An English portrait of a young man in charcoal on parchment, framed in walnut. Dated and signed 1969. . . .
c.1969. . . .
Measures: 53cm high x 48cm wide x 5cm deep. . . .
Stock Code ET03638
A framed oil on board by Thomas Creswick RA depicting the grand canal, Venice. Signed.
Measures: 33cm high x 29 wide
Stock Code MP0551
Thomas Creswick was born on 5th February 1811 an died on 28 December 1869 he was an English Landscape painter and illustrator, born in Sheffield , son of Thomas Creswick and Mary Epworth and educated near Birmingham. At Birmingham he first began to paint. His earliest appearance as an exhibitor was in 1827, at the Society of British Artists in London; in the ensuing year he sent to the Royal Academy two pictures named Llyn Gwynant, Morning, and Carnarvon Castle. About the same time he settled in London; and in 1836 he took a house in Bayswater. He soon attracted some attention as a landscape painter. In 1842 he was
elected an associate, and in 1850 a full member of the Royal Academy, which, for several years before his death, numbered hardly any other full members representing this branch of art. In his early practice he set an example, then much needed, of diligent study of nature out of doors, painting on the spot all the substantial part of several of his pictures. English and Welsh streams may be said to have formed his favourite subjects, and generally British rural scenery, mostly under its cheerful, calm and pleasurable aspects, in open daylight. This he rendered with elegant and equable skill, color rather grey in tint,
especially in his later years, and more than average technical accomplishment; his works have little to excite, but would, in most conditions of public taste, retain their power to attract. Creswick was industrious and extremely prolific; he produced, besides a steady outpouring of paintings, numerous illustrations for books. He was personally genial, a dark, bulky man, somewhat heavy and graceless in aspect in his later years. He died at his house in Bayswater, Linden Grove, after a few years of declining health.
Throughout his long career as an artist and senior lecturer at St. Martins School of Art and then Central Saint Martins College of Art and Design, Roy Trollope (1933-2008) challenged the assumptions of fine art practice. He drew on a vivid intellectual and creative imagination to explore and experiment with technique and subject matter in work which is always beautiful and meticulously executed.
These attributes are perfectly demonstrated in these figurative drawings and paintings, some of which are shown here, that he made between 1989 and 1997 when he was responding to unexpected and life changing circumstances in his life. It was a time of reflection when he was considering a range of issues such as childhood, emerging sexuality and the construction of masculinity. The work is also a personal response to a time of separation, loss and new beginnings.
The unique, beautifully crafted and iconic visual images are presented in a series of pictorial tales using a magical and moving visual vocabulary which transcends the very personal nature of the work enabling viewers to connect to an evocative drama about the human landscape. . .
Le Petit Echo de la Mode No.6 by Hormazd Narielwalla, paper collage on original 1950 French sewing pattern (framed). . .
c.2013. . .
Measures:84cm high x 64cm wide
Narielwalla makes collages from antique tailoring patterns. His latest work mines a seam of precious found material hidden between the pages of Le Petit Echo de la Mode. Published in Paris between 1897 and 1983 was a popular fashion and lifestyle magazine. Within it, loose and often discarded, he pluck a streak of radical abstraction. The magazine contains tailoring patterns that, for efficiency’s sake, layer the life-sized templates of entire garments onto a single sheet of paper. Each facet of the garment is encoded in an intricate web of lines, dots and numbers. I challenge to view this sheet not as a means to an end but as an end in itself. Shattering the female form into precise overlapping facets flattened not as views of a subject but as the object itself. He makes the radical potential loose in Le Petit Echo de la Mode real by cutting delicate sheets of coloured paper and acetate with the pride of a mother. The sheet of paper instructs the housewife, and the artist, to make itself. Predating Futurism and prefiguring Cubism these Le Petit Echo de la Mode abstracted the female subject to a degree more radical and precise than the highest aspirations of the 1912 manifetso Du “Cubisme”.