▲ William Scott RA (1913-1989) 'Orange Still Life', 1956 (William Scott Archive No.1893);verso, pencil sketch of Mary Scott, the artist’s wife, late 1930ssigned 'W. Scott' l.r., gouache50.5 x 68cmProvenance: Private collection, USA;Offer Waterman & Co., London;the property of a private collector.The drawing of Mary Scott is similar to the oil painting ‘Seated Nude’, 1939, Tate, London.We are grateful to the William Scott Archive for their kind assistance with the cataloguing of the present work.In the 1950s, William Scott's use of vibrant colours, like orange and ochre, played a crucial role in his still-life compositions, marking a key period in his artistic development. As a member of the post-war British painting group, including artists such as Patrick Heron, Terry Frost and Peter Lanyon, Scott was influenced by the boldness of abstract expressionism. In 1953, his exposure to the New York School, where he met leading figures like Rothko, de Kooning and Pollock, made a significant impact on his approach to abstraction. Despite this, Scott remained deeply attached to the still-life genre, finding ways to modernise it while infusing it with abstraction. His works from the late 1950s often featured everyday objects like jugs, bowls and pans, painted against bold backgrounds in colours like orange. These hues, especially the warm tones of orange, went beyond mere decoration - they emphasised the physical presence of the objects and imbued the scenes with energy.Scott's choice of orange can be seen as a deliberate effort to elevate these everyday items, drawing attention to their form and giving them a unique vibrancy. This use of colour was particularly striking in works, as seen here in lot 278, where the colour envelops the composition, making items seem dynamic and essential. For Scott, orange was not only a visual tool but also a way to convey a sense of warmth and vitality. It helped balance the austerity of his minimalist approach with the sensuality he sought to evoke. By combining the figurative and abstract elements of his work, Scott's use of orange served as a bridge between his engagement with American abstraction and his European roots in more tactile, representational art.Condition ReportFramed: 67 x 84.5cmThe work is executed on paper. Rippling to the sheet visible when viewed from the side under raking light. Pinholes to top corners. A tiny tear to the extreme upper right corner. Lower edge torn slightly unevenly. Presents well overall when viewed on the wall.
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Original vintage advertising poster for Mark Rothko Exhibition held in Walker Art Center. Mark Rothko September 25, 1903 - February 25, 1970) was a Latvian American abstract painter. He is best known for his color field paintings that depicted irregular and painterly rectangular regions of color, which he produced from 1949 to 1970. Although Rothko did not personally subscribe to any one school, he is associated with the American abstract expressionism movement of modern art. Good condition, few creases on the image. Country: USA. Year: 1979. Designer: Mark Rothko. Size: 83.5 x 56cm.
Salvatore Emblema, 1929 Terzigno – 2006OHNE TITEL, 1996Kolorierte Erde auf Jute.170 x 250 cm.Verso auf dem Keilrahmen mit verschiedenen Etiketten, sowie Betitelung „BR4“.Ungerahmt.Beigegeben ein Zertifikat mit der Nr. V00610D sowie BR4, im Original. Salvatore Emblema studierte an der Accademia di Belle Arti in Neapel, hier fand er in der Natur, rund um den Vesuv, seine bevorzugte Inspirationsquelle und benutzte die Erde aus dieser Gegend als Pigment seiner Kunstwerke. Die Erde wird in abstrakten Kompsitionen auf die grobe Jute aufgebracht. Diese starke Abstraktion rührt von seinem Aufenthalt in den USA her, wo er die radikale Kunst von Jackson Pollock (1912-1956) und die Poesie der reinen Farbe von Mark Rothko (1903-1970) kennengelernt hatte. (1432341) (13)Salvatore Emblema, 1929 Terzigno – 2006UNTITLED, 1996Coloured earth on jute.170 x 250 cm.Various labels on the back of the stretcher and inscribed “BR4”.Accompanied by a certificate with no. V00610D and BR4 (original).
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), THE GARDENER II oil on canvas, initialled, dated MM XIV, titled label versounframedoverall size 108cm x 77cm Label verso: Open Eye Gallery, Edinburgh.Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo..
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), WHISPERING HAG limited edition woodblock print on paper, signed, titled and numbered 2/25mounted, framed and under glassimage size 42cm x 30cm, sheet size 62cm x 50cm, overall size 76cm x 64cm Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), THE GREEN JACKET II oil on canvas, initialled, titled label versomounted, framed and under glassimage size 49cm x 39cm, overall size 64cm x 54cm Label verso: Cyril Gerber Fine Art, Glasgow.Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.Condition is good overall, with no visible or known issues.
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), LITTLE BIRD, 1989 oil on canvas, initialled framed image size 56cm x 56cm, overall size 64cm x 64cm Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
A collection of exhibition catalogues and art historical volumes; Paul Klee, Stanley Spencer, Rothko, Dora Carrington, Richard Long, Picasso, St Ives School, Otto Dix, Angelica Kauffman A Continental Artist in Georgian England, The Italian painters of the Renaissance (illustrated), Terry Frost et al (3 trays)
After Mark Rothko (American, 1903-1970) Lithograph poster "Number 61 (Brown, Blue, Brown on Blue) 1953, printed in Germany 1999, framed and glazed, 80cm x 60cm, together with a colour offset lithograph poster after Julius Bissier "37 Befruchtungssymbol I (Cistsa)", 1937, printed in Germany 1996, framed and glazed, 80cm x 60cm Property of Dunkirk Manor, Theescombe, Stroud
Mr Jago (British b. 1972) Walking Wounded, 2008 5 colour screen print hand finished by the artist Signed, dated and numbered 70 of 75 in pencil Duncan Jago’s career as Mr. Jago began as a formative artist in Bristol’s aclaimed graffiti scene. He initiated the Scrawl movement, a school of street art that elected members based on their abilities with line, movement, and narrative composition. Jago was featured in the seminal, eponymous book Scrawl published in 1999. Having studied illustration at the University of the West of England, Mr. Jago’s style, initially heavily illustrative, has evolved into something far more abstracted and expressive. Mr. Jago has taken spray painting to a level of sophistication rarely seen in the medium; there is maturity and depth to his use of colour which he uses to describe the natural world and the cosmos, as he says: “A love of nature has been the biggest influence on my work, the forms and flows that exist within it seem to be appearing … more and more nowadays.” These references to landscape imagery with less emphasis on gesture and brushstrokes, combined with a strong focus on colour and its emotional function, is strongly reminiscent of the mid-century Colour Field movement, pioneered by the Abstract Expressionist Mark Rothko. Mr Jago is also influenced by painters such as Jules Olitski, Dan Christensen and Albert Stadler. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.Measures approx. 56 x 56 cm (22 x 22 in)
GENE DAVIS (AMERICAN 1920-1985) UNTITLED 65-6 titled 65 6 on the stretcher acrylic on canvas 116 x 127cm; 45 1/2 x 50in 118 x 129cm; 46 1/2 x 50 3/4in (framed) Property from a London Collection Provenance Poindexter Gallery, New York Possibly Waddington Galleries, London John Monk, Hampton (architect) Acquired from the above by the present owner Executed in 1965, Davis was a leading proponent of Color Field Painting in Washington D.C. in the 1950s and '60s, best known for his distinctive stripe paintings such as the present example. Largely self-taught, in developing the works Davis considered his non-academic background a blessing, liberating him from the limitations of a traditional art school orientation. His early paintings and drawings, although they show the influence of such artists as the Swiss painter Paul Klee and the American abstractionist Arshile Gorky, display a distinct improvisational quality. The same preference for spontaneity characterised Davis' selection of colour in his stripe paintings; the works were not based on conscious use of theories or formulas, instead the artist often compared himself to a jazz musician who plays by ear, describing his approach to painting as 'playing by eye.' In another discussion of the works - a style that Davis explored for over twenty years - the artist also spoke not simply about the importance of the colours selected but about 'colour interval': the rhythmic, almost musical effects caused by the irregular appearance of colours or shades within a striped composition. Davis lived his entire life in Washington, D.C., growing up alongside fellow locals Kenneth Noland and Morris Louis who together formed the Washington Color School in the early 1950s. Other Color School adherents included Mark Rothko and Helen Frankenthaler, their work characterised by large areas of single flat colour populating an abstract composition. In 1965 the group was brought together in the landmark exhibition Washington Color Painters at the Washington Gallery of Modern Art in D.C. Championed by the New York art critic Clement Greenberg as part of the larger trend of Post-Painterly Abstraction, the work of the group was seen as the culmination of modernist painting, with its emphasis on the two-dimensional surface of the picture plane and its lack of reference to any subject matter.
Theodoros Stamos 1922 New York - 1997 Ioannina (Griechenland) Infinity Field - Lefkada Series. 1982. Öl auf Leinwand. Auf der umgeschlagenen Leinwand signiert, datiert, betitelt und nummeriert mit '#10' sowie mit den Maßangaben versehen. 153 x 153 cm (60,2 x 60,2 in). [AW]. • Ausdrucksstarkes Beispiel für die Steigerung der Synthese von Farbe und Farbraumkörper in Stamos Werk. • Ein erster Aufenthalt 1970 auf der griechischen Insel Lefkada, nach dem Freitod seines engen Freundes Mark Rothko, hinterlässt einen tiefen Eindruck beim Künstler. • Die 'Infinity Field Series' ist als Reflektion von Landschaft, Natur, Meer und griechischen Mythen zu verstehen. • Stamos ist ein wichtiger Vertreter des abstrakten Expressionismus, bereits 1942 findet die erste Einzelausstellung in der Betty Parsons Gallery in New York statt. PROVENIENZ: Aus einer deutschen Unternehmenssammlung. Aufrufzeit: 07.12.2024 - ca. 16.35 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R), Folgerechtsvergütung fällt an.ENGLISH VERSIONTheodoros Stamos 1922 New York - 1997 Ioannina (Griechenland) Infinity Field - Lefkada Series. 1982. Oil on canvas. Signed, dated, titled, numbered “#10” and inscribed with the dimensions on the folded canvas. 153 x 153 cm (60.2 x 60.2 in). [AW]. • Expressive example of the increased color and color space synthesis in Stamos' work. • A first stay on the Greek island of Lefkada in 1970, after the suicide of his close friend Mark Rothko, left a deep impression on the artist. • The 'Infinity Field Series' should be understood as a reflection of landscape, nature, the sea, and Greek mythology. • Stamos is an important representative of Abstract Expressionism; he had his first solo exhibition at the Betty Parsons Gallery in New York as early as 1942. PROVENANCE: From a German corporate collection. Called up: December 7, 2024 - ca. 16.35 h +/- 20 min. This lot can only be purchased subject to regular taxation (R), artist´s resale right compensation is due.
William Scott. (1913 Greenock - 1989 London). Iona. 1961. Farblithographie auf Velin. 49,5 x 57 cm (50 x 62 cm). Signiert, datiert und nummeriert. Unter Passepartout gesteckt präsentiert. - Die Ecken leicht bestoßen, vereinzelt im Rand mit oberflächlicher Bereibung oder etwas angeschmutzt, verso mit schwacher Farbspur sowie oben rechts mit schwacher Bereibung. Insgesamt sehr gut. Ausgezeichneter und stimmungsvoller Druck mit Rand. Eines von 300 nummerierten Exemplaren. - William Scott (1913-1989) war ein schottischer Maler, der vor allem für seine abstrakten Stillleben bekannt wurde die oft einfache, alltägliche Gegenstände wie Töpfe, Pfannen und Früchte in reduzierten Formen und gedämpften Farben darstellten. Dabei wird deutlich, dass Scotts ästhetische Auffassung tief geprägt von seinem Studium der figurativen, klassischen Malerei und Künstlern wir Picasso, Modigliani und Cézanne geprägt ist. Mit einer Studienreise in die USA verändert sich Scotts Stil maßgeblich. Er lernt mit Mark Rothko, Franz Kline und Jackson Pollock die führenden Künstler des Abstrakten Expressionismus, Actions Painting und der New York School persönlich kennen. Sein Stil wird flächiger, die Formensprache wesentlich abstrahierter. Seine Arbeiten verbinden die europäische Moderne mit Elementen des Abstrakten Expressionismus, wobei er sowohl die Balance zwischen Figuration und Abstraktion als auch das Spiel mit Raum und Fläche erkundet. Colour lithograph on wove paper. Signed, dated and numbered. Presented tucked under mat. - The corners slightly bumped, occasional superficial rubbing or somewhat soiled in the margins, verso with faint trace of color as well as faint rubbing in the upper right. Overall very good. Superb and atmospheric impression with margins. - One of 300 numbered copies. - William Scott (1913-1989) was a Scottish painter best known for his abstract still lifes, which often depicted simple, ordinary objects such as pots, pans and fruit in reduced forms and muted colors. It becomes apparent that Scott's aesthetic view was deeply influenced by his studies of figurative, classical painting and artists such as Picasso, Modigliani and Cézanne. Scott's style then changed significantly during a study trip to the USA. He became personally acquainted with Mark Rothko, Franz Kline and Jackson Pollock, the leading artists of Abstract Expressionism, Action Painting and the New York School. His style developed more two-dimensional and his formal language much more abstract. His works combine European Modernism with elements of Abstract Expressionism, exploring the balance between figuration and abstraction as well as the play with space and surface.
Georg Baselitz, Piet M.Öl auf Leinwand 165 × 100 cm. Gerahmt. Rückseitig auf der Leinwand signiert, datiert und betitelt 'G.Baselitz Piet M. 10.VI. 018'.ProvenienzGagosian Gallery, New York (mit rückseitigem Aufkleber); Privatsammlung, SchweizAusstellungenNew York 2019 (Gagosian Gallery), Georg Baselitz, Devotion, Ausst.Kat.Nr.19, S.23 und S.159 mit Farbabb.Die ersten Porträts erarbeitet Georg Baselitz 1969, als er gerade begonnen hat, seine Motive um 180 Grad gedreht zu malen. „Die Wahl des Portraits als Sujet war mit dem verbunden, was ich versucht habe zu machen. Es war wichtig, etwas zu malen, das konventionell war, ein traditionelles Genre wie die Portraitmalerei, so dass das Sujet nicht vom gemalten Bild, vom Akt des Malens ablenken würde“, erläutert der Künstler. Die ersten Bildnisse dieser Art sind Porträts seiner Frau und von Freunden. „Erst als ich begann, Dinge verkehrt herum zu malen, kam mir der Gedanke, ich könnte sie malen, weil dadurch alles neutraler wurde. Wenn man jemanden verkehrt herum malt, ist es schwierig, ihm einen Ausdruck oder zumindest einen konventionellen Ausdruck zu geben. […] Ich fange mit einer Idee an, aber während des Arbeitens übernimmt das Bild die Führung. Dann findet eine Auseinandersetzung statt zwischen meiner vorgefassten Bildidee und dem Bild, das um sein Eigenleben kämpft.“ (Georg Baselitz, Gesammelte Schriften und Interviews, Detlev Gretenkort (Hg.), München 2011, S.272f.)Damit umgeht Baselitz einen Automatismus, den er jedem Maler zuschreibt: jedes Sujet grundsätzlich und unwillkürlich so subjektiv wahrzunehmen und wiederzugeben, dass es zu einer Art Selbstporträt des Künstlers wird. Ausgehend von dieser Erkenntnis widmet sich Baselitz im Jahr 2018 in zahlreichen Gemälden und Zeichnungen Künstlerpersönlichkeiten, die ihm viel bedeuten. Ausgangspunkt dieser Arbeiten sind Selbstporträts, die die betreffenden Künstler einst von sich geschaffen haben. In monumentalen Dimensionen entsteht nicht nur das auf dem Kopf stehende Brustbild von Piet Mondrian in dieser Auktion, sondern auch u.a. das Porträt von Mark Rothko, Paula Modersohn-Becker, Alexander Calder, Otto Dix, Tracey Emin und Philip Guston. Allen Porträts ist die unverwechselbare Handschrift Georg Baselitz‘ eigen. Er erschafft so eine Porträtgalerie der von ihm verehrten Künstlerpersönlichkeiten, geprägt und gefiltert durch seine individuelle Sichtweise. Unter dem Titel „Devotion“ vereinigt die Gagosian Gallery diese Werkserie 2019 in einer großen Ausstellung. Piet Mondrians „Zelfportret“ von 1918, heute im Kunstmuseum Den Haag (s. Abb.), bildet wohl die Grundlage für „Piet M.“. Baselitz‘ Interpretation zeigt den Kopf des Malers in enormer Vergrößerung umgeben von einer Art Gloriole kopfüber vor dunklem Grund schwebend, was ihm eine zugleich monumentale wie stark abstrahierte Präsenz verleiht.
Aubrey Williams, Guyanese/British 1926-1990 - Guiana, 1963; oil on paper, signed, dated and titled lower right 'Aubrey Williams 63 Guiana' and titled again on the reverse of the frame, 59 x 76.5 cm (ARR) Provenance: private collection and thence by descent Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
Aubrey Williams, Guyanese/British 1926-1990 - Kumaka, 1963; oil and mixed media on canvas, signed, dated and titled on the reverse 'Aubrey Williams 63 Kumaka', 71 x 81.3 cm (ARR) Provenance:private collection and thence by descent Note: Kumaka refers to a village in Williams's native Guyana. This piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
Bridget Riley CH CBE, British b.1931-Untitled, 1973;screenprint in colours on Aquarelle Arches wove, signed in pencil, dated and numbered 27/75, from the Mark Rothko memorial portfolio, co-published by Verlag Berlin and the Mark Rothko Memorial Trust, London, sheet: 71 x 91 cm, (framed) (ARR)
Allen Jones R.A. (British, born 1937)Oh! La! La! oil on canvas243.5 x 365.5 cm. (95 7/8 x 143 7/8 in.)Painted in 1970(unframed)Footnotes:ProvenanceDame Mary Quant (1930-2023), thence by family descentPrivate Collection, U.K.ExhibitedProbably London, Arthur Tooth & Sons (details untraced)Allen Jones made his first trip to the USA in 1964 after being captivated by American Pop Art from the early 1960s. In describing the profound and immediate effect the movement had on him, the artist commented 'American Pop imagery was much more heraldic and flat than the British, which still tended to be illusionistic. New York City was the centre of the art world. I went to America, in the way I would have gone to Paris if I had been living in 1905 or 1910, determined to experience it first hand, not knowing whether I was going to kill myself artistically or not. One just had to leap in' (Allen Jones quoted in Andrew Lambirth, Allen Jones Works, Royal Academy of Arts, London, 2005, p.52). The imagery in Jones' work was quick to become more focused following this visit and his style harder-edged and more graphic. Jones met several of the leading American painters of the time, including Robert Motherwell and Helen Frankenthaler (on the introduction of Bryan Robertson), Mark Rothko, Roy Lichtenstein, Tom Wesselmann and Mel Ramos from whose first show in New York the artist bought a painting in 1964. Jones admired the 'virtuosity and lushness of paint' in Ramos's large oils and there are clear similarities between the two artists imagery. Upon his return to London in 1965, Jones began to push the boundaries of his work and created a group of radical leg paintings including First Step (1966) and Sheer Magic (1967) demonstrating his interest in both figuration and long held belief in using the erotic as means of communicating with the widest possible audience. The human figure was of the utmost importance to Jones and the exploration of the relationship between male and female. Jones began to specialise in the centrally placed figure as can be seen in Oh! La! La! (1970), where the acrobatic female performer is perfectly balanced against a varied colour field. She is clad in vivid colour herself with opposing shades on her high heels, legs and arms and is brimming with energy. The almost perfect symmetry of the composition is broken by the inclusion of another set of legs dressed in red on the right-hand side of the canvas, which gives a sense of audience to what have been described as 'stage' paintings. As the viewer, we also form part of the crowd and there is a sense of the artist inviting the painted figure to step out of the canvas and perform in reality. Oh! La! La! is accompanied by outstanding provenance from the collection of Dame Mary Quant, a true icon of fashion and designer of both the miniskirt and hotpants. She was at the forefront of the Swinging Sixties, revolutionising clothing through her designs and playing a central role in the cultural explosion of the period. Her significance was made clear by leading women's fashion writer Ernestine Carter who wrote, 'It is given to a fortunate few to be born at the right time, in the right place, with the right talents. In recent fashion there are three: Chanel, Dior, and Mary Quant'. We are grateful to the Artist for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Patrick Heron (British, 1920-1999)MANGANESE, ULTRAMARINE AND INDIGO : 1964 signed, titled and dated 'MANGANESE,/ULTRAMARINE/AND INDIGO :/1964/PATRICK/HERON' (verso)oil on canvas101.5 x 152.5 cm. (40 x 60 in.)Footnotes:ProvenanceWith Waddington Galleries, London, where acquired byJudge Dennis Levy, thence by descent to the present ownerPrivate Collection, U.S.A.ExhibitedLondon, The Waddington Galleries, Patrick Heron, November-December 1964, cat.no.4Heron had experimented with pure abstraction as early as 1952 but maintained a figurative base to his painting (see lot 60) until 1955/6 when he began to develop a language of strokes of pure colour which moved away from a definite subject. The 'garden' and 'stripe' paintings of the late 1950s may have been in response to the light and environment of the artist's new home at Eagles Nest, Zennor, in Cornwall. But amongst the many remarkable features of Heron's career was his ability to continually develop and renew his paintings and by 1958/9 a new shift was already emerging. This was evidenced by a simplification of the palette and the introduction of a wider vocabulary of forms which allowed the artist to concentrate on the use of colour to form pictorial space.Discussing this in A Note on my Painting: 1962, written for the artist's exhibition at the Lienhard Gallery in Zurich in January 1963, Heron comments, 'For a very long time, now, I have realised that my over-riding interest is colour. Colour is both the subject and the means; the form and the content; the image and the meaning, in my painting to-day ... It is obvious that colour is now the only direction in which painting can travel. Painting has still a continent left to explore, in the direction of colour (and in no other direction) ... It seems obvious to me that we are still only at the beginning of our discovery and enjoyment of the superbly exciting facts of the world of colour. One reels at the colour possibilities now: the varied and contrasting intensities, opacities, transparencies; the seeming density and weight, warmth, coolness, vibrancy; or the superbly inert 'dull' colours - such as the marvellously uneventful expanses of the surface of an old green door in the sunlight' (Vivien Knight, Patrick Heron, London, 1988, p.34).Heron's work of this period is sometimes compared to that of Mark Rothko, who came to Cornwall in August 1959 to meet those artists he knew of and admired, painting with a freedom he felt difficult to achieve in New York. Much has been written about the cross Atlantic currents that ebbed and flowed between the American Abstract Expressionists and British artists such as William Scott, Alan Davie and Peter Lanyon. But it was Heron, as an art critic, who perhaps engaged most publicly with the wider impact of their work. He had always been impressed by Pollock, Rothko, de Kooning et al, indeed the first time he saw many of their pictures at the Tate in 1956 he was 'instantly elated by the size, energy, originality, economy and inventive daring of many of the paintings'. But he had always felt a lack of resonance in their use of colour. Heron's paintings of this time, such as the present work, are in fact radically different from Rothko's formal, hieratic works. They are more dynamic, more complex – in both colour and handling – and with an innate ability to draw the viewer in. In the present work, the simplification of the picture plane allowed Heron to use large areas of colour to set the tone of the painting. This is taken even further by drawing nearly all the colour from within a single range of blue. Limiting himself in this way ensured that the weight of the forms was not overwhelmed by the contrast of the colours, rather that the differing tones worked together to define and place the forms within the composition.In 1963, the year before MANGANESE, ULTRAMARINE AND INDIGO : 1964 was painted, Heron had begun to plan his compositions through drawing the shapes in charcoal directly onto the canvas. Although these paintings were initially inspired by the hard-edged modernism that Ben Nicholson demonstrated in his ordered reliefs, Heron's evident brush marks convey a more organic practice. Indeed, he famously quipped that ''Unlike Ben Nicholson, I have never in my life drawn a straight line or a purely circular circle or disc'. So, although the abstract shapes hint at geometry, they are emphatically painterly and gestural, gaining brilliance from the white priming beneath. As the decade progressed Heron would reintroduce stronger, more contrasting colours and explore the points at which these colours met, but in MANGANESE, ULTRAMARINE AND INDIGO : 1964 we see him working in 'soft edges' at a point where he relishes the challenge of bringing together a purity of intention and imagination using only restricted means. The result - a deep saturation of the mind's eye that cements the artist's reputation as one of Britain's greatest abstract painters of the 20th Century.The Patrick Heron Trust is in the process of researching the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Patrick Heron Trust, c/o Modern British and Irish Art, Bonhams, 101 New Bond Street, London W1S 1SR or email britart@bonhams.com.We are grateful to Dr Andrew Wilson for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Marc Rothko, Ohne Titel, hochwertiger Domberger- Siebdruck um 1970 nach einem Original von 1969 im Ulmer Kunst- MuseumMark Rothko, 1903 Dwinsk, Russisches Kaiserreich als Marcus Rotkovich - 1970 New York, bedeutender US-amerikanischer Maler des Abstrakten Expressionismus und Wegbereiter der Farbfeldmalerei, hier: Dunkelorange und Pink auf Hellorange, hochwertiger Farbsiebdruck der Edition Domberger nach einem Original von 1969 im Ulmer Kunstmuseum (Sammlung Kurt Fried), 82 x 60 cm, l. u. Prägestempel "Domberger Siebdruck", das Blatt in sehr guter Erhaltung"Mark Rothkos Gemälde im Ulmer Museum gehört zur so genannten "Farbfeldmalerei", die sich mit den Erscheinungsformen der Farbe und deren Einordnung in einem strengen formalen System im Bild beschäftigt. Die Ränder der Farbfelder verschwimmen in einer Weise, als hätte man einen durchsichtigen Schleier über das Gemälde gebreitet. Rothko erreichte eine Dreidimensionalität der Fläche, indem er die Farbe verwischte und weiche Übergänge zwischen Farbfeld und Hintergrundfarbe schaffte. Die Farbe war ihm immer Mittel zum Zweck, um Räume darzustellen. Obwohl sich Rothko über die suggestive und symbolische Aussage der einzelnen Farben im Klaren war, benutzte er sie jedoch nicht im Sinne einer herkömmlichen Farbenpsychologie. In allen seinen Werken ist das gleiche räumliche Erlebnis nachvollziehbar, das gleiche Vor und Zurück der unterschiedlichen Farbstrukturen kann ungeachtet der verwendeten Farbe erlebt werden, die gleiche meditative Wirkung stellt sich ein"
JOHN PIPER C.H. (BRITISH 1903-1992) POINTE DU CHATEAU, BRITTANY, c.1960 oil on canvas 71.6cm x 91.6cm (28 ¼in x 36 1/8in) with Marlborough Fine Art, London (mis-labelled as Garn Fawr);Sotheby's London, Modern British & Irish Art, 5 December 2001, lot 54 (sold as Garn Fawr), where acquired by the present owner. Exhibited:Portland Gallery, London, John Piper (1903-1992), 22 February - 10 March 2023, p. 23, illustrated in catalogue. Pointe de Chateau, Brittany was painted on one of Piper’s frequent visits to the French peninsula during the 1960s, where he studied and drew the rocky beaches repeatedly. The current work is markedly different from Piper’s earlier portrayals of the mountains of Snowdonia or the quarries of Portland, which are far more literal representations. Pointe de Chateau, by contrast, is much more abstract, the landscape providing a starting-off point for layers of luminous colour, broad gestural brushstrokes and spontaneous lines of black that dance around the canvas, outlining the stones, cliffs and buildings but also acting independently, as gestures in their own right. Piper is thought to have been inspired by the exhibitions of American Abstract Expressionism at the Tate in the late 50s, where he would have seen works by the likes of Willem de Kooning, Mark Rothko and Jackson Pollock.The significance of this work - in particular, the suggestion that it shows the immediate influence of American painting - has only recently come to light, following a reappraisal of its true date of execution and subject matter, as the painting had previously been mis-labelled by Piper's dealers.
Sammlung von ca. 350 Werke zur Kunst. Enthält Monographien, Werkverzeichnisse, Ausstellungs- und Sammlungskataloge etc., u.a. von bzw. über R. Geiger, J. Holzer, Mondrian, Rothko, Mel Ramos, B. Heiliger, W. Baumeister, De Chirico, Menzel, Boticelli, Turner, Poussin, Galerie Nierendorf 1920-1970 u.v.m. Photographien auf Anfrage. Die Sammlung lagert aufgrund der Menge an einem Außenstandort. Besichtigung nur nach vorheriger Terminvereinbarung. Contains monographs, catalogs raisonnés, exhibition and collection catalogs etc., e.g. by or about R. Geiger, J. Holzer, Mondrian, Rothko, Mel Ramos, B. Heiliger, W. Baumeister, De Chirico, Menzel, Boticelli, Turner, Poussin, Galerie Nierendorf 1920-1970 and many more. Photographs on request. Due to the quantity, the collection is stored at an external location. Viewing by appointment only.
Bridget Riley (b.1931)Hommage to Rothko (Tommasini & Gubay 20)Screenprint in colours, 1973, signed and dated in pencil, numbered from the edition of 75, printed by Kelpra Studio, London, with their ink stamp verso, published by Propyläen Verlag, Berlin, on wove paper, sheet 708 x 912mm (28 x 36in)
LAWRENCE CALCAGNO (1916-1993)Rio Grande signed and dated 'Larry Calcagno 1972' (lower right)oil and mixed media on paper56.5 x 76.2cm (22 1/4 x 30in).Executed in 1972Footnotes:ProvenancePrivate Collection, New Mexico.203 Fine Art, Taos, New Mexico.Acquired from the above by the present owner.The abstract expressionist, Lawrence Calcagno held his first solo show at the famed Martha Jackson gallery in 1955, and the artist went on to hold approximately eighty solo exhibitions and feature in a total of nine Whitney Biennials. Even with such a storied pedigree, the artist's career is only now receiving it's due.Hailing from the Bay Area, Calcagno studied at the California School of Fine Arts where he found his personal style of bands of bold colours, suggestive of the horizon. Whilst studying at CSFA, Calcagno was instructed by, and interacted with, some of the most prominent figures in the Abstract Expressionist movement, including Clyfford Still, Mark Rothko, Ad Reinhardt and Richard Diebenkorn, all of whom significantly influenced Calcagno's development. Visiting Paris in the 1950s, the artist became an intimate of Beauford Delaney, and relationship that would continue for decades. And their work too enjoyed a relationship, abstracts investigating the almost mystical nature of painting.The 1970s represented a period of artistic maturity and refinement for Calcagno, where he fully embraced the abstract expressionist style that he had been developing over the previous decades. His works from this era are marked by an intense focus on colour, light, and space, which often conveyed a sense of spiritual depth and emotional resonance, beautifully evidenced in this present work. While many of his earlier works had direct references to nature and the landscapes of the American West, by the 1970s, his paintings became increasingly abstract. Rather than depicting specific places, his work sought to capture the feeling or essence of the landscape. His pieces evoke the expansiveness of the desert or the vastness of the sky without literal representation. Calcagno's work during the 1970s also reflected his belief in art as a pathway to understanding life's deeper mysteries. He often spoke about how his paintings were less about depicting the external world and more about an inner exploration of his thoughts and emotions. His work is frequently described as 'spiritual abstraction,' and he was influenced by his travels to the American Southwest, where he found inspiration in the landscape's vastness and quiet beauty.Today, Calcagno's work can be found in numerous museums and institutions, including the Museum of Modern Art, (MoMA), the Whitney Museum of American Art, the Smithsonian Institution, the Boston Museum of Fine Arts and the Carnegie Museum of Art, among others.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
William Scott CBE RA (1913 - 1989) Still Life, 1957 Gouache on paper, 51 x 74cm Signed lower rightProvenance: Purchased directly by Miss Deborah Brown from the Hanover Gallery on 2 March 1959Exhibited Belfast 'William Scott', Ulster Museum in 1963 catalogue no.63; Banbridge, 'William Scott', F.E.Mc William Gallery, in 2009 catalogue no.12Throughout the 1950s, Deborah Brown’s work became increasingly abstracted, partly due to the experience of painting stage sets and designs for Mary O’Malley at the Lyric Theatre, until in 1958 she began to make her first gestural non-representational paintings, in which her interest in musical structure and effect were influential. Although keenly engaged with American and European contemporaries, such as Pollock, Rothko and de Staël, she quickly began to explore three-dimensionality, breaking through the canvas surface and adding everyday materials in a manner that foreshadowed the emergence of the Arte Povera movement later in the decade. From the mid-1960s, Brown used fibreglass in a sculptural manner on canvas or board and eventually began to make independent three-dimensional fibreglass works.
* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) LEAP FOR JOY oil and felt tip pen on paper, signed, titled and dated 2011mounted and framedimage size 37cm x 50cm, overall size 55cm x 68cm Label verso: Gimpel Fils, LondonNote: Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work. Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958, he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale. Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings possess a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures, and it is the combination of these experiences, together with his freedom of expression, that gives Davie his unique style.
* BRUCE TIPPETT (BRITISH 1933 - 2017), LANDSCAPE WITH REEDS charcoal on paper, signed and dated '08mounted, framed and under glassimage size 43cm x 53cm, overall size 75cm x 82cm Note: Bruce Tippett was a British born artist who was championed by Philip Granville (Lord's Gallery, London) and the legendary Betty Parsons (Betty Parsons Gallery, New York) and others. Jane England writes in her 1992 catalogue : "In 1957, he (Tippett) saw Japanese brush paintings for the first time at the British Museum (which now houses nine Bruce Tippett drawings). He recalls now that 'Something awoke in me and I entered another realm'. The works of the Japanese calligraphers inspired him by their mixture of spontaneity and contemplation. Like the Zen masters, Tippett achieved spontaneity by constantly paring down the image and concentrating on its essential spirit, with no sign of the struggle involved. When Tippett first saw a work by Hartung at Gimpel Fils in May 1958, he was struck by the similarities of their respective calligraphic styles. These similarities had different origins. In Tippett's case the energetic strokes and lines came from his early drawings of reeds and stakes in marsh landscapes and the studies he had made of building structures, whereas Hartung's expressive calligraphy came from his early experiments with automatism." Alan Bowness pointed out in his "Portrait of the Artist" (1958) that "having made the first steps on his own Tippett realized that the calligraphic paintings of Hartung pointed in the direction he wished to go but by the end of 1957 Tippett had reached something that was recognizably an original manner, and the drawings done then and at the beginning of this year have a remarkable ease and assurance." After Peggy Guggenheim closed her Art of This Century Gallery in 1947, Parsons was one of only a very few gallery owners to promote avant-garde American art at a time when the commercial demand for it was minuscule. The Betty Parsons Gallery was also, for a considerable time, the only gallery in the US which promoted and supported Abstract Expressionism. Parsons played a major and significant role in establishing New York as the centre of the art world and Jackson Pollock, Mark Rothko, William Congdon, Clyfford Still, Theodorus Stamos, Ellsworth Kelly, Hedda Sterne, Forrest Bess, Michael Loew, Lyman Kipp, Judith Godwin, Tony Smith, Robert Rauschenberg, Barnett Newman and many other artists owed much to Betty Parsons. Bruce Tippett first visited New York in 1965 when Dorothy Miller bought one of his paintings for MOMA. He met Betty Parsons at the Venice Biennale in 1966 and immediately afterwards she visited his studio in Rome and bought several paintings and drawings for her gallery. Bruce Tippett exhibited regularly at The Betty Parsons Gallery (New York) from 1967 and had his last solo show there in 1981, the year before Betty Parsons died. Bruce Tippett continued to exhibit in the US and the UK and even more frequently in Italy and France. He died in France in 2017, where he had lived and worked since 2005. His work is held in some of the most important collections in the US and Europe including The Louvre (Paris), The British Museum (London), Galleria Nazionale d’Arte Moderna (Rome) and MOMA (New York), yet in his country of birth, his work remains relatively unknown.
* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) UNTITLED pen on paper, signed and dated 2011mounted, framed and under glassimage size 13cm x 12cm, overall size 32cm x 30.5cmNote: Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work. Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958, he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale. Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings possess a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures, and it is the combination of these experiences, together with his freedom of expression, that gives Davie his unique style.
Aubrey Williams, Guyanese/British 1926-1990 - Kumaka, 1963; oil and mixed media on canvas, signed, dated and titled on the reverse 'Aubrey Williams 63 Kumaka', 71 x 81.3 cm (ARR) Provenance:private collection and thence by descent Note: Kumaka refers to a village in Williams's native Guyana. This piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
Aubrey Williams, Guyanese/British 1926-1990 - Guiana, 1963; oil on paper, signed, dated and titled lower right 'Aubrey Williams 63 Guiana' and titled again on the reverse of the frame, 59 x 76.5 cm (ARR) Provenance: private collection and thence by descent Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
Peter Kalkhof (1933-2014) Space and Colour, Horizon Blue and Green Acrylic on canvas, 37 x 37cm Signed, inscribed and dated 1973 verso Provenance: Annely Juda Gallery, label versoBorn in 1933 in Germany, Peter Kalkhof studied painting at the School of Arts and Crafts, Braunschweig and the Academy of Fine Art, Stuttgart followed by time spent in London at the Slade School of Art and École des Beaux-Arts in Paris in the early 1960’s. In 1963 he settled in London and from 1964 (through to 1999) he taught Fine Art at Reading University. Kalkhof was an important pioneer and co-initiator, as well as a proponent, of the dominant art movements in the 1970s which are variously known as Concrete Art, OP Art, New Geometry, Hard Edge or Post-Painterly Abstraction. In the middle of the 1960s Peter Kalkhof developed the principle of Colour & Space, the basis of his artistic life’s work. He was deeply influenced by the transcendental abstractions of artists like Malevich, Kandinsky and Rothko. His artworks are described by his friend and colleague, art historian Roger Cook, as: ‘Numinous evocations of light and colour addressed to a world after the death of God in which profane space recovers its sacred origin; images which renew man's ancient experience of ‘sacred space’.’(1977) Kalkhof is represented by Annely Juda Fine Art in London.
Rachel Howard, British b.1969 - Dead Spit (Diptych), 2011; acrylic, oil and household paint on canvas laid down on board, diptych, 38.2 x 38.2 cm and 25.5 x 25.8 cm (unframed) (2) (ARR) Provenance: with Blain|Southern Gallery, London, 36909 (according to the label attached to the reverse); The Collection of Ralph I. Goldenberg Note: Howard is considered to be one of the most influential British Contemporary artists of the 21st Century, producing emotionally charged abstract compositions. In this exemplary mature work, Howard uses household gloss paint, often mixed with acrylic, to speak about the fragility and tragedy of the human condition. The pigment and clear varnish are applied to the edges of the canvas which then, through gravity, spreads downwards to create strong vertical lines. The large scale envelops the viewer in washes and veils of colour, in the tradition of Rothko and the Abstract Expressionists and have been described as 'a psychological and physical battle' by Sue Hubbard. Graduating from Goldsmiths College, London in 1991, Howard would go on to receive The Princes Trust Award in 1992, shortlisted in 2004 for the Jerwood Drawing Prize, and eventually gaining a British Council Award in 2008. During her studies at Goldsmiths, Howard became friends with fellow student Damien Hirst who employed her as his assistant to execute his Spot paintings.Howard was recently the subject of a solo exhibition at MASS MoCA, Massachusetts, US, and her works are in the collections of the Arts Council Collection, UK, Imperial War Museum, London and the Victoria and Albert Museum, London. Her work was recently part of the exhibition ‘BIG WOMEN’ at FirstSite, Colchester, curated by fellow Goldsmiths alumni Sarah Lucas, alongside Gillian Wearing and Polly Morgan.
A collection of 50+ assorted modern art books and catalogues, good quantity modern and 20th Century British art & sculpture etc, including Henry Moore, Barbara Hepworth, David Hockney, Lucian Freud, Euan Uglow, Terry Frost, David Wilde, Edward Middleditch, Peter Randall-Page, Mark Shields, Matthew Smith, Rachel Howard, William Turnbull, Peter de Francia etc, plus others Mark Rothko, Kasimir Malevich, Picasso, Pierre Bonnard, Jackson Pollock, Paul Feiler, Martin Bloch, Antoni Tapies, Fernando Botero, Leo Wesel, Wolfgang Ellenrieder, Tenzing Rigdol, plus a few photography including Marc Atkins, Josephine Pryde, Hak Tae Lim etc (50+)
acrylic on canvas, signed and dated 2020, titled label verso framed and under glass image size 59cm x 49cm, overall size 67cm x 56cm Label verso: Open Eye Gallery, Edinburgh Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
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