John Rattenbury Skeaping

A Tight Finish. 1970.Race Horses. Final Furlong. Equine.Jockeys.Horse Racing.

1970

John Rattenbury Skeaping. English ( b.1901 - d.1990 ). On the Gallops, 1976. Gouache and Watercolor. Signed & Dated Lower Right. Image size 18.5 inches x 26.8 inches ( 47cm x 68cm )...

John Rattenbury Skeaping. English ( b.1901 - d.1980 ). A Three Horse Race, 1963. Gouache & Watercolor. Signed & dated 1963. Image size 15.6 inches x 21.5 inches ( 39.5cm x 54.5cm )....

Dame Elisabeth Frink. English ( b.1930 - d.1993 ). Hawk, 1969. Watercolor. 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...

Malcolm Edwards. Welsh ( b.1934 ). Welsh Sheepdog, Shepherd and Sheep Watercolor. Signed. Image size 8.9 inches x 19.7 inches ( 22.5cm x 50cm ). Frame size 16.7 inches x 27.2 inches...

Cornelius Pearson b.1805 – d.1891 & Thomas Francis Wainewright, b.1794 – d.1883 English Crymlyn Bog and Neath River Estuary Swansea Bay, 1872 Watercolor. Signed & Dated 1872. Image size 7.9 inches x 15.9 inches ( 20cm x 40.5cm ). Frame size 15.2 inches x 23 inches ( 38.5cm x 58.5cm ). Available for sale; this original painting is by Cornelius Pearson with a significant contribution by Thomas Francis Wainewright, and is dated 1872. The watercolor is presented and supplied in a sympathetic pinned corner frame dating from the 1950s or 1960s (which is shown in these photographs), mounted and behind glass. This antique painting is in very good condition whilst the frame is in a good condition, commensurate with age. It is ready to hang and display. The watercolor is signed by both artists and dated 1872 lower left. The mount is titled and attributed by hand. Cornelius Pearson was an accomplished landscape artist. He was born in Boston, Lincolnshire but moved at an early age to London where he became apprenticed to a copper-plate engraver. He soon abandoned engraving however to devote himself to being a watercolor painter. Although he lived in London throughout his career, he travelled for his work to paint in Kent, Ireland, Wales, the Lake District, Scotland, on the Thames and Devon. He was a regular exhibitor at the Suffolk Street Galleries, and also exhibited at the Royal Academy, the New Watercolor Society and elsewhere. He was one of the oldest members of the Langham...

Henry Charles Fox. English ( b.1855 - d.1929 ). Driving Sheep. Plaisters Lane, Sutton Poyntz, Dorset 1918. Watercolor. Signed & Dated 1918. Image size 18.9 inches x 28.3 inches ( 48...

Birds design. Sealed on the back with the design studio name and number 98 We offer a small number of these original illustration designs by this design studio based in Alcoy (Spain)...

Horse Race - Hand Colored Lithograph in Gouache Dynamic hand-colored lithograph by Eugene Pechaubes (French, 1890-1967). Five horses and their riders are racing directly towards the...

'The French Rooster', gouache on art paper, by Raymond Debiève (circa 1960s). A Mid-Century modern depiction of the French coq, or rooster. The origin o...

'Landscape with Man and Goats', gouache on paper, by Raymond Guerrier (circa 1960s). After the artist moved from Paris to the South of France, he started painting landscapes illumina...

Original gouache and watercolor on brown archival paper of a standing crow in profile. Signed and dated lower right. Condition is good to very good. Colors of the bird are strong a...

Signed lower right, in graphite, 'Frances Pratt' (American, 1913-2003) and dated 1947. Born in Glen Ridge, New Jersey, Frances Pratt moved to New York City where she studied at the New York School of Applied Design for Woman (1930-33), and, subsequently, at the Arts Students League (1933-35). She then met her first husband, Christopher Ritter, with whom she opened Laurel Gallery in Greenwich Village and printed the Laurel Folios. Frances Pratt taught drawing and painting at the Ballard School from 1942 into the early 1950's. She also taught mixed media and watercolor techniques at the Parsons...