Ray BARRY (1931-2022) Thirty Giclee prints of differing designs Including work from his 'Mysterious Cornwall' series, 'Kitchen Still Life' and 'Hidden Gold' abstract. Each either mounted and cellophaned or framed. Most 42.5cm x 53cm.Ray Barry loved Cornwall and art. A Director of the St Ives Society of Artists, appointed in 2010, and Associate of both the Newlyn and Penwith Society of Artists, Ray originally started painting in the 1950s while working for Cable and Wireless in the Sudan. He exhibited at the Red Sea Club, Port Sudan and The New Stanley Gallery, Nairobi as he began to cultivate his artistic talent. Subsequent to his career with Cable and Wireless, Ray settled in Cornwall and evolved his art style while scooping top prize as the winner of 3 Spires Arts Festival, Truro. He solo exhibited at Falmouth Arts Club, Penzance Arts Club, The Crypt Gallery St Ives, The Cornerstone Gallery St Ives, Bakehouse Gallery St Ives, as well as jointly exhibiting with fellow artists Jenny Woodhouse, Bob Devereux, Rachel Kantaris, Patricia Dearden, Stephen Dove, John Beer and Victor Bramley. An established artist locally by the 1990s, Ray Barry graduated Falmouth School of Art in 1997 (with other alumni graduating that year including Paul Wadsworth and Jenny Woodhouse), with a degree in Fine Art and had a studio in St Ives before relocating his studio to Ludgvan. An established fellow artist among his peers, a hand-written invite to Bryan Pearce’s 75th birthday lay amongst his treasured possessions. Ray Barry constantly strove to explore colour and textural values with passion, working primarily in oils and acrylics. Of his work, he quoted, “I enjoy creating order out of chaos and conversely 'deconstructing' order to the point of meaningful abstraction….I paint with a sense of adventure rather than premeditation…I love the poetics of Abstraction “. Away from his career as an artist, Ray was also a keen stamp collector with his talent and interests overlapping when he created, established and designed stamps for Gugh Island, Isles of Scilly, with the designs of these sold in our Stamps and Collectors auction earlier this year.
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Ray BARRY (1931-2022) Abstract - The Link Acrylic on card, signed, titled to artist's label verso, 29cm x 69cm, 56cm x 76cm framed. Ray Barry loved Cornwall and art. A Director of the St Ives Society of Artists, appointed in 2010, and Associate of both the Newlyn and Penwith Society of Artists, Ray originally started painting in the 1950s while working for Cable and Wireless in the Sudan. He exhibited at the Red Sea Club, Port Sudan and The New Stanley Gallery, Nairobi as he began to cultivate his artistic talent. Subsequent to his career with Cable and Wireless, Ray settled in Cornwall and evolved his art style while scooping top prize as the winner of 3 Spires Arts Festival, Truro. He solo exhibited at Falmouth Arts Club, Penzance Arts Club, The Crypt Gallery St Ives, The Cornerstone Gallery St Ives, Bakehouse Gallery St Ives, as well as jointly exhibiting with fellow artists Jenny Woodhouse, Bob Devereux, Rachel Kantaris, Patricia Dearden, Stephen Dove, John Beer and Victor Bramley. An established artist locally by the 1990s, Ray Barry graduated Falmouth School of Art in 1997 (with other alumni graduating that year including Paul Wadsworth and Jenny Woodhouse), with a degree in Fine Art and had a studio in St Ives before relocating his studio to Ludgvan. An established fellow artist among his peers, a hand-written invite to Bryan Pearce’s 75th birthday lay amongst his treasured possessions. Ray Barry constantly strove to explore colour and textural values with passion, working primarily in oils and acrylics. Of his work, he quoted, “I enjoy creating order out of chaos and conversely 'deconstructing' order to the point of meaningful abstraction….I paint with a sense of adventure rather than premeditation…I love the poetics of Abstraction “. Away from his career as an artist, Ray was also a keen stamp collector with his talent and interests overlapping when he created, established and designed stamps for Gugh Island, Isles of Scilly, with the designs of these sold in our Stamps and Collectors auction earlier this year.
Joan PILBEAM (XX-XXI) Untitled Abstract Watercolour, signed, 12cm x 12.5cm, 24.5cm x 24.5cm framed. Together with two other works, each signed, inlcuding 'Swirling Fog, signed Judy A. Inman, Joan Pilbeam claims an eclectic background in art studies, mentioning Manchester, Khartoum, Hereford and Keele University. She married first in 1950 and spent eight exciting years in Africa including long treks in the Sudanese desert. In 1975 she was enged in the antiques business in the UK and though exchanging that for the 'simple life' in Herefordshire, she was able to exhibit regularly, alongside bringing up three daughters. After her first husband's death there was a fallow period, and then remarriage in 1985 which brought about a rebirth of her painting. During that period she exhibited at Keele, Stafford, Stoke, Royal Birmingham Society of Artist, which brought her to Newlyn in 1996. She exhibited work at the Salthouse Gallery, Penwith Society of Artists (of which she was an Associate) in St Ives (1998).
pastel on paper, signed, titled label verso mounted, framed and under glass image size 21cm x 29cm, overall size 42cm x 50cm Label verso: The Open Eye Gallery, Edinburgh Note: Painter, draughtsman and teacher, born John Knox at Kirkintilloch, Dunbartonshire. He studied at Glasgow School of Art, 1953–7, where his teachers included William Armour and David Donaldson. In 1958 won a travelling scholarship which enabled him to study in Paris under André Lhote. Knox painted in a variety of styles, being influenced by the American Abstract Expressionists for a time, although on occasion creating still lifes in the manner of the Dutch Old Masters. From 1965–81 Knox taught at Duncan of Jordanstone College of Art, Dundee, in 1981 becoming head of painting at Glasgow College of Art. Took part in many group shows in Scotland and abroad and had a series of one-man exhibitions, including 57 Gallery, Edinburgh; Serpentine Gallery in London; and Civic Arts Centre, Aberdeen. In 1983 a solo show was toured to a number of Scottish venues by the Scottish Arts Council; Drawings 1956–1998 was held by Cyril Gerber Fine Art and Compass Gallery, Glasgow, in 1998. Was elected RSA and has work in many public collections, including Scottish National Gallery of Modern Art, Edinburgh. Lived for some time in Carnoustie, Angus.
mixed media on board, signed, titled and dated 1996 verso framed and under glass image size 134cm x 56cm, overall size 150cm x 73cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Ca. 2000 - 1500 BC. A pottery idol of characteristically abstract form depicting a female deity - likely Astarte, the goddess of war and fertility. She stands atop elongated legs with wide hips accentuating her femininity and hands on the belly under her protruding breasts. Her avianesque head presents a beak-like nose and huge annular eyes on either side of a drilled perforation, all crowned by a flared headdress and flanked by large, pinched ears. Size: 142.5mm x 58.7mm; Weight: 110g Provenance: Private UK collection; previously acquired on the French art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 2100 - 1500 BC. A petite clay tablet with a lightly convex obverse face, and rounded peripheries. The tablet displays seven full lines for each side of inscribed cuneiform text made by impressing a sharpened reed or stick into the still-wet clay before being placed inside a kiln. Cuneiform was generally a pictographic style of writing in its infancy, though it became a more abstract style of letter-based script around the 3rd millennium BC. Size: 35.2mm x 29mm; Weight: 25.26g Provenance: Private UK collection; previously acquired on the French art market in the 1990s.
Ca. 2750 - 1900 BC. A pottery idol of characteristically abstract form depicting a female deity. Her avianesque head presents a beak-like nose and huge annular eyes on either side of a drilled perforation, all crowned by a flared headdress and flanked by large, pinched ears. Size: 144.5mm x 55.7mm; Weight: 80.52g Provenance: Private UK collection; previously acquired on the French art market in the 1990s.
Ca. 100 BC - AD 100. A carved from limestone, a high-relief stela featuring a prominent abstract face with a slender triangular nose, deep-set ovoid eyes beneath thin brows, a broad forehead, rounded cheekbones, a tapered mandible, and a petite, expressionless mouth. Russet-red pigment colours the face as well as the lateral plaque sides and the chalky white material within the eyes suggest they were once inlaid with attractive fragments of colourful stones. Shallow grooves on the verso indicate how the plaque would have been suspended, perhaps on a slanted surface. For similar see: Sotheby's, Ancient Sculpture and Works of Art, Part I, 7 December 2021, Lot 1. Size: 360mm x 200mm; Weight: 11.02kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 800 BC. A lidded pyxis with a flattened, globular body decorated with incised striations at the shoulder, a pair of abstract bird protomes at the rim, and an openwork, symmetrical ornament at the lower end. The lid also has bird protomes that fit neatly against those at the rim and a single vertical post/handle. This form of pyxis is called a "sickle" type. For similar see: Benaki Museum, Athens, (ΓΕ 7888). Size: 115mm x 100mm; Weight: 190g Provenance: Property of a central London gallery, acquired on the US art market; Private Connecticut Collection, acquired late 1990s; Ex. Ariadne Gallery, NYC; Ex. Bavarian Collection prior to late 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
Ca. 750 - 600 BC. A pottery sculpture of an unusual form featuring a rider and horse, all delineated in an abstract style characteristic of the Cypro-Archaic period of Iron Age Cyprus. The bearded, bareback rider holds onto the neck of the horse with each hand, capturing the action in this piece. The horse, though seemingly stationary, presents an alert character with pointed ears, applied pellet wide eyes, and a curved tail. For similar see: The Metropolitan Museum of Art, Accession Number: 74.51.1774. Size: 129mm x 77.1mm; Weight: 168g Provenance: Private UK collection; previously acquired on the French art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 800 - 700 BC.A fabulous cast-bronze horse presenting characteristically abstract geometric-era stylisation. The tubular animal widens slightly at the hips and tapers towards the chest, the body supported by four cylindrical legs, and a curved tail droops down the middle of the haunches. The proud head is raised in an attentive manner with a crested mane, a tapering ovoid snout with faint nostril slits, and a pair of perky ears, with textured patina in green and brown hues enveloping the equine figure. For similar see: The Metropolitan Museum of Art, Accession Number: 21.88.24.Size: 120mm x 110mm; Weight: 315gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
Ca. 2750 - 1900 BC. A pottery idol of characteristically abstract form depicting a female deity, likely Astarte, the goddess of war and fertility. She stands atop elongated legs with wide hips that accentuate her femininity, with arms outstretched in a pose of supplication. Her avianesque head features a beak-like nose and large annular eyes on either side of a drilled perforation, all crowned by a flared headdress and flanked by large, pinched ears. Size: 75mm x 51.9mm; Weight: 49.77g Provenance: Private UK collection; previously acquired on the French art market in the 1990s.
Ca. 30 BC - AD 200. A set of nine cone-shaped mosaic glass inlays featuring intricate designs with bright canes set against darker backgrounds, spirals, abstract motifs, and more regular patterns. These pieces were used in games, serving as counters or markers. For similar see: Christie's, Live Auction 7337, Antiquities, 26 April 2006, Lot 158. Size: 18-24mm x 18-25mm; Weight: 102g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s.
Collection of silver and stone set silver jewellery including abstract square necklace, matching pair of earrings and bangle by Carrick, marcasite and black onyx bracelet, amber ring, stone set rings, Pandora leaf necklace and pair of matching earrings, pairs of earrings, pendant necklaces and brooches
A Hallmarked Silver Amber Coloured Bangle, NHJ, the large amber coloured stone, oval collet set between decorative foliage surround and beaded accents, to hook clasp with safety clasp, with a pendant of a similar style, an amber coloured stone set ring, within abstract style setting (finger size M). (3)
The Genuine Gemstone Company; A Collection of "925" Stone Set Jewellery, to include Madagascan Ruby infinity panel bracelet, Itinga Petalite abstract drop pendant, Harlequin Tourmaline & White Topaz floral cluster, Pink Sapphire & White Topaz drop pendant, Fossil Coral & Sunset Sapphire large oval cluster pendant, etc, together with a Dulwich Designs jewellery roll purse, with original box.*Includes Certificates of Authenticity and Pouches.
An Abstract Style Geode and Pearl Set Pendant Brooch, the rough geode stone set between abstract textured surround of bark finish, to a freshwater pearl set within nature inspired claw, the openwork verso with pendant/brooch adaption stamped "14K", in the style of Alan Martin Gard.We believe there may be loses to the geode near the mount. Approximately 5.5cm by 4cm. 48grams in weight.
† JOHN D. EDWARDS; a signed limited edition print, 'Love at Laguna', signed and dated 1986 lower right and numbered 14/100, 58 x 76cm, framed and glazed, an oil on canvas, still life of teapots and books, one of the books titled 'La Fontaine Choix de Fables', 87.5 x 59cm, unframed, and five further framed prints, all donated by the Calouste Gulbenkian Foundation, largest 62 x 50cm, framed and glazed and a unattributed modern abstract oil on board, rural scene, 34.5 x 29cm, framed, a watercolour, rural stream, 17 x 24cm, framed and glazed, a print of a tiger, etc (11).
† PAT YALLUP; an abstract watercolour, 'Waterfall', with artist's label verso, 53 x 37.5cm, framed and glazed, and a further watercolour by Pat Yallup, 'Speed', signed lower right, 30 x 40cm, framed and glazed and a limited edition signed print by Herbert Andrew Freeth, 'To Church', signed in pencil lower right and numbered 27/50, 26 x 32cm, framed and glazed (3).
UNATTRIBUTED; a charcoal drawing, 'Orchestra', indistinctly signed lower right, 21.5 x 16.5cm, framed and glazed, a further drawing, standing nude, 26 x 14.5cm, framed and glazed, and a further charcoal drawing, abstract female, signed 'Rice' lower right, 38.5 x 22.5cm, framed and glazed (3).
† ALAN DAVIE CBE RA HRSA (Scottish, 1920-2014); an abstract oil on board, 'Bird Catchers', signed verso and inscribed with title, 64 x 53cm, framed and glazed. Condition Report: All the works by Alan Davie in this sale have been consgined from one single owner sourse, All works where purchased from Morgan & Brooks gallery between 2020 and 2022.Unfortunatly, we cannot date this particular image as it it not dated for us to see, however two of the other images from this collection where painted in the late 1990s so i would think this one may be from a similar period.There are no signs of obvious damages to the image, no breaks, bends or losses to the board or image, there is some slight cracking to the paint in areas but nothing major.No signs of over painting nor damages with a UV light.
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