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Click here to subscribeCARRIE GRABER (AMERICAN 1975) 'NIGHT LIGHTS' a three quarter length portrait of a female figure from behind with a night time cityscape beyond, signed lower right with certificate, oil on canvas, approximate size 70cm x 49cm excluding frame, Condition: light 11cm scuff to lower portion of the painting, small bumps to corner edges to the frame
Chryssa (Vardea) (Greek, 1933-2013)New York Cityscape signé et daté 'Chryssa 1974' (sur étiquette du plexiglas en bas à droite)néons, plexiglas92 x 70 x 25cm (36 1/4 x 27 9/16 x 9 13/16in).signed and dated (on plexiglass label lower right)neon sculpture, plexiglassFootnotes:ExpositionAthens, Stavros Mihalarias Art, Chryssa '60-'90, May-July 1990, no. 51 (illustrated in the exhibition catalogue).Chryssa's work from the early 1970s ranks among her most extraordinary, producing majestic forms and oscillating patterns that capture the brilliance and throbbing energy of the modern metropolis.Mounted in a dark Plexiglas box, the curving neon tubes and the electrical connections and other visible interior parts enhance each other's impact, acting together to reveal the artistic process. Moreover, the timed lapses of light add a new dimension to the game of illusionism, compelling the viewer to experience the work as both presence and absence. The end result is a work of intelligibility and coherence that conveys a classical sense of structure and proportion. As noted by art critic S. Hunter, Chryssa's work 'reveals the surprising contemporary outlines of a new classicism, in which we recognise familiar attributes of clarity, order and intellectual control.'1 1 S. Hunter, Chryssa, Abrams editions, New York, 1974, p. 19.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Full title: Piet Lippens (1890-1981): A cityscape and caravans in a snowy landscape, oil on canvasDescription:Work: 55 x 44,9 cm Frame: 72 x 62 cm Work: 50,1 x 40 cm Frame: 59,2 x 48,7 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Georges De Sloovere (1873-1970): Animated Bruges cityscape ('Peerdenbrug'), oil on canvasDescription:Work: 59,5 x 50,2 cm Frame: 82 x 72,3 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: An English musical clock painting with an animated Bruges cityscape, first half 20th C.Description:Work: 53 x 73,5 cm Frame: 79,5 x 99,7 cm The cityscape monogrammed 'H.R.D.' in the right bottom corner. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Ghulam Rasool Santosh (Indian, 1929-1997)Untitled (Enlightenment) signed lower upper left and signed, dated and with size, G R Santosh/34 x 41'/9/2/62 verso oil and wax on canvas, framed86.6 x 104.5cm (34 1/8 x 41 1/8in).Footnotes:ProvenanceAcquired by the vendor's cousin, William Begley, in Kashmir from the artist between 1963-1965;Gifted to the vendor's family in 1969.Born Ghulam Rasool Dar in Chinkral Mohalla, Habba Kadal in Srinagar, Kashmir, Rasool came to be known as Ghulam Rasool Santosh, after he assumed his wife's name, Santosh, at the beginning of their marriage. In 1954 he enrolled at the Maharaja Sayajirao University, Baroda and studied fine arts under N.S Bendre, where he produced a large body of figurative and landscape work in the cubist style. Kashmir was the subject of his landscapes, and his style remain unchanged until 1959, after which his works evolved and figuration gave way to abstraction. The period between 1959-1964, was a precursor to his neo-tantric style, for which he is most well known, and when the present lot was painted. The early sixties were politically, socially and art historically important for India. In 1959, New Delhi witnessed an influx of Tibetan exiles, including the Dalai Lama, who were driven out of Tibet by the Chinese government. This was coupled with the end of the Nehruvian era and the questions that were raised about the success of his industrialisation programmes and presidency. Artistic groups such as Group 1890 were also emerging that challenged and sought a new outlook on Indian Art. Inspired by these changes, Santosh wanted to move away from a derivative European style, and wanted to create an idiom that embraced his Kashmiri heritage within the broader Indian context. (Rebecca M. Brown, Awakening: A Retrospective of G.R. Santosh, Delhi Art Gallery, New Delhi, 2011, pp 29)Still captivated by Kashmir, he derived his inspiration for the body of work created during this period, including the present lot, from his native Kashmiri hills. Although elements of Cubism are apparent in this work, we can also see the beginnings of spirituality and mystery, that would flourish in his works after 1964, which is when his trip to the Amarnath cave resulted in a mystical experience, that transformed his works. This work is therefore important for it bridges his two crucial periods and fuses elements from both, something that would not be seen in his works again. To see similar works from 1962, titled 'Snows of Kashmir,' and Cityscape (Reflection) respectively see Sotheby's, Modern and Contemporary South Asian Art, New York, 18th September 2013, lot 60 and Awakening: A Retrospective of G.R. Santosh, Delhi Art Gallery, New Delhi, 2011, pp 96.William Begley worked for the UN and was stationed in Kashmir during the peacekeeping operations between 1964-1966 which is when he acquired this work.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sayed Haider Raza (Indian, 1922-2016)Untitled (Village Scene) signed 'S.H Raza 47' lower rightwatercolour on paper laid on board, framed42.5 x 55.5cm (16 3/4 x 21 7/8in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenancePrivate Collection, Switzerland. Acquired from Christies, South Asian Modern & Contemporary Art, New York, 12th September 2012, lot 383.Note: This work will be included in the SH Raza, Catalogue Raisonné, Early Works (1940-1957) by Anne Macklin on behalf of The Raza Foundation, New Delhi.Raza arrived in Bombay in 1943, aged 25, to attend the Sir J.J School of Art. Whilst waiting to join the School he obtained employment at Express Block Studio. The Studio was based in a bustling commercial district, and he painted the scenes he could see from his window. Two of these works were included in the group show at the Bombay Art Society in 1943, and it was here that critics like Rudi von Leyden took note of his works, and propelled him into the artistic limelight. The work on offer in this lot was made during this period, when Raza was studying at the Sir J.J School of Art (he graduated in 1948), and when he was predominately painting landscapes. Dominated by browns, with speckles of red, yellows and oranges, we can see details including the shapes of the buildings, the horse carriage and the streets teaming with vendors and people. The strong white illuminates the work and adds a level of depth and perspective as it draws our eyes to the vanishing point to the centre right of the work. 'The city of Bombay, with its wealth, high-rises, and noise was both awesome and forbidding for the boy used to the peace and quiet of the small town. The intellectual stimulation it provided was even more overpowering as the cross-currents of views served to bewilder rather than to illuminate. The subject of many of Raza's early works is the cityscape-narrow lanes and bylanes as well as buildings and monuments...what distinguished Raza's work from that of most other landscape painters was its non-representational quality, with the colour tonalities creating an innate rhythm. As his vision scanned the city, it began to draw upon changing lights, atmospheric effects on buildings, and people and he would create virtually new compositions of the same scene.' (Yashodhara Dalmia, The making of modern indian art, New Delhi, 2001, pg. 146-147)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Zubeida Agha (Pakistani, 1922-1997)Untitled (Cityscape) signed 'Zubeida Agha 46' lower leftoil on canvas, framed32 x 55.1cm (12 5/8 x 21 11/16in).Footnotes:CELEBRATING ZUBEIDA AGHA'S BIRTH CENTENARYProvenanceThe Collection of Imran R. Sheikh; family of the artist.ExhibitedLondon, Bonhams, Zubeida Agha, 2022, No. 1 PublishedSalima Hashmi for Bonhams, Zubeida Agha: Celebrating an Extraordinary Career, 2022, p.1, No.1A very rare early work by Zubeida Agha, it establishes her ability to respect and enhance the two-dimensionality of the canvas. Part of the Agha family collection, it hints at the vision that will eventually define Zubeida Agha's body of work. In the late 1940s, during the tumult of Partition, many homes were looted in the riots and artworks destroyed. This work, possibly because of its location, survived unscathed. Informally titled Cityscape, the simplified architectural forms suggest the mohalla, a neighbourhood familiar to the artist. There is no attempt to imply deep space, the buildings are defined in flattened, spatial relationships, woven into a composite whole and unfolded across the canvas. The modulated tonal variations and colours suggest a continuity to the city, beyond the limits of the given space. As a young painter, Agha was carefully assembling the forms and assigning them roles as clusters in the city neighbourhood.Art historian Iftikhar Dadi viewed Zubeida Agha as 'an independent painter who stubbornly charted her own trajectory without much influence from other artists or artistic trends.' (Iftikhar Dadi, Modernism and the Art of Muslim South Asia, 2010, p.113) She must have been mindful of the audiences of her time and the preference for more recognisable 'pictures' and the picturesque. She chooses instead to design the image in terms of a flowing line which orchestrates a security of purpose, a mature work for a young painter.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Alfred Statler (American, 1916-1984). Oil on canvas titled "The Night Cathedral," depicting a surreal train platform rising above assembled automobiles parked below in a transportation minded urban cityscape, 1948. At the top, a seemingly living cathedral rises into the night. Captured with oils on canvas in a dark haunting color palette, the dramatic impasto technique is impressive and everything we love about American art of this period. The painting has been cleaned and is framed in a handsome rough-hewn Larson-Juhl wood frame that accents the painting well. Signed and dated 1948 in the lower right corner.Lot Essay:Alfred Statler, who was active in New York City from the post-war era until the 1970s, was an American photo-journalist whose name is most often associated with the booming modern art scene of the 1950s and 1960s, and in particular with Andy Warhol’s early gallery exhibitions. Along with his work on assignment for publications like TIME magazine, Statler was an exhibited fine art photographer, drawn to the bustling street scenes of New York.Statler began his art career as a student of Fernand Leger, the cubist master, and these early works exhibit both the influence of cubism and America’s WPA movement. Never before seen, many of these paintings capture the urban eccentricities of life in New York City, with pronounced industrial machine age imagery.Sight; height: 15 1/2 in x width: 19 1/4 in. Framed; height: 22 1/4 in x width: 26 1/4 in.
Group of two 19th c. Russian silver niello cases; one with a foliate design and the other with a cityscape of Moscow. One monogrammed. Both with impressed Kokoshnik marks, one with an assay mark dated 1879, and makers' marks.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Smaller case; height: 3/4 in x width: 2 7/8 in x depth: 1 3/4 in. Bigger case; height: 1 in x width: 4 in x depth: 1 7/8 in.
Group of two Russian hand-painted lacquer boxes with red interiors. The large box with a scene of a royal processional arriving at the gates of a city. With ornate gilt scrollwork throughout. Signed along the lid and marked in Cyrillic along the side. One small box painted with a vibrant cityscape; marked in Cyrillic along the lid.Large; height: 5 3/4 in x width: 14 in x depth: 10 1/4 in. Small; height: 1 1/4 in x width: 3 1/2 in x depth: 2 1/4 in.
Andrew Torr Dungeness I Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Contemporary painter working in London. Particularly landscape/cityscape. Education BA Fine Art Wimbledon School of Art Select Exhibitions/Awards One person shows at Bedford Gallery & Boundary Gallery Selected for the NEAC Mall Galleries Annual Gallery Representation Oliver Contemporary www.olivercontemporary.co.uk Statement about AOAP Submitted Artwork I love making work for Art On A Postcard because the format forces you to address scale and how scale affects decisions, practice and results. The size of work is normally determined by intention, materials, subject matter etc. When you're tied to work within 6" x 4" you have to modify every subsequent decision and process that you would normally rely on to make work and this challenge takes you out of your comfort zone. Recently, I've been working on a large scale series of paintings from Dungeness beach in Kent. Normally, these vast spaces require a large format. When this is not an option, how do you modify process and method to make it work? Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Andrew Torr Dungeness II, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Contemporary painter working in London. Particularly landscape/cityscape. Education BA Fine Art Wimbledon School of Art Select Exhibitions/Awards One person shows at Bedford Gallery & Boundary Gallery Selected for the NEAC Mall Galleries Annual Gallery Representation Oliver Contemporary www.olivercontemporary.co.uk Statement about AOAP Submitted Artwork I love making work for Art On A Postcard because the format forces you to address scale and how scale affects decisions, practice and results. The size of work is normally determined by intention, materials, subject matter etc. When you're tied to work within 6" x 4" you have to modify every subsequent decision and process that you would normally rely on to make work and this challenge takes you out of your comfort zone. Recently, I've been working on a large scale series of paintings from Dungeness beach in Kent. Normally, these vast spaces require a large format. When this is not an option, how do you modify process and method to make it work? Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Andrew Torr Dungeness III, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Contemporary painter working in London. Particularly landscape/cityscape. Education BA Fine Art Wimbledon School of Art Select Exhibitions/Awards One person shows at Bedford Gallery & Boundary Gallery Selected for the NEAC Mall Galleries Annual Gallery Representation Oliver Contemporary www.olivercontemporary.co.uk Statement about AOAP Submitted Artwork I love making work for Art On A Postcard because the format forces you to address scale and how scale affects decisions, practice and results. The size of work is normally determined by intention, materials, subject matter etc. When you're tied to work within 6" x 4" you have to modify every subsequent decision and process that you would normally rely on to make work and this challenge takes you out of your comfort zone. Recently, I've been working on a large scale series of paintings from Dungeness beach in Kent. Normally, these vast spaces require a large format. When this is not an option, how do you modify process and method to make it work? Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Robyn Litchfield Mahinapua, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Robyn Litchfield was born in New Zealand and currently lives in North London. She is a painter and graduated from the City and Guilds of London Art School with an MA Fine Art (distinction) in 2017 and from The School of Art, Architecture and Design, London Metropolitan University with a BA in 2012. Education 2015-2017 City and Guilds of London Art School, MA Fine Art (Distinction) 2008-2012 The School of Art, Architecture and Design, London Metropolitan University, BA Fine Art Select Exhibitions/Awards 2022 Beep Painting Prize, Elysium Gallery, Swansea. 2022 The Summer Exhibition, Royal Academy of Arts, Selected by Bill Woodrow 2022 Horizon, Landscape and Beyond, The Cello Factory, London 2022 Affordable Art Fair with Darle and the Bear, Battersea 2022 Frequencies (For Healing), Confer Karnac Gallery, London 2021 The Contemporary British Painting Prize 2021 (long listed) 2021 Landscape's Unstilled Life, Darl-e and the Bear, Woodstock (curator and exhibitor) 2020 The John Moores Painting Prize (long listed) 2020 The Summer Exhibition, The Royal Academy, selected by David Remfry 2020 On the Strangest Sea, The Violet Hour 2020 Women's Lockdown Art, Zabludowicz Collection, womenandhealth.org.uk 2020 The London Art Fair with the Nunnery Gallery 2020 Jackson's Painting Prize 2020, awarded the Landscape/Cityscape/Seascape category prize Gallery Representation Darle and the Bear, TinMan Art Statement about AOAP Submitted Artwork Robyn Litchfield uses wild landscape as a template for exploring personal history, notions of cultural identity, alienation and a sense of belonging. Her paintings are imbued with a longing for an idyllic Arcadia but haunted by the resulting violence, dispossession and ecological loss. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Robyn Litchfield Carew, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Robyn Litchfield was born in New Zealand and currently lives in North London. She is a painter and graduated from the City and Guilds of London Art School with an MA Fine Art (distinction) in 2017 and from The School of Art, Architecture and Design, London Metropolitan University with a BA in 2012. Education 2015-2017 City and Guilds of London Art School, MA Fine Art (Distinction) 2008-2012 The School of Art, Architecture and Design, London Metropolitan University, BA Fine Art Select Exhibitions/Awards 2022 Beep Painting Prize, Elysium Gallery, Swansea. 2022 The Summer Exhibition, Royal Academy of Arts, Selected by Bill Woodrow 2022 Horizon, Landscape and Beyond, The Cello Factory, London 2022 Affordable Art Fair with Darle and the Bear, Battersea 2022 Frequencies (For Healing), Confer Karnac Gallery, London 2021 The Contemporary British Painting Prize 2021 (long listed) 2021 Landscape's Unstilled Life, Darl-e and the Bear, Woodstock (curator and exhibitor) 2020 The John Moores Painting Prize (long listed) 2020 The Summer Exhibition, The Royal Academy, selected by David Remfry 2020 On the Strangest Sea, The Violet Hour 2020 Women's Lockdown Art, Zabludowicz Collection, womenandhealth.org.uk 2020 The London Art Fair with the Nunnery Gallery 2020 Jackson's Painting Prize 2020, awarded the Landscape/Cityscape/Seascape category prize Gallery Representation Darle and the Bear, TinMan Art Statement about AOAP Submitted Artwork Robyn Litchfield uses wild landscape as a template for exploring personal history, notions of cultural identity, alienation and a sense of belonging. Her paintings are imbued with a longing for an idyllic Arcadia but haunted by the resulting violence, dispossession and ecological loss. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Robyn Litchfield Tauparikaka, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Robyn Litchfield was born in New Zealand and currently lives in North London. She is a painter and graduated from the City and Guilds of London Art School with an MA Fine Art (distinction) in 2017 and from The School of Art, Architecture and Design, London Metropolitan University with a BA in 2012. Education 2015-2017 City and Guilds of London Art School, MA Fine Art (Distinction) 2008-2012 The School of Art, Architecture and Design, London Metropolitan University, BA Fine Art Select Exhibitions/Awards 2022 Beep Painting Prize, Elysium Gallery, Swansea. 2022 The Summer Exhibition, Royal Academy of Arts, Selected by Bill Woodrow 2022 Horizon, Landscape and Beyond, The Cello Factory, London 2022 Affordable Art Fair with Darle and the Bear, Battersea 2022 Frequencies (For Healing), Confer Karnac Gallery, London 2021 The Contemporary British Painting Prize 2021 (long listed) 2021 Landscape's Unstilled Life, Darl-e and the Bear, Woodstock (curator and exhibitor) 2020 The John Moores Painting Prize (long listed) 2020 The Summer Exhibition, The Royal Academy, selected by David Remfry 2020 On the Strangest Sea, The Violet Hour 2020 Women's Lockdown Art, Zabludowicz Collection, womenandhealth.org.uk 2020 The London Art Fair with the Nunnery Gallery 2020 Jackson's Painting Prize 2020, awarded the Landscape/Cityscape/Seascape category prize Gallery Representation Darle and the Bear, TinMan Art Statement about AOAP Submitted Artwork Robyn Litchfield uses wild landscape as a template for exploring personal history, notions of cultural identity, alienation and a sense of belonging. Her paintings are imbued with a longing for an idyllic Arcadia but haunted by the resulting violence, dispossession and ecological loss. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Silver - USACAMDS - A 1 troy oz (31.1 grams) fine grade .999 fine silver collectible coin / medallion struck by Liberty mint in the USA. This coin has the image of an eagle accented in 24K gold and the words USACAMDS ACTIVITY and SYSTEM MANAGERS AWARD FOR EXCELLENCE.. On the obverse is an image of a cityscape and UNITED STATES ARMY The coin is in a plastic case and is in fine condition.
SIX MODERN DECORATIVE BOX CANVAS PRINTS, comprising a hand embellished monochrome portrait of a female figure with wooden frame, approximate size 120cm x 90cm, a hand embellished print depicting a Love perfume bottle, a portrait of a female figure wearing sunglasses signed Marmont, 'Highland Stag' by Dina Perejogina, 'Three yellow umbrellas' by Leonid Afremov and an abstract cityscape of New York, all are in good condition, some still in original packaging from stores such as T.K Maxx and The Range etc
*SUSHILA SINGH (1904-1999) 'Cathedral' stylised cityscape, signed lower right, oil on board, 38cm x 55cmProvenance: The Collection of Bournemouth & Poole College.Sushila Singh was a painter, print maker and occasional ceramicist born in India in 1904. Her father, the Queen's counsel Bawa Dhanwant Singh, retired to England to give Sushila the advantage of an education not yet available to girls in India. Sushila's early works were surrealist in nature, with her later work becoming more abstract, yet retaining a dreamlike quality. Sushila held solo exhibitions at the John Whibley Gallery, Exeter University, Oxford, Grabowski and Heal's Mansard Galleries and Galerie Niklaus Knoll, Basel, Switzerland. Sushila Singh and Arthur Henry Andrews met whilst students at Hornsey School of Art and latterly Royal College of Art under William Rothenstein, where they graduated in 1929. The pair were married in 1930, Singh and Andrews' works are held in public collections such as Atkinson Art Gallery, Russell-Cotes Art Gallery and the Paintings in Hospitals Scheme, as well as private collections around the world.
*SUSHILA SINGH (1904-1999) 'Castle Gateway' signed lower right, oil on canvas, 66cm x 51cm; together with a stylised cityscape, signed lower right, oil on canvas, 51cm x 71cm; and another similar work 'The Fountains of Aix-Le-Provence', signed lower right, oil on canvas, 61cm x 51cm (all unframed on stretchers) (3)Provenance: The Collection of Bournemouth & Poole College.Sushila Singh was a painter, print maker and occasional ceramicist born in India in 1904. Her father, the Queen's counsel Bawa Dhanwant Singh, retired to England to give Sushila the advantage of an education not yet available to girls in India. Sushila's early works were surrealist in nature, with her later work becoming more abstract, yet retaining a dreamlike quality. Sushila held solo exhibitions at the John Whibley Gallery, Exeter University, Oxford, Grabowski and Heal's Mansard Galleries and Galerie Niklaus Knoll, Basel, Switzerland. Sushila Singh and Arthur Henry Andrews met whilst students at Hornsey School of Art and latterly Royal College of Art under William Rothenstein, where they graduated in 1929. The pair were married in 1930, Singh and Andrews' works are held in public collections such as Atkinson Art Gallery, Russell-Cotes Art Gallery and the Paintings in Hospitals Scheme, as well as private collections around the world.
*SUSHILA SINGH (1904-1999) 'Waterfront, Mykonos' signed lower right, oil on board, 61cm x 76cm; together with a stylised cityscape with river, signed lower right, oil on board, 61cm x 76cm; and another stylised city view with bridges crossing a river, signed lower left, oil on board, 61cm x 76cm (all unframed) (3)Provenance: The Collection of Bournemouth & Poole College.Sushila Singh was a painter, print maker and occasional ceramicist born in India in 1904. Her father, the Queen's counsel Bawa Dhanwant Singh, retired to England to give Sushila the advantage of an education not yet available to girls in India. Sushila's early works were surrealist in nature, with her later work becoming more abstract, yet retaining a dreamlike quality. Sushila held solo exhibitions at the John Whibley Gallery, Exeter University, Oxford, Grabowski and Heal's Mansard Galleries and Galerie Niklaus Knoll, Basel, Switzerland. Sushila Singh and Arthur Henry Andrews met whilst students at Hornsey School of Art and latterly Royal College of Art under William Rothenstein, where they graduated in 1929. The pair were married in 1930, Singh and Andrews' works are held in public collections such as Atkinson Art Gallery, Russell-Cotes Art Gallery and the Paintings in Hospitals Scheme, as well as private collections around the world.
* FRED YATES (BRITISH 1922 - 2008),ENCHANTED FORESToil on canvasimage size 92cm x 73cm, overall size 97cm x 78cm Framed. Provenance: The artist's estate. Note: Fred Yates was a self-taught British artist, known for his plein-air paintings of the English landscape. Influenced by so-called naïve art and the work of L S Lowry, Yates' work incorporated bold colours, loose brushwork, and child-like abstractions. Often, he layered paint on top of the canvas to create a thick, textured surface, giving his paintings a sculptural quality. Born on July 25, 1922 in Urmston, England, Yates fought in the Second World War alongside his twin brother, who was killed at the Battle of Arnheim. After the war, he began painting the Manchester cityscape in his free time and became well known in the local art scene, working alongside painter Lowry. Yates moved to Cornwall in 1968, where he began painting rocky beach landscapes and scenes of village life. He gained national attention after presenting his work at the 1985 exhibition “St Ives 1939– 64” at the Tate Gallery in London. A decade later, the artist moved to Rancon, France, painting the local landscape for the remainder of his artistic career. Yates died on July 7, 2008 in England at the age of 85. His work is held in the collections of the Brighton and Hove Art Gallery, Liverpool University, and the University of Warwick.
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