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Click here to subscribeCollage getiteld "Grote verwachtingen, een ode aan mijn ouders". Gemengde techniek met katoeninkt, etsinkt, acryl en karton op papier, door Esther van Dijk (1971). Linksonder gemonogrammeerd EVD en gesigneerd op de achterzijde. 2019/2020. Conditie: In goede staat. Afmetingen: 20,5 cm x 17,5 cm.
A striking giclee screenprint by renowned street artist and designer Tristan Eaton, known for his dynamic fusion of pop culture, comic book aesthetics, and surrealist collage. This unique version from Women of Marvel: The Portrait Collection, in partnership with the comic industry titans Marvel Entertainment. is 1 of a kind from a series of 1,500 original fine-art prints consisting of 26 original hand-painted portraits and hundreds of layered design elements, making it a unique collectible series like no other. Handcrafted by the artist over months using spray paint on canvas, pen and ink, digital design, and custom print making, Eaton then used a custom algorithmic software to create 1500 surprising and beautiful works of art. The results rendering each piece totally unique and one of a kind.This limited edition of 1500 is a reinterpretation of Marvel's X-Men imagery, featuring a fragmented female portrait seamlessly integrated with bold comic-style illustrations, vivid color blocking, and layered typography. The work captures Eaton's signature technique of juxtaposing realism with abstract design elements, paying homage to both classic comic book artistry and contemporary street art. The composition is enhanced with a torn-edge presentation, a gold embossed seal, and a PSA authentication sticker. Eaton's distinct use of textures, halftones, and high-contrast black-and-white portraiture against vibrant pop-art hues makes this a compelling collector's piece for fans of both fine art and graphic illustration. On lower left: 1/1 # 1009. Artist: Tristan Eaton (American b. 1978)Issued: 2024Dimensions: 18"L x 23"HCountry of Origin: USACondition: Age related wear.
Catharina Anton Danial (Sri Lankan 1991-): 'Trinco City Map', watercolour and mixed media collage signed and dated 2024, 39cm x 28cmNotes: Catharina Danial is a Sri Lankan artist working with watercolour, thread, and collage to explore memory, place, and environmental change. A graduate of the University of Jaffna (BFA, 2016), she has exhibited with ARTRA Magazine, Colomboscope, and Saskia Fernando Gallery. Trinco City Map forms part of her ongoing exploration of coastal regions in Sri Lanka, drawing from field research, personal narrative, and ecological observation—particularly the impact of the economic crisis on marine life and coral ecosystems.
Catharina Anton Danial (Sri Lankan 1991-): Kettle - Nostalgia Series, watercolour and mixed media collage signed and dated 2023, 40cm x 29cmNotes: Catharina Danial is a Sri Lankan artist working across painting, threadwork, and collage. A graduate of the University of Jaffna (BFA, 2016), her practice explores memory, identity, and environmental change, often through a personal connection to the sea. She has exhibited widely, including with ARTRA Magazine, Colomboscope, and Saskia Fernando Gallery. Kettle is part of her Nostalgia Series (2023), reflecting on domestic memory and shifting landscapes during Sri Lanka’s ongoing economic and ecological crisis.
GILLIAN LOWNDES (BRITISH 1936-2010) SCROLLSCAPE WITH WIRE AND SCROLLSCAPE COLLAGE kitchen utensils, found objects, porcelain and wire 46cm long (18in long) and 16cm long (6 ¼in long) (2) Contemporary Applied Arts, London, 1998;Collection of Professor John Chambers. Gillian Lowndes called herself a "gatherer of impedimenta" - a phrase that perfectly describes her raw, junk-infused sculptures. Her chaotic yet compelling assemblages, where everyday detritus - tea strainers, bulldog clips, loofahs, hammerheads, and kiln cones - merge through fire, glue, and brute force were truly radical, as with the current two works.From the late 1970s, Lowndes fired disparate materials at extreme temperatures, sometimes fusing them, sometimes smashing and reassembling them. Her Brick Bag series, inspired by London’s 1978–79 refuse strike, saw bricks wrapped in fiberglass tissue, while her Hook Figures - loofahs dipped in porcelain and fired - leave behind eerie skeletal husks. Straddling craft and fine art, her work has more in common with Eva Hesse’s experimental sculpture than with traditional studio pottery.Though largely overlooked in her lifetime, interest in Lowndes has surged posthumously, with major exhibitions and a 2012 monograph. Yet as was noted at the Holburne Museum exhibition Radical Clay in 2024 her work remains one of the art world’s ‘best kept secrets’ - perhaps because it resists easy categorization. Strange, awkward, and poetic, her assemblages seem less like art objects than relics of a lost future, unearthed from the ruins of our own making.
THEN CAME A FIRE AND BURNT THE STICK (AXSOM 175)Color lithograph, linocut and screenprint with hand-coloring and collage, 1984, on T.H. Saunders and hand-cut Somerset paper, signed, dated and numbered 48/60 in pencil, published by Waddington Graphics, London, the full sheet, framed.Sheet 52 1/2 x 52 1/4 inches; 1334 x 1327 mm.Frame 60 x 61 inches; 1524 x 1549 mm.In good condition, unexamined out of the frame.
UNTITLED (RHINO II)Hand-colored lithograph with collage, 2007, on BFK Rives paper, signed and numbered 23/35 in pencil, printed by The Artists' Press, White River, South Africa, and with their blindstamp, published by the artist for the Arthritis Foundation, Johannesburg, with full margins, framed.Image 11 x 16 5/8 inches; 279 x 422 mm.Sheet 17 5/8 x 19 3/4 inches; 448 x 502 mm.Frame 20 1/2 x 22 1/2 inches; 521 x 572 mm.
DUTCH HEARTS (WILLIAMS COLLEGE 4)Color lithograph with collage, 1970, on Hodgkinson Handmade paper, signed and numbered 63/85 in pencil, from Dutch Hearts, published by Petersburg Press, London, the full sheet, framed.Sheet 16 3/8 x 20 1/8 inches; 416 x 511 mm.Frame 16 5/8 x 20 1/2 inches; 422 x 521 mm.Some minor foxing and unobtrusive creasing in the background, a 5/8-inch vertical pressure mark line at bottom sheet edge, minor printer's ink and pale discoloration verso, framed with acrylic.
IN WHITE WITH GREEN STRIPE (ENGBERG/BANACH 378)Color lithograph, relief and embossing with collage adhered to HMP handmade paper, 1987, signed and numbered AP 3/16 in pencil, an artist's proof aside from the edition of 75, printed and published by Tyler Graphics Ltd., Mount Kisco, New York, and with their blindstamp, with full margins, framed.Image 20 x 10 3/4 inches; 508 x 273 mm.Sheet 34 x 24 inches; 864 x 610 mm.Frame 39 5/8 x 29 1/4 inches; 1006 x 743 mm.Provenance:Elizabeth Leach Gallery, Portland, Oregon
§ Sarah Jane Szikora Headbiter, collage of Jelly Babies, signed, 58 x 83cm, Halcyon Gallery label verso. Please note that artist's resale right maybe additionally payable on this Lot up to a maximum of 4% of the hammer price where above the threshold. For more information visit the DACS website.
Wangechi Mutu (Kenyan b.1972)Two handmade birthday cards from the artist to fashion designer, Benjamin Liepelt, 2001both signed and inscribed by the artist felt pen, collage and appliqué on blue watercolour paper, unframed largest 30 x 23 cm The first card is inscribed by the artist: 'Many times I have thought why do I make these things, little flower creatures, beautiful giraffe people, long stemmed turtle songs and then I realise how many sweet beautiful people there are and how many rooms and doors and coffee cups they have in their lives and how I want to fill those spaces with beautiful colours and glittery pollen and love...happy birthday Benjy here's another flower...love Wangechi!' The second card reads: 'HAPPY BIRTHDAY Benjamin Here's a little fun thing to organise your fun life!! Wangechi'
Michael REES (1962) Nine Works Metamorphosis, mixed media and collage on paper, signed, titled and dated 1998, 10cm x 16cm; Grab, mixed media on paper, signed and titled, 7cm x 11cm; Married Couple, mixed media on paper, signed, titled and dated 1990, 8cm x 14cm; and six further works. Postage is available on this lot from £19.76 to a UK address.
Erica RUTHERFORD (1923-2008) Figure on Blue Ground MIxed media with collage, signed, titled and dated verso with Phillips label, 42cm x 33cm, 63cm x 52.5cm framed. Erica Rutherford (1923-2008) was born in Edinburgh, Scotland, but over the years would live in England, France, South Africa, Spain, Italy, and a variety of places in North America. Apart from painting and printmaking, Rutherford was an actor, a designer for the theatre, filmmaker, farmer, teacher, and author. Rutherford studied at the Slade School of Fine Art, the Central School of Arts and Crafts in London, and at L'Academie Julien, in Paris. She helped establish the Printmakers Council of P.E.I. workshop in Charlottetown. Her work was selected by Canada Post for a stamp representing P.E.I. for the Canadiana Fund, and she was a designer for the Confederation Centre Theatre. Her publications included, “The Island Alphabet” (children’s book), “Yoga for Cats” (humor), “Dance for Cats” (humor), and “The Owl and the Pussycat” (children’s book). Her autobiography, “Nine Lives”, was published in 1993. In it, she documented her struggle with gender identity that led to her decision to undergo transsexual surgery. Rutherford was admitted to the Royal Canadian Academy in 1999. A scholarship in her name is awarded by the University of Prince Edward Island. Rutherford died in Charlottetown. In-house postage to UK postcodes would cost £32.50
Shepard Fairey - Warhol Collage (Color), 2023Screen print on thick cream Speckletone paper, hand signed by Shepard Fairey & Karen Bystedt and numbered /300. Original illustration based on photograph by Karen Bystedt. Very good condition, 61 x 46 cm.Sérigraphie sur papier Speckletone crème épais, signée à la main par Shepard Fairey & Karen Bystedt et numérotée /300. Illustration originale basée sur une photographie de Karen Bystedt. Très bon état, 61 x 46 cm.
Jim Dine - Dutch Hearts, 1970Color lithograph with collage on Hodgkinson paper, signed in pencil and numbered /85. Publisher: Petersburg Press, London, 1970. Good condition, 41 x 50 cm.Lithographie en couleurs avec collage sur papier Hodgkinson, signée au crayon et numérotée /85. Éditeur : Petersburg Press, Londres, 1970. Bon état, 41 x 50 cm.
Antoni Tàpies - El pa a la Barca, 1963Original lithograph & collage on Guarro paper, not signed, not numbered. Limited edition of 110. Publisher: Sala Gaspar, Barcelona, 1963. Very good condition (central fold as published), 28.5 x 55 cm.Lithographie originale et collage sur papier Guarro, non signée, non numérotée. Édition limitée à 110 exemplaires. Éditeur : Sala Gaspar, Barcelone, 1963. Très bon état (pliure centrale telle que publiée), 28,5 x 55 cm.
Charles Fazzino - On Broadway, 1991Multi-layered 3D silkscreen & collage on Museum Board, hand signed and numbered 169/400. Very good condition, frame dimensions: 39 x 35 x 3.5 cmSérigraphie et collage 3D multicouches sur carton musée, signé à la main et numéroté 169/400. Très bon état, dimensions cadre : 39 x 35 x 3,5 cm
Antoni Tàpies - El pa a la Barca, 1963Original lithograph & collage on Guarro paper, not signed, not numbered. Limited edition of 110. Publisher: Sala Gaspar, Barcelona, 1963. Very good condition (central fold as published), 39 x 49.5 cm.Lithographie originale et collage sur papier Guarro, non signée, non numérotée. Édition limitée à 110 exemplaires. Éditeur : Sala Gaspar, Barcelone, 1963. Très bon état (pliure centrale telle que publiée), 39 x 49,5 cm.
Shepard Fairey - Warhol Collage (Silver), 2023Screen print on thick cream Speckletone paper, hand signed by Shepard Fairey & Karen Bystedt and numbered /300. Original illustration based on photograph by Karen Bystedt. Very good condition, 61 x 46 cm.Sérigraphie sur papier Speckletone crème épais, signée à la main par Shepard Fairey & Karen Bystedt et numérotée /300. Illustration originale basée sur une photographie de Karen Bystedt. Très bon état, 61 x 46 cm.
Jacques Doucet - Untitled, 1963Pastel and collage on paper, hand signed by the artist. Unqiue artwork in good condition. Ref.: Jacques Doucet, Parcours 1977-1994, catalog raisonné, volume III, Galilée, Paris 1999, reproduced under n° 404, p. 49. Artwork dimensions: 56 x 40 cm. Frame dimensions: 78 x 62 cmPastel et collage sur papier, signé à la main par l'artiste. Oeuvre unique en bon état. Réf. : Jacques Doucet, Parcours 1977-1994, catalogue raisonné, tome III, Galilée, Paris 1999, reproduit sous le n° 404, p. 49. Dimensions de l'oeuvre : 56 x 40 cm. Dimensions cadre : 78 x 62 cm
Trompe-l'oeil - - Cornelia Raeder. (1943 München). Aus dem Rubensnachlass (3 Kinderbildnisse). 1989. Collage. Mischtechnik mit Rötelzeichnung, Kohle und Tinte, partiell in Weiß gehöht, auf Unterlage kaschiert. 54 x 43 cm. Signiert und datiert. Zusätzlich verso auf der Rahmenrückwand mit Etikett der Künstlerin, dort betitelt, datiert und mit weiteren Werksangaben. Unter Glas gerahmt. - Papier technikbedingt leicht gewellt. Mit werkimmanenten, punktuellen Klebespuren durch die Collagierung. Insgesamt sehr gut. Raffinierte Arbeit, die klassische Portraits mit der Technik der Collage ergänzt. Wie ein liebevolles Sammelsurium und gleichzeitige Hommage an den Meister Peter Paul Rubens besticht Cornelia Raeders Arbeit durch ihren Witz und Mehrschichtigkeit: In feinzeichnerisch-klassischer Manier fertigte sie Zeichnungen nach Rubens an, die seinen Sohn in verschiedenen Ansichten darstellen. Raeder arrangierte diese Zeichnungen im Stil der Collage, ergänzte sie um Kupferstiche, die angedeutet hervorblitzen. Ihre Arbeit wirkt wie ein künstlerisch dokumentierter Prozess, der den Zugang der Malerin zu Peter Paul Rubens aufzeigt. - Raeder erhielt Ihre Ausbildung an der Deutschen Meisterschule für Mode in München, wandte sich jedoch der Malerei zu. Hierbei faszinierte sie die stetige Auseinandersetzung mit der Tradition und der Klassischen Kunstgeschichte. Ausstellungensbeteiligungen von ihr sind in der Galerie Beck, Augsburg, dem Kunstverein Regensburg und in dem Ulmer Museum nachzuweisen. Collage. Mixed media with red chalk drawing, charcoal and ink, partially heightened in white, mounted to underlying mat. Signed and dated. Additionally with artist's label on frame's verso, there titled, dated and with further work details. Framed under glass. - Paper slightly buckled due to technique. With traces of glue in places due to collage. Very good overall. Sophisticated work that complements classical portraits with the technique of collage. - Like a hodgepodge and simultaneous homage to the master Peter Paul Rubens, Cornelia Raeder's work captivates with its humour and multi-layered quality: in a finely drawn classical manner, she produced drawings after Rubens, depicting his son in various views. Raeder arranged these drawings in the style of a collage, adding copperplate engravings that peek out to the viewer. Her work has the effect of an artistically documented process that reveals the painter's approach to Peter Paul Rubens.
Max Ernst. Le poème de la femme 100 têtes. Mit einer doppelten Frontispiz-Lithographie von Max Ernst. Paris, Jean Hugues, 1959. (24), (2) Bll. Kl.-8° OKarton. Erste Ausgabe. - Exemplar Nummer Eins von 265 Exemplaren. (GA 365 Exemplare). - Unbeschnittenes Exemplar. - Jede Seite von "La femme 100 têtes" (1926), Ernsts erstem Collage-Roman, enthält ein gedrucktes Bild mit einem kurzen Untertitel, der Legende. In diesem Buch veröffentlichte Ernst nur die Legenden und schuf ein doppeltes Frontispiz als Illustration des Buches. First Edition. - Copy Number one of 265 copies. Each page of 'La femme 100 têtes' (1926), Ernst's first collage novel, contains a printed image with a brief subtitle, the legend. In this book Ernst published merely the legends and created a double frontispiece as illustration for the book.Issued by Jean Hugues as Volume II of the series 'Le Cri de la Fée', the other two volumes were illustrated by Alberto Giacometti (Volume I: 'La Folie Tristan') and Hans Bellmer (Volume III: 'Mon arrestation du 26 août. Lettre inédite suivie des Etrennes philosophique' by Marquis de Sade), and the series was edited by Gilbert Lely. All of the volumes were published in 1959.
Large original collage on wove paper entitled Medical 69 by British artist Annabel Hewitt. She pastes medical cuttings including the title page of William Harvey's 1628 Posterazzi De Motu Cordis, a statue of Ancient Greek hero and god of medicine Asclepius, a clipping from the original albumen print of Sir William MacCormac about to perform a surgical operation at the Bellevue Hospital in 1891. Hewitt adds gouache on clippings and cursive writings in pastel colors. Signature on lower right: Annabel Lewitt. Title on lower center: Medical 69. Housed in a silver polished frame and a white mat with a silver border. Artwork dimensions: 30"L x 38"H. Frame size: 42"L x 51"H x 1"W. Artwork can be unframed and rolled for shipment.Artist: Annabel Hewitt (British b. 1946)Issued: 1969Dimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.
George Smart (English, 1774-1846) known as The Tailor of Frant, or a follower of George Smart (possibly named R Marshall), 'Old Bright The Postman', probably early-mid 19thC, a cut and assembled fabric and leather collage, showing the old postman in a felt coat and trousers leading a donkey along a road through Frant, with his satchel and holding two letters, with Frant church and a house behind him, framed and glazed in a period black painted frame, and brown paper glued to the back with an applied photocopied label and a further label cellotaped on, together with a copy of the book 'George Smart, The Tailor of Frant: Artist in Cloth & Velvet Figures', by Jonathan Christie, published by Unicorn, 2016, in which the picture is shown, frame 43cm wide, 39.5cm high.PROVENANCEChristie's, The Judkyn/Pratt Collection of British Folk Art, 8th November 1995.A Folk Art dealer, London.The Property of a GentlemanLITERATUREThis picture is illustrated and discussed on page 113 of the monograph book 'George Smart, The Tailor of Frant: Artist in Cloth & Velvet Figures', by Jonathan Christie, published by Unicorn, 2016. Author and noted George Smart expert Christie states that "...This Postman is considered the earliest known example of this subject by Smart. ... The historian and writer James Ayres knew this picture well and indeed described it as one of the earliest of its type. The metallic flags appear in later versions as does the clump of trees perched on top of the hill on the right." However, since the publication of this book, opinions on the authorship of this picture differ, with the author of the above book and another expert now believing this to possibly be the work of another hand in the style of George Smart. A clue may lie in the photocopied label glued to the back of the brown paper. In old inked writing, this reads 'the Frant Postman Returning home from the tunbridge Wells 93 years of age by R Marshall'. This could be a photocopy of an old, original label under the brown paper, which is stuck down to the backboard presumably irretrievably covering the original label, if it is indeed there - and if the two are connected. FOOTNOTE: George Smart (1774-1846) is a key figure in English Folk Art. He lived in the village of Frant, around 2 miles south of Tunbridge Wells. As well as offering tailoring services, he made fabric covered dummy boards and pictures that he sold from shelves attached to his house, 'Smart's Repository', on the main road. His fame grew and he was included in period tourist guidebooks to Tunbridge Wells. In 1820, he sold works to His Royal Highness the Duke of Sussex, and thus then considered himself 'By Royal Appointment'. Although there are no records of how many pieces Smart made, and no idea of how much they cost, it is thought that only around 100 of his works survive - all in public or private collections. There are no records of R. Marshall, or any period artists producing work in Smart's style and featuring his characters. This is a very rare opportunity to acquire not only a work in superb condition showing Smart's most beloved local Kentish character.Old Bright, the Frant postman, is arguably Smart's most loved, mosty frequently shown character. Delivering post was Old Bright's second career - before, he was known as the 'Sweeper of The Walks', (The Pantiles). This example contains all the detail of Smart's depiction of this popular character, from the buckles on the shoes to his leather satchel, the furry grey hair, tired demeanour, handwritten letters with their cryptic part-hidden addresses, and more.CONDITION: Overall very good to excellent considering the age and materials of the piece. No apparent missing components. Although the donkey's eye does not have a bead and his coat has no buttons, there are no patches (such as remains of glue), where these may have been held. There is some fading and darkening all over, as to be expected, and a couple of small patches of losses to the pile of the felt used for the road and the field, and a fence post and the church, as photographed. There are two cuts to an area of the field behind and above the milestone, presumably (like with the milestone itself), to add an sense of form or undulation. Remarkably, the gilt paper components used for the flags and church clock tower hands all survive in place. Not examined out of its frame or under a black light, but the brown paper backing has been cut and lifted in one area.Packing & ShippingLet us take the hassle of sorting out packing and shipping from you. Mark Hill Auctions is delighted to be able offer the buyer an in-house packing and shipping service for this lot. We use UPS for shipping and all packages are sent insured with a tracked service. We do not ship without insurance. We do not use any other service such as Royal Mail, FEDEX or DHL. Please see below for estimated packing and shipping prices:UK (Estimated): £20.40USA (Estimated): £59.00EU (Estimated): £27.00R.O.W. (Estimated): £56.00In addition to these packing and shipping estimates, insurance will be charged as described below.INSURANCEWe only ship with insurance. Insurance costs 1.5% of the total of the hammer price plus buyer’s premium and any applicable VAT, so you can work this cost out yourself when you have won a lot and received your invoice. As such, the price for insurance will be added to the above estimates if you request your item(s) to be shipped.HOW TO REQUEST SHIPPINGTo request packing and shipping, please wait for your invoice to arrive by email and click on the ‘Request Postage’ button on your invoice, or contact us by email at admin@markhillauctions.com requesting packing and shipping for your lot(s). 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* WILL MAW (BRITISH b. 1973), UNTITLED screenprint with monotype on papermounted, framed and under glassimage size 61cm x 51cm, overall size 98cm x 85cm Note: Will Maw was born in London in 1973 and grew up in Bristol. Maw studied at Glasgow School of Art from 1993 to 1996, including a three month residency at the School of Fine Art in Addis Ababa, Ethiopia. Living in Glasgow until 2006, he worked mainly through Glasgow Print Studio and exhibited nationally and internationally, curated print exhibitions from around the world travelling widely including two government funded artists residencies in Arizona. Collaborations with well known Scottish artists and printmakers were routine in what remains the largest workshop of its kind in the UK; exhibitions in Glasgow, London, Edinburgh and New York were on the regular calendar of events. In 2000 he organised an exhibition of his own work in Addis Ababa at the Alliance Francais. Working with Glasgow City Council, Maw organised and operated many community workshops and exhibitions through school groups, hospital groups and social centres staging exhibitions in various Glasgow Museums venues. The work produced won prizes and on one occasion was exhibited in the Tate Modern in London. In 2006 Maw moved to London. Within two months he was on the Royal Academy payroll and began to work for Advanced Graphics London producing screenprint editions. Shortly afterwards he enrolled at the Royal College of Art and left in 2009 after completing the Master of Arts course in Printmaking. Maw returned to Glasgow that year with an exhibition at the Compass Gallery, Glasgow. Having worked in print publishing workshops for fifteen years, Maw resolved in 2008 to establish an independent workshop to continue his own practice making artwork on paper as well as the ongoing existing collaborations, including the resolution of the ‘Pictosaurus’ Archive, an extensive collection of 14,000 pages of collected and categorised images compiled by the late Charlie Riddell. Following the completion of the RCA MA in 2009 and the completion of the monumental Histoire Naturelle series of prints, he coined Fountainwell as a working name for the studio producing artists prints, books and works on paper including the provision of print services to photographers, designers and writers. Maw's own creative work maintains a focus on exploring the diversity and multiplicity of printed media using collage and superimposition of often contradictory imagery. Increasingly the finished works have turned more towards books and manuscripts as documentary works, nurtured perhaps by a continuing contract with a conservation framers specialising in rare works on paper and fine prints from 17th to 20th century. Recent exhibitions include the Eagle Gallery ‘Natural Histories’ group exhibition, a one person show at North House Gallery and a permanent installation at The Hilton Green Park as well as various group shows in London and Glasgow.
* STEWART BOWMAN JOHNSON (SCOTTISH 1938 - 2019), CATAWAMPUS mixed media collage on board, signedunframedoverall size 82cm x 61cm Note: In The Scottish Contemporary Art Auction of 17th August 2023, lot 39 "Bull" a 61 x 82cm mixed media collage by Stewart Bowman Johnson sold for £600 (hammer).
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), ANIMAL mixed media collage on paper, signed, titled and dated 2001mounted, framed and under glassimage size 41cm x 84cm, overall size 69cm x 100cm Provenance: Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* WILL MAW (BRITISH b. 1973), THE LIGHTER TOUCH limited edition screenprint on paper, signed, titled and numbered 1/5mounted, framed and under glassimage size 109cm x 57cm, overall size 126cm x 73cmNote: Will Maw was born in London in 1973 and grew up in Bristol. Maw studied at Glasgow School of Art from 1993 to 1996, including a three month residency at the School of Fine Art in Addis Ababa, Ethiopia. Living in Glasgow until 2006, he worked mainly through Glasgow Print Studio and exhibited nationally and internationally, curated print exhibitions from around the world travelling widely including two government funded artists residencies in Arizona. Collaborations with well known Scottish artists and printmakers were routine in what remains the largest workshop of its kind in the UK; exhibitions in Glasgow, London, Edinburgh and New York were on the regular calendar of events. In 2000 he organised an exhibition of his own work in Addis Ababa at the Alliance Francais. Working with Glasgow City Council, Maw organised and operated many community workshops and exhibitions through school groups, hospital groups and social centres staging exhibitions in various Glasgow Museums venues. The work produced won prizes and on one occasion was exhibited in the Tate Modern in London. In 2006 Maw moved to London. Within two months he was on the Royal Academy payroll and began to work for Advanced Graphics London producing screenprint editions. Shortly afterwards he enrolled at the Royal College of Art and left in 2009 after completing the Master of Arts course in Printmaking. Maw returned to Glasgow that year with an exhibition at the Compass Gallery, Glasgow. Having worked in print publishing workshops for fifteen years, Maw resolved in 2008 to establish an independent workshop to continue his own practice making artwork on paper as well as the ongoing existing collaborations, including the resolution of the ‘Pictosaurus’ Archive, an extensive collection of 14,000 pages of collected and categorised images compiled by the late Charlie Riddell. Following the completion of the RCA MA in 2009 and the completion of the monumental Histoire Naturelle series of prints, he coined Fountainwell as a working name for the studio producing artists prints, books and works on paper including the provision of print services to photographers, designers and writers. Maw's own creative work maintains a focus on exploring the diversity and multiplicity of printed media using collage and superimposition of often contradictory imagery. Increasingly the finished works have turned more towards books and manuscripts as documentary works, nurtured perhaps by a continuing contract with a conservation framers specialising in rare works on paper and fine prints from 17th to 20th century. Recent exhibitions include the Eagle Gallery ‘Natural Histories’ group exhibition, a one person show at North House Gallery and a permanent installation at The Hilton Green Park as well as various group shows in London and Glasgow.
* WILL MAW (BRITISH b. 1973), UNTITLED screenprint with monotypemounted, framed and under glassimage size 51cm x 61cm, overall size 85cm x 98cmNote: Will Maw was born in London in 1973 and grew up in Bristol. Maw studied at Glasgow School of Art from 1993 to 1996, including a three month residency at the School of Fine Art in Addis Ababa, Ethiopia. Living in Glasgow until 2006, he worked mainly through Glasgow Print Studio and exhibited nationally and internationally, curated print exhibitions from around the world travelling widely including two government funded artists residencies in Arizona. Collaborations with well known Scottish artists and printmakers were routine in what remains the largest workshop of its kind in the UK; exhibitions in Glasgow, London, Edinburgh and New York were on the regular calendar of events. In 2000 he organised an exhibition of his own work in Addis Ababa at the Alliance Francais. Working with Glasgow City Council, Maw organised and operated many community workshops and exhibitions through school groups, hospital groups and social centres staging exhibitions in various Glasgow Museums venues. The work produced won prizes and on one occasion was exhibited in the Tate Modern in London. In 2006 Maw moved to London. Within two months he was on the Royal Academy payroll and began to work for Advanced Graphics London producing screenprint editions. Shortly afterwards he enrolled at the Royal College of Art and left in 2009 after completing the Master of Arts course in Printmaking. Maw returned to Glasgow that year with an exhibition at the Compass Gallery, Glasgow. Having worked in print publishing workshops for fifteen years, Maw resolved in 2008 to establish an independent workshop to continue his own practice making artwork on paper as well as the ongoing existing collaborations, including the resolution of the ‘Pictosaurus’ Archive, an extensive collection of 14,000 pages of collected and categorised images compiled by the late Charlie Riddell. Following the completion of the RCA MA in 2009 and the completion of the monumental Histoire Naturelle series of prints, he coined Fountainwell as a working name for the studio producing artists prints, books and works on paper including the provision of print services to photographers, designers and writers. Maw's own creative work maintains a focus on exploring the diversity and multiplicity of printed media using collage and superimposition of often contradictory imagery. Increasingly the finished works have turned more towards books and manuscripts as documentary works, nurtured perhaps by a continuing contract with a conservation framers specialising in rare works on paper and fine prints from 17th to 20th century. Recent exhibitions include the Eagle Gallery ‘Natural Histories’ group exhibition, a one person show at North House Gallery and a permanent installation at The Hilton Green Park as well as various group shows in London and Glasgow.
* PHILIP REEVES RSA PRSW RGI RE (SCOTTISH 1931 - 2017), SECULAR TRIPTYCH limited edition aquatint on paper, signed, titled and numbered 3/10framed and under glasssheet size 69cm x 49cm, overall size 78cm x 55cm Note: Philip Reeves studied at the Cheltenham School of Art and at the Royal College of Art, London before being appointed lecturer at Glasgow School of Art in 1954. In 1967 he founded Edinburgh Printmakers, and was made Head of Printmaking at Glasgow School of Art in 1970, during which time he honed his skill, and expanded his media to include collage and construction. He has been extensively exhibited nationally with collections in the City Art Centre, the Royal Scottish Academy and the V&A Museum. His work can be found in many public, corporate and private collections in the UK.
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