Lucy Diecks

White Rooster Hens

1940

Orange Kittens watercolour painting on artist paper painting: 9.5 x 12.5 inches provenance: private collection condition: very good and sound condition

Garth Bayley Garth Bayley. Me First -Horses Racing Original pen, watercolour and ink painting on watercolour paper Pen and ink on paper Image size: H24 cm x W32 cm x D 0.1cm Sold U...

Prashant Salvi Leap, Watercolour, Acrylic, Charcoal on Paper 22 x 30 inches, 2016 (shipped in a roll form) "I have built my career on surrealist,anatomical/botanical fantasies; beautifully rendered yet sometimes haunting and gruesome, void of irony and done with absolute sincerity. My work builds meaning primarily by exploring the unbridgeable difference between animals and people. A proactive imagery of humans and animals suggests an investigation of linguistics, the natural sciences and human sociology all in respect to the parallel universe of other species alongside us. I use a seemingly detached abstraction as a counter-point, tomy- stylised fabrications of sexual desire"- Prashant Salvi An undercurrent of eroticism, viewed with a steady detachment often can be part of Salvi's works, morphing human and animal forms and throwing psychological riddles challenging the viewer to decide where life begins or ends. Salvi's watercolours with its technical virtuosity turn images from nature to a surrealistic dance of survival. The works are challenging, complex and magically real and acknowledge life’s gentleness and aggressiveness in unison. While nature’s logic could be used to argue the very existence of an omnipotent creator, Salvi, paradoxically suggests ambiguity to life's bigger and deeper questions; answers of which he feels don't come in neat packages. " Education : Sir JJ School of Arts , Mumbai Solo Exhibition 2019 • Haptic, Jehangir Art Gallery, Mumbai 2017 • Alter-native, Karnataka Chitrakala Parishad, Bangalore 2014 • Let Every Eye Negotiate for itself. Jahangir Art Gallery, Mumbai 2011 • Lxxxll Pulse, Frankfurth, Germany. 2002 • “Skhalan” Solo Art Gallery, Mumbai. Group Show 2017/2018 • Busan International Art Fair, Busan, South Koria. 2016 • Axis of Secret Histories /All this comes back, Kochi-Muziris Biennale Collateral Exhibition, Mattancherry. 2014 • Convergence, Vam Art Gallery, Trivendram. 2013 • Small is Beautiful, Tao Art Gallery, Mumbai. 2013 • Oozing, Group Show, Tulika art Gallary, Mumbai 2013 • On Cloud 9, Kala Sanskriti Academy of Fine Arts, New Delhi-2013 2013 • JJ90s –The time of Change, J.J. School of Art,Mumbai 2012 • Indian Art Festival, MMRD Bandra, Mumbai. 2012 • ViVid World, Tao Art Gallery, Mumbai. 2012 • Online, La Sutra Gallery Mumbai. 2011 • Indian Art Festival, Nehru Centre, Mumbai 2010 • Evolve, Tao Art Gallery, Mumbai. 2009 • Indian Contemporary Art, La Sutra Gallery Mumbai. 2008 • Journey, New York Academy of Art, New York 2008. 2008 • Eight Show, Tao Art Gallery, Mumbai. 2008 • Black & White Show, Tao Art Gallery, Mumbai. 2007 • Art Works on Paper, Articulture gallery, Mumbai 2006 • Group Show, Visions Art Gallery, Mumbai 2005 • 10” Harmony Show, Mumbai. 2007 • Luise Sepra International Art Project, Lisbon, Portugal. 2003 • AIFACS Show, Mumbai 2003 • FN-FN,Figurative Narative,Curated by Neville Tuli 2002 • Majority Rules, Free Gallery Galsgow, Curated Letha Wilson. 2001 • BPM Biennial, Bose Pacia Gallery, New York. 2000 • Awareness of Environment, Mumbai. 2000 • Revolution 2000 show, Jahangir Art Gallery, Mumbai 1998 • Bombay Art Society Exhibition, Mumbai. 1993 • Close to nature, Mumbai 1992 • City Bank Art Exhibition, Mumbai. Award 2018 • Mount Shadow, National Water Colour Camp, Bhavnagar. 2001 • Winner, Bose Paica Emerging Artist Award, New York. 1995 • Solemn Abraham Best Water Colour Portrait...

Steven Gandhi - Journey's - 27.5 x 39.5 inches (unframed size) Watercolor on paper Free shipment in a roll form all over the world. Style : This series of works are reflection of ar...

Kartick Chandra Pyne - Untitled - 18 x 24 inches (unframed size) Watercolor on Thick Imported Paper, 2003 ( Framed & Delivered ) Style : After graduating from the Government College...

Kartick Chandra Pyne Untitled Watercolour on Paper 30 x 22.5 inches Untitled Watercolour on Paper 30 x 20 inches (Set of Two) Inclusive of shipment in roll form. Style : After graduating from the Government College of Art and Crafts, Calcutta in 1955 Pyne began to move away from the tenets of both classical Indian and Western art to respond to the beckoning of his own artistic impulses. Landscapes fascinated him initially. But along with the world of nature and flora emerged his own reconstructed images of fauna that often signified as metaphors of human passion and energy, and his paean to the elemental magic of women. This transition may have risen from his penchant for human psychology and observing the intricacies of human behavior. In the case of Pyne too, his artistic vision does not adhere to logic because he does not see with his eyes but rather through his subconscious mind -- in an act of surrender to the liberty of his dreamy vision -- with little control over the wanton caprice of his depictions. So, in this distinctive vein, he is perhaps the most seminal surrealist of the contemporary Indian art. About the Artist and his work : Born : 1937 in Calcutta, West Bengal. Education : 1955 Diploma in Fine Arts, Govt. College of Art and Craft, Calcutta. Exhibitions : 1961 : AIFACS, New Delhi. 1967, 80, 82 : Academy of Fine Arts, Calcutta. 1968-87 : Lalit Kala Akademi, New Delhi. 1968 : Jehangir Art exhibition, Bombay. 1979 : 100 Years of Modern Indian Art, Fukuoka Art Museum, Japan. 1988 : Chandigarh and Chitrakoot Art exhibition, Calcutta. 1991 : Calcutta 300 - Birla Academy of Art and Culture, Calcutta. 1991, 92, 93, 95, 97, 2001 : Chitrakoot Art , Calcutta. 1992 : Gandhara Art...

Charles Frederick de Brocktorff (1775–1850) ‘Camelopard – a present from the Pacha of Egypt to the King – at Malta on its way to England’ Signed and dated C.F. de Brocktorff. / 1827. lower right, inscribed as titled in the painted margins lower centre. Pencil and watercolour heightened with gold paint and gum arabic on paper, 36.8 x 27.9 cm A gift so majestic, it made kings blush, and a gift so grand, it would startle Europe into a craze. Pasha Muhammad Ali of Egypt (1805-1848) did it in 1827: he sent to Europe three magical spotted, horned creatures, each with a neck reaching the skies and legs as long as a house is high. One giraffe to King Charles X of France, one to Francis I of Austria and the most fabled one to King George IV of England. A curious sight for Europeans, who had not seen such a beast since the Medici giraffe in 1487. Few animals created more of a stir in Europe than these royal...

Follower of Zacharias Wagener (1614-1688) Tamanuâguasû (Giant Anteater) On Italian 17th or 18th-century paper, H. 28 x W. 43.5 cm ​The present painting is a copy after Wagener’s painting of the anteater, Tamanduá-bandeira, which is illustrated in his “Thier Buch”, with 109 drawings of Brazilian fish, birds and mammals, published in Amsterdam c. 1641, in German. ​ Zacharias Wagener, or Wagenaer in Dutch, (Dresden 1614 – Amsterdam 1668) was a real adventurer who became Opperhoofd on Deshima and Governor of the Cape of Good Hope in the service of the VOC. During the Thirty-Year War in Germany Wagener tried his luck in Amsterdam where he worked for the map-maker Willem Blaeu. In 1634 he joined the WIC and left for Dutch Brazil where he worked as writer and painter, together with Frans Post...

Dame Elisabeth Frink. English ( b.1930 - d.1993 ). Hawk, 1969. Watercolor. Signed & Dated Lower Right. Image size 25.4 inches x 19.5 inches ( 64.5cm x 49.5cm ). Frame size 34.4 inches x 28.1 inches ( 87.5cm x 71.5cm ). Available for sale; this original painting is by Dame Elisabeth Frink and is dated 1969. The painting is presented and supplied in a glazed frame and mount dating from June 1997. This vintage watercolor is in very good condition, commensurate with its age. The watercolor is signed and dated lower right. Previously with Beaux Arts, London and Bath in 1999. Dame Elisabeth Frink was one of Britain’s most important post-war sculptors, an accomplished draughtsman, illustrator and teacher. She was part of the post-war school of expressionist British sculptors dubbed the Geometry of Fear, and enjoyed a highly acclaimed career that was commercially successful, broke boundaries and contributed greatly to bringing wonderful sculpture to public places. She was born on 14 November 1930 in Thurlow, the daughter of a cavalry officer, and brought up in rural Suffolk near to an active airbase. She was brought up a Catholic and educated at the Convent of the Holy Family, Exmouth. She then studied at the Guildford School of Art from 1947-1949 under Willi Soukop and Henry Moore’s assistant, Bernard Meadows, and then at the Chelsea School in London 1949-1953. She taught at Chelsea School of Art 1951-61, St. Martin’s School of Art 1954-62 and was a visiting instructor at the Royal College of Art 1965-1967, after which she lived in France until 1973. Frink first came to the attention of the public in 1951 at an exhibition at the Beaux Arts Gallery, London. In 1952 she represented Britain at the Venice Biennale, being described by Herbert Read as “the most vital, the most brilliant and the most promising of the whole Biennale”. The same year the Tate bought its first work by her, and she began to enjoy commercial success. Thereafter she exhibited regularly and was for 27 years associated with Waddington’s, London. The subjects which Frink was most concerned with were man, dog and horses, with and without riders. Interestingly she seldom sculpted the female form, drawing on archetypes of masculine strength, struggle and aggression. Her work has the recurring themes of the vulnerable and the predatory, in the spirit of an authentic post-war artist. It has been said that she was more concerned with representing mankind that portraits of individuals. The appeal of her work lies in its directness, provoking a frank statement of feeling. The anatomy is often exaggerated or incorrect; the impact growing more out of her interest in the spirit of the subject. Her animals and birds may be drawn from nature but verge on the abstract, conveying raw emotion and character rather than a realistic depiction. Her unique style is characterised by a rough treatment of the surface which embeds each piece with vitality and her personal impression. In her later work even the distinction between human and bird figures becomes blurred. Commentators have noted that the often rugged, brutal and contorted surfaces of her work reflect the destruction and terror of the six-year world-wide conflict that she witnessed as a child. Frink was an active supporter of Amnesty International. In the 1960s and early 1970s Frink produced a notable series of falling figures and winged men. Later, living in France during the Algerian war, she began making heads, blinded by goggles which had a threatening facelessness. Frink produced many notable public commissions, including Wild Boar for Harlow New Town, Blind Beggar and Dog for Bethnal Green, Noble Horse and Rider for Piccadilly, London, a lectern for Coventry Cathedral, Shepherd for Paternoster Square beside St. Paul’s Cathedral and a Walking Madonna for Salisbury Cathedral. In the early 1980s she produced a set of three larger than life figures The Dorset Martyrs which stand on the edge of the old walled town of Dorchester on the site of the old gallows, as a memorial to those who had been executed there ‘for conscience sake’. Frink’s Canterbury Tales was a collection of 19 etchings drawn directly on to copper plates and etched by her. The ‘book’ was issued in three limited editions. Her illustrations have been praised as “amongst the most successful illustrations of the century, encompassing the mood of the text in concise delineations and disarmingly ribald humour”. She illustrated other books with colored lithographs or drawings. Frink was on the Board of Trustees, British Museum from 1976, and was a member of the Royal Fine Art Commission 1976-81. CBR (1969), DBE ((1982), Associate of the Royal Academy (1971), Royal Academy (1977). She was made a Companion of Honour in 1992. She died on 18 April 1993, but not before completing her last commission, a monumental but unusual figure of Christ for the front of the Anglican Cathedral in Liverpool, unveiled a week before her death. For several decades Frink exhibited widely in the UK and abroad. In her later years she lived and worked in Dorset where her home and garden became an arena for her work. In 1985 she had a retrospective at the Royal Academy. She died on 18 April 1993, but not before completing her last commission, a monumental but unusual figure of Christ for the front of the Anglican Cathedral in Liverpool, unveiled a week before her death. There was a memorial show at Yorkshire Sculpture Park, Bretton Hall in 1994. Today Frink is venerated as one of the great twentieth century British sculptors. Her unique work is represented in the Tate Gallery and major public and private collections world-wide. © Big Sky Fine Art This original watercolor on paper painting of a hawk by Dame Elizabeth Frink...

A really charming and skillfully executed study of a chimpanzee by this very talented artist. A most attractive picture which captures the personality and essence of the chimp. Raf...