Swanwick (Betty) Group of 9 autograph letters and one typed letter, signed, to the artist Adrian Ryan, one in original autograph envelope, mostly chatty and gossipy about her life, exhibitions ("As you mentioned what a fearful vulgar horrific heap of Satanic shite the exhibition proved to be"), her art ("I have sold my pictures which is manna from the Lord indeed in my financial straits at the moment"), and the typed letter reproduces in full the letter she had herself received from Peter de Francia following her resignation from Goldsmiths College in 1970 and her comments ("I feel that de F. is mad to think that it is best to take into no account the injustices of the past few years. Do you ignore the suffering of the downtrodden and the crude ruthless way in which the arrogant masterrace has taken advantage of that poor weak principal so taken in by their grins and wooing?"), most 2pp., v.s. Greenwich, London and later Wadhurst, Sussex, 1965-73.⁂ Ada Elizabeth Edith "Betty" Swanwick (1915-1989), English artist, novelist and art teacher. She was a student of Edward Bawden and became Head of Illustration at Goldsmiths College. Adrian Ryan (1920-1998) was an English artist who trained at the Slade School before teaching at Goldsmiths College while still living in Cornwall but always retaining a London studio.
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VAN DER GRAAF GENERATOR/PETER HAMMILL - LPs. Excellent collection of 16 x VDGG and related LPs. Titles include The Aerosol Grey Machine (6430 083), The Long Hello (9286 854), Godbluff (CAS 1109), Still Life (CAS 1116), The Quiet Zone/The Pleasure Dome (CAS 1131), Vital (CVLD 101) and Peter Hammill (x10) - The Silent Corner & The Empty Stage (CAS 1083), Nadir's Big Chance (CAS 1099), Chameleon In The Shadow Of The Night (CAS 1067), pH7, The Future Now, In Camera, Over, Sitting Targets, Vision and A Black Box. Condition is generally VG+ to Ex+.
VERTIGO SWIRL ARTISTS - HIGH QUALITY MODERN REISSUES - LPs. Killer bundle of 10 x LPs, including some coloured discs. Artists/titles include Still Life (original UK press. with modern sleeve, 6360 026, Ex+/Ex), Black Sabbath (x3) inc. Master of Reality (BMGRM055LP, sealed), Paranoid (BMGRM054LP, sealed) and Black Sabbath (BMGRM053LP, sealed), Aphrodite's Child (535 144-2), Released Jade Warrior (TPT 272), Affinity (V 117), Legend (RR 2061-LX), Cressida - Asylum (V 119), Dr. Z - Three Parts To My Soul (AK-244). Condition is Ex+/archive.
EMMA S. DAVIS (SCOTTISH 1975), 'Chinwag', a still life table setting, mixed media on canvas, signed bottom right, signed and titled verso, framed, approximately 75cm x 75cm (condition: a piece of paper has lifted towards the top right corner, dirty marks to the frame) (Artists Resale Rights May Apply To This Lot)
MICHAEL GILBERY (BRITISH 1913-2000), 'Como', a townscape of the Italian town on the lake, oil on board, signed bottom left, framed, approximately 40cm x 50cm, together with a winter view across British gardens, oil on canvas, unsigned, unframed, approximately 46cm x 60cm and a still life of a vase and twigs, oil on canvas, unsigned, unframed, approximately 56cm x 46cm, both probably by the same hand (3) (condition: Como is warped in the frame, frame is damaged, winter has paint loss to the edges of the canvas) (Artists Resale Rights May Apply To This Lot)
STUDIO OF MICHAEL GILBERY (BRITISH 1913-2000), a still life study of mixed flowers in a vase, oil on canvas, unsigned, framed, approximately 50cm x 60cm, together with an unfinished still life study of flowers in a vase, oil on canvas, unsigned, framed, approximately 50cm x 50cm and a still life study of onions and kitchen equipment, oil on canvas, unsigned, framed, approximately 49cm x 59cm (3) (Artists Resale Rights May Apply To This Lot)
ATTRIBUTED TO MICHAEL GILBERY (BRITISH 1913-2000), a collection of Art School drawings and sketches to include life studies, portraits and still life etc, mediums include pencil, charcoal, pastels, smallest approximately 10cm x 19cm, largest approximately 56cm x 38cm (parcel) (Artists Resale Rights May Apply To This Lot)
Original vintage dealer showroom advertising poster for the Porsche 911 Turbo: There are leaders and there are followers. Life is really quite simple, isn't it? This stylish salesroom poster features a rear view of a red Porsche 911 Turbo speeding away on a racing track. The Porsche 911 is a two-door, 2+2 high performance rear-engined sports car. Introduced in September 1964 by Porsche AG of Stuttgart, it has undergone continuous development, though the basic concept has remained unchanged and is one of the oldest sports coupé nameplates still in production with over one million manufactured. Issued by Porche Cars North America. Condition: Very good condition, some minor creasing.. Country of printing: USA, designer: Unknown, size (cm): 99x70.5, year of printing: 1991.
Rik Slabbinck (1914-1991): Still life with glassware, oil on canvas--Work: 55 x 38 cmÊ Frame: 67,5 x 51 cmÊ Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Alexander Adriaenssen (1587-1661): Still life with fish, oil on panel, dated 1646--Work: 58 x 41,7 cmÊ Frame: 71,5 x 54,5 cm Ê Ê Literature: G. Spiessens, Leven en werk van de Antwerpse schilder Alexander Adriaenssen (1587-1661), Verhandelingen van de Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten, LII, 1990, nr. 48, pp. 127 and 128 and image 29. A very similar composition is frequetly used in other works by Adriaenssen.Ê Provenance:Ê - 1942: Art dealer J.H.J. Mellaert or H. Pick and (in the cellar of the 'Gemeentemuseum', The Hague)?Ê - 1944 (6 and 7 June): Auction, De Jong, Hilversum, nr. 4.Ê - 1962 (27 and 28 March): Auction Douwes - Dekkers-Dekkers e.o., The Hague, nr. 2.Ê - 1963: Art dealer H. JŸngeling, The HagueÊ - Private Collection, Belgium. -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Etienne LŽon Trebutien (1823-1871): Still life of flowers, oil on canvas, dated 1855--Work: 112 x 93 cmÊ Frame: 130 x 110 cm Ê Ê Provenance: Auction 19th - 20th Century Paintings, Hampel, Munich, 19 June 2012, lot 441 (link) -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
OWEN BOWEN (1873-1967), STILL LIFE OF FLOWERS IN VASE, signed and dated 1927 lower right, oil on canvas, framed. 89cm by 69cmNote: Owen Bowen was a British painter, known mostly for his Impressionist still lifes and landscapes depicting the Yorkshire countryside. Born in 1873 in Leeds, Bowen was educated during evenings in his adolescence at Leeds School of Art. In the early 20th century, Bowen travelled to Holland, where he painted maritime landscapes and windmill scenes. He went on to form the Leeds School of Art, now known as the Owen Bowen School of Art. Before his death at the age of 94 in 1967, Bowen exhibited his work regularly throughout England, showing at the Walker Gallery and the Royal Cambrian Academy.
§ VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1945) AND DOVECOT STUDIOS DESIGN WITH REDWool tapestry (Dimensions: 33cm x 30cm (13in x 11.75in), image size)Provenance: Dovecot Tapestry Studios , Edinburgh Note: This is an experimental sample, created in collaboration between the artist and weavers at Dovecot Studios. There was some discussion about a collaboration, and Victoria Crowe provided a painting as an inspiration – some design elements from the original painting were included in the piece, as well as some re-workings and additions by the weavers involved. Biography: Victoria Crowe is one of Scotland's most significant living artists. Her ability to skilfully weave together landscape, portraiture, still life, and interiors make her artwork both highly desirable and instantly recognisable. She has achieved International status and recognition due to many high-profile exhibitions and notable commissions, including portraits of poet Kathleen Raine, composer Thea Musgrave, Professor Peter Higgs, a double portrait of the Duke and Duchess of Buccleuch, and HRH Prince Charles. Crowe beg;an her artistic career at the age of 16 when she attended Kingston School of Art, followed by the Royal College of Art, London. Robin Philipson, who was then Head of the Edinburgh College of Art, saw her degree show in 1968 and immediately offered her a teaching post in Edinburgh, where she subsequently taught drawing and painting for thirty years. She also took over the botanical drawing class upon Elizabeth Blackadder's retirement. Crowe has noted that she uses plant imagery as 'ciphers and symbols within a greater whole,' which means that her flower paintings operate simultaneously as abstract objects, as depictions of our known environment and as a symbolic language. Her works often begin as observations of the natural, visible world, before becoming layered with symbols and meditations on time, memory, and imagination. Today, Crowe is represented in a large number of private and public collections. She has recently exhibited extensively, with simultaneous shows at the Scottish National Portrait Gallery and the Scottish Gallery (Edinburgh International Festival) in 2018, followed by a major lifetime retrospective at the City Art Centre in Summer 2019. She divides her time working and living in Venice and the Scottish Borders.
§ NORMAN KIRKHAM R.G.I. (SCOTTISH B.1936) STILL LIFE WITH PERSIMMONSSigned, artist's address label verso, oil on canvas (Dimensions: 119cm x 89cm (46.75in x 35in))Biography: Norman Kirkham was born in Glasgow in 1936. He attended the Glasgow School of Art from 1953-1958, where he studied under David Donaldson. He was elected an artist member of the RGI in 1987 and was a past Artist Convenor, responsible for the RGI’s Annual Exhibitions. He is also a past President of the Glasgow Art Club. Over the years, he has won many awards and travel scholarships, and held both solo and group exhibitions across the UK and internationally. His work is held by influential public and private collections, including HRH The Duke of Edinburgh and Peoples’ Palace, Glasgow.
§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) TOBYEtching and aquatint, P/P, signed, titled and editioned in pencil to margin, unframed (Dimensions: 50cm x 56.5cm (19.75in x 22.25in), full sheet)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
§ DAVID MCLEOD MARTIN R.S.W., R.G.I., S.S.A (SCOTTISH B.1922) THE OIL LAMPSigned, oil on canvas (Dimensions: 76cm x 76cm (30in x 30in))Biography: David McLeod Martin is a Scottish artist, best known for his contemporary paintings of Scottish landscapes and still life work, in both oil and watercolour. Martin was born in Glasgow in 1922 and studied at Glasgow School of Art from 1940-42. He left to serve with the RAF in India from 1942-46, but promptly returned to the GSA, where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. In 1959, Martin was elected a member of the Royal Glasgow Institute of Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1961. He is also an elected member of the Royal Glasgow Institute of Fine Arts. Martin was Principle teacher of Art at Hamilton Grammar School from 1973 until his retirement in 1983. Since his retirement he has concentrated full time on his painting. Martin's work is held in many major Scottish collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, and Perth Museum and Art Gallery, which held a major retrospective of his work in 1999.
§ MARY FEDDEN O.B.E., R.A. (BRITISH 1915-2012) OPPEDE LE VIEUXLithograph, signed in pencil to margin, numbered 61/150, embossed with Curwen Chilford Studio stamp (Dimensions: 27cm x 36cm (10.75in x 14.25in))Biography: Over her long career Mary Fedden has become one of the nation's most-treasured artists. Writing about Fedden's enduring appeal, Christopher Andreae declared, ‘Her work can become something of an addiction. More than one collector has been known to sleep on the pavement outside a gallery all night so as not to miss the opportunity of buying a favourite.’ Perhaps part of the appeal of her work lies in its apparent simplicity coupled with its exquisite execution, anchored in the long pictorial tradition of Dutch still life and underpinned by her early formation at the Slade School of Art. Indeed, Fedden's is an oeuvre that merits close inspection, and while her concise and effective compositions provide immediate pleasure (demonstrated by their popularity in reproduction as prints and postcards, china and textiles), our delight can only be enhanced by a lingering gaze and appreciation of her painterly skill, her brush strokes as easily identifiable as a signature. After a war spent in the Land Army and as a staff driver in France and finally Germany, Fedden was quick to build on the foundations of her Slade training. Her work was profoundly influenced by the seismic shifts which shook painting in the post-war years and her style moved beyond the muted naturalism of her Slade years. Perhaps the most significant influence on Fedden's artistic and personal development, however, was her relationship with artist and poet Julian Trevelyan, with whom she lived for many happy years at Durham Wharf, on the Thames at Chiswick, and to whom she was married in 1951. Mary Fedden was elected to the Royal Academy and received the OBE in the 1990's. Her work is included in numerous public collections including The Tate Collection, HM The Queen's Collection, and National Gallery of New Zealand.
§ SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.Litt., L.L.D. (SCOTTISHDated 1981 on label verso, watercolour (Dimensions: 68.5cm x 102cm (27in x 40in))Biography: Born in Cumbria in 1916, Philipson moved to Scotland with his family when he was fourteen. After training at Edinburgh College of Art, during World War II Philipson served with the King's Own Scottish Borderers in India and Burma, and while unable to paint as much as he would wish under war time conditions, in later life would return to the exotic motifs such as Brahma cattle and Burmese horses first encountered during active service. Following the war, Philipson joined the teaching staff at Edinburgh College of Art in 1947 and taught until his retirement in 1982. His early works were mainly landscapes, still lifes and interiors, but by the 1950s, he had become interested in the work of the American Abstract Expressionists. His works were was strongly influenced by his fellow members of the Edinburgh School, such as Gillies and Maxwell, as well as the works of Kokoschka. This is evident in his energetic brushwork and use of rich, jewel-like colour. His diverse subjects included cathedral interiors, soldiers, wild animals, poppies, and most notably cock fighting. Philipson was a highly influential figure within the Scottish and English art worlds and received many honours throughout his life. He was elected an Honorary Royal Academician and was knighted in 1976 for his services to the arts in Scotland. He served as the President of the Royal Scottish Academy from 1973 to 1983.
§ CRAIG MULHOLLAND (SCOTTISH B.1969) STILL-LIFE WITH PEACHES -1993Signed with initial, oil on board (Dimensions: 59cm x 59cm (23.25in x 23.25in))Exhibited: 'Craig Mulholland - New Paintings,' 1993, The Scottish Gallery , Edinburgh Biography: Craig Mulholland was born in Glasgow and studied Drawing and Painting at Glasgow School of Art. He lives and works in Glasgow and is currently course leader and lecturer in Fine Art at The Glasgow School of Art. Mulholland’s work is included in a variety of public and private collections including: Gallery Of Modern Art, Glasgow; The Royal Bank of Scotland; Rudin Dewoody Collection; Gregory Papadimitriou Collection and the Fleming Collection, London. He has been the recipient of a number of visual arts awards from the Scottish Arts Council and Creative Scotland, and exhibits regularly. Artistically, Mulholland is pre-occupied with dialogues between emerging digital technologies and the clearer limits of more traditional painting and sculpture. This current image has developed from an earlier interrogation of digital imaging software to assist in the development of compositions for drawing, sculpture and painting.
§ PETER MCLAREN (SCOTTISH B.1964) STILL-LIFE WITH VELAZQUEZ BOOKOil on board (Dimensions: 55cm x 47cm (21.5in x 18.5in))Exhibited: 'Hazel Heughan Memorial Exhibition,' 1993, The Scottish Gallery , Edinburgh Biography: Inspired early on by the Scottish Colourists and Post-War Expressionists, Peter McLaren studied at Edinburgh College of Art in 1986 and honed his distinctive style of expressionistic painting. As a student, he won the John Kinross Scholarship from the Royal Scottish Academy, which allowed him to study in Florence. He was also awarded the Richard Ford Award by the Royal Academy in London, which allowed him to study the works in the Prado, Madrid. He continued to travel extensively throughout his education, travelling by bicycle to study important art collections across Europe. His early oil paintings were of youth in fast cars and figures on racing bikes, which were painted in an ‘action’ mode, followed by overscale still lives of parts of Velasquez’s Las Meninas. McLaren’s originality and masterful compositions have subsequently seen him exhibit with the likes of Bellany, Lupertz and Baselitz.
§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) YELLOWEtching and aquatint, P/P, signed and editioned in pencil to margin (Dimensions: 73cm x 97cm (28.75in x 38.25in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) BLACK CAT ONEtching and aquatint, P/P, signed and editioned in pencil to margin, unframed (Dimensions: 50cm x 56cm (19.75in x 22in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDACEAEEtching and aquatint, H/C, signed and editioned in pencil to margin, unframed (Dimensions: 63.5cm x 51cm (25in x 20in), full sheet)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
§ VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1945) FOGGY DAY - 1978Signed, inscribed and dated to backboard, mixed media (Dimensions: 39cm x 48cm (15.25in x 18.75in))Biography: Victoria Crowe is one of Scotland's most significant living artists. Her ability to skilfully weave together landscape, portraiture, still life, and interiors make her artwork both highly desirable and instantly recognisable. She has achieved International status and recognition due to many high-profile exhibitions and notable commissions, including portraits of poet Kathleen Raine, composer Thea Musgrave, Professor Peter Higgs, a double portrait of the Duke and Duchess of Buccleuch, and HRH Prince Charles. Crowe beg;an her artistic career at the age of 16 when she attended Kingston School of Art, followed by the Royal College of Art, London. Robin Philipson, who was then Head of the Edinburgh College of Art, saw her degree show in 1968 and immediately offered her a teaching post in Edinburgh, where she subsequently taught drawing and painting for thirty years. She also took over the botanical drawing class upon Elizabeth Blackadder's retirement. Crowe has noted that she uses plant imagery as 'ciphers and symbols within a greater whole,' which means that her flower paintings operate simultaneously as abstract objects, as depictions of our known environment and as a symbolic language. Her works often begin as observations of the natural, visible world, before becoming layered with symbols and meditations on time, memory, and imagination. Today, Crowe is represented in a large number of private and public collections. She has recently exhibited extensively, with simultaneous shows at the Scottish National Portrait Gallery and the Scottish Gallery (Edinburgh International Festival) in 2018, followed by a major lifetime retrospective at the City Art Centre in Summer 2019. She divides her time working and living in Venice and the Scottish Borders.
§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDEtching, P/P, signed and editioned in pencil to margin (Dimensions: 37.5cm x 43cm (14.75in x 17in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) STILL-LIFESigned, oil on canvas (Dimensions: 101.5cm x 76cm (40in x 30in))Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".
§ SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.Litt., L.L.D. (SCOTTISHSigned and inscribed verso, oil on board (Dimensions: 29cm x 56cm (11.5in x 22in))Provenance: Open Eye Gallery, Edinburgh Biography: Born in Cumbria in 1916, Philipson moved to Scotland with his family when he was fourteen. After training at Edinburgh College of Art, during World War II Philipson served with the King's Own Scottish Borderers in India and Burma, and while unable to paint as much as he would wish under war time conditions, in later life would return to the exotic motifs such as Brahma cattle and Burmese horses first encountered during active service. Following the war, Philipson joined the teaching staff at Edinburgh College of Art in 1947 and taught until his retirement in 1982. His early works were mainly landscapes, still lifes and interiors, but by the 1950s, he had become interested in the work of the American Abstract Expressionists. His works were was strongly influenced by his fellow members of the Edinburgh School, such as Gillies and Maxwell, as well as the works of Kokoschka. This is evident in his energetic brushwork and use of rich, jewel-like colour. His diverse subjects included cathedral interiors, soldiers, wild animals, poppies, and most notably cock fighting. Philipson was a highly influential figure within the Scottish and English art worlds and received many honours throughout his life. He was elected an Honorary Royal Academician and was knighted in 1976 for his services to the arts in Scotland. He served as the President of the Royal Scottish Academy from 1973 to 1983.
§ ELIZABETH BACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDACEAEEtching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 35.5cm x 30cm (14in x 11.75in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
§ ANN ORAM R.S.W (BRITISH B.1956) STILL LIFE WITH FRUIT AND FLOWERSSigned and dated '05, watercolour (Dimensions: 85cm x 110cm (33.5in x 43.25in))Biography Ann Oram studied Edinburgh College of Art from where after an Andrew Grant Scholarship to France and Italy she returned to lecture. Oram has spent many years living and working abroad notably in Spain, Italy and latterly in Vienna. A member of the R.S.W. she has exhibited widely throughout the U.K. in both group shows and solo exhibitions and in 1999 was commissioned by the Royal Bank of Scotland to design two tapestries for the Younger Building in Edinburgh which were subsequently unveiled by the Princess Royal. She is represented in a large number of Corporate Collections as well as Private Collections throughout Britain and further afield.
§ SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.Litt., L.L.D. (SCOTTISHSigned and dated '53, oil on board (Dimensions: 34.5cm x 42cm (13.5in x 16.5in))Exhibited : Scottish Gallery, 1954, no.37 Biography: Born in Cumbria in 1916, Philipson moved to Scotland with his family when he was fourteen. After training at Edinburgh College of Art, during World War II Philipson served with the King's Own Scottish Borderers in India and Burma, and while unable to paint as much as he would wish under war time conditions, in later life would return to the exotic motifs such as Brahma cattle and Burmese horses first encountered during active service. Following the war, Philipson joined the teaching staff at Edinburgh College of Art in 1947 and taught until his retirement in 1982. His early works were mainly landscapes, still lifes and interiors, but by the 1950s, he had become interested in the work of the American Abstract Expressionists. His works were was strongly influenced by his fellow members of the Edinburgh School, such as Gillies and Maxwell, as well as the works of Kokoschka. This is evident in his energetic brushwork and use of rich, jewel-like colour. His diverse subjects included cathedral interiors, soldiers, wild animals, poppies, and most notably cock fighting. Philipson was a highly influential figure within the Scottish and English art worlds and received many honours throughout his life. He was elected an Honorary Royal Academician and was knighted in 1976 for his services to the arts in Scotland. He served as the President of the Royal Scottish Academy from 1973 to 1983.
§ WILLIAM SCOTT C.B.E., R.A. (BRITISH 1913-1989) BLUE STILL-LIFE - 1975Lithograph, inscribed and dated in plate (Dimensions: 56.5cm x 76cm (22.25in x 30in), image size)Biography: William Scott was born in Greenock, Scotland, in 1913. In 1924, his family moved to his father’s hometown in Northern Ireland, where Scott began art classes with a local teacher. Four years later, he enrolled at the Belfast School of Art, and later moved to London to study at the Royal Academy Schools, initially in the sculpture department before moving to painting. In May 1937, Scott married fellow student Mary Lucas. That same year they travelled to Italy and France and established an art school in Pont-Aven with the painter Geoffrey Nelson. In 1938, Scott exhibited at the Paris Salon d’Automne and was elected Sociétaire. Scott and his family returned to the UK just days before the outbreak of the Second World War. Scott joined the army in July 1942 but continued to paint and to exhibit during the war both in group and solo shows. After the war, Scott became Senior Painting Master at the Bath Academy of Art, at Corsham Court, Wiltshire. During this time, he frequently travelled to Cornwall and became friends with many of the St Ives Group of artists. In the 1950s, Scott became interested in Abstract Expressionism during an extended visit to North America, and it was during this time that his own work also moved closer to abstraction. By 1956, Scott’s success as an artist, both nationally and internationally, allowed him to give up full-time teaching. In 1958, he represented Great Britain at the Venice Biennale, and also exhibited at the 1961 São Paulo Bienal, where Scott won the Sanbra (International Critics) Purchase Prize. Major retrospectives of his work have been held in Zurich, Hannover, Berne, Dublin and Belfast and in 1972, the Tate held an exhibition of more than 125 of his paintings dating from as early as 1938. In 1963 Scott took up a 12-month residency in Berlin and, in 1966, in recognition of his contribution to the arts, he was made a CBE (Commander of the Order of the British Empire) in the New Year’s Honours List. He subsequently received honorary doctorates from the Royal College of Art in London, Queen’s University Belfast and Trinity College Dublin. In 1984 Scott was elected a Royal Academician.
§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931)Etching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 60cm x 45.5cm (23.5in x 18in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
Wan Weisheng (Chinese, B. 1932) "Four Swans Landing in Pond" Signed lower left. Original Tempera on Watercolor Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting appeared on the Fleetwood First Day Cover for the China 10f Whistling Swans stamp issue of November 18, 1983. Amid the timeless beauty of the Xinjiang Swan Lake in China, the graceful Whistling Swan lives in tranquility. Gliding through the peaceful waters, the swans gently dip their heads below the surface to pluck tender plants from the lake bottom. Turning tails up, the Whistlers love to sample wild celery, tender widgeon grass and small insects. Often pulling up more food than they need, the swans leave floating forage for other waterbirds that live on the Xinjiang Swan Lake. Like other swan species, the Whistling Swans select a mate for life. Paired swans work together to collect grasses, mosses and reeds to build a massive nest near the water. The female then carefully lines her nest with soft swansdown. Cradled in the warm nest, the four or five creamy-white eggs hatch in about 40 days. Soon thereafter, the dusky cygnets, or baby swans, follow their parents to water for their first swim. Led by the female, the babies are followed by the male swan who brings up the rear. When autumn's cool breath whispers hints of winter, the Whistling Swans and their young gather in flocks for the journey to warmer waters. A strong cob leads each wedge or ribbon on their southern flight. Sandwiched between the adults, the young cygnets ... still dressed in their dull baby down ... are helped along in the air turbulence created by the stronger birds. Long necks stretched and wings beating rhythmically, the Whistling Swans call out their high-pitched hooting calls over the Chinese mainland. Image Size: 11.25 x 21.25 in. Overall Size: 13.5 x 21.25 in. Unframed. (B08246)
Harry Schaare (New York, Arizona, 1922 - 2008) "Mars Landing" Signed lower right. Oil on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. So similar to Earth, yet so different, Mars has all the ingredients necessary for life as we know it. So said the Viking spacecraft, which explored the Red Planet beginning in 1976. The Martian atmosphere contains oxygen, nitrogen, carbon dioxide and even water vapor, though the planet is drier than Earth's driest desert. Still, evidence gathered by Viking shows that at one time water flowed on Mars. There are abundant channels apparently carved by running water -- and scientists analyzing Viking data theorize there was once enough water on Mars to cover the entire planet 33 feet deep. While Viking found no canals, it did observe geological features scientists feel were caused by large bodies of water. Viking also observed storms on Mars, whirling in a cyclonic fashion identical to terrestrial weather phenomena. Other Viking data suggests that Mars was once warmer and its atmosphere substantially thicker than at present. Today, the Martian atmosphere is but 1/100 as thick as Earth's and temperatures are bitterly cold, with daytime highs only approaching -20F. Much of the planet's scant remaining water is locked in the north polar cap, which grows in the winter and shrinks in the summer, and in a layer of underground permafrost. Despite the wealth of information gathered by Viking, a number of questions remain. What happened to all the Martian water? And is there life on Mars? Image Size: 12.75 x 17.25 in. Overall Size: 15.5 x 20.25 in. Unframed. (B05864)
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Azure Tides" Dated: '93 Oil on Canvas. Signed and dated verso. Overall Size: 31 x 43.5 in. (151 - 4331)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Monumental Abstract Painting. Titled: "Great Behemoth Rock" Dated: '87 Oil on Canvas. Signed and dated lower right. Overall Size: 66 x 82 in. (364 - 4275)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Dennis Lyall (American, B. 1946) "Admiralty Head Lighthouse" Signed lower right. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 25c Admiralty Head stamp issued April 26, 1990. From man's earliest seafaring days, beacons have guided ancient navigators through troubled waters. As early as 280 B.C., man-made lighthouses like the Egyptians' Pharos marked harbors and headwaters. Considered one of the seven wonders of the world, the Pharos reputedly rose four hundred and fifty feet into the air and had a wood fire burning at its top. From these beginnings, the lighthouse developed into a priceless navigational tool such as the beacon at Admiralty Head, Washington, positioned at the east entrance to Admiralty Inlet and the Puget Sound. The life of this lighthouse was relatively brief. The lighthouse was built in 1903 and was touted as the most comfortable dwelling on the coast, but the maritime traffic pattern had changed by the mid 1920's and the lantern was removed from this tower in 1927. Though no light has gleamed from Admiralty Head in more than six decades, the structure has become one of the most popular tourist attractions of the area. The lighthouse was restored and opened to the public by the Washington State Parks and Island County Historical Society and though there is still no lantern on the tower, a lantern used at the nearby Alki Lighthouse is on display in Admiralty Head's rotunda. Similar efforts by The Lighthouse Preservation Society and its friends will hopefully keep America's early lighthouses from disappearing quietly into the annals of history. Image Size: 12.5 x 17.5 in. Overall Size: 14 x 19.5 in. Unframed. (B12336)
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