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Lot 268
William Scott CBE, RA (1913-1989) - 'Blue Still Life', coloured lithograph, inscribed Blue Still Life by William Scott, published for PSA Supplies Division and Editions Alecto Ltd, dated 1975, 70 x 90 cm approx sheet size, unframedCondition report: It has been rolled for some time and as such isn't completely flat when laid out. The colours are good and there is no foxing or staining visible. The outer edges are slightly creased but nothing serious. The inscription along the lower edge is printed. There is no inscription within the plate.
Lot 270
Three framed oil on canvas, one signed ‘Lainas’, courtyard scene with fountain, one signed ‘Nagy Sing’, three boats, with one still life with flowers in vase. IMPORTANT: Online viewing and bidding only. Collection by appointment via our website or arrange with Mail Boxes Etc couriers ONLY.
Lot 1141
Frederick Gore (British, 1913-2009), Still life: Strawberry Jug Waiting for Summer, signed 'F Gore' (lower right), acrylic on paper, 75 x 56cmARR Condition Report Private UK collection.Some undulation to paper. Pencil mark visible upper right but this could be part of work.Overall appearance generally good.
Lot 1089
Victor Leclaire (French, 1830-1885), Still life of flowers, oil on panel, signed and dated 'V Leclaire 1874' (lower right), 40 x 60cm Condition Report Panel is sound. The paint surface is dirty with scattered, fine craquelure consistent with a work of this age, also discolouration to varnish. Ultraviolet light reveals an opaque varnish which prevents a more conclusive reading. Held in a plaster gilt frame in poor condition with extensive losses to giltwork.
Lot 1091
Simon Pietersz Verelst (The Hague, 1644-1721 London), Still life of flowers, oil on canvas, 69 x 56cm Condition Report The canvas has been relined. The paint surface is generally sound with traces of craquelure throughout, consistent with a work of this age; also flecks of surface staining and evidence of minor abrasions to the extreme lower right and lower left corners. Ultraviolet light reveals reveals evidence of extensive but well-executed retouching under a previous varnish, also more recent retouching to flowers centre left and centre right, also lower left.
Lot 1095
Pieter Gerritsz van Roestraten (Haarlem circa 1630-1700 London), Still life, Vanitas, signed 'P Roestraten' (on marble table), oil on canvas, 62.5 x 55.5cm Condition Report Relined canvas. Paint surface has a thick varnish and is generally sound with a scattered craquelure pattern consistent with a work of this age. Ultraviolet light reveals retouching to the right of the jar, to the skull, lower left and chain, also lower left; some further areas of retouching to background along with retouching to frame abrasions.
Lot 5027
Mars and Venus: An 18th Century Ivory Fan with ornate gilded and silvered gorge, a central cartouche and two side vignettes all carved with figures, the remaining sticks carved with profiles, cherubs, tokens of love, and, centrally, a sun. The double vellum leaf, mounted à l'Anglaise, depicts Mars and Venus in a clearing surrounded by cherubs, playing with flowers, climbing stone pedestals, one trying on the helmet discarded by Mars along with his shield. At each side, a vignette painted with still life, the remaining reserves painted with ornate scrolling and small floral sprays. The verso is painted with floral sprays, mainly in gold. Guard length approx. 10.5 inches or 27cm. Together with A Similar Period Mother-of-Pearl Fan, the monture gilded and silvered, the gorge with three definite depictions, figures, some wearing helmets, some ladies in elaborate 18th century dress. Another depiction of Mars and a lady, cherubs cavorting, playing with flowers and discarded armour, and in the sky above, an image that would normally relate to Venus. The verso is plain. Guard length approx. 11.5 inches or 29.5cm (2). First fan, some rubbing to some folds. The gilding and silvering are generally dull, the gilding having survived with some colour. The second fan has a damaged monture, most pieces present, Rubbing to the folds,
Lot 5037A
A Mid-18th Century Ivory Fan, the velum leaf mounted à l'Anglaise and colourfully painted with Flora, having happened upon a young maiden seated at the riverside with a group of playful winged cherubs playing at her feet, one playing a lyre, the others concocting flower garlands. An oval vignette to the left, en grisaille, portrays a lone gentleman gazing at a ruin. To the right, in similar fashion, a lady sits in the shade of a tree in the grounds of a large county house with stone tower. The reserves are lightly painted in gold, with meandering flowers and leaves. The verso is plain, save for a still life. The upper guards are carved with a large female figure in elaborate gown, the gorge sticks with similar figures in the central cartouche, a small vignette at each side contains cherubs. Remaining sticks are intricately carved, some having been set with stones. Large diamanté at the rivet. Guard length approx. 11 inches or 28cm. Together with A Second 18th Century Ivory Fan, the vellum leaf mounted à l'Anglaise, the head quite bulbous, painted with a village setting, a maiden drawing water from the well, three young men hovering to catch her eye, one sitting on the grass next to a basket. The verso is a mix of Chinoiserie with gold highlights to the sides and a simple rural fence and grass painted to the centre. Guard length approx. 11 and 5/8 inches or 29.5cm; A Third Ivory Fan with good features to the carving, the upper guards having various characters, including a church, a large man, a duck of other water fowl, the lower section carved with several towers or parts of buildings. The fine gorge sticks, carved, pierced and brightly gilded, have three points of focus, containing figures. The verso is painted with a large spray of small flowers in violet, blue and pink, with dark green leaves and gold highlights, these being continued on the upper border. Guard length approx. 11.75 inches or 30cm (3). The Flora fan leaf is a little rubbed, but generally this fan is sound and, had the silvering not tarnished, would have been particularly reflective in the light. The leaf of the second fan is quite well rubbed. Both guards lacking. The third fan has damage to the gorge sticks but the guards are intact. The bottom edge of the leaf is damaged where the gorge sticks have parted from the ribs.
Lot 130
FREDERICK BRUETON (British 19th Century), 'An Old Tankard', still life study of a large German carved ivory tankard, signed and dated 1881, with label verso, 67 x 49cm approx. (B.P. 21% + VAT) Overall appearing in good condition with no immediately obvious damage. Probably original frame which has been painted gold.
Lot 31
Archie Franks Ghost Train, 2020 Pen on paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Archie Franks studied at City & Guilds London Art School (2006-2009) and later Royal Academy of Arts, London. He has won multiple awards including the Tooth Award from Royal Academy of Arts, London in 2012 and the Sainsbury Scholarship in Painting from The British School at Rome in 2013. 'I incorporate a palimpsest of imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history, such as the baroque and rococo as well as major 20th century styles. The way I paint is a way to filter through memories and images from the culture that surrounds me and a way to render the familiar strange. It is in part a cathartic activity, dealing with my own history and life whilst also being a reflection on the culture at large and my own generational situation. Influences and staple points of reference range from films like David Cronenberg's 'Videodrome' and horror fiction like Stephen King, to films such 'Marie Antoinette' by Sofia Coppola and 'Suspiria' by Dario Argento. Also things like fairground designs, and stylistic elements from young adult book jacket design have begun to find a way into the works. In a sense I am an archaeologist of my own youth, trying to make poetry out of broken and forgotten things. I'm interested in making art from art that already exists, these images and paintings include Caravaggio's 'still life with basket of fruit', Fragonard's 'le petite parc', and some fairground painting by Fred Fowle. I like the dumb, or even punk aspect to redoing moments from the past with my own memories attached to art history, and the tension created from producing a 'cover' version A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes.'
Lot 32
Archie Franks Hot Chocolate, 2020 Pen on paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Archie Franks studied at City & Guilds London Art School (2006-2009) and later Royal Academy of Arts, London. He has won multiple awards including the Tooth Award from Royal Academy of Arts, London in 2012 and the Sainsbury Scholarship in Painting from The British School at Rome in 2013. 'I incorporate a palimpsest of imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history, such as the baroque and rococo as well as major 20th century styles. The way I paint is a way to filter through memories and images from the culture that surrounds me and a way to render the familiar strange. It is in part a cathartic activity, dealing with my own history and life whilst also being a reflection on the culture at large and my own generational situation. Influences and staple points of reference range from films like David Cronenberg's 'Videodrome' and horror fiction like Stephen King, to films such 'Marie Antoinette' by Sofia Coppola and 'Suspiria' by Dario Argento. Also things like fairground designs, and stylistic elements from young adult book jacket design have begun to find a way into the works. In a sense I am an archaeologist of my own youth, trying to make poetry out of broken and forgotten things. I'm interested in making art from art that already exists, these images and paintings include Caravaggio's 'still life with basket of fruit', Fragonard's 'le petite parc', and some fairground painting by Fred Fowle. I like the dumb, or even punk aspect to redoing moments from the past with my own memories attached to art history, and the tension created from producing a 'cover' version A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes.'
Lot 447
Yanghwa Safe Zone - Nowhere, 2020 Watercolour on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) "My recent paintings are ongoing construction sites, depict a real site of gentrification in South London where my studio also used to be situated. Since a property developer bought one of the old buildings, artists could rent workspaces for uncertain periods of the time until permission was granted to build a new luxurious apartment. To build someone's bright new home, some artist had to lose their workplace. These could even be life threatening for people who have lived in an area for years or for their whole lives. In this series, I ask if I am a victim of this brilliant future plan, gentrification. I use an imagination of utopia; that is, the landscape of new homes, nostalgic scenes or holiday sights. They are all real images from somewhere but they become unreal in my paintings, while still somehow looking real. While some people are dreaming of their new homes and putting their savings and mortgages into as-yet-unreal spaces, others are losing their lifelong homes, while others are making lots of money. The paradox of home and gentrification is situated in this heterotopic space, which looks like an unreality but exists everywhere in the city in which we live." Hwa Seon Yang, known as Yanghwa, is a South Korean artist living and working in London. Studying an MA in Painting in Seoul, she then went on to earn a second MA in Fine Art from Central Saint Martins, graduating in 2013. Her next step is a Professional Doctorate course at University of East London. Yanghwa's work is a visual allegory and tribute to children's play and the desire to negotiate non-perspective safety zones of comfort and familiarity. Running themes throughout her work include comfort zones and toys. A keen miniature toy collector, Yanghwa paints from her own vast collection of figures, breathing life into mass produced toys. Yanghwa works to create artworks that speak directly to the child within us all, invoking nostalgic memories of childhood and comfort. Her watercolor and pencil pieces are a vibrant and colourful exploration of memories and play, and have been exhibited in group shows across London, Seoul, Hong Kong and Beijing. Yanghwa was shortlisted for the prestigious Herbert Smith Freehills & Works in Print Art Prize in 2013, and has exhibited as par of Sweet 'Art' at Espacio Gallery, London's Arbeit Gallery (2013) and KAIS Gallery, Hong Kong (2007). Yanghwa's Jealous Prize print edition is now held in the Victoria & Albert Museum Permanent Print Collection.
Lot 448
Yanghwa Construction Site, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My recent paintings are ongoing construction sites, depict a real site of gentrification in South London where my studio also used to be situated. Since a property developer bought one of the old buildings, artists could rent workspaces for uncertain periods of the time until permission was granted to build a new luxurious apartment. To build someone's bright new home, some artist had to lose their workplace. These could even be life threatening for people who have lived in an area for years or for their whole lives. In this series, I ask if I am a victim of this brilliant future plan, gentrification. I use an imagination of utopia; that is, the landscape of new homes, nostalgic scenes or holiday sights. They are all real images from somewhere but they become unreal in my paintings, while still somehow looking real. While some people are dreaming of their new homes and putting their savings and mortgages into as-yet-unreal spaces, others are losing their lifelong homes, while others are making lots of money. The paradox of home and gentrification is situated in this heterotopic space, which looks like an unreality but exists everywhere in the city in which we live." Hwa Seon Yang, known as Yanghwa, is a South Korean artist living and working in London. Studying an MA in Painting in Seoul, she then went on to earn a second MA in Fine Art from Central Saint Martins, graduating in 2013. Her next step is a Professional Doctorate course at University of East London. Yanghwa's work is a visual allegory and tribute to children's play and the desire to negotiate non-perspective safety zones of comfort and familiarity. Running themes throughout her work include comfort zones and toys. A keen miniature toy collector, Yanghwa paints from her own vast collection of figures, breathing life into mass produced toys. Yanghwa works to create artworks that speak directly to the child within us all, invoking nostalgic memories of childhood and comfort. Her watercolor and pencil pieces are a vibrant and colourful exploration of memories and play, and have been exhibited in group shows across London, Seoul, Hong Kong and Beijing. Yanghwa was shortlisted for the prestigious Herbert Smith Freehills & Works in Print Art Prize in 2013, and has exhibited as par of Sweet 'Art' at Espacio Gallery, London's Arbeit Gallery (2013) and KAIS Gallery, Hong Kong (2007). Yanghwa's Jealous Prize print edition is now held in the Victoria & Albert Museum Permanent Print Collection.
Lot 449
Yanghwa Crane, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My recent paintings are ongoing construction sites, depict a real site of gentrification in South London where my studio also used to be situated. Since a property developer bought one of the old buildings, artists could rent workspaces for uncertain periods of the time until permission was granted to build a new luxurious apartment. To build someone's bright new home, some artist had to lose their workplace. These could even be life threatening for people who have lived in an area for years or for their whole lives. In this series, I ask if I am a victim of this brilliant future plan, gentrification. I use an imagination of utopia; that is, the landscape of new homes, nostalgic scenes or holiday sights. They are all real images from somewhere but they become unreal in my paintings, while still somehow looking real. While some people are dreaming of their new homes and putting their savings and mortgages into as-yet-unreal spaces, others are losing their lifelong homes, while others are making lots of money. The paradox of home and gentrification is situated in this heterotopic space, which looks like an unreality but exists everywhere in the city in which we live." Hwa Seon Yang, known as Yanghwa, is a South Korean artist living and working in London. Studying an MA in Painting in Seoul, she then went on to earn a second MA in Fine Art from Central Saint Martins, graduating in 2013. Her next step is a Professional Doctorate course at University of East London. Yanghwa's work is a visual allegory and tribute to children's play and the desire to negotiate non-perspective safety zones of comfort and familiarity. Running themes throughout her work include comfort zones and toys. A keen miniature toy collector, Yanghwa paints from her own vast collection of figures, breathing life into mass produced toys. Yanghwa works to create artworks that speak directly to the child within us all, invoking nostalgic memories of childhood and comfort. Her watercolor and pencil pieces are a vibrant and colourful exploration of memories and play, and have been exhibited in group shows across London, Seoul, Hong Kong and Beijing. Yanghwa was shortlisted for the prestigious Herbert Smith Freehills & Works in Print Art Prize in 2013, and has exhibited as par of Sweet 'Art' at Espacio Gallery, London's Arbeit Gallery (2013) and KAIS Gallery, Hong Kong (2007). Yanghwa's Jealous Prize print edition is now held in the Victoria & Albert Museum Permanent Print Collection.
Lot 457
Jonni Cheatwood Hot Legzzz, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art. Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times. Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.
Lot 458
Jonni Cheatwood Going to See the Queen, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art. Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times. Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.
Lot 459
Jonni Cheatwood Preston Still has Petit Feet, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art. Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times. Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.
Lot 46
Peter Jones The Alligator, 2020 Oil on paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Peter Jones (born 1968, Birmingham, UK) studied fine art at Reading University (1988-1992). In 2006 Peter held his first solo shows at FRED in London and concurrently at the sister gallery in Leipzig. The Monkey Paintings series first shown at these two exhibitions confirmed Peter's reputation as an artist and earned him an enthusiastic following. The Monkey in Art traditionally symbolises the primitive beast within us, but is also by turns capricious, playful, and vulnerable. The Monkey paintings were followed by a group of lambs, dogs, and an ongoing series of various animal portraits including bunnies, birds, and other endangered wild species. The found vintage-toy subjects of these still-life paintings collected for this purpose are chosen because of their potential to be transformed by painting, and because they possess or imply innocence, faithfulness, or disillusionment.
Lot 460
Simon Laurie Fish and Wine, 2020 Pencil on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections.
Lot 461
Simon Laurie Bass Beer, 2020 Pencil on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections.
Lot 462
Simon Laurie Jug and Fruit, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections.
Lot 463
Simon Laurie Bottle and Fish, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections.
Lot 84
Alex Hanna Pill boards, 2020 Oil on Card Signed verso 10 x 15cm (3¾ x 5¾ in.) Alex Hanna (born 1964) is an English artist. He studied Fine Art at Sunderland Polytechnic from 1983 to 1986. His paintings display arrangements of disposable packaging and objects which have little or no material value. These objects are arranged in a traditional still life format and painted using process based and traditional painting techniques. Hanna has exhibited at the National Portrait Gallery, London, Glasgow School of Art and the Royal Academy of Arts. His paintings have been acquired by Abbot Hall Art Gallery, Falmouth Art Gallery, Swindon Art Gallery, The Priseman Seabrook Collection, Rugby Art Gallery and Museum and the University of Arizona Museum of Art
Lot 85
Alex Hanna Empties, 2020 Oil on Card Signed verso 10 x 15cm (3¾ x 5¾ in.) Alex Hanna (born 1964) is an English artist. He studied Fine Art at Sunderland Polytechnic from 1983 to 1986. His paintings display arrangements of disposable packaging and objects which have little or no material value. These objects are arranged in a traditional still life format and painted using process based and traditional painting techniques. Hanna has exhibited at the National Portrait Gallery, London, Glasgow School of Art and the Royal Academy of Arts. His paintings have been acquired by Abbot Hall Art Gallery, Falmouth Art Gallery, Swindon Art Gallery, The Priseman Seabrook Collection, Rugby Art Gallery and Museum and the University of Arizona Museum of Art
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77111 item(s)/page