Fine Canadian Art
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
2019 International 25.05.2019 > 01.09.2019 Art Exhibitions 2019
International 05 Art Exhibitions 2019 International 25.05.2019 > 01.09.2019 Art Exhibitions 2019 Opposite page Portrait of Pope Benedict XVI 2010, Mixed media on board Michael Triegel 100.5 x 76 cm Institut Papst Benedikt XVI, Harmony in Discord Regensburg Museum de Fundatie Museum de Fundatie 1 2 5 Michael Triegel was born in Efurt, From 1990 to 1997 Michael Triegel The members of this association largely 1 Germany in 1968. He is a painter, studied at the renowned Hochschule use the same figurative form language, Persephone and Orpheus illustrator and graphic artist. His pain- für Grafik und Buchkunst (Academy of though they vary widely in terms of 2012, Mixed media on board Zwolle tings catapult us back in time. His body Fine Arts) in Leipzig, where he was their technique. 200 x 110 cm of work looks like it was created in the taught by Arno Rink and Ulrich Hachulla. Museum Barberini Potsdam early European Renaissance, but on The academy is closely associated with Having grown up in the secular GDR, 2 closer inspection it really is contempo- the Neue Leipziger Schule (New Leipzig Triegel converted to Christianity after Deus absconditus rary. It is a celebration of pure figurative School), a movement in German art the Bishop of Regensburg commi- 2013, Mixed media on canvas painting, with classic religious and pro- that arose following the fall of the Berlin ssioned him to paint a portrait of Pope 160 x 260 cm fane motifs, but Triegel also gives it an Wall, of which Neo Rauch is the most Benedict XVI in 2010. -
Film Producer Buys Seacole Bust for 101 Times the Estimate
To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp ISSUE 2454 | antiquestradegazette.com | 15 August 2020 | UK £4.99 | USA $7.95 | Europe €5.50 koopman rare art antiques trade KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Face coverings Film producer buys Seacole now mandatory at auction rooms bust for 101 times the estimate across England A terracotta sculpture of Mary Seacole by Alex Capon (1805-81) sparked fierce competition at Dominic Winter. Wearing a face covering when Bidding at the South Cerney auction house attending an auction house in England began with 12 phones competing for the has now become mandatory. sculpture of Seacole, who nursed soldiers The updated guidance also applies to visitors to galleries and museums. during the Crimean War. Since July 24, face coverings have been It eventually came down to a final contest compulsory when on public transport as involving underbidder Art Aid and film well as in supermarkets and shops including producer Billy Peterson of Racing Green dealers’ premises and antique centres. The government announced that this Pictures, which is currently filming a would be extended in England from August biopic on Seacole’s life. 8 to include other indoor spaces such as Peterson will use the bust cinemas, theatres and places of worship. as a prop in the film. It will Auction houses also appear on this list. then be donated to the The measures, brought in by law, apply Mary Seacole Trust Continued on page 5 and be on view at the Florence Nightingale Museum. -
Grosvenor School Inspired 15 July
PRESS RELEASE Grosvenor School Inspired A group exhibition of contemporary linocuts, inspired by the renowned Grosvenor School of Art style 15 th July – 28 th August 2016 Private view: Thursday 14 th July, 6-8pm Looking ahead for Brook’s Budleigh gallery we are excited to announce the upcoming summer exhibition, Grosvenor School Inspired , featuring artists: Paul Cleden, Lisa Takahashi and Andrew Pavitt. The British Grosvenor School of Modern Art was opened in 1925 by Claude Flight and Iain MacNab. Flight taught the art of lino-cutting and MacNab taught wood engraving. Other teachers included Cyril Power who lectured on architecture, Sybil Andrews as Secretary and Lill Tschudi attended as a young Swiss student. Claude Flight, a former engineer, taught students to produce multi-colour linocut prints by using different blocks for each colour. Flight’s work celebrated the speed, movement and hustle of modern life in the 1920s and 30s, with dominant themes of sport and transport. Many contemporary artists attempt to capture the essence of the Grosvenor School by producing these incredibly complex angular linocuts, few however succeed in the way that Paul Cleden, Lisa Takahashi and Andrew Pavitt do. Their prints notably capture the spirit of the genre whilst putting their own individual styling and nuances into the work. ‘My linocuts are in the tradition of Lill Tschudi, Sybil Andrews and Cyril Power, and more recently Michael Rothenstein and Edward Bawden’, quotes exhibiting artist Paul Cleden. ‘ I love to look at figurative movement; consequently sports are often featured because of the dynamic shapes and action, but equally a crowd of rush hour people leaving a train, or people browsing Dorchester market are wonderful inspiration, whenever I see a crowd my sketchbook twitches.’ Paul is an illustrator, printmaker and writer, originally graduated from London, now lives and works in Dorset. -
Art Gallery of Greater Victoria As Well As Loans from the Winnipeg Art Gallery, the Glenbow Museum and the National Gallery of Canada
M e d i a Release January 8, 2015 A Study in Contrast at the AGGV A Study in Contrast The Grosvenor School of Art in London, England offered a rare education in European Sybil Andrews and Gwenda avant-garde art practices during its operating years from 1925 to 1940. Progressive Morgan attempts to move beyond the traditional art school curriculum attracted many students, Jan. 17 to April 12, 2015 including a large number of women. On Jan. 17, a new exhibition, A Study in Contrast opens at the Art Gallery of Victoria to Founders Gallery examine two exceptional printmakers who studied at the Grosvenor School, Sybil Andrews (1898-1992) and Gwenda Morgan (1908-1991). Andrews produced colour linocuts and Morgan black and white wood engravings. In 1925, Sybil Andrew became the school secretary at the recently established Grosvenor School of Modern Art, staying until 1928. At the school she learned colour linocutting from instructor Claude Flight. He introduced his pupils to the formal Art Gallery of Greater language of the avant-garde art of the Italian Futurists, the French Cubists, and the English Vorticists, all of which influenced Andrew’s work. Following World War II Andrews Victoria emigrated from Britain to Campbell River, BC, where she spent the rest of her life 1040 Moss Street adapting her modernist approach to decidedly West Coast subjects including First Nations Victoria, BC, V8V 4P1 culture, the rainforest, and the logging and fishing industries. 250.384.4171 aggv.ca Gwenda Morgan studied wood-engraving, part-time, with a variety of instructors from 1930-36 at the Grosvenor School. -
Prints & Multiples
Prints & Multiples New Bond Street, London | 13 June 2019 Prints & Multiples New Bond Street, London | Thursday 13 June 2019 at 2pm VIEWING ENQUIRIES ILLUSTRATIONS PHYSICAL CONDITION OF Friday 7 June 9am to 5pm Lucia Tro Santafe Front cover: Lot 38 © Succession LOTS IN THIS AUCTION Saturday 8 June 11am to 5pm Head of Department Picasso/DACS, London 2019 INTENDING BIDDERS MUST Sunday 9 June 11am to 5pm +44 (0) 20 7468 8262 Back cover: Lot 159 SATISFY THEMSELVES AS TO Monday 10 June 9am to 5pm [email protected] Inside front cover: Lot 7 THE CONDITION OF ANY LOT AS Tuesday 11 June 9am to 5pm Inside back cover: Lot 34 SPECIFIED IN CLAUSE 14 OF THE Wednesday 12 June 9am to 5pm Suzanne Irvine Opposite page: Lot 127 NOTICE BIDDERS CONTAINED AT Thursday 13 June 9am to 12pm Specialist THE END OF THIS CATALOGUE. +44 (0) 20 7468 8294 REGISTRATION FOR A COMPLETE CONDITION [email protected] SALE NUMBER IMPORTANT NOTICE REPORT OF ANY LOT PLEASE 25438 CONTACT THE DEPARTMENT. Laetitia Guillotin REGISTRATION Specialist CATALOGUE IMPORTANT NOTICE As a courtesy to intending bidders, +44 (0) 20 7468 8326 Bonhams will provide a written £20.00 [email protected] Please note that all customers, Indication of the physical condition of irrespective of any previous activity lots in this sale if a request is BIDS Sale Administrator with Bonhams, are required to +44 (0) 20 7447 7447 received up to 24 hours before the Stefania Sorrentino complete the Bidder Registration auction starts. This written +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8212 Form in advance of the sale. -
The Ship 2013/2014
St Anne’s College Record 2013 – 2014 - Number 103 - Annual Publication of the ASM 2013 – 2014 The Ship St Anne’s College St Anne’s Careers Day 2014 - an initiative of the JCR, MCR and ASM/Keith Barnes St Anne’s College Record 2013-2014 Bristol & West Branch: Liz Alexander Photographs Number 103 Cambridge Branch: Sue Collins Annual Publication of the ASM London Branch: Clare Dryhurst All photographs unless otherwise credited Midlands Branch: Jane Darnton are the property of St Anne’s College, Committee 2013-2014 North East Branch: Gillian Pickford Oxford. Presidents: Clare Dryhurst North West Branch: Maureen Hazell and Jackie Ingram Oxford Branch: Stephanie North Front cover photo: Students hide their faces Honorary Secretary: Pam Jones South of England Branch: Maureen during Matriculation (reason unknown), Honorary Editor: Judith Vidal-Hall Gruffydd Jones October 2013/Keith Barnes; p.3, p.10, Ex Officio: Tim Gardam, Kate Davy p.71, inside back cover, and back cover – Designed and printed by Windrush Group Keith Barnes; p.24 – Digital images of new Until 2014: Kate Hampton Windrush House, Avenue Two. Library and Academic Centre supplied by Until 2015: Hugh Sutherland Station Lane, Witney, Oxfordshire OX28 4XW Fletcher Priest Architects Until 2016: David Royal Tel: 01993 772197 Contents Contents From the Editor 2 Gaudy Seminar 2013 – Tim Benton 40 ASM Presidents’ report 3 Gaudy Seminar 2013 – Mary Atkinson 42 From the Principal 4 Gaudy and Alumni Weekend 2014 44 Interview with the Principal 6 Careers – Will Harvey 47 From the Development -
Newsletter 29-Aut 13
! No. 29 Autumn 2013 elcome to the latest edition of our newsletter. plaques. These are growing in number around the Inside you will find our chairman’s report for borough and we have several more in the pipeline – on W the past year, plus a diverse range of articles which we will be reporting in later numbers. We are covering everything from Ravenscourt Park to Russian pleased to say that work has started on the tower at All ballet by way of lost factories, lost railway lines and even Saints in Fulham, but the church is still fundraising – see lost laundries. Also featured are two of our latest blue the back page for details on how to donate. The Tube Station, 1932, a lino cut by Cyril Power exhibited at the ‘Brook Green Artists’ exhibition at Hammersmith Library in July 2013. Power (1872-1951) lived and worked at 2 Brook Green and used sport and transport for many of his subjects (see page 3). The Group now works in a cabinet method where different members, after discussion with colleagues, take Chairman’s Report leadership for a particular issue on the basis of knowledge, location and interests. We often work in This has been a busy year for the Group. There have been cooperation with other amenity groups in the borough, a number of major development projects in the borough – including local residents groups and park friends groups. the former BBC Television Centre, Olympia, and We have had some informal but useful contact with Hammersmith town hall being three of the largest. -
Koole, S. (2016). How We Came to Mind the Gap: Time, Tactility, and the Tube
Koole, S. (2016). How We Came to Mind the Gap: Time, Tactility, and the Tube. Twentieth Century British History, 27(4), 524-554. https://doi.org/10.1093/tcbh/hww038 Peer reviewed version Link to published version (if available): 10.1093/tcbh/hww038 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Oxford University Press at https://academic.oup.com/tcbh/article/27/4/524/2525305 . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Simeon Koole How We Came to Mind the Gap: Time, Tactility, and the Tube Simeon Koole University of Oxford PRE-PUBLICATION AUTHOR-ACCEPTED VERSION: PLEASE DO NOT CITE OR QUOTE WITHOUT EXPRESS PERMISSION OF THE AUTHOR For the published version, please see: ‘How We Came to Mind the Gap: Time, Tactility, and the Tube’, Twentieth-Century British History, 27, 4, (December 2016), pp. 524-554 1 Simeon Koole Teresa Lubienska was not without enemies. As a countess who had been in the Polish Resistance, interned in Ravensbrück, and since migrating to Britain in 1946 chaired the association providing relief to Polish ex-political prisoners, she had ample reason and means to settle old grievances and, the police inferred, make new ones.1 But despite this, it was still shocking news that on the night of Friday 24 May 1957 the seventy-three-year-old had been stabbed on a platform of Gloucester Road tube station, West London. -
British Linocuts of the Grosvenor School September 6 – October 19, 2013
CRAIG F. STARR GALLERY CONTACT: Elleree Erdos FOR IMMEDIATE RELEASE: + 212 570 1739 [email protected] British Linocuts of the Grosvenor School September 6 – October 19, 2013 NEW YORK, NY – Craig F. Starr Gallery is pleased to present British Linocuts of the Grosvenor School, on view from September 6 to October 19, 2013. The exhibition highlights the four principal artists of London’s Grosvenor School of Modern Art: Claude Flight, Sybil Andrews, Cyril Power, and Lill Tschudi. In the 1920s and 1930s, these artists embraced the linoleum cut as a new medium, specifically suited to capture the vital changes taking place in their daily lives. A fully illustrated catalogue will accompany the show. Speed, technology, and urbanism are the predominant themes of the exhibition’s nineteen images. On the heels of Cubism and Futurism, the Grosvenor School artists infused everyday themes, such as transportation and leisure, with dynamism and motion. In a movement towards the simplification and stylization of imagery, these vibrant prints blend traditional representation with modern design. Although they were made at the peak of the machine age, between the wars, each work is a handcrafted, labor intensive image. Vigorous repetition, fragmented abstraction, and the whirling geometries of these linocuts forcefully depict the heightened pace of modern life and the sense of anonymity that came along with it. Craig F. Starr Gallery is located at 5 East 73rd Street between Fifth and Madison Avenues. Gallery hours are Monday through Saturday, 11:00am to 5:30pm, and by appointment. For general information please view the gallery’s website at www.starr-art.com. -
The Representation of Association Football in Fine Art in England From
The Representation of Association Football in Fine Art in England From its Origins to the Present Day by Ray Physick A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire April 2013 The Representation of Association Football in Fine Art in England King Kenny by Christine Physick (2011) From its Origins to the Present Day Ray Physick: The Representation of Association Football in Fine Art in England Table of Contents Table of Contents ................................................................................................................... 3 Acknowledgements ................................................................................................................ 4 Abstract ..................................................................................................................................... 5 Preamble ................................................................................................................................... 6 Chapter One: Introduction (part one) ............................................................................... 15 Chapter Two: Introduction (part two) and Literature Review ..................................... 41 Chapter Three: Representations of Football in Art - Origins to 1918 ........................ 76 Chapter Four: Representations of Football in Art – 1918-1945 .................................. 135 Chapter Five: Representations of Football in Art – 1945-1960 ................................. -
July 2020 Online Auction
july 2020 JULY 15, 2020 15, JULY ONlINe AUCTION Sale July 2, 2020 – July 30, 2020 001 FREDERIC MARLETT BELL-SMITH OSA RCA SCA 1846 - 1923 Canadian Mount Stephen watercolour on paper signed and on verso titled and inscribed variously 25 7/8 x 18 inches 65.7 x 45.7 centimeters Provenance: Private Collection, Toronto Exhibited: Literature: Starting Bid: $3,000 CDN Estimate: $4,000 ~ $6,000 CDN Preview at: Heffel – 13 Hazelton Ave Toronto 002 DAVID LLOYD BLACKWOOD CPE CSGA CSPWC OSA RCA 1941 - Canadian Notes from Bragg's Island colour etching and aquatint signed, titled, editioned 65/75 and dated 1992 13 3/4 x 32 3/4 inches 34.9 x 83.2 centimeters Provenance: Heffel Gallery Ltd., Vancouver Private Collection Exhibited: Literature: Please note: this work is unframed. Starting Bid: $2,000 CDN Estimate: $3,000 ~ $4,000 CDN Preview at: Heffel Vancouver 003 ALAN CASWELL COLLIER OSA RCA 1911 - 1990 Canadian Thunderbird at Alert Bay, BC oil on canvas board signed and on verso titled on the artist's label, dated circa 1955 on the Mayberry Fine Art label and inscribed "G 93-116" / "K3955" / "5400A" 18 x 24 inches 45.7 x 61 centimeters Provenance: Mayberry Fine Art, Winnipeg Pegasus Gallery of Canadian Art, Salt Spring Island, British Columbia Private Collection, Toronto Exhibited: Literature: Starting Bid: $3,500 CDN Estimate: $4,000 ~ $6,000 CDN Preview at: Heffel – 13 Hazelton Ave Toronto JULY 2020 ONLINE SALE CATALOGUE Page: 2 of 67 004 ALEXANDER COLVILLE PC CC 1920 - 2013 Canadian Crow with Silver Spoon colour serigraph on paper signed, editioned 2/70 and dated 1972 18 x 18 inches 45.7 x 45.7 centimeters Provenance: Private Collection, Vancouver Exhibited: Literature: Helen J. -
To Download a Brave New World Catalogue
A BRAVE NEW WORLD BRITISH ART IN THE 20TH CENTURY 1 A BRAVE NEW WORLD BRITISH ART IN THE 20TH CENTURY Gerrish Fine Art By Appointment 35a Jermyn Street, London SW1Y 6DT 0207 871 3089 [email protected] www.gerrishfineart.com Members of the International Fine Print Dealers Association (IFPDA) 2 3 TWOTWO YOUNG YOUNG RADICALS RADICALS GAUDIER-BRZESKAGAUDIER-BRZESKA & & BOMBERG BOMBERG 4 5 HENRI GAUDIER-BRZESKA (1891-1915) HENRI GAUDIER-BRZESKA (1891-1915) Signed by Brodzky and numbered ‘imp. 31/50’ in black This is the only linocut produced by the sculptor Henri ink. Printed on thick wove paper. It is unlikely the projected Gaudier-Brzeska. In his 1933 biography, Brodzky wrote, edition of 50 was completed. Printed posthumously. ‘Brzeska saw me at work, cutting designs at my home, and he decided to do some also. Being near Christmas time he Collections: V & A; British Museum; Metropolitan cut a version of his ‘Wrestlers’ to be used as a card’. Museum of Art; The Art Institute of Chicago; Princeton University Art Museum; Museum of Fine Arts Boston; Gaudier based his design on a 1914 plaster relief of the Harvard Art Museums same subject now in the permanent collection of the Museum of Fine Arts Boston. Gaudier-Brzeska’s interest Literature: Carey & Griffiths, ‘Avant-Garde British in the subject of wrestlers was inspired by his visits to the Printmaking 1914-1960’, British Museum Publications London Wrestling Club, off Fleet Street, in 1912-1913. Ltd, 1990, cat. no. 18, p. 45 He made numerous drawings from life there, and wrote, in a letter to Sophie Gaudier Brzeska dated December 1912: ‘Last night I went to see the wrestlers – God! I have seldom seen anything so lovely – two athletic types, large shoulders, taut, big necks like bulls, small in the build with firm thighs and slender ankles, feet sensitive as hands, and not tall.