TANYA BAXTER CONTEMPORARY- flip book

TANYA BAXTER CONTEMPORARY

Art Advisory + Gallery

Tanya Baxter Contemporary, with locations in London and Hong Kong, exhibits some of the most
exciting contemporary, blue chip art. Our art advisory works at the top end of the market, providing
advice to private and corporate collectors. Our clients are offered investment opportunities in blue-chip
art as well as discerning acquisitions amongst up and coming international artists. From inception to the
final step of installation, we help our clients make intelligent decisions that add to the long term value
and integrity of their collection. Contemporary has emerged as the art markets primary catalyst of the
art market, a role historically held by Modern art. As art consultants with over 20 years experience
working in contemporary art we consider every detail involved in making a smart art investment. Our
knowledge of the industry, art movements, and the importance of authenticity, documentation and
negotiation help us build interesting and investment savvy collections for our clients.

THE MAYFAIR ANTIQUES & FINE ART FAIR – STAND 21, 4 – 7 JANUARY 2018
ART STAGE SINGAPORE – 25 – 28 JANUARY 2018

TANYA BAXTER CONTEMPORARY ART ADVISORY
London: 436 Kings Road, London, SW10 0PD | T: 020 7351 1367|07961 360 407
[email protected]|www.tanyabaxtercontemporary.com Hong Kong: 1/F Chinachem Building, 1 Hollywood Road, Central
Hong Kong | T:852 95508931 | [email protected]|www.tanyabaxtercontemporary.com

ZHAO KAILIN

Born, 1961 in Bengbu, AnHui province of China,
artist Zhao Kailin attended the Central Academy
of Fine Art in Beijing, China. After graduating he
signed on with the Kurt Svenccons gallery in
Stockholm, where he exhibited for the next few
years, and still maintains a strong following in
Sweden.

Zhao Kailin’s aesthetic vision is a fusion of
realistic technique and his rationalized adoption
of Neoclassicism.

Zhao Kailin currently lives and works in
California, and is a member of the United States
Portrait Society. His work has been shown in
numerous solo and group exhibitions
throughout the United States, Europe, and Asia,
and is also part of many notable public and
private collections.

Memories, oil on canvas, 112 x 102 cm

ANDY WARHOL

LEFT Flowers, 1970, Screenprint in colours on wove paper, 36 x 36 inches, edition 32 of 250. Signed in black ball point pen on verso, stamp numbered. Publisher: Factory
Additions, New York. Printer: Aetna Silkscreen Products Inc., New York. Feldman/Schellmann Catalogue Raisonne II.67

RIGHT Flowers, 1970, screenprint in colours on wove paper, 36 x 36 inches, edition 24 of 250. Signed in black ball point pen on verso, stamp numbered. Publisher: Factory
Additions, New York. Printer: Aetna Silkscreen Products Inc., New York. Andy Warhol Prints Catalogue Raisonne 1962-1987, Feldman/Schellman Fourth Edition Catlogue

Raisonne II.65



MARC QUINN – PARTICLE RIPPLE

In Particle Ripple, Quinn casts streaks of colour over
the realistic enlarged flowers, in a kind of action-
painting, rather like Jackson Pollock’s “drip-paintings.”
The colours and plasticity of the streaks look almost
three-dimensional on the flat surface of the canvas, so
that the viewer might be persuaded by the trompe-
l’oeil effect to see the streaks as rents in the perfect
façade.

Marc Quinn – Upper East Side Glacier, 2007

Marc Quinn - Upper East Side Glacier, 2007

MARC QUINN – FLOWER PAINTINGS

This series of flower paintings subverts one of the oldest forms of picture making: the still-life. To create these hyper-
realist oil paintings, Quinn creates a still-life arrangement in his studio using flowers and fruit bought in London on a
particular day. Since most of these combinations would never bloom together in the natural world, they show us the way
in which human desire has created new seasons – bringing together in one geographical location things that nature
would not assemble. Quinn photographs the arrangements, which are sometimes set amid a snowy ground or volcanic
sand, and then makes oil paintings based on the photographs. The paintings depict a frozen moment of ‘unnatural’ time.
Large in scale and dramatically coloured, their beauty belies a sinister subtext: the relentless human desire to control
nature.

In the early 1990s, Quinn rose to prominence as one of the original Young British Artists, or YBAs, who shook up
London’s contemporary-art scene with their provocative conceptual works and hedonistic antics. The thread uniting the
divergent group was, in Quinn’s view, “the idea of bringing real life into art” as well as a refusal to wait for institutional
approval to show their work.

Today, Quinn is one of the most widely collected and recognized of the YBA’s. His work is held in the most important
collections worldwide and he features in numerous international exhibitions, high fashion collaborations, and celebrity
charity events. Marc Quinn has exhibited in many important group and solo exhibitions internationally including
“Cream”, Kiasma Museum of Contemporary Art Finland (2010); “Aftershock – Contemporary British art 1990-2006,
Guangdong Museum of Art and Capital Museum Beijing, China (2006); “The Synaesthetics of Art and Public”, Gwangju
Biennale (2004); “Statements 7”, 50th Venice Biennale (2003); “Give and Take”, Victoria and Albert Museum, London
(2001); and “Sonsbeek ’93”, Arnhem (1993).

JOHN HOYLAND

As the critic William Feaver once wrote, ‘A pukka Hoyland is a work not
of hand and eye, but of total self.’ And it was this whole-hearted
commitment to painting that characterised his six decades of work. His
career was decisively influenced in the late 1950s and 1960s by his
experience of American Abstract Expressionism. But as an artist and a
man he was enough of an individual to be able to knowingly absorb and
deflect those influences, and set himself on his own path. Along with the
rest of the Modern British artists, whose prices have skyrocketed,
overtaking many of their younger counterparts, Hoyland’s work is
situated to grow substantially in price over the coming years. Damien
Hirst is a huge admirer and collector of Hoyland’s paintings, and has
bought a substantial holding of the artist’s finest work. He recently held
a major John Hoyland retrospective at his new gallery in Lambeth –
putting Hoyland’s work in a very high profile position. Hirst is quoted as
saying: ‘In my eyes John Hoyland was by far the greatest British abstract
painter and an artist who was never afraid to push the boundaries.’ And
American artist Robert Motherwell suggested that Hoyland could be the
new Turner.

John Hoyland - 'Untitled Red', Screen print, 1975, hand signed John Hoyland - 'Untitled Green', Screen print, 1975, hand signed
dated and numbered, from the edition of 50, 85 x 64 cm dated and numbered, from the edition of 50, 85 x 64 cm

Hoyland’s star is rising elsewhere. Throughout August, his
painting ‘Memory Mirror’ (1981) was hung at the Fitz-
william in response to its resounding popularity in the ‘Art
Everywhere’ campaign (the national outdoor art exhibition,
with art on posters and billboards). Hirst was quoted in the
publicity as saying: ‘In my eyes John Hoyland was by far the
greatest British abstract painter and an artist who was never
afraid to push the boundaries.’ And the recent spate of TV
programmes investigating abstract art has featured the
fascinating 1979 Arena film of him at work, while novelist
Colm Toíbín has gone on record as saying, ‘I keep seeing
John Hoyland paintings and I keep thinking “Why isn’t this
man one of the best-known figures of the English 20th
century? Why isn’t there a John Hoyland room?”’ Well,
there’s a thought. It was an American artist, Robert
Motherwell, who suggested that Hoyland could be the new
Turner.

Hoyland’s first solo exhibition was at the Whitechapel
Gallery in 1967; in 1969 he represented Great Britain at the
Sao Paulo Biennale; he then had a major retrospective at the
Serpentine Gallery, The Royal Academy of Arts, and Tate St.
Ives; in 1982 he won the John Moores Prize – the most
prestigious award for painting in Britain at that time; he was
elected a Royal Academician in 1991, and was appointed
Professor of Painting at the Royal Academy Schools in 1999.

John Hoyland – Harvest 6.3.81, 1981, acrylic on cotton duck, 229 x 244 cm

Awards

Calouste Gulbenkian Foundation Purchase Award (1963)

International Young Artist Award, Tokyo (1964)

Prize Winner at John Moores Liverpool Exhibition (1965)

Prize Winner at Open Paintings Exhibition, Belfast (1966)

First Prize (with Robyn Denny), Edinburgh Open 100 Exhibition
(1969)

First Prize, Chichester National Art Exhibition (1975)

Arts Council of Great Britain Purchase Award (1979)

First Prize at John Moores Liverpool Exhibition (with ‘Broken
Bride'; 1982) Joint First Prize,

Korn Ferry International Award Exhibition (with William Scott;
1986)

First Prize, Athena Art Award (1987)

Elected Royal Academician (1991)

Wollaston Award, Royal Academy Summer Exhibition (1998)
Elected Foreign Painter Academician, Accademia Nationale di San
Luca, Rome, Italy (2000)

Honorary Doctorate, Sheffield Hallam University (2003)

Honorary Member, Royal West of England Academy (2008)

John Hoyland - Orlo [14.4.76], 1976, acrylic on canvas, 228.5 x 150 cm,
signed and dated verso on the canvas overlap and dated again verso

FRANCIS BACON

Francis Bacon - Study for Portrait of Pope Innocent X, 1965, Lithograph, edition
of 60, image size 95 x 69 cm, sheet size 115.5 x 76.8 Published by: IRCAM for
Centre Pompidou, Paris, 1989 The print is signed by the artist and is marked
‘ea’, French short-hand for ‘artists proof’

Icons of the spirit and the flesh – Francis Bacon’s two greatest obsessions Unseen in public for nearly 45 years, Study of Red Pope, 1962, 2nd
Version offers a deeply poignant insight into one of the 20th century’s most important bodies of work. This rare masterpiece will be offered at
Christie’s London in October.

On 26 October 1971, the Grand Palais in Paris opened its landmark retrospective of Francis Bacon’s work. It was a career-defining moment for the
artist, newly anointed ‘Britain’s greatest living painter’. Among the distinguished canvases exhibited was Study of Red Pope, 1962, 2nd version,
painted earlier that year: a grand finale to his celebrated body of papal portraits. In this rare masterpiece, for the first and only time in his oeuvre,
Bacon had united his two greatest obsessions: reworking the 1962 canvas Study from Innocent X, the artist staged a haunting encounter between
the Pope and George Dyer — his great muse and lover.

Inspired by Diego Velázquez’s Portrait of Pope Innocent X, Bacon’s output of the 1950s and early 1960s had been dominated by visions of Il Papa: a
man tortured by the weight of his own authority. In Study of Red Pope, 1962, 2nd version, the two figures are bound together like twisted alter
egos: icons of the spirit and the flesh — the sacred and profane — juxtaposed in the manner of a devotional diptych. Their faces are thickly worked
with vigorous impasto, lit by streaks of lead-white paint. Visceral tangles of marbled pigment writhe within the Pope’s cloaked body, extending
from his torso in a single holographic sweep. A glowing, contrapuntal duet of green and cerulean strokes circles his form, while the crystalline blue
of Dyer’s backdrop is tinged with faint residue of the pontiff’s scarlet palette. In contrast to the work’s 1962 predecessor, here Bacon offsets his
dynamic painterly brushstrokes with flat, intersecting planes and passages of bare canvas, creating a stark amphitheatre of colour, geometry and
formal abstraction.

Bacon’s Papal portraits are widely regarded as the paragon of his artistic enquiries. From the early screaming phantoms to the silent, demented
creatures that followed, Bacon repeatedly cast the Pope as a victim of his own status, tormented by his position as God’s messenger on Earth. ‘It is
true, of course, the Pope is unique’, he told David Sylvester, the British art critic, curator and author. ‘He’s put in a unique position by being the
Pope, and therefore, like in certain great tragedies, he’s as though raised onto a dais on which the grandeur of this image can be displayed to the
world.’

As the artist prepared for his exhibition at the Grand Palais — an accolade granted to no other living painter except Picasso — the present work
acknowledged the dual space these subjects occupied in his psyche. The deadlock between them would be resolved in the subsequent Study of
George Dyer, executed the following month, in which Bacon’s tragic muse usurps the pontiff from the centre of the composition. Together, these
works represent the final images of Dyer painted during his lifetime.



Francis Bacon
Second Version, Triptych 1944 (Large Version)
the complete set of three lithographs in colours,
1989, on Arches wove paper, each signed in pencil,
numbered EA, 1 of 8 artist proofs aside from
edition of 30, published by Edition Frédéric Birr
and Michel Archimbaud for Librairie Séguier,
Paris, with their blindstamp, the full sheets Image
143.5 x 105.5 cm (each)

Francis Bacon has long been king of the auction circuit, demanding Francis Bacon – Study from the human body, 1987
consistently strong and record breaking prices upwards of $140 million and Aquatint on paper, edition of 90, paper 163 x 121 cm, published
a total painting sales volume of over $2 billion since 2000. His astronomical by Marlborough 2rc Rome, 1992, stamped signature and estate
prices make him one of the most sought-after and most expensive artists in
the world. Not only has he commanded the market for years but it he also in stamped
the top public and private collections internationally, including Tate Britain
and Tate Modern; the National Gallery of Australia; The Musee National
d’Art Moderne, Centre Georges Pompidou, Paris; The Peggy Guggenheim
Collection, Venice; The Stedelijk Museum, Amsterdam; Museum of
Contemporary Art, Chicago; The Detroit Institute of Arts; The Museum of
Modern Art, New York; and The Guggenheim Museum, New York.

Bacon who died in 1992, aged 82, was one of the greatest and most
influential 20th century artists. The critic Robert Hughes, writing in the
Guardian in 2008, described him as "England's most celebrated recently
dead painter. He is probably the best-known one, and possibly the most
popular, since JMW Turner." His distorted paintings of tormented figures
were not to everyone's tastes. Margaret Thatcher once called him "that
awful artist who paints those horrible pictures."

Bacon's tendency to derive inspiration from personal experiences also
attracted him to portraiture. He often painted close friends (Lucian Freud,
Isabel Rawsthorne, Michel Leiris), and the results convey a striking
emotional and psychological intensity. One of Bacon's most famous subjects
was his friend and lover George Dyer, who he met in 1964. During the
course of their relationship, Bacon executed numerous portraits of Dyer
that juxtaposed a strong musculature with a feeling of vulnerability, as in
Portrait of George Dyer Crouching (1966), suggesting an affectionate yet
protective attitude toward the younger man. Dyer suffered from alcoholism
and episodes of depression, ultimately committing suicide on the night
before Bacon's first retrospective in France in 1971.

FRANK AUERBACH

'Reclining Head of Julia', painted in Auerbach’s expressive, layered style represents the artist’s wife, Julia Wolstenholme. It is
characteristic of his psychologically charged portraits, in which he laboriously paints and repaints only a select group of favoured
sitters with real intimacy: "I tend to try to paint things with which I have a great familiarity, partly because they mean more to me
than anybody else".

Auerbach has used just three principal models throughout his career. One, his wife Julia, first posed for him in 1959. The couple had
met and married in 1958 whilst they were both students at the Royal College of Art. It was not until their reunion in 1976 that she
again became a regular model, sitting for drawings and paintings such as this, in which Auerbach always focuses on the form of her
head.

Although in his paintings of Julia, Auerbach returns to the same features he is perpetually seeing her in new ways: "To paint the same
head over and over leads to unfamiliarity; eventually you get near the raw truth about it, just as people only blurt out the raw truth in
the middle of a family quarrel”. Like the earlier 'Portrait of Julia', 1992, which belongs to the National Gallery, Scotland, he builds the
character of his sitter into the work’s thick, impastoed surface. Discussing Auerbach’s powerful psychological depiction of people, the
writer and historian William Feaver has noted: “Auerbach's heads are conceived not as busts or cameos but as presences”.

Frank Auerbach - Reclining Head of Julia, 2006, acrylic on board, 46 x 46 cm





ALAN DAVIE

Alan Davie - (Opposite page) Love Life of E.Z.,1961, oil on board, 48
x 60 in, 122 x 152.4 cm | Alan Davie – (This Page) A Crazy Dog in
Rocking Chair, Feb. 1963, oil on canvas, 60 x 48 in, 152.4 x 122 cm

James Alan Davie (1920 –2014) was a Scottish painter and musician. Davie travelled widely and in Venice became influenced by other painters of the
period, such as Paul Klee, Jackson Pollock and Joan Miró, as well as by a wide range of cultural symbols. In particular, his painting style owes much to
his affinity with Zen. Declaring that the spiritual path is incompatible with planning ahead, he has attempted to paint as automatically as possible,
which is intended to bring forth elements of his unconscious. In this, he shares a vision with surrealist painters such as Miró, and he has also been
fascinated by the work of psychoanalyst Jung. Like Pollock, many of Davie's works have been executed by standing above the painting, which is laid on
the ground. He added layers of paint until sometimes the original painting has been covered over many times. Despite the speed at which he worked
(he usually had several paintings on the go at once), however, he was adamant that his images are not pure abstraction, but all have significance as
symbols. Championing the primitive, he saw the role of the artist as akin to that of the shaman, and remarked upon how disparate cultures have
adopted common symbols in their visual languages. He found a public for his work on the continent and in America some time before the British art
public could reconcile itself to his mixture of ancient and newly invented of symbols and his explosive brushwork. His paintings appear at once
apocalyptic and triumphant.

Alan Davie – Sweetie Pie, 1960
Oil on paper laid on board
42 x 61 cm
Signed and dated

ADRIAN HEATH

In 1938 Adrian Heath began producing elegant Academy-style nudes.
During the war in a POW camp, he discovered Emmons’ book on Sickert and
subsequent study at the Slade School of Fine Art (19401947) inspired him
to depict scenes of modern life. However, with greater exposure to modern
paintings, and having developed a friendship with Victor Pasmore, his style
developed and took a turn towards abstraction. This can be seen in his
paintings of the 1950’s with their debt to geometry, golden sections and
root rectangles.

In 1949 Heath visited St Ives, where he met Ben Nicholson. He formed a link
between the St Ives School and London-based constructivists such as Victor
Pasmore and Kenneth and Mary Martin. He began exhibiting with the
London Group from 1949, and it was here he showed his first abstract
works. Between 1951-1953 he held exhibitions in his studio in London,
involving artists such as William Scott, Roger Hilton and Terry Frost, whom
he had met in the POW camps. During the early 1950’s he was a significant
figure in promoting abstract art by organising collective exhibitions at his
London studio and by writing a short popular book, Abstract Painting: Its
Origin and Meaning, 1953. Heath’s paintings of this time featured large,
block-like slabs of colour, heavily brushed. Later his paintings became freer
and more dynamic.

In 1954 Heath was appointed Chairman of the Artists International
Association, a post he held for a decade. He also taught at Bath Academy of
Art from 1955 to 1976 and at the University of Reading in the 1980’s. He
continued to paint into his seventies and his last exhibition, a retrospective
to commemorate his 70th birthday was a combined effort by
Austin/Desmond and the Redfern Gallery. Heath is well represented in
collections all over the world, including the Tate, British Museum and the
Brooklyn Museum in New York.

Adrian Heath - Blaina, 1978, oil on canvas, 127 x 91.4 cm, signed
and dated 'Heath '78' verso

BRIDGET RILEY

Bridget Riley - June 23 Bassacs, 1991, gouache on paper, 26.3 x 32.5 Bridget Riley - Magenta with Blue and Greens. Revision of June 4, '99,
cm 1999, gouache on paper, 43.4 x 61.5 cm

“After Bacon, Riley is arguably the single most important figure in Post-War British art. As the Godmother of Op Art, Riley’s career has been marked by successive
innovations. Her work has inspired a whole movement, not only in the world of art, but also in fashion and design.” Riley, now one of Britain's most respected living
painters, made her name with a startling hybrid of Mondrian-style abstraction and brash pop-art, known, with a wink, as op-art. Her work uses shapes, rules,
repeating patterns and colour to create what are usually called optical illusions, though that term feels insulting to her work, as if she’s somehow trying to trick her
audience. Her art is always complex in its construction but amusingly simple in its composition. It’s childlike, even naive in a way.

Riley participated in Documenta IV and VI and, along with Phillip King, represented Great Britain in the 1968 Venice Biennale. She was awarded the International
Prize for Painting at the Venice Biennale, making her the first woman ever to win the award. She has been the subject of solo exhibitions at numerous institutions
including: The Art Institute of Chicago; National Gallery, London; Musée d’Art Moderne de la Ville de Paris; Tate Britain, London; Museum of Modern Art, New York;
and National Gallery, Prague. Her work is included in the permanent collections of numerous institutions including: Dia Art Foundation, New York; Los Angeles
County Museum of Art; The Metropolitan Museum of Art, New York; Centre Pompidou, Paris; and the Stedelijk Museum, Amsterdam.

LYNN

CHADWICK

Born in London in 1914, Chadwick studied
architectural drafting and design after his World
War II service as a Royal Navy pilot, before
emerging during the 1950s as a sculptor with a
singularly distinctive and dynamic style. Following
two solo exhibitions at Gimpel Fils, London, he was
invited to exhibit at the British Pavilion of the
Venice Biennale in 1952, and in 1956, was awarded
the Biennale's highest honour the prestigious
international Prize for Sculpture. Over the
subsequent decades, Chadwick has exhibited to
widespread acclaim in Paris, London, New York and
Tokyo and today is represented with works in most
major international collections including the
Museum of Modern Art, New York; the Tate Gallery,
London; the Musée National d'Art Moderne, Paris;
and the Art Gallery of New South Wales, Sydney.

Lynn Chadwick - Maquette V, Two Winged Figures, 1973, each stamped with
initial, numbered 672S, dated 'C 73’ on underside, female - 48.2 x 10.1 x 19 cm,
male - 50.8 x 22.8 x 24.1 cm, no 2 of 8

PABLO PICASSO

Mes dessins d'Antibes - Femme et Faune, 1958, lithograph, printed by Daniel Jacomet, numbered edition of 300, 50cm x 65cm

DAVID HOCKNEY

Celia in a Pink Chemise celebrates his close friendship with
designer Celia Birtwell. Celia first met Hockney in Los Angeles
in 1964. She is most famously represented in Hockney’s large
double portrait Mr and Mrs Clark and Percy. With her husband
Ossie Clark, she was at the top of the fashion industry in
London in the swinging sixties. Clark designed clothes using
Birtwell’s textile designs, and sold them from the shop
Quorum in Chelsea’s King’s Road.

Hockney’s portraits of Celia acknowledge her sensuality
without being overtly sexual. The artist felt that her portraits,
particularly of this period, were very much a reflection of her
personality rather than just of his feelings towards her: ‘she’s
a very feminine woman, not a masculine woman, and a very
sweet-natured, gentle person’ (quoted in Marco Livingstone,
‘Hockney’s People: Notes to the Plates’, David Hockney: Faces
1966-1984. Celia was a friend of Hockney’s companion Peter
Schlesinger, and following the break-up of Hockney and
Schlesinger in 1971, the artist’s portraits of Celia take on an
increased intimacy. Many of the 1973 drawings, including this
one, were made in Paris, where Hockney then lived.

David Hockney - Celia in a Pink Chemise, Paris Oct 1973, colour pencil on paper, 64.5 x 50 cm

PIP TODD-WARMOTH

Pip Todd-Warmoth - Camel Boy, Egypt, 2017, oil Pip Todd-Warmoth - Morning on the Ghats, Varanasi, oil on board, 91x152 cm
on board, 102 x 122 cm

Pip Todd-Warmoth - Himalayas, oil on board, 50 x 65 cm Pip Todd-Warmoth - Cricket Match at Emanuel, oil on board, 75 x 100 cm

British artist Pip Todd-Warmoth has established himself as one of London’s foremost representational painters. Born in Lincolnshire into a highly artistic
family. His father Peter Todd RCA was a painter and his mother a Royal Academy pianist. From the age of five Pip followed the family tradition of studying
music. He travelled from Lincolnshire to the Royal Academy, where under the tuition of Ralph Holmes and Brian Gipps he focused on the playing of the
violin. By his late teens, however, painting took over as his main focus. The profession of painting held more appeal because of the freedom and
independence of lifestyle compared with that of the more rigidly structured orchestral musician. He went on to study Fine Art at the Camberwell School of
Fine Art in London, and completed a Master’s degree in Painting from the Royal Academy. After graduating Pip pursued his dreams of travelling the world to
take photos, immerse himself in different cultures, and of course, to paint.

Todd-Warmoth is collected internationally by well known private and corporate collectors, including Sir David Tang, Prince Charles, Sir Michael Caine,
filmmaker and educator The Right Honourable The Lord Puttnam, Hong Kong socialite Alice Chiu, and former Hong Kong governor Chris Patten. Todd-
Warmoth’s work is also included in the collections of Dr. Abdul Bulbulia, on the board of the National Gallery of Ireland; Mervyn Davies, former minister of
state and CEO of Standard Chartered Bank; and James Salter of Polar Capital, among others. Museum collections include Gabr Foundation Collection, The
Maritime Museum, Hong Kong, the Bait Al Zubair collection, and the Uttarayan Art Foundation.

WILLIAM TURNBULL

This wonderfully exuberant calligraphic drawing dates from 1959 and
is part of a group of works discovered only recently at the artist’s
Camden Square home. These dramatic and appealing works on paper
show Turnbull exploring a range of gestural marks, which inform his
paintings from the same period.

Turnbull’s works on paper give an invaluable insight into his though
processes. His key motifs – the human head, walking and standing
figures, calligraphic mark making – recur throughout his career and in
many forms. His works on paper are diverse in both process and media,
and they include works in crayon, charcoal, gouache, watercolour and
oil on paper, unique monoprints, symmetrical prints folded through the
centre, silkscreen prints and lithographs.

The circular motif in Untitled, 1959, is derived from Turnbull’s earlier
paintings and drawings of heads from the mid-1950s, in which the
human head was built up from a series of calligraphic marks, and which
were later translated into bronze reliefs. Here, the central ‘head’ motif is
enclosed by another circle, in other drawings from this sequence the
circle progresses out to the edges of the paper, so that only part of this
motif is showing. We see this notion of a section of a circle developed in
Turnbull’s oil paintings from the period, 15-1959 (coll. National
Galleries of Scotland), for example, features a perfect circle of dark red
on light red, the following year 12-1960, we find a curved section
painted in the same two colours.

William Turnbull - Untitled, 1959, signed and dated, indian ink on paper, 79 x 60 cm

JOHN GOLDING

Untitled I73, 1973, acrylic on canvas, 61 x 91.4 cm

Although an acclaimed art historian, Golding considered himself, first and foremost, a painter. His work features in prominent institutions such as the Tate, MoMA, the
Scottish National Gallery, the British Council, Ferens Art Gallery, and the Fitzwilliam Museum. Golding had numerous one-man shows in the UK and abroad, and also
participated in many group exhibitions, including international shows with his close friend Bridget Riley. He was appointed a CBE in 1992 and elected a Fellow of the
British Academy in 1994.

Banksy - Because I’m Worthless (Placard Rat) 2004, Ed of 250 Banksy - Lenin in Sight, spray paint and stencil on board, from a series - each piece unique,
Unsigned, numbered on bottom left, 35 x 50 cm includes pest control COA, 60 x 60 cm

BANKSY

Whether plastering cities with his trademark parachuting rat, painting imagined openings in the West Bank barrier in Israel, or stenciling
“We’re bored of fish” above a penguins’ zoo enclosure, Banksy creates street art with an irreverent wit and an international reputation that
precedes his anonymous identity. “TV has made going to the theatre seem pointless, photography has pretty much killed painting,” he says,
“but graffiti has remained gloriously unspoilt by progress.” Banksy has gained his notoriety through a range of urban interventions, from
modifying street signs and printing his own currency to illegally hanging his own works in institutions such as the Louvre and the Museum
of Modern Art. Most often using spray paint and stencils, Banksy has crafted a signature, immediately identifiable graphic style—and a
recurring cast of cops, soldiers, children, and celebrities—through which he critically examines contemporary issues of consumerism,
political authority, terrorism, and the status of art and its display.

Today Banksy’s work appears internationally and he has become one of the most sought after artists on the market. In 2008 his painting (a
defaced Damien Hirst original) Keep it Spotless, 2007 sold at auction for $1.7m, and Simple Intelligence Testing, created for his 2000 show in
Bristol sold in London for $1.1m – with the highest estimated price set at only $300,000. Leonardo Dicaprio recently donated his Smiley
Copper to the 22nd Cinema Against AIDS Gala, held in Cannes; the piece proceeded to raise over $1m for the AIDS research foundation
amfAR, who organized the event.

Many believe that his works provide a voice for those living in urban environments, and improves the aesthetic quality of urban
surroundings. Others disagree, asserting that it is vandalism, and that his beliefs are not shared by all. This attention, along with his safely
guarded anonymity, has created quite a buzz cult around the artist, which has driven up his auction results worldwide. In July 2003, Banksy
mounted “Turf War,” his breakthrough exhibition staged in a former warehouse in Hackney. The show dazzled the London art scene with
its carnival atmosphere display, which featured a life heifer, its hide embellished with a portrait of Andy Warhol, as well as Queen Elizabeth
II in the guise of a chimpanzee. Banksy has also hung his own pieces of art in London’s Tate Modern, The New York Museum of Modern Art,
Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History. In May 2005 Banksy’s version of
primitive cave painting depicting a human figure hunting wildlife while pushing a shopping cart was found hanging in the British Museum.

SACHA JAFRI

Sacha Jafri - Field of Dreams, oil on wood panel, 103 x 63 cm

Sacha Jafri - The Kite Flier, oil on board, 123 x 123 cm Sacha Jafri - Through the Rushes II, Oil and Acrylic on Board, 155 x
155cm, 2005

Iranian/Indian with French Heritage works and lives in London and New York. With sell-out shows throughout Europe, America, Russia, The Middle East,
Asia and The Far East, Jafri is now considered to be one of the world’s leading young painters. The youngest artist in history to be offered a Museum-Based
10 year Retrospective World Tour which opened in 2008 at the recently renovated ‘Sharjah Museum of Modern and Islamic Art’, Jafri is widely considered
one of the top young painters on the world scene. He has recently been described by the Financial and New York Times as ‘a shrewd investment who’s
prices are set to soar!’ – and with recent commissions to paint the official paintings to celebrate the careers of: David Beckham, Sachin Tendulkah, Brian
Lara, Lewis Hamilton, John McEnroe, Darcy Bussel, Andrew Flintoff, Ryan Giggs, Roger Federer, Mohammed Ali and Tiger Woods, it is easy to see why Sacha
is often described as an unquestionably important painter in the history of art, a true zeitgeist of his time.

JU MING

Ju Ming, arguably Taiwan’s most influential sculptor, was born in
Miaoli, Tongsiao, in 1938. Since 2000 Ju Ming’s achievements in
art have received greater appreciation in all fields. In 2003 he
was awarded honorary Doctor of Art by Fu Jen Catholic
University. They appreciate what Ju Ming has done to pursue
further achievements in art and are thankful for his dedication
to art education in Taiwan and internationally. Ju Ming has also
received the cultural award from the Executive Yuan -
considered the highest honor and prize for anyone involved in
art and cultural circles in Taiwan. They are seen as lifetime
achievement awards given to people who have made great
efforts to preserve and promote art and culture. In 2007 Ju Ming
was awarded the Fukuoka Art and Culture Award for his
dedication and effort in the development of Asian culture,
becoming the second Taiwanese artist to receive this award.

Ju Ming's Taichi Series works, made in Ju Ming's middle age, are
his famous works. In Taichi Square, most of the works on display
are large-size bronze works made from foam molds. Their sheer
size and magnificent shapes put visitors in the state of taichi. In
fact, Ju Ming is from the grass roots and plain folks. Though this
grass roots feeling is an important attribute of him, what he
most has concerned himself with throughout his sculpture
career has been the spiritual aspect, especially the spiritual
aspects associated with life. His Works of Taichi Series are the
tangible embodiment of his concern for the spiritual aspect.

Ju Ming
Taichi, Single Whip, 1985
edition 6 of 6
280 x 475 x 215 cm

ZENG CHUANXING

Painted in 2010, Red Paper Bride, stands as an
iconic example of Zeng Chuanxing’s celebrated
Paper Bride series. In vogue with the adaptations of
classical realism techniques that formed the
zeitgeist of early twenty-first century Chinese art,
Zeng Chuanxing’s Red Paper Bride is a tour de force
of his mastery of oils.

Painted with painstakingly detailed brushstrokes,
the artist’s dexterous hand has transformed the flat
canvas into a tromp l’oeil of texture and jaunty
surfaces. Light catches the sitter’s eye with a
startling reality as her unbroken gaze confronts the
viewer. Believing that it is only the eyes and hands
of an individual that give true representation of the
human soul, these two anatomical features remain a
clear focus for the artist throughout his oeuvre,
adding a unique character and personality to each
of his models.

Zeng Chuanxing – Red Paper Bride, 2010, oil on canvas, 150 x
130 cm

Echoing the growing Western influence on Chinese culture at the time, the crumpled paper drapery stands out from the two dimensional plane with a
lifelike reality reminiscent of an Old Master painting. Further dialogue between Western and Chinese tradition continues in the bride’s paper fabric with the
symbolically chose colour schemes by the artist. Each of the Sichuan minority women portrayed in this series are clad in either white or red paper; red
representing Chinese tradition and white representing Western tradition.
The iconic Paper Bride’s continue to charm private collectors, museums and foundations. Zeng’s work has been exhibited at the Beijing Yan-Huant Art
Museum, The Hunan Museum in Changsha, the Central University of Nationalities and the Guangdong Art Museum in China. His work is also in the
collections of the Gabr foundation, the Maritime Museum Hong Kong, the Al Zubair museum. His work is also held in the private collections of Sting and
Trudie Styler, and has been exhibited at the Cultural Palace of Nationalities in Beijing, the Yu Feng Arts Gallery Beijing, the Budja Gallery, Germany. He has
been awarded the Superior Work award at the Mei Yuan Cup, the copper medal in the First Exhibition of China Oil Painting, and the copper medal in the 6th
Bai Hua Prize of Nationalities at the Beijing Cultural Palace of Nationalities.
Zeng Chuanxing has achieved record prices at auction since 2005, sometimes going for three and four times their estimate, now a blue chip artist, his prices
continue to steadily climb. In the recent auction of Sting and Trudie Styler’s art collection Zeng’s Paper Bride, Red Grass Sea, estimated at £20,000 – 40,000,
sold for £146,500.

Zeng Chuanxing – Blue Paper Bride, oil on canvas, 75 x 150 cm

LING JIAN

The Beijing-based artist who spent over fifteen years in
Germany bridges ideological gaps as he incarnates a
contemporary Euro-Asian flâneur. A hybrid figure oscillating
between the East and the West, Ling Jian the artist fits the
profile of a chronicler of current visual cultural aesthetics:
likewise admirer and sharp critic of beauty, enthusiast of
shiny fashion magazines, trends, haute couture and style, yet
a convinced Buddhist at core. While not placing (nor finding)
himself quite on one side or the other, Ling Jian has known to
pick and choose his role borrowing from two continents. His
meticulous brush might have more in common with his
Renaissance counterparts than what we might at first
discern.

Ling Jian places a magnifying glass over contemporary
(global) culture, stressing the faults of an overly materialistic
world entirely dependent upon the sensational, a social order
that gives more value to the material immediate, than to the
ungraspable everlasting. Although there are obvious
references to politics in Ling’s works, his work stands apart
from the Political Pop genre that flourished in Chinese avant-
garde art since the mid 1990s. Ling’s work is more about the
phenomenon of economical development, mass consumption,
the social impact of global change and today’s concept of
beauty than it is about local politics.

Ling Jian – Untitled, oil on canvas, 300 x 250 cm

ZHUANG HONG YI Flowerbed, fine rice paper & acrylic on canvas, 120 x 150 cm

LUCY POETT

Lucy Poett was born in Scotland in Edinburgh, and went to schools in both Scotland and England where she acquired a lasting interest in both pictures and
painting. On leaving school, she studied briefly at the Heatherly School of Art in London.

Living near Dundee, Poett studied sculpture under the late Scott Sutherland RSA at the Dundee College of Art. She then worked in London from a studio in
Chelsea doing Portrait Heads in Bronze, and at the same time started doing animal drawings in pencil. Several successful exhibitions of Poett’s drawings
were held at the Malcolm Innes Gallery in London.

Her artistic talent has developed over the years and she has taught
herself to paint in oils, and now does portraits that she exhibits
regularly at The Royal Society of Portrait Painters Exhibitions in
London. Although her pictures tend to be of people – she is especially
fascinated by faces in the desert, India, and the Middle East. Her
sculpture is more varied and includes bird and animal sculpture. She
accepts commissions for Portrait heads in Bronze which are regularly
exhibited in London and Scotland. She is an Associate of The Royal
Society of British Sculptors and a member of the Society of Women
Artists.

She exhibits regularly at the Royal Scottish Academy, and frequently
has pictures and small sculptures exhibited at galleries in Scotland
and London. She has completed a life size memorial bronze of Sandy
Irvine Robertson which has been installed outside the Malmaison
Hotel on The Shore in Leith (Edinburgh).

Lucy Poett – Equus, bronze, L130 x H100 x W40 cm each