Lisa Takahashi

Memories of Padstow and Sailing at Dusk diptych

2021

Sailing Diptych by Kate Heiss Consists of Burnham Overy Staithe Sailing To Scolt Head Each individual print is H 30 cm x W 30 cm x D 0.5 cm Minimum wall space required landscape H 30 cm x W 60 cm Minimum wall space required portrait H 60 cm x W 30 cm Oil based inks on somerset velvet paper Please note that insitu images are purely an indication of how a piece may look Kate Heiss is a textile designer and print-maker who has worked with a wide range of fashion brands including Fenchurch, Miss Selfridge and the Japanese fashion designer Michiko Koshino...

Fowey Sailing [2021] Limited Edition Screen Print on Paper Edition number of 20 Image size: H:25 cm x W:60 cm Complete Size of Unframed Work: H:70 cm x W:40 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Fowey River Racing is a limited edition print by Robyn Forbes...

Fiona Carver A Cornish Village Limited Edition Linocut Print Edition of 50 Image size: 13.5 x 13.5cm Mounted size: 26.5 x 27cm (approx) Sold Unframed, mounted in pale cream Free Shipping Please note that in situ images are purely an indication of how a piece may look. A Cornish Village is an original limited edition linocut by Fiona Carver. Hand printed using a victorian cast iron press...

Anna-Louise Felstead Padstow Harbour Limited Edition Giclee Print Edition of 25 Signed and Numbered Image Size: H 42cm x W 57cm Sheet Size: H 47cm x W 65cm x D 0.1cm Sold Unframed Please note that in situ images are purely an indication of how a piece may look. Padstow Harbour is a limited edition print by by Anna-Louise Felstead. The bright colours and free flowing lines capture the friendly and cheerful atmosphere of Padstow in Cornwall. Anna-Louise graduated from the Royal College of Art in 2003 having received first class honours from Central Saint Martins. She is often regarded as a reportage artist, for her work is generally painted on location in ink on paper. These studies are then used as reference material and scaled up into large oil on canvas paintings. From 2009-2011 Anna-Louise had an art gallery in Cornwall, where she exclusively showed her own work documenting village life, local architecture and scenes from the bay. Moving to New York City in 2013, she worked on a much larger scale producing abstract cityscapes in oils. It was during this time that she began producing screen prints of Manhattan...

Laurent Marcel Salinas, Egyptian/French (1913 - 2010) - French Sailboats in Harbor. Year: circa 1985, Medium: Lithograph on Arches Paper, signed and n...

Joan Gillchrest. English ( b.1918 - d.2008 ). Cornish Fishing Boats At First Light. Oil On Paper Mounted On Board. Signed Monogram Lower Right. Image size 26.2 inches x 22 inches ( 66.5cm x 56cm ). Frame size 35.8 inches x 31.3 inches ( 91cm x 79.5cm ). Available for sale; this original oil painting is by the Cornish artist Joan Gillchrest and dates from around the late 1980s. The oil painting is presented and supplied in a sympathetic new replacement frame (which is shown in these photographs) that suits the artwork’s color palette and behind non-reflective Tru Vue UltraVue® UV70 glass. This painting is in excellent condition and presents superbly. It wants for nothing and is ready to hang and display. The painting is signed with her monogram lower right. Joan Gillchrest is one of Mousehole’s and Cornwall’s most recognised and celebrated artists. Her vibrant art sits firmly alongside other great artists of the St. Ives School from the 1960s. She was born Joan Scott in London in 1918 into a wealthy and illustrious family. She was the third of four children. Her father was a pioneer of radiology – and a skilful caricaturist - and her Australian mother was an accomplished pianist. Sir George Gilbert Scott was her great grandfather, who designed the imposing Midland Grand Hotel at St. Pancras as well as countless parish churches. Grandfather, George Gilbert Scott Jnr, is remembered for three Cambridge colleges, Christ’s, Pembroke and Peterhouse. Her uncle Giles, (Giles Gilbert Scott) to whom Joan was close, is best known for his magnificent Anglican Liverpool Cathedral, Battersea Power Station and the iconic and ubiquitous red telephone box. Coming from such a long line of eminent architects it is not surprising that Joan always loved architecture and the churches and chapels of the Penwith peninsula feature prominently in her work. She said that buildings were “in her blood”. Her early childhood was spent at the family home in Buckinghamshire, but she was a difficult child – the family hired one nanny for her and one for the other three children- and at one point she was sent to Upper Chine School in the Isle of Wright to give her family some peace! She was however the apple of her father’s eye and he encouraged her obvious artistic talent. In 1934, aged only 15 but encouraged by her parents, she went to Paris to study art and learn the language. There she met Gwen John and studied in various studios, sometimes working as a model. In 1936 she enrolled at the Grosvenor School of Art and subsequently studied there under Iain McNab, whom she described as a marvelous teacher. Her early artistic career was very promising; she first exhibited at the Royal Academy when she was just 18 and showed works at the New England Art Club in 1937 and the London Group in 1938. When the Second World War broke out Joan was 21. She took a crash course in nursing and first aid and volunteered as an ambulance driver for Westminster Hospital. She later drove a mobile rescue unit. She was not able to paint much during the war but kept in touch with McNab; when the area around St Paul’s was blitzed, leaving the cathedral relatively unscathed, McNab got Joan and a few others to paint the scene. Her work, created with a thick paint and a palette knife, hung in the art school for many years. Joan’s painting career stalled in the 1940s. In 1942 she married a barrister and Coldstream Guards officer Samuel Gillchrest, and they soon had a son, then a daughter. With a young family, she had little time to paint, and had to hide the work she did produce as her husband thought that work as an artist was beneath them. Sadly, the marriage broke down and in 1953 they divorced. In leaving a difficult marriage at this time, she forfeited money, security and her previous place in society. Despite the huge changes in her life, her overwhelming desire to paint remained constant. She ignored the disapproval of her friends and family and started to explore new ways of expressing herself on canvas. She moved to a studio in Chelsea, an area much favored by the artistic community. To support herself, her children and her painting she also found regular work as an artist’s model. She was tall, strikingly good looking and combined elegance with bohemianism. She also carried an air of mystery from her rich and privileged past, and so she became sought after as a fashion model. In the flat below hers lived an artist who had enjoyed some professional acclaim, Adrian Ryan...

Artist: Piry Rame, Czech/American (1921 - 2001) Title: Harbor Year: 1987 Medium: Oil on Two Joined Canvases, signed l.r. Size: 48 in. x 60 in. (121.92 cm x 152.4 cm) Piry Rame was b...

We have seven of Julian Trevelyan's prints, and oil paintings by him - and other Modern British Artists. To see the others, scroll down to "More from this Seller" and below it click on "See all from this Seller" and search for "Trevelyan". Julian Trevelyan (1910-1988) Spinnakers Etching 48 x 35 cm (sheet size 68 x 55 cm) Signed in pencil and numbered 1/65. The Tate holds number 24/56 - reference P01330. Small vessels weave around two great boats with striped masts, observed by a dark sky full of geometric clouds. A red buoy...