Anna Boghiguian

"Imbaba Bridge" Pastel on Paper 12" x 16" inch by Anna Boghiguian

2009

"Nile Cruise" Watercolor on Paper 12" x 16" inch by Anna Boghiguian Anna Boghiguian (Cairo, 1946) is one of Egypt's foremost contemporary artists. Of ...

"GOLDEN ANGEL" Abstract Painting 65" x 62.5" inch by TOMA STENKO Toma Stenko’s powerful, often large-scale works balance movement and stillness, colour and form. It is a quest to se...

"GOLDEN HEART" Abstract Painting 71" x 59" inch by TOMA STENKO Toma Stenko’s powerful, often large-scale works balance movement and stillness, colour and ...

"FLYING CHAIR TWO" Abstract Painting 79" x 59" inch by TOMA STENKO Toma Stenko’s powerful, often large-scale works balance movement and stillness, colour ...

"LAURA IN RAINBOW" Abstract Painting 79" x 118" inch by TOMA STENKO Toma Stenko’s powerful, often large-scale works balance movement and stillness, colour and form. It is a quest to...

"Ethereum" Abstract Painting 14" x 10" inch by Amal Nasr watercolor & ink on paper “New Horizon” series There is a constant quest to restore the joy of discovery and the pleasure...

Interior design paintings. The ladscape was done with alcohol ink in yellow,orange,red,blue,green,pink color on Yupo paper. The work is 22 by 28 inches in siz...

Unbearable Lightness I by Richard Whadcock is a beautiful misty landscape depicting a golden translucent sky, brown translucent trees and a hint of orangy rust trees, giving the pain...

If you compare Hans Franta’s earliest works – from around 1911 to 1920 – with his later work from the years after the Second World War, the fact becomes obvious that you are dealing ...

If you compare Hans Franta’s earliest works – from around 1911 to 1920 – with his later work from the years after the Second World War, the fact becomes obvious that you are dealing ...

If you compare Hans Franta’s earliest works – from around 1911 to 1920 – with his later work from the years after the Second World War, the fact becomes obvious that you are dealing ...

Roger Cecil. Welsh ( b.1942 - d.2015 ). Llangorse, Brecon Beacons Watercolor and pastel on paper. Signed. Image size 19.5 inches x 29.5 inches ( 49.5cm x 75cm ). Frame size 24.6 inches x 34.6 inches ( 62.5cm x 88cm ). Available for sale; this original painting is by the Welsh artist Roger Cecil and dates from around 1964. The watercolor and pastel work is presented and supplied in a sympathetic contemporary frame (our stock frame, which is shown in these photographs), mounted using conservation materials and behind glass. The original backboard has been reused but the artwork has been isolated from it using conservation barrier materials. This vintage artwork is in good condition, commensurate with its age. Previous cockling (rippling) of the paper has been eliminated by stretching and the use of a new mounting. Previous foxing and age marks have been mechanically removed and the coarse fiber of the paper has been made good in these areas. The painting is now ready to hang and display. The watercolor is signed lower left. Provenance: Previously with the Howard Roberts Gallery, Imperial Buildings, 69/74 St Mary Street, Cardiff. Roger Cecil was a reclusive painter, draughtsman and teacher who was born in Abertillery, Monmouthshire in 1942. He lived and worked in Wales for the last four decades of his life, much of it in the house where he was born and brought up. Cecil produced abstract work rich in imagery, poetry and color, which were drawn from his environment, the industrial valley towns and mountains. Prolific and obsessive, he was always a solitary artist, with no affiliations to any group or artistic movement. He worked for more than forty years, with an ever evolving and prolific creative output. His pictures capture the geology and the history of the places he knew so intimately, and the impact of man of that environment. Cecil studied Fine Art at Newport College of Art from 1959 to 1963, where his teachers included John Wright and Thomas Rathmell; in 1963 he gained the College’s highest award in the national diploma in design and a place at the Royal College London. In 1964 he won the David Murray Landscape Award from the RA. He took up his place at the Royal College of Art, but after just a few weeks he was unsatisfied and instead took up manual work in opencast mines and building sites. Cecil later spent some time teaching at Ebbw Vale. From 1995 to 1998 he did his MA, which he gained with distinction in communication design at St. Martin’s College of Art. The BBC made a television documentary on Cecil's work called The Gentle Rebel. For a long time Cecil did not exhibit, through choice, and it was friends who helped to promote him. He then had a series of exhibitions at Business Art Galleries from 1987, and in 1995 the Hill Court Gallery, Abergavenny, held a retrospective of his work. In 1998 Gordon Hepworth and Y Tabernacl both showed Cecil's pictures. Cecil’s works were also shown at the Oriel Myrddin Gallery in 2006 and 20011. The small book which takes the name of the earlier exhibition ”Cariad”; has an introduction by gallery manager Meg Anthony which states; “The magic of Roger Cecil’s work is in part down to the man, for he is enigmatic and surprising, diffident and proud. He has deliberately avoided the art establishment, remaining shy of its protocol and systems of exposure and recognition. He has consciously created the space to pursue his art, away from the pressures of publicity and celebrity...... paint is Roger’s passion.” Cecil’s methods were complex; he worked with a mixture of materials, including oil pastels, sandpaper, primer and plaster. He built up layers and then he rubbed and scratched them away. His work is textured and nuanced, and the color reverberates as if it has a life of its own. The paintings are abstract, but there are echoes of monumental shapes and undulations of the female form, the Valleys - the dark hills embracing the bowls of space and the rich, gritty textures of the industrial and post-industrial landscape, highlighted by intricate, personal marks. Sarah Bradford states: “Scale is an important feature of Roger Cecil’s work; he constantly shifts from near and the far off. He also moves his viewpoint from looking at, to looking down on to. This looking down, as though a bird, onto the world of the painting, comes from exploration of his surroundings and from the ordinance survey maps he takes with him when he walks. He has often said how he is inspired by the language of symbols and lines that are used in maps to delineate the landscape. It is easy to see the connection when looking at the networks of invented footpaths, waterways, and other pinpoint features that can be found in his work.” … Mary Lloyd...