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results searching for artist n.ninetti

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**Eduardo Paolozzi (1924-2005), "Brazil", screenprint, published for the Design Research Unit 1989, 36cm x 27cm, within a silvered frame. **Please note: Artists Resale Rights may be payable on this lot
SOLD FOR £95
**Eduardo Paolozzi (1924-2005), "Brazil", screenprint, published for the Design Research Unit 1989, 36cm x 27cm, within a silvered frame. **Please note: Artists Resale Rights may be payable on this lot
Edward Lear (1812-1888), "A Street Scene in Vevey, Switzerland", watercolour, inscribed and dated 1837, 28cm x 18cm, within a stained wood frame. Provenance: Christie's 8th July 1997, lot no.76. Note: Executed during Edward Lear's first journey to Italy in 1837, the present watercolour belongs to a pivotal period in the artist's career, when his reputation as a topographical draughtsman was rapidly becoming established. Leaving London in July, Lear journeyed through Belgium, Luxembourg and Germany before passing through Vevey, on the northern shore of Lake Geneva, en route to Rome, where he arrived in December. Situated at the mouth of the Veveyse Valley beneath Mont Pélerin, Vevey offered Lear a striking combination of Alpine scenery and expansive views across Lake Geneva. Although almost certainly begun on the spot, the present work was subsequently developed into a highly finished watercolour, representative of the carefully resolved exhibition watercolours that characterised Lear's early career.
SOLD FOR £1250
Edward Lear (1812-1888), "A Street Scene in Vevey, Switzerland", watercolour, inscribed and dated 1837, 28cm x 18cm, within a stained wood frame. Provenance: Christie's 8th July 1997, lot no.76. Note: Executed during Edward Lear's first journey to Italy in 1837, the present watercolour belongs to a pivotal period in the artist's career, when his reputation as a topographical draughtsman was rapidly becoming established. Leaving London in July, Lear journeyed through Belgium, Luxembourg and Germany before passing through Vevey, on the northern shore of Lake Geneva, en route to Rome, where he arrived in December. Situated at the mouth of the Veveyse Valley beneath Mont Pélerin, Vevey offered Lear a striking combination of Alpine scenery and expansive views across Lake Geneva. Although almost certainly begun on the spot, the present work was subsequently developed into a highly finished watercolour, representative of the carefully resolved exhibition watercolours that characterised Lear's early career.
Annie Soudain (British, b.1949), "Autumn Breeze", watercolour with gouache, signed and dated '97 recto, titled artist's label verso, 37cm x 46cm, within a stained wood frame.
SOLD FOR £80
Annie Soudain (British, b.1949), "Autumn Breeze", watercolour with gouache, signed and dated '97 recto, titled artist's label verso, 37cm x 46cm, within a stained wood frame.
Breon O'Casey (British, 1928-2011), "Fish I", acrylic on paper, signed and dated 2003 recto, titled in ink verso, 25cm x 40cm, within a silvered frame. Provenance: Yew Tree Gallery, Penzance. Note: Fish rank among Breon O'Casey's most enduring and evocative motifs, providing an ideal vehicle through which to explore rhythm, balance and simplified geometric form. Inspired by the maritime landscape and fishing culture of St Ives, these archetypal subjects recur throughout his oeuvre, reflecting his lifelong fascination with reducing natural forms to their essential visual elements. One of the most versatile artists associated with the St Ives School, O'Casey worked as a painter, printmaker, sculptor, weaver and jeweller. The son of the playwright Sean O'Casey, he settled in St Ives in 1959, where he worked alongside Barbara Hepworth and Denis Mitchell and became part of the town's remarkable post-war artistic community. Drawing upon ancient and non-Western art as well as the Cornish landscape, O'Casey developed a highly personal abstract language that united craftsmanship with poetic simplicity.
SOLD FOR £2900
Breon O'Casey (British, 1928-2011), "Fish I", acrylic on paper, signed and dated 2003 recto, titled in ink verso, 25cm x 40cm, within a silvered frame. Provenance: Yew Tree Gallery, Penzance. Note: Fish rank among Breon O'Casey's most enduring and evocative motifs, providing an ideal vehicle through which to explore rhythm, balance and simplified geometric form. Inspired by the maritime landscape and fishing culture of St Ives, these archetypal subjects recur throughout his oeuvre, reflecting his lifelong fascination with reducing natural forms to their essential visual elements. One of the most versatile artists associated with the St Ives School, O'Casey worked as a painter, printmaker, sculptor, weaver and jeweller. The son of the playwright Sean O'Casey, he settled in St Ives in 1959, where he worked alongside Barbara Hepworth and Denis Mitchell and became part of the town's remarkable post-war artistic community. Drawing upon ancient and non-Western art as well as the Cornish landscape, O'Casey developed a highly personal abstract language that united craftsmanship with poetic simplicity.
**Sir Terry Frost (British, 1915-2003) - Trembath Blues, screenprint in colours on Arches wove paper, signed and dated 2000, artist's proof outside of the edition of 300 published by Advanced Graphics, London, 23cm x 27.5cm, within a painted wood frame. **Please note - Artists Resale Rights may be payable on this lot
SOLD FOR £360
**Sir Terry Frost (British, 1915-2003) - Trembath Blues, screenprint in colours on Arches wove paper, signed and dated 2000, artist's proof outside of the edition of 300 published by Advanced Graphics, London, 23cm x 27.5cm, within a painted wood frame. **Please note - Artists Resale Rights may be payable on this lot
Wilhelmina Barns-Graham (British, 1912-2004), "Nocturne", oil on paper laid onto board, signed and dated 1961 recto, titled, further dated 1962 and inscribed with artist's address verso, 25.5cm x 34cm, within a painted wood frame. Provenance: Alan Wheatley Art; David Lay, 30th July 2009. Christie's 25th July 1996, lot no.346. Note: During the 1950s, Wilhelmina Barns-Graham developed an increasingly abstract visual language rooted in close observation of the natural world, progressively reducing landscape to a disciplined vocabulary of geometric form. By the early 1960s she had largely abandoned direct references to landscape, embarking upon a sustained exploration of abstract compositions based on the rhythmic arrangement of squares and circles. Executed during this pivotal period, "Nocturne" belongs to a significant series of works produced between 1960 and 1965 in which Barns-Graham experimented with repeated square forms, often applied using a wooden block or similar implement to create a stamped, rhythmic surface. The careful proportional division of the picture plane, a recurring concern throughout her mature career, is already evident here. Closely related compositions include Time Present and Different (1962; Aberdeen Art Gallery), Dancing Squares (1962-63), In the Wind's Eye (1964) and Cluster (1963), all of which explore the dynamic interplay of repetition, balance and spatial rhythm that characterises this important phase of the artist's oeuvre.
SOLD FOR £1800
Wilhelmina Barns-Graham (British, 1912-2004), "Nocturne", oil on paper laid onto board, signed and dated 1961 recto, titled, further dated 1962 and inscribed with artist's address verso, 25.5cm x 34cm, within a painted wood frame. Provenance: Alan Wheatley Art; David Lay, 30th July 2009. Christie's 25th July 1996, lot no.346. Note: During the 1950s, Wilhelmina Barns-Graham developed an increasingly abstract visual language rooted in close observation of the natural world, progressively reducing landscape to a disciplined vocabulary of geometric form. By the early 1960s she had largely abandoned direct references to landscape, embarking upon a sustained exploration of abstract compositions based on the rhythmic arrangement of squares and circles. Executed during this pivotal period, "Nocturne" belongs to a significant series of works produced between 1960 and 1965 in which Barns-Graham experimented with repeated square forms, often applied using a wooden block or similar implement to create a stamped, rhythmic surface. The careful proportional division of the picture plane, a recurring concern throughout her mature career, is already evident here. Closely related compositions include Time Present and Different (1962; Aberdeen Art Gallery), Dancing Squares (1962-63), In the Wind's Eye (1964) and Cluster (1963), all of which explore the dynamic interplay of repetition, balance and spatial rhythm that characterises this important phase of the artist's oeuvre.
**Cuthbert Fraser Hamilton (British, 1885-1959), Reclining Figure Studies, pastel with pencil, 25.5cm x 15cm, within a painted wood frame. Provenance: The Court Gallery, Somerset; the artist's estate.Note: Cuthbert Hamilton occupies a significant position in the development of British Modernism as one of the principal exponents of Vorticism and an early pioneer of abstract art in Britain. A fellow student of Wyndham Lewis at the Slade School of Fine Art, Hamilton became one of Lewis's closest collaborators, assisting with the decoration of the Cave of the Golden Calf and later signing the Vorticist manifesto and contributing to the inaugural issue of BLAST. He exhibited extensively with the leading avant-garde circles of the period, including the Second Post-Impressionist Exhibition, the London Group, the Rebel Art Centre and the Group X exhibition of 1920. Whilst his early work reflected the angular, mechanistic vocabulary of Vorticism, Hamilton subsequently developed a more organic abstract idiom, continuing to explore non-representational painting after many of his contemporaries had returned to figuration. In parallel, he established Yeoman Pottery in Kensington, employing the future studio potter William Staite Murray as his assistant. Following his marriage in 1920, Hamilton withdrew from artistic practice entirely and never exhibited again. Consequently, surviving works are exceptionally scarce. Examples are held in the collections of the Tate and the Victoria and Albert Museum, and his paintings are rarely encountered on the market. **Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £160
**Cuthbert Fraser Hamilton (British, 1885-1959), Reclining Figure Studies, pastel with pencil, 25.5cm x 15cm, within a painted wood frame. Provenance: The Court Gallery, Somerset; the artist's estate.Note: Cuthbert Hamilton occupies a significant position in the development of British Modernism as one of the principal exponents of Vorticism and an early pioneer of abstract art in Britain. A fellow student of Wyndham Lewis at the Slade School of Fine Art, Hamilton became one of Lewis's closest collaborators, assisting with the decoration of the Cave of the Golden Calf and later signing the Vorticist manifesto and contributing to the inaugural issue of BLAST. He exhibited extensively with the leading avant-garde circles of the period, including the Second Post-Impressionist Exhibition, the London Group, the Rebel Art Centre and the Group X exhibition of 1920. Whilst his early work reflected the angular, mechanistic vocabulary of Vorticism, Hamilton subsequently developed a more organic abstract idiom, continuing to explore non-representational painting after many of his contemporaries had returned to figuration. In parallel, he established Yeoman Pottery in Kensington, employing the future studio potter William Staite Murray as his assistant. Following his marriage in 1920, Hamilton withdrew from artistic practice entirely and never exhibited again. Consequently, surviving works are exceptionally scarce. Examples are held in the collections of the Tate and the Victoria and Albert Museum, and his paintings are rarely encountered on the market. **Please note that Artists Resale Rights may be payable on this lot
Blanche Odin (1865-1957), Still Life with Roses, watercolour, signed, 36cm x 54cm, within a silvered frame. Note: Blanche Odin was among the most accomplished French watercolourists of the late nineteenth and early twentieth centuries, celebrated particularly for her exquisitely observed floral still lifes. She studied under the renowned flower painter Madeleine Lemaire and exhibited regularly at the Salon des Artistes Francais from 1888 to 1946, receiving an Honourable Mention in 1907 and a Third-Class Medal the following year. Odin established a highly successful studio in Paris, attracting numerous pupils while producing an extensive body of commissioned works, especially her celebrated studies of roses. Her paintings enjoyed considerable commercial success during her lifetime and were exhibited in leading Parisian galleries, including the Galerie Georges Petit. Such was her association with the flower that, in 1941, a new variety of rose was named 'Blanche Odin' in her honour. Today, her work is represented in the collection of the Musee Salies, Bagneres-de-Bigorre, to which she donated forty-eight watercolours in 1938.
SOLD FOR £200
Blanche Odin (1865-1957), Still Life with Roses, watercolour, signed, 36cm x 54cm, within a silvered frame. Note: Blanche Odin was among the most accomplished French watercolourists of the late nineteenth and early twentieth centuries, celebrated particularly for her exquisitely observed floral still lifes. She studied under the renowned flower painter Madeleine Lemaire and exhibited regularly at the Salon des Artistes Francais from 1888 to 1946, receiving an Honourable Mention in 1907 and a Third-Class Medal the following year. Odin established a highly successful studio in Paris, attracting numerous pupils while producing an extensive body of commissioned works, especially her celebrated studies of roses. Her paintings enjoyed considerable commercial success during her lifetime and were exhibited in leading Parisian galleries, including the Galerie Georges Petit. Such was her association with the flower that, in 1941, a new variety of rose was named 'Blanche Odin' in her honour. Today, her work is represented in the collection of the Musee Salies, Bagneres-de-Bigorre, to which she donated forty-eight watercolours in 1938.
Walter Richard Sickert (British, 1860-1942), "Le Pollet, Dieppe", ink with watercolour, signed, titled and dated 1900, 27cm x 19.5cm, within a stained wood frame. Provenance: Private collection, USA before 1993; Christie's Modern British & Irish Art, 21st March 2018, lot no.109. Note: Between 1899 and 1900 Walter Sickert produced at least four oil paintings and three drawings depicting this view, traditionally known as *La Maison qui fait le coin* ('The House on the Corner'), a building in Le Pollet, Dieppe's historic fishermen's quarter. Dieppe had become Sickert's second home from 1885 onwards, reflecting the deep and enduring ties between the artist, his family and the French port. His brother, Oswald Sickert, later wrote: 'The Sickerts can't expect other people to see in Dieppe all that it means to them. We have inherited the place from Mother, who came to school here when she was eleven and was happy and well for the first time. Father came here too, years before they were married, and afterwards he did his best work here.' Although closely related to the painted versions of the subject, Wendy Baron has observed that the drawings were probably conceived as finished works in their own right rather than as preparatory studies. A version of the subject in coloured chalks, formerly owned by Sickert's friend, the painter Jacques-Emile Blanche, is on long-term loan to the Chateau-Musee de Dieppe. References: Wendy Baron, "Sickert Paintings and Drawings" (Yale University Press, 2006), p.231, cat nos.120-120.5. Wendy Baron, "Sickert" (Phaidon, 1973) p.15.
SOLD FOR £1350
Walter Richard Sickert (British, 1860-1942), "Le Pollet, Dieppe", ink with watercolour, signed, titled and dated 1900, 27cm x 19.5cm, within a stained wood frame. Provenance: Private collection, USA before 1993; Christie's Modern British & Irish Art, 21st March 2018, lot no.109. Note: Between 1899 and 1900 Walter Sickert produced at least four oil paintings and three drawings depicting this view, traditionally known as *La Maison qui fait le coin* ('The House on the Corner'), a building in Le Pollet, Dieppe's historic fishermen's quarter. Dieppe had become Sickert's second home from 1885 onwards, reflecting the deep and enduring ties between the artist, his family and the French port. His brother, Oswald Sickert, later wrote: 'The Sickerts can't expect other people to see in Dieppe all that it means to them. We have inherited the place from Mother, who came to school here when she was eleven and was happy and well for the first time. Father came here too, years before they were married, and afterwards he did his best work here.' Although closely related to the painted versions of the subject, Wendy Baron has observed that the drawings were probably conceived as finished works in their own right rather than as preparatory studies. A version of the subject in coloured chalks, formerly owned by Sickert's friend, the painter Jacques-Emile Blanche, is on long-term loan to the Chateau-Musee de Dieppe. References: Wendy Baron, "Sickert Paintings and Drawings" (Yale University Press, 2006), p.231, cat nos.120-120.5. Wendy Baron, "Sickert" (Phaidon, 1973) p.15.
Thomas Callender Campbell Mackie (1886-1952), "The Green Door", 20th century pastel, signed recto, titled artist's label verso, 34cm x 47cm, within a gilt frame.
SOLD FOR £80
Thomas Callender Campbell Mackie (1886-1952), "The Green Door", 20th century pastel, signed recto, titled artist's label verso, 34cm x 47cm, within a gilt frame.
Nora Spicer Unwin (1907-1982), "Coati Bears", wood-engraving on Japanese paper, signed, titled and editioned 6/50 in pencil recto, artist's label verso, 8cm x 11cm, within a painted wood frame.
SOLD FOR £55
Nora Spicer Unwin (1907-1982), "Coati Bears", wood-engraving on Japanese paper, signed, titled and editioned 6/50 in pencil recto, artist's label verso, 8cm x 11cm, within a painted wood frame.
Hely Augustus Morton Smith, (1862-1941), "Looe to Rame Head" Cornwall, oil on canvas, signed and dated 1894 recto, titled artist's label verso, 64cm x 84cm, within a gilt composition frame.
SOLD FOR £1350
Hely Augustus Morton Smith, (1862-1941), "Looe to Rame Head" Cornwall, oil on canvas, signed and dated 1894 recto, titled artist's label verso, 64cm x 84cm, within a gilt composition frame.
**Alfred Egerton Cooper (British, 1883-1974), "Benchams", watercolour with gouache, signed, 36cm x 27.5cm, within a gilt frame with affixed titled plaque.**Please note that Artists Resale Rights may be payable on this lot Note: Benchams is a substantial country house estate situated between the hamlets of Burrow and Southerton in South Devon. Built in 1906 for Willoughby Statham Smith, the successful undersea telegraphic cable entrepreneur, it remained his home until 1946. Cooper is known to have also painted a portrait of Smith in his study at Benchams.
SOLD FOR £80
**Alfred Egerton Cooper (British, 1883-1974), "Benchams", watercolour with gouache, signed, 36cm x 27.5cm, within a gilt frame with affixed titled plaque.**Please note that Artists Resale Rights may be payable on this lot Note: Benchams is a substantial country house estate situated between the hamlets of Burrow and Southerton in South Devon. Built in 1906 for Willoughby Statham Smith, the successful undersea telegraphic cable entrepreneur, it remained his home until 1946. Cooper is known to have also painted a portrait of Smith in his study at Benchams.
**Stanley Roy Badmin (British, 1906-1989), "February (for Shell)", watercolour with ink on paper, signed recto, label verso, 17.5cm x 22cm, within a silvered frame. Note: this work was illustrated in The Shell Guide to Trees and Shrubs published by Phoenix House, London, 1958. Provenance: The Shell Collection of Modern British Paintings, Sotheby's, 4th July 2002, lot 4. **Please note that Artists Resale Rights will be payable on this lot
SOLD FOR £950
**Stanley Roy Badmin (British, 1906-1989), "February (for Shell)", watercolour with ink on paper, signed recto, label verso, 17.5cm x 22cm, within a silvered frame. Note: this work was illustrated in The Shell Guide to Trees and Shrubs published by Phoenix House, London, 1958. Provenance: The Shell Collection of Modern British Paintings, Sotheby's, 4th July 2002, lot 4. **Please note that Artists Resale Rights will be payable on this lot
**Sherree Valentine Daines (British, b.1959), "Memories of Summer II", signed limited edition embellished canvas print, editioned 108/195 and signed by the artist to certificate of authenticity verso, 50cm x 21cm, within a silvered and gilt frame. **Please note: Artists Resale Rights may be payable on this lot
SOLD FOR £300
**Sherree Valentine Daines (British, b.1959), "Memories of Summer II", signed limited edition embellished canvas print, editioned 108/195 and signed by the artist to certificate of authenticity verso, 50cm x 21cm, within a silvered and gilt frame. **Please note: Artists Resale Rights may be payable on this lot
**Sherree Valentine Daines (British, b.1959), "Memories of Summer I", signed limited edition embellished canvas print, editioned 132/195 and signed by the artist to certificate of authenticity verso, 50cm x 21cm, within a silvered and gilt frame. **Please note: Artists Resale Rights may be payable on this lot
SOLD FOR £240
**Sherree Valentine Daines (British, b.1959), "Memories of Summer I", signed limited edition embellished canvas print, editioned 132/195 and signed by the artist to certificate of authenticity verso, 50cm x 21cm, within a silvered and gilt frame. **Please note: Artists Resale Rights may be payable on this lot
**Alan Furneaux (British, b.1953), "Porthleven", oil on board, signed recto, titled and dated 2014 verso, 27.5cm x 39cm.**Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £140
**Alan Furneaux (British, b.1953), "Porthleven", oil on board, signed recto, titled and dated 2014 verso, 27.5cm x 39cm.**Please note that Artists Resale Rights may be payable on this lot
**Alan Furneaux (British, b.1953), "Catching the Ferry to St. Michael's Mount", acrylic on board, signed recto, titled and dated 2021 verso, 30cm x 40cm.**Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £160
**Alan Furneaux (British, b.1953), "Catching the Ferry to St. Michael's Mount", acrylic on board, signed recto, titled and dated 2021 verso, 30cm x 40cm.**Please note that Artists Resale Rights may be payable on this lot
**Alan Furneaux (British, b.1953), "Tilly with Sardines at Newlyn", oil on canvas, signed recto, titled and dated 2024 verso, 25.5cm x 30.5cm. **Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £220
**Alan Furneaux (British, b.1953), "Tilly with Sardines at Newlyn", oil on canvas, signed recto, titled and dated 2024 verso, 25.5cm x 30.5cm. **Please note that Artists Resale Rights may be payable on this lot
**Henry Rushbury (1889-1968), "St. Paul's" (London view of bomb-damaged buildings and St. Paul's Cathedral), etching with drypoint, signed in pencil, titled and dated 1941 to label verso, 31cm x 28cm, within an ebonised wood frame.**Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £110
**Henry Rushbury (1889-1968), "St. Paul's" (London view of bomb-damaged buildings and St. Paul's Cathedral), etching with drypoint, signed in pencil, titled and dated 1941 to label verso, 31cm x 28cm, within an ebonised wood frame.**Please note that Artists Resale Rights may be payable on this lot
**Henry Rushbury (1889-1968), "Notre Dame from Quai des Grands Augustins", etching with drypoint, signed in pencil, titled and dated 1948 to label verso, 26.5cm x 34cm, within an ebonised wood frame.**Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £65
**Henry Rushbury (1889-1968), "Notre Dame from Quai des Grands Augustins", etching with drypoint, signed in pencil, titled and dated 1948 to label verso, 26.5cm x 34cm, within an ebonised wood frame.**Please note that Artists Resale Rights may be payable on this lot
**Henry Rushbury (1889-1968), St. Paul's from Cannon Street, etching with drypoint, signed in pencil, dated 1942, 27cm x 39cm, within an ebonised wood frame. **Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £60
**Henry Rushbury (1889-1968), St. Paul's from Cannon Street, etching with drypoint, signed in pencil, dated 1942, 27cm x 39cm, within an ebonised wood frame. **Please note that Artists Resale Rights may be payable on this lot
**Billy Childish (b.1959), "The Sower", watercolour, signed with initials and dated '89 recto, title to Frances Illes Fine Paintings label verso, 26cm x 22cm, within an ebonised wood frame. **Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £840
**Billy Childish (b.1959), "The Sower", watercolour, signed with initials and dated '89 recto, title to Frances Illes Fine Paintings label verso, 26cm x 22cm, within an ebonised wood frame. **Please note that Artists Resale Rights may be payable on this lot
**Billy Childish (b.1959), "Man with a Mandarin & Knife", watercolour, signed with initials and dated '89 recto, title to Frances Illes Fine Paintings label verso, 26cm x 22cm, within an ebonised wood frame.**Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £800
**Billy Childish (b.1959), "Man with a Mandarin & Knife", watercolour, signed with initials and dated '89 recto, title to Frances Illes Fine Paintings label verso, 26cm x 22cm, within an ebonised wood frame.**Please note that Artists Resale Rights may be payable on this lot
**Sherree Valentine-Daines (British, b.1959), Female Ballet Dancer, oil on canvas, signed with initials, 50.5cm x 41cm.**Please note that Artists Resale Rights may be payable on this lot
SOLD FOR £300
**Sherree Valentine-Daines (British, b.1959), Female Ballet Dancer, oil on canvas, signed with initials, 50.5cm x 41cm.**Please note that Artists Resale Rights may be payable on this lot