Oil Painting entitled Retreating Storm by Adrian Keith Graham Hill

Watercolour by David Birtwhistle. Titled, "Barn cat”. Signed lower left. Glazed and framed in gold coloured frame. David Birtwhistle was born in 1947, the son of a Methodist minis...

Study for a man seated sculpture Michael Kenny RA Original Artist: Michael Kenny RA (1941-1999) Chalk numbers on verso Born in Liverpool 1941, he son of an engineer. Studied at Liverpool art school, alongside Stuart Sutcliffe (an early Beatle) and John Lennon. He then went onto Slade in 1961 to study under Reg Butler, who nicknamed his protege "the Liverpool Italian". His distinguished career began when exhibited in Oxford in 1964. Michael was one of the most influential British sculptors of his generation and his contemplative geometric stone works became increasingly well regarded. He was elected associate member of the Royal Academy in 1976 and a Royal Academician in 1986. Today his work is held in museums all over the world including the British Museum, The Tate Gallery and the V&A in London. He has had solo shows in Germany, Sweden, Milan, Paris, Los Angeles, London, Japan and Dubai. Subsequently many corporations and private collectors throughout the world hold examples of his work. On Michael Kenny's gravestone in Highgate cemetery is the title of one of his sculptures, More Loved Than Known. The legend has been prophetic. He has a passionate following among the thousands of students he taught, who include Antony Gormley and Damien Hurst. Michael Kenny: Sculpture & Drawings This was an exhibition of Michael Kenny’s recent sculptures and drawings, from 1975 to 1977. Kenny (1941-1999) first studied in his home city of Liverpool before moving to London to continue his studies at the Slade. Following a successful international career, he was appointed a Royal Academician in 1986, and in 1997, two years before his death, he had a solo exhibition at the Royal Academy. Several of the sculptures in this Serpentine exhibition derived from his earliest pre-occupation, the human figure. In the works displayed, Kenny took particular inspiration from the female figure, lying or sitting, occupying, and informing an intimate space. We can see the workings of the Artist and possible preparatory sketch for the included sculpture in the following images. Michael Kenny was a sculptor and a painter, a prolific draughtsman and a print-maker. His early sculptures are dramatic, dealing with the isolation and loneliness of the individual. In later years, he worked mainly in stone in a quest for a sculpture that is simple in form and rich in meaning. With over 60 illustrations and key excerpts from the sculptor's own notebooks, this book provides the first opportunity to examine in detail the progress of Michael Kenny's career. Peter Davies...

An organic and Brutalist style Butterly table lamp. No chips or cracks. Easily retired for all regions. Bernard Rooke (born 1938) is a British artist and studio potter. Rooke has exhibited his "Brutalist" ceramics and painting both in the UK and abroad with work in many collections both public and private including the Victoria and Albert Museum, Cleveland Museum of Art, Nuffield Foundation, Röhsska Museum in Sweden and the Trondheim Kunstmuseum in Norway. Bernard Rooke attended Ipswich School of Art studying painting and lithography before going on to study at Goldsmiths College of Art. It was while studying here that he decided to take up pottery. Although unfamiliar with this craft and tradition, he found that working with clay provided new opportunities for freedom of interpretation and creativity. In 1960 Rooke set up his first pottery in Forest Hill in South London along with Alan Wallwork. It was a very small room with enough space for a small electric kiln. He was initially using mainly hand building, coiling, blocking and slabbing techniques. While researching ideas, he was supporting himself by part-time lecturing at London University, Goldsmiths College and St Mary's College. In addition, Rooke's membership of 'The Craftsman Potters' Association' enabled him to show his work in a shop in Carnaby Street in London. In 1967, both the need for a larger working space and becoming disillusioned with living in London spurred Rooke into moving out of the city and to an old mill building in Swilland in Suffolk. Rooke wanted to widen the range of work so as to become more commercial. With the birth of his son, Aaron, and much needed work to be done on the mill, it was important to be able to make a living. In 1968, the Grand Metropolitan Hotel commissioned Rooke to make 120 standard lamps, 120 table lamps as well as a 24 foot long ceramic mural and another 9 foot high, which incorporated interior lighting. The money from the commission helped to pay for much needed restoration work on the mill. By the 1970s, a gallery space was opened in the windmill and run by Susan Rooke, Bernard's wife, selling work to locals and tourists as well as to American airmen based nearby. The vision for Mill Gallery was beginning to develop and alongside this a reputation was building bringing in a good source of income. Sons Aaron and Felix were becoming more involved with the running of the pottery, giving Bernard more time to develop new ideas and designs and more time to continue with his painting. In 2004, the Rooke family decided not to sell to the public through the gallery anymore and close the pottery to concentrate more on painting and printmaking. In 2017 Bernard's lighting was featured in the Exhibition: “Glass, Light, Paint & Clay” at the Peterborough Museum and Art Gallery. The exhibition featured four artists: Bernard Rooke, John Maltby...

This wonderful Art Deco plate or shallow bowl made in Sweden 1930s at Gustavsberg factory, was designed by the painter and ceramicist Wilhelm Kåge. The name Argenta comes from the La...

Vintage expressionistic painting by Danish artist Kaj Andersen in abstract style with highly textured impasto painting style, showing a dramatic seascape under a stormy skye. The col...

Mid Century Mixed media painting "Storm at Sea" by J.Domokur in heavy gage brass frame.40x34

STORM'S EDGE Size: 58 x 68.5 cm (including frame) Oil on canvas A moody and atmospheric mid-century landscape composition, painted in oil onto canvas. The subject matter appears to...

An atmospheric view of storm clouds circling above sailing boats on the coast. Figures can be seen gathered to the lower-left corner of the composition. Presented in a distressed gil...