Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
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Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
Charlie Calder - Potts Far Fetched Treasures, 2020 Ink, Pencil, Paper and Acrylic Signed verso 10 x 15cm (3¾ x 5¾ in.) Charlie Calder-Potts is a British artist based in UK. Her work looks at history and it's repetitive nature; the value of our heritage and our similarities to previous generations and to each other. Charlie has had many notable exhibitions and commissions both in London and abroad. Previous projects include her selection as an Official War Artist with the British Army in Afghanistan 2013/14, a private commission in Iraq in 2015 and Tajikistan in 2016, a collaborative project sponsored by The British Arts Council in Iran, 2017/18 and most recently Russia 2018/19. Her installations have included large scale aluminium pieces, armoured metal, wood panel and vellum paper, combining photography, painting and drawing.
Charlie Calder - Potts And Only One of them Remained, 2020 Ink, Pencil, Paper and Acrylic Signed verso 10 x 15cm (3¾ x 5¾ in.) Charlie Calder-Potts is a British artist based in UK. Her work looks at history and it's repetitive nature; the value of our heritage and our similarities to previous generations and to each other. Charlie has had many notable exhibitions and commissions both in London and abroad. Previous projects include her selection as an Official War Artist with the British Army in Afghanistan 2013/14, a private commission in Iraq in 2015 and Tajikistan in 2016, a collaborative project sponsored by The British Arts Council in Iran, 2017/18 and most recently Russia 2018/19. Her installations have included large scale aluminium pieces, armoured metal, wood panel and vellum paper, combining photography, painting and drawing.
Max Renneisen Bikini No.1, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Max Renneisen is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery. Working in a range of media and formats, from small drawings on paper to large-scale oil paintings on canvas, Max Renneisen is particularly concerned with general issues such as human relationship with nature and the relationship between idealand reality. Max Renneisen was born in Hamburg in 1977. He first studied Architecture at Bauhaus-University, Weimar, before he changed to History of Art at Humboldt-University of Berlin and concluded his studies with a Master's degree. Numerous journeys took him to the most important museums and galleries in Europe, where he studied the works of Diego Velázquez, Peter Paul Rubens, Jusepe de Ribera, Frans Hals and Joshua Reynolds as well as those of Francisco de Goya and Gustave Courbet. He lives and works with his partner visual artist Katharina Renneisen.
Max Renneisen Bikini No.2, 2020 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) Max Renneisen is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery. Working in a range of media and formats, from small drawings on paper to large-scale oil paintings on canvas, Max Renneisen is particularly concerned with general issues such as human relationship with nature and the relationship between idealand reality. Max Renneisen was born in Hamburg in 1977. He first studied Architecture at Bauhaus-University, Weimar, before he changed to History of Art at Humboldt-University of Berlin and concluded his studies with a Master's degree. Numerous journeys took him to the most important museums and galleries in Europe, where he studied the works of Diego Velázquez, Peter Paul Rubens, Jusepe de Ribera, Frans Hals and Joshua Reynolds as well as those of Francisco de Goya and Gustave Courbet. He lives and works with his partner visual artist Katharina Renneisen.
Max Renneisen Bikini No.3, 2020 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) Max Renneisen is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery. Working in a range of media and formats, from small drawings on paper to large-scale oil paintings on canvas, Max Renneisen is particularly concerned with general issues such as human relationship with nature and the relationship between idealand reality. Max Renneisen was born in Hamburg in 1977. He first studied Architecture at Bauhaus-University, Weimar, before he changed to History of Art at Humboldt-University of Berlin and concluded his studies with a Master's degree. Numerous journeys took him to the most important museums and galleries in Europe, where he studied the works of Diego Velázquez, Peter Paul Rubens, Jusepe de Ribera, Frans Hals and Joshua Reynolds as well as those of Francisco de Goya and Gustave Courbet. He lives and works with his partner visual artist Katharina Renneisen.
Amy Bessone Small Refuge 1, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?" Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses". Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California, Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Amy Bessone Small Refuge 2, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?" Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses". Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California, Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Amy Bessone Small Refuge 3, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?" Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses". Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California, Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Amy Bessone Small Refuge 4, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?" Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses". Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California, Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Miles Regis Golden Eye, 2020 Acrylic and Spraypaint on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) In the life and studio of LA-based, Trinidad-born artist Miles Regis, every action is an opportunity for creative self-expression. Prolific in both fine art art and fashion design, Regis freely swaps the materials and languages of each to enrich the other. His large-scale mixed media paintings on canvas and linen incorporate dimensional collage elements of denim, buttons, leather, printed matter, sequins, and patches of eclectically sourced found textiles along with his dextrous, gestural, richly hued abstract and figurative painting techniques. Aggressively hopeful and humanistic, Regis embraces a storytelling stance in his stylized renditions of fundamental scenes of love, loss, freedom, survival, activism, and living history. Regis' work is in the permanent collection of Intel Corporation, California African American Museum, and Senegal's La Musee Borindar; and has appeared in association with CNN, Art Basel Miami, The Coachella Music and Art Festival, CCH Pounder, Million Dollar Listing, The Marley Family, Josh Flagg, American Rag Cie, Art For Amnesty, Campaign for Black Male Achievement, Manifest Justice, Adobe, and Tonny Sorenson. Regis has exhibited at Art Basel Miami and The Coachella Arts And Music Festival and has been featured on CNN, the Huffington Post, Extra TV and Ebony Magazine.
Miles Regis Dem September Eyes, 2020 Acrylic and Spraypaint on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) In the life and studio of LA-based, Trinidad-born artist Miles Regis, every action is an opportunity for creative self-expression. Prolific in both fine art art and fashion design, Regis freely swaps the materials and languages of each to enrich the other. His large-scale mixed media paintings on canvas and linen incorporate dimensional collage elements of denim, buttons, leather, printed matter, sequins, and patches of eclectically sourced found textiles along with his dextrous, gestural, richly hued abstract and figurative painting techniques. Aggressively hopeful and humanistic, Regis embraces a storytelling stance in his stylized renditions of fundamental scenes of love, loss, freedom, survival, activism, and living history. Regis' work is in the permanent collection of Intel Corporation, California African American Museum, and Senegal's La Musee Borindar; and has appeared in association with CNN, Art Basel Miami, The Coachella Music and Art Festival, CCH Pounder, Million Dollar Listing, The Marley Family, Josh Flagg, American Rag Cie, Art For Amnesty, Campaign for Black Male Achievement, Manifest Justice, Adobe, and Tonny Sorenson. Regis has exhibited at Art Basel Miami and The Coachella Arts And Music Festival and has been featured on CNN, the Huffington Post, Extra TV and Ebony Magazine.
Jonas Burgert Log, 2020 Graphite on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Jonas Burgert is a contemporary German artist working in darkly comic, large-scale paintings. He is best known for his use of animals and people as ornamentation, often portraying them in the midst of ritual acts such as in Second Day Nothing (2008). Burgert's work has been compared to Hieronymous Bosch for its fantastical and tortured imagery, and his frequent use of North African motifs, which is inspired by a period when the artist lived in Egypt. Born in 1969 in West Berlin, Germany, he graduated from the Berlin Academy of Fine Arts in 1996 with his earliest works consisting of series of fractal images created collaboratively with the artist Ingolf Keiner. Burgert's first solo exhibition was at the Produzentengalerie Hamburg in 2006, and he has since been widely shown, including solo shows at the Denver Museum of Contemporary Art in 2008 and the Blain Southern Gallery in London, in 2014. He lives and works in Berlin, Germany.
Bill Adams Untitled, 2020 Ballpoint Pen and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Bill Adams is an American Post-war & Contemporary artist was born in 1957. He studied Fine Art at Indiana University, Bloomington in 1986, and his work has been featured in numerous exhibitions at key galleries and museums, including the White Columns and the 56 Henry. Bill Adams is known for his obsessive drawings in ballpoint pen that offer a roster of furry creatures in simple perspectival landscapes. While they are not anatomically aligned with known animals, they possess a surprising power to solicit our interest and empathy. What is their condition exactly? Like staring sentinels, they express a cartoon version of existential anxiety-watchful, hopeful, sad, stoic, and bewildered. Their lower bodies seem to be merged with the ground, fixing them in place like monuments. The intimate scale of these works and their accumulation of short pen strokes are reminiscent of the dense vision of Leonardo Da Vinci's "deluge drawings," and their compositions owe something to the surreal elegance of Salvador Dali's imagery. The unmistakable blue palette brings to mind bored students with Bic pens, filling the pages of their notebooks with fantastic beings.
Bill Adams Untitled, 2020 Ballpoint Pen and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Bill Adams is an American Post-war & Contemporary artist was born in 1957. He studied Fine Art at Indiana University, Bloomington in 1986, and his work has been featured in numerous exhibitions at key galleries and museums, including the White Columns and the 56 Henry. Bill Adams is known for his obsessive drawings in ballpoint pen that offer a roster of furry creatures in simple perspectival landscapes. While they are not anatomically aligned with known animals, they possess a surprising power to solicit our interest and empathy. What is their condition exactly? Like staring sentinels, they express a cartoon version of existential anxiety-watchful, hopeful, sad, stoic, and bewildered. Their lower bodies seem to be merged with the ground, fixing them in place like monuments. The intimate scale of these works and their accumulation of short pen strokes are reminiscent of the dense vision of Leonardo Da Vinci's "deluge drawings," and their compositions owe something to the surreal elegance of Salvador Dali's imagery. The unmistakable blue palette brings to mind bored students with Bic pens, filling the pages of their notebooks with fantastic beings.
Eric Inkala 6 Eyes in Blue, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Brooklyn-based Eric Inkala is a self-taught artist whose highly visual and ever-evolving style has ripened from graffiti to pop art to contemporary art. His work presents a playful graphic language in the form of a signature character who serves as a vehicle for an autobiographical narrative. It's through this personal storyline that Inkala is able to channel thoughts and emotions into expressions of shape, colour and text. His universally approachable concept is amplified through increasingly complex patterns and symmetry,which over the years have reflected both the abstract escapades of his trademark character and Inkala's own artistic journey. Working primarily in acrylic, his paintings vary in size from large-scale canvas to sculpture, prints and small works on paper. Eric Inkala was born in Minneapolis, MN. His work has been exhibited nationally at galleries such as THIS Gallery (CA), Parlour Gallery (NJ), Public Functionary (MN), Joseph Gross Gallery (NYC) and most recently at Cass Contemporary (FL) Scope Miami beach and Blackbook gallery in Denver Colorado. His work has also been presented internationally, most recently at Gallery Poulsen in Copenhagen Denmark. Inkala murals have covered walls in Minneapolis, Palm Springs, and at the Ace Hotel in New York City.
Megan Fatharly Ocean Sands, 2020 Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Megan Fatharly was born in Edinburgh and grew up by the coast. She graduated in 2018 with a BA in Drawing from Falmouth University and found solace in the printmaking process. Megan utilises traditional techniques and manipulates different surfaces to play with texture and layering. She plays around with various ways of bringing fragments together and this includes collage and drawing. Scale is an important aspect of her work, with many of her pieces measuring just 2cm in size. Delicate linework and subtle, intricate layers come together to form individual narratives which allow the everyday to be explored. She is inspired by the mundane intricacies of interiors, hidden spaces and elevating forgotten memories. Collages are created using gouache and hand made papers. She utilises processes like embossing and experiments with new ways of creating a narrative through the manipulation of surface.
Megan Fatharly Tomatoes, 2020 Collage on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Megan Fatharly was born in Edinburgh and grew up by the coast. She graduated in 2018 with a BA in Drawing from Falmouth University and found solace in the printmaking process. Megan utilises traditional techniques and manipulates different surfaces to play with texture and layering. She plays around with various ways of bringing fragments together and this includes collage and drawing. Scale is an important aspect of her work, with many of her pieces measuring just 2cm in size. Delicate linework and subtle, intricate layers come together to form individual narratives which allow the everyday to be explored. She is inspired by the mundane intricacies of interiors, hidden spaces and elevating forgotten memories. Collages are created using gouache and hand made papers. She utilises processes like embossing and experiments with new ways of creating a narrative through the manipulation of surface.
Walter Swennen Poker Face, 2020 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be 'emotive' or 'understood': the primary goal of painting is, quite simply, painting. Everything - form, colour, subject - comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs - he takes them as he finds them, high or low, and manipulates them at will - is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen's paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
Walter Swennen E L'ora, 2020 Pencil, Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be 'emotive' or 'understood': the primary goal of painting is, quite simply, painting. Everything - form, colour, subject - comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs - he takes them as he finds them, high or low, and manipulates them at will - is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen's paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
Walter Swennen Captain Time, 2020 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be 'emotive' or 'understood': the primary goal of painting is, quite simply, painting. Everything - form, colour, subject - comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs - he takes them as he finds them, high or low, and manipulates them at will - is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen's paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
Walter Swennen Elefant & Mice, 2020 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Walter Swennen is known for his radical, experiential and associative approach to painting, which is perhaps best summarised as a belief in the total autonomy of the artwork. For Swennen, a painting does not need to be 'emotive' or 'understood': the primary goal of painting is, quite simply, painting. Everything - form, colour, subject - comes from the outside. A poet before he became a painter, it is no coincidence that language plays a vital role in his practice. In the early 1980s, Swennen stopped writing poetry and switched to painting as his primary means of expression. Although his oeuvre varies greatly in scale, style and materials, it can be construed as an on-going exploration into the nature and problems of painting (its potential and limitations), the fundamental question of what to paint (subject matter), and how (technique). Often working on supports made from found objects, such as sheets of old plastic or salvaged wood, Swennen allows his chosen imagery to float loosely atop a background made up of more allusive elements, such as blocks of colour, dripped paint or unusual textures. The images he deploys are often derived from popular culture, advertising and magazines, or take the shape of everyday objects such as wine bottles or bicycles. The way that he handles motifs - he takes them as he finds them, high or low, and manipulates them at will - is akin to a kind of visual poetry that harks back to his early career as a writer. Freely associative, and above all humorous, Swennen's paintings explore the relationship between symbols, legibility, meaning and pictorial treatment. Walter Swennen (b. 1946, Brussels) lives and works in Brussels. A major retrospective will be held at Kunstmuseum Bonn in 2021, traveling to Gemeentemuseum Den Haag and Kunst Museum Winterthur. Solo exhibitions include La pittura farà da sé, La Triennale di Milano, Milan (2018); Ein perfektes Alibi, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2015); So Far So Good, WIELS, Brussels (2013-14); Continuer, Culturgest Lisbon (2013); Garibaldi Slept Here, Kunstverein Freiburg (2012) and How To Paint A Horse, Cultuurcentrum Strombeek and De Garage, Mechelen (2008).
Orlanda Broom Bowie, 2020 Acrylic on Canvas Board Signed verso 15 x 10cm (5¾ x 3¾ in.) Orlanda Broom's paintings are lush, colourful landscapes depicting a re-imagined world with no trace of human intervention, often painted with a vivid palette that imply a level of toxicity or otherworldliness. In her small scale pieces, strange plants take on bodily qualities and come close to being anthropomorphic. Orlanda regularly exhibits with galleries and works with international art advisors. She has been an artist since graduating in 1997 from Winchester School of Art, the MA course being based in Barcelona. Returning to UK from living aboard in 2008, she settled in London has worked as a full-time Artist since. She is now based in Hampshire. Broom's paintings are often commissioned for large-scale works; these include the lobby piece for the Four Seasons in Downtown New York, a 4x4m centrepiece and a large abstract for the Mandarin Oriental in London. She has been highlighted as a highly investible artist in the Financial Times and Money Week and her paintings are regularly selected for various competition exhibitions.
Orlanda Broom Medusa Pots, 2020 Acrylic on Canvas Board Signed verso 15 x 10cm (5¾ x 3¾ in.) Orlanda Broom's paintings are lush, colourful landscapes depicting a re-imagined world with no trace of human intervention, often painted with a vivid palette that imply a level of toxicity or otherworldliness. In her small scale pieces, strange plants take on bodily qualities and come close to being anthropomorphic. Orlanda regularly exhibits with galleries and works with international art advisors. She has been an artist since graduating in 1997 from Winchester School of Art, the MA course being based in Barcelona. Returning to UK from living aboard in 2008, she settled in London has worked as a full-time Artist since. She is now based in Hampshire. Broom's paintings are often commissioned for large-scale works; these include the lobby piece for the Four Seasons in Downtown New York, a 4x4m centrepiece and a large abstract for the Mandarin Oriental in London. She has been highlighted as a highly investible artist in the Financial Times and Money Week and her paintings are regularly selected for various competition exhibitions.
EISMAN, JOHANN ANTON EISMAN, JOHANN ANTON 1604 Salzburg - 1698 Venedig Umkreis Titel: Weitläufige Hafenszene. Englische Kriegsherren, verankert vor der Küste. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 148,2 x 212,5cm. Rahmen/Sockel: Rahmen. Provenienz: Unternehmensammlung, Deutschland. Aus der Tradition Salvator Rosas und der Bambocchanten um Jan van Ossenbeek und Jan Asselijn kommend, entwickelt sich der aus Österreich stammende Johann Anton Eismann zu einem Vedutenmaler, der die Themen des 18. Jahrhunderts vorausgreift. Während seines längeren Romaufenthalts in den 1650er Jahren sind große Schlachtenszenen sein hauptsächliches Metier. Ab 1663 lebte er in Venedig; dort entstehen zuerst Landschaften mit antikisierende Elementen, bevor er dann mit Seestücken, Veduten und Capricci zu dem Thema findet, für das er zeitgenössisch anerkannt ist. Die hier gezeigte große Ansicht mit Hafen, Reederei und zahlreichen Seglern spricht in ihrem Detailreichtum für einen eher nordischen Künstler, welcher sich an Werken von Eisman geschult hat und diese mit einer typisch transalpinischen Genauigkeit in der Malweise umsetzte. Möglicherweise hat der Künstler des vorliegenden Gemäldes in der Werkstatt Eismans gelernt und sich dort von der Malerei "en vogue" beeinflussen lassen. Wir danken Enrico Lucchese, Triest und Dario Succi, Treviso, für Ihre Hilfe bei der Katalogisierung des vorliegenden Gemäldes. Erläuterungen zum Katalog Johann Anton Eisman Österreich 17.Jh. Originale Hafen Malerei Marine EISMAN, JOHANN ANTON EISMAN, JOHANN ANTON 1604 Salzburg - 1698 Venice Circle Title: Extensive Port Scene. English warlords, anchored off the coast. Technique: Oil on canvas. Mounting: Relined. Measurement: 148,2 x 212,5cm. Frame/Pedestal: Framed. Provenance: Corporate collection, Germany. Coming from the tradition of Salvator Rosa and the Bamboccianti like Jan van Ossenbeeck and Jan Asselijn, the Austrian-born artist Johann Anton Eisman developed quickly into a veduta-painter anticipating the themes of the 18th century. During his longer stay in Rome in the 1650s, he specialized and distinguished himself for the large-scale production of battle scenes. Since 1663, he settled in Venice; in the Venetian lagoon, he first painted landscapes with ancient elements and ruins; then he created his trademark by painting marinas and capricci, the themes for which he emerged on the art market and became famous. The present large port scene, with the cove, the shipping company and numerous sailors, suggests a Nordic artist, who trained on Eisman's workshop and realized the subjects of his master with a typically transalpine precision. We are grateful to Enrico Lucchese, Trieste and Dario Succi, Treviso, for their kind support in cataloguing the present painting. Explanations to the Catalogue Johann Anton Eisman 17th C. Old Masters Harbour Painting Navy
1951-56, chrome, serial no. 738122, with Schneider Curtagon f/2.8 35mm lens, black, serial no. 7283606, body, VG, shutter working, lens, G, some internal fungus, with maker's case and boxNote: US Export version with Weston meter scale and export boxNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
black, serial no. 497218, body, E, elements, E, with lens hood, caps and maker's case Note: Marked 'C' to side and scale in feetNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
English, c.1875, engraved C W Dixey Optician to the Queen 3 New Bond St London, with tall rectangular silvered scale with siphon tube with open bulb at the bottom and sealed bulb to the top filled with a clear liquid, thermometer to the left with mercury tube with Fahrenheit scale ranging between 20 & 140, adjustable silvered scale to the side with expanded scale annotated for barometric inches and with the usual weather observations, the lower left edge with silvered circular recording disc labeled REGISTER, engraved with barometric scale visible through an arched aperture, height 59cm
Late 18th century, unsigned, wooden body of circumferentor, with engraved graduated brass scale 0-90-0, trough compass with brass back engraved, with arrow, steel compass needle with brass support behind glass window, brass alidade unscrews and fits to side when not in use, staff socket below, width 29cm
Mathematics & Navigation.- Gunter (Edmund) The description and vse of the sector, crosse-staffe, and other instruments:...and the vse thereof in astronomie, navigation, dialling, and fortification, &c., 4 parts in 1 vol., second edition, engraved additional pictorial title and frontispiece, woodcut diagram to printed title, 2 woodcut plates, 2 printed slips ('The Scale of Chords and Rumba' and 'A Table for the use of the Chaine'), numerous woodcut diagrams and illustrations in text, without blank 2L2, the odd instance of later pencil marginalia, additional title with small ink stain and crease, occasional spotting or light staining, lightly browned, contemporary blind-ruled calf, sympathetically rebacked, spine in compartments and with red morocco label, rubbed, [Tomash & Williams G102; STC 12523], small 4to, Printed by William Iones, for Iames Bowler, and are to be sold at the Marigold in Pauls Church-yard, 1636.⁂ A solid copy of this considerably expanded second edition, which is rarely found complete (our copy lacking only a blank). Includes a chapter on the mathematics of fortification not published before. It 'must rank with Eden's translation of Cortes's Arte de Navegar and Wright's Certaine Errors as one of the three most important English books ever published for the improvement of navigation... [Gunter] opened up... an entirely new field, that of arithmetical navigation' (Waters, Art of Navigation, p. 359).
Clark (Daniel Kinnear) Railway Machinery: A Treatise on the Mechanical Engineering of Railways: embracing the Principles and Construction of Rolling and Fixed Plant, 2 vol., first edition, 70 double-page engraved plates, wood-engraved illustrations, occasional spotting to text, plates foxed, one frayed at lower edge, contemporary half calf, rubbed, plate vol. broken and loose, folio, Glasgow..., 1855.⁂ Clark was an engineering consultant having worked on lines throughout Scotland and this work was considered the authoritative text of its day. The plates, many of which are to a large scale, give side and end elevations, transverse sections, plans & details of many different kinds of rolling stock and the locomotives include designs by Fairbairn & Sons, Kitson, Daniel Gooch, T. R. Crampton, Robert Stephenson & Co., & others.
A vintage aluminium ten gallon milk churn, manufactured by Grundy, Teddington, 1959, height 73cm.Condition report: This churn has had a working life. There are scratches, small scale dents, spotting etc. To us at Lays, all these 'imperfections' add to the authenticity and charm of the piece.
* GERARD PUVIS (FRENCH b 1950 - ), JEUNE ET VIEUX (young and old) oil on canvas, signed 160cm x 120cm (approximately 63 x 48 inches) Unframed, as intended Provenance: Private Edinburgh collection. Acquired 1988 from the Alain Blondel Gallery, Paris. Jeune et Vieux depicts the ballet dancer Serge Lifar, in old age and youth. Note: Since leaving Lyon's Ecole Nationale Superieure des Beaux Arts in the early 1970s, Puvis has made a name for himself with large-scale paintings, murals and sculptures. As well as having received numerous awards, his work is held in the permanent collection at Paris’s Pompidou Centre. Gerard Puvis's work has been widely exhibited in multiple solo and group shows in Paris, around France, in Belgium, Germany, Spain, Austria, Switzerland, Sweden, Italy, Japan and the US. Note 2: Serge Lifar was prominent among those who introduced neo-classical ballet. He was appointed Maître de Ballet of the Opéra de Paris, from 1930 to 1944 and again from 1947 to 1958. Serge Lifar endeavoured to restore technical excellence of the Ballet de l'Opéra de Paris, making it, from the 1930s to this day, one of the greatest ballet companies in the world.
Yiannis Moralis (Greek, 1916-2009)Erotic signed, inscribed in Greek and dated '1977' (lower right); signed and dated 'Yannis MORALIS/Athènes-Grèce/1977' (on the reverse)acrylic on canvas147 x 124 cm.Footnotes:ProvenanceZoumboulakis Galleries, Athens.Private collection, Athens.Bonhams, The Greek Sale, 10 November 2008, lot 90.Acquired from the above by the present owner.ExhibitedAthens, Zoumboulakis Gallery, Moralis, March 1978, no. 14 (illustrated in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April - June 5, 1988, no. 89, possibly (listed in the exhibition catalogue, p. 67). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.Literature Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 242, p. 241 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 168 (illustrated)Y. Bolis, Yannis Moralis, Adam editions, Athens 2005, p. 99 (illustrated).Y. Bolis, Yannis Moralis, Ta Nea editions, Athens 2007, p. 81 (illustrated).Axia newspaper, November 1, 2008, p. 7/58 (illustrated).Kathimerini newspaper, December 25, 2009, Arts and Letters, p. 8 (illustrated).Archaiologia & Technes magazine, no. 111, June 2009, p. 28 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Yannis Moralis Works, p. 3 (illustrated).'In Moralis's work, the earth of Aegina and the bodies of young girls emerge with the dampness of the sea, like magnified fragments of ancient Greek vases or miniature frescoes from a bygone place of worship.'Odysseus Elytis1 Painted on the island of Aegina2 in the summer of 1977, Erotic demonstrates a striking balance between erotic passion, lyrical feeling and intellectual thought. True to his classical Greek heritage and yet utilizing a formal vocabulary perfectly balanced to the scale of modern sensitivity, Moralis sought the realization of a classical ideal, the discovery of a universal measure for logos and pathos. 'The erotic encounter of two people, life's greatest mystery, stripped from any external element that threatens to alienate it, is depicted in a simple and, therefore, essential way. The figures are broken down to their constituent parts and then reassembled; as a result, the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. Any dryness or harshness that could result from such an austere, constructivist approach, is avoided due to the artist's sensitivity.'3Imbued with the eroticism of the curved line, Erotic reflects the artist's long preoccupation not only with the suggestively rendered female form, but also with the inner rhythm and musical resonance generated by the combination of varied types, shapes and colours. He used abstraction to isolate the core of human existence, to create a symbolic language of evocative forms that echo age-old memories, freed from the burden of their physical existence.4 As aptly noted by Professor D.N. Maronitis, 'Moralis's paintings take us directly to the wondrous world of pure vision, which emerges, however, from the world of touch.'5 Reviewing the artist's work from the late 1970s, K. Koutsomallis, Director of the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, incisively noted: '1976 marks the beginning of a period devoted exclusively to geometric abstraction. His forms now become wholly immaterial, dissolving into pure schemata. Their monumental character does not reduce their sensuality. On the contrary, eroticism acquires its transcendental expression. In no way does this sensual robustness of form—only vaguely reminiscent of nude human figures—take anything away from their graceful tenderness, lyrical quality and richness.'6 The evocative symbolism of the couple's loving embrace and the serene rhythm dictated by the classical sense for human scale, compose a universe of poetic images that echoes the timeless values of ancient Greek art. 1 Preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 2 In the summer afternoons in the artist's island studio, some close friends had the privilege to first see his latest works. 'Though daylight started to wane, another glow lit the atmosphere, tenderly embracing his 'doric' paintings.' See C. Capralos, Autobiography [in Greek], Athens 2001.3 V. Karaiskou, 'An Attempt to Approach Yannis Moralis's Work' [in Greek], Sima magazine, no. 7, March-April 1992, p. 20.4 See Y. Bolis, Yannis Moralis [in Greek], Ta Nea ed., Athens 2007, p. 79.5 D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima daily, 15.3.1992. 6 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, (exh. cat.), Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, pp. 18-19, 30.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
AN APPLIQUE FELT MIHRAB HANGING, BANYA LUKA, OTTOMAN BALKANS, FIRST HALF 19TH CENTURY of rectangular form, the design comprising a polychrome central floral arch containing a stylised tree of life, surrounded by a scrolling floral border fringed with scale pattern, laid onto cloth backing 169 x 104cm
A HEREND LEAF SHAPED PICKLE DISH, WITH SCALE PUCE GROUND, AN ADDERLEY EARTHENWARE MODENA PATTERN BOWL, PRINTED AND PAINTED WITH PEONIES IN COBALT AND GILT BORDER, A 19TH C STAFFORDSHIRE FLATBACK SPILL HOLDER GROUP AND ANOTHER OF THE DEATH OF THE STAG, TWO GERMAN FAIRINGS C1870, ETC As a lot, in good condition
![Speed (John) The North and East Ridins of Yorkshire, John Sudbury and George Humbell, 1610 [1611], hand-coloured engraved map](https://cdn.globalauctionplatform.com/5965b0c8-046f-4845-ad8e-ac4400bf696f/8d36e485-0748-42ec-9ff4-ac6b00901da9/468x382.jpg)
Speed (John) The North and East Ridins of Yorkshire, John Sudbury and George Humbell, 1610 [1611], hand-coloured engraved map, 388mm x 505mm, English text on reverse (pages 81-82, signature X1), small tear (without loss) above scale, small hole in upper margin, framed close to side borders, perspex glazing front and rear. [Whitaker p.9]
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