and a scalloped outer edge. Finished on the upper and the underside with a pale blue silk bow. Approx. 7.5 inches or 19cm by 8.75 inches or 22.5cm.. Very good.
Lot 13
Peter Clossick Hampstead Heath, 2020 Pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Peter Clossick focuses on faces, the single figure, men and women, the nature of physical sensuousness itself. The models are still, seated or lying; their eyes cast down or even blanked out, while the composition is enlivened by the physical act of perception. His is the moving and heuristic gaze, the act of discovering of the world through the exploration of possibilities." Corinna Lotz 2016 Peter Clossick studied at Camberwell School of Art and Goldsmiths College during the early 1970s and has been engaged in professional fine art practice since. He is a member and Past President of The London Group an artist collective established in 1913 and also a member of The New English Art Club under the Federation of British Artists. He exhibits regularly both here and abroad.
Lot 131
Mark Demsteader Faith Seated, 2020 Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mark Demsteader was born in Manchester in 1963 and still lives and works there. He studied at Rochdale College, Oldham Art College and The Slade. His awards include The Public Eye Award, The Lyceum Prize and The Sidney Andrews Scholarship. Mark's work has developed from a fascination with the human form and an obsession with classical themes. These pre-occupations can be seen in recent paintings where his close observation combines with surface texture and carefully balanced compositions to create a beautiful and powerful representation of the figure, often in renderings of just black and white paint. He favours absorbent, handmade Indian paper called Khadi as the natural ingredients in it such as grasses and leaves add another element to the finished drawing. His paintings are about movement, dynamism and expression; he believes that a drawing that is tight and overworked is be avoided at all costs. He loves the accidental marks that occur. He will mix pastel and water and often has a hairdryer to hand to dry the results. Mark likes to have space to move about in when he is working, for that reason, he rents space in an old mill to use as a studio, he makes too much mess to make working at home possible. Mark's paintings feature in many important collections, and current demand for his work reflects his growing reputation.
Lot 14
Peter Clossick Parliament Hill, 2020 Pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Peter Clossick focuses on faces, the single figure, men and women, the nature of physical sensuousness itself. The models are still, seated or lying; their eyes cast down or even blanked out, while the composition is enlivened by the physical act of perception. His is the moving and heuristic gaze, the act of discovering of the world through the exploration of possibilities." Corinna Lotz 2016 Peter Clossick studied at Camberwell School of Art and Goldsmiths College during the early 1970s and has been engaged in professional fine art practice since. He is a member and Past President of The London Group an artist collective established in 1913 and also a member of The New English Art Club under the Federation of British Artists. He exhibits regularly both here and abroad.
Lot 15
Peter Clossick Across the Med, 2020 Pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Peter Clossick focuses on faces, the single figure, men and women, the nature of physical sensuousness itself. The models are still, seated or lying; their eyes cast down or even blanked out, while the composition is enlivened by the physical act of perception. His is the moving and heuristic gaze, the act of discovering of the world through the exploration of possibilities." Corinna Lotz 2016 Peter Clossick studied at Camberwell School of Art and Goldsmiths College during the early 1970s and has been engaged in professional fine art practice since. He is a member and Past President of The London Group an artist collective established in 1913 and also a member of The New English Art Club under the Federation of British Artists. He exhibits regularly both here and abroad.
Lot 232
Kelly Stewart Smithfield Market, 2020 Watercolour, Pastel and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) When I'm printing in the studio, there's no place I'd rather be. I was introduced to screen printing at University and was instantly hooked! We used oil based paint and solvents back then and I remember constantly having paint on my hands. I work with water based inks at Edinburgh printmakers nowadays which is much cleaner and easier to use, not to mention better environmentally. I do all my drawings and colour separations in my studio at home and then take them to Edinburgh Printmakers to screen-print. As a side effect of printmaking I started getting into bookbinding, to use up all my screen-printed offcuts. I now make artist books for a hobby, I don't sell them because then that would change the purpose of me making them. Kelly Stewart studied BA Design (Visual Communication), majoring in illustration and in 2001 joined Edinburgh Printmakers Workshop where she began to translate drawings into screen prints. Kelly has exhibited in Australia, Ireland, Norway, USA, Switzerland and throughout the UK in exhibitions such as the Glasgow Institute of Fine Arts and the Royal Scottish Academy, Edinburgh. In 2012 Kelly was awarded Printfest's Printmaker of the Year Award.
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46080 item(s)/page