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Ultralounge, Selfridges London

Urban Art
incorporating

The Princes Trust Success Collection


26th February 2009, 6.30pm

Ultralounge

Selfridges
400 Oxford Street London W1A 7AJ 020 3291 2832
Par

Seymour Street

Wigmore Street Edward Mews Picton Pl.

James Street

P P
entrance

Barret Street
Oxford Street

On entering Selfridges please go down to the lower ground floor and follow signs to the Ultralounge which is opposite the central escalator and the Sienna Cafe.

k La ne
Upper Brook Street Brook Street

Urban Art
Thursday 26th February 2009 at 6.30pm
Ultralounge, Lower Ground Floor, Selfridges, 400 Oxford Street, London W1A 7AJ
Viewing days Ultralounge, Selfridges, London Friday 20th February 2009 9.30am 8pm Saturday 21st February 2009 9.30am 8pm Sunday 22nd February 2009 11.30am 6pm Monday 23rd February 2009 9.30am 8pm Tuesday 24th February 2009 9.30am 8pm Wednesday 25th February 2009 9.30am 8pm Thursday 26th February 2009 9.30am 3pm

Fo r e n q u i r i e s c o n c e r ning this sale, p l e a s e c o n t act: Mary McCarthy Tel: E-mail: 07766 366620 mmccarthy@dnfa.com

To re g i s t e r fo r t h e s a l e a n d g e n e r a l e n q u i r ies: Telephone: 020 3291 2832 Fax: 020 3291 2834 Visit our website for current catalogues, colour illustrations of major lots and a word search service: w w w.dnfa.com

Front cover image: Lot 35 B a n k s y ( B r i t i s h , b . 1 975) Kate Moss, 2005 25,000-30,000

Back cover image: Lot 70 J a m i e A m e ( B r i t i s h , b . 1 972) Thats all folks, 2008 1,000-2,000

(Sale catalogue only, resale or reproduction prohibited) Catalogues: 10 plus P&P

Important Information
Please also see our Conditions of Business and Conditions of Sale at the back of this catalogue

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220 350 600 1200 2400 3500 6000 12000 24000 35000 60000

240 380 650 1300 2600 3800 6500 13000 26000 38000 65000

280... 400... 700... 1400... 2800... 4000... 7000...

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14000... 20000 28000... 30000 40000... 50000 70000... 100000

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Payment will be accepted in cash (subject to relevant money laundering regulations), by debit card, Sterling personal cheque drawn on a UK bank account, or all major credit cards with the exception of American Express and Diners. A surcharge of 2% is payable on all payments made by credit card (This does not apply to debit card payments). If you are intending to pay by cheque and collect your purchases on the day of sale, you are required to request your bank to forward details of your credit worthiness for the likely sum involved to: Accounts Department, Dreweatts, Donnington Priory, Newbury, Berkshire RG14 2JE. Dreweatts regrets that without such information, purchases cannot be collected until your cheque has cleared.

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Bidding via the internet. Go to www.the-saleroom.com to register to bid live via the internet (or to listen to the sale). If you purchase a lot by this method, you will be charged an additional 3% plus VAT on the hammer price. Dreweatts does not accept liability for any failure of this service.

Condition
Bidders must satisfy themselves as to the condition of each lot. Condition reports are available on request see the Conditions of Business at the back of this catalogue for more information regarding condition reports. Requests for condition reports must be submitted by 4pm on the day prior to the auction.

Collection or Delivery
Before being able to collect your purchases you are required to pay the hammer price, plus the applicable commissions, and obtain a receipt acknowledging payment. Collection of the purchased lots is at the purchasers risk and expense and whilst Dreweatts do not provide packing and despatch service we can recommend some carriers. Purchased lots can be paid for and collected during the sale and until 1pm on Friday 27th February. After this time, the lots will be removed to: Dreweatts Baverstock House 93 High Street Godalming Surrey GU7 1AL 01483 423567 Where they must be paid for and collected prior to Friday 6th March. Thereafter we reserve the right to charge for storage.

Commission Charges
All purchases are subject to a buyers premium, which is charged at 20% [plus VAT] on the first 250,000 of the hammer price, and then at 12% [plus VAT] on the amount by which the hammer price exceeds 250,000.

Catalogue Descriptions
Unless otherwise described, all pictures are framed. Dimensions refer to the height and then width of the entire picture unless proceeded by (s.) in which case size refers to the visable area of the picture within a frame. Indicates that this lot is a qualifying item for Droit de Suite royalty charges. Please see our Conditions of Business (13) for a full definition of these charges. Estimated qualifying hammer price at the current exchange rates is: 950.

Street Art is Dead!


Long Live Urban Contemporary!
It all began as a joke. American Air Force men drawing faces on bombs that they were going to drop on the enemy and then a soldier from the US Army drawing the same face on walls across the UK accompanied by the words Kilroy was here. Then some mad New Yorker messenger called Julio decided to write his name and Street 204 number all over the city and then Hip-Hop happened, out of necessity, out of poverty, with its 4 cornerstones: DJing; MCing; Breaking; and Graffiti. The NYC art world was momentarily hypnotised by the freshness of Graff and artists like Basquiat and Haring jumped on the band wagon for a few stops. Once they were established and some of the street credibility had rubbed off, they jumped ship as quickly as they could, as it was going down like a 747. In the 1990s Graffiti and Street Art split from each other, one keeping it real and the other becoming one of the fastest and most popular art movements ever, before imploding in the year 2008, under a shower of money and worst of all hype! What happened? Money happened. Big business. A lot of men got a whiff of the smell of money and jumped in with both feet: Antique dealers, pop-musak producers, kebab sellers, bouncers, struck-off doctors, property developers, fruit machine providers, all whom re-invented themselves and became street art dealers, waxing and milking their stable of artists for all they were worth. This is not the way to nurture artists. It is only when the art form is understood can talent be developed. Street Art is everywhere. There are many films out there about Street Art, all of them complete rubbish except Public Discourse by Brad Downey. The Tate has held a Street Art festival, newspapers write about it and even Channel 4, the bastion of all tings naff, has run some three minute wonders about certain artists who work in the street. What does this mean? It means that a vibrant, once underground scene is now dead. Once the Tate or Channel 4 gets on to something you know its dead. Theres even a cookbook out there with Street Art and culture featured in between the recipes. What is going on? So over the horizon comes the cavalry Urban Contemporary Art. Borne out of the Street Art scene, the movement is led by artist such as Hush, Brad Downey, James Dodd, Asbestos, Jose Parla, Candice Tripp, Dr. D, Kelsey Brookes, Wilma $. They have all been inspired by the street but their sensibilities, techniques and traditions are firmly on the art side of things. This change is a good thing. This is progress and evolution doing its thing and pushing things forward. You know when something is over when people start choosing it as a career path, or every art student writing their dissertation about Bansky. Art needs to be kept fresh otherwise we end up with a right load of boring shit like what happened to art in the 1990s, and no-body wants that again! Written by King Adz

1 B a n k s y ( B r i t i s h , b . 1 975) Rude Copper, 2002 Hand finished screenprint Signed and numbered 15 in pen lower right 57cm x 41cm
Provenance: Santas Ghetto Dragon Bar, 2002 Authenticated by Pest Control Office 8,0 0 0-12,0 0 0 Rude Copper was the first commercial print that Banksy produced, originally an unsigned edition Run, printed by Screen One, Paul Westons infamous print house in Bristol. In 2002 an extremely rare, hand finished and signed further run of approximately 30 was printed by POW, and the example on offer has a hand sprayed background.

www.dnfa.com/urbanart

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2 The A r t Ta r t (Br itish, b.1974) Blue Madonna, 2008 Spraypaint and stencil on card Signed and numbered 1/3 in pen lower right 61cm x 40.5cm Provenance: Submitted for sale by the artist 30 0-50 0

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3 Fa i l e ( A m e r ican, Canadian, Japanese) My Story Savage Dreams, 2007 Laser etched print on card Numbered edition 16/16 Signed lower right 61cm x 45.5cm Provenance: Laz Inc 80 0-1,20 0
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4 Beejoir (Br itish) LV Child, 2006 Spraypaint and stencil on wood Original test spray from 2006 Signed and dated in pen lower right Framed in a perspex box 70cm x 46.5cm
Provenance: Acquired by the current owner from the artist 1,50 0-2,50 0
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5 N i ck Wa l ke r ( B r itish, b.1969) Shadow Study Right, 2008 Spraypaint on canvas Unique original and numbered 1/1 on reverse Signed and dated 2008 in pen on the reverse 49cm x 38cm
Provenance: Carmichael Gallery of Contemporary Art 3,0 0 0-5,0 0 0
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6 I n k i e ( B r i t i s h , b . 1 970) The Apple of my Eye, 2008 Spraypaint, acylic and gold leaf on canvas Signed and dated in pen on reverse Unframed 120cm x 49cm Provenance: Submitted for sale by the artist 1,0 0 0-1,50 0

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7 B a n k s y ( B r i t i s h , b . 1 975) Golf Sale, 2003 Screenprint Signed and dated in pen lower right Numbered 3/750 in pencil lower right 50cm x 34cm
Provenance: Pictures on Walls Authenticated by Pest Control Office 3,0 0 0-5,0 0 0

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8 P u re E v i l ( B r i t i s h ) Pearly King with Small Wings, 2008 Original stencil spraypaint on canvas Unframed 200cm x 130cm
Provenance: Steal From Work This lot is accompanied by a certificate of authenticity from Pure Evil 1,50 0-2,0 0 0

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9 P u re E v i l ( B r i t i s h ) Pearly Queen, 2008 Stencil spraypaint on stretched canvas Signed in pen on reverse Unframed 160.5cm x 130cm
Provenance: Pure Evil Gallery This lot is accompanied by a certificate of authenticity from Pure Evil 1,50 0-2,0 0 0
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10 M a r t h a C o o p e r ( A m e r i c a n , b . 1 940s) Basquiat Petrol, 1981 Digital C print on Kodak Professional Endura Supra Lustre paper, printed 2008 Signed and numbered 2/12 lower right s.20.5cm x 28.5cm Provenance: Taxie gallery This lot is accompanied by a certificate of authenticity from the artist 30 0-50 0 Martha Cooper photographed Basquiats work amongst other infamous American graffiti artists throughout the 1970s and 1980s.

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11 M a r t h a C o o p e r ( A m e r i c a n , b . 1 940s) Duster Lizzie in Straight Letters and Wild Style, Bronx, NYC, 1982 Digital C print on Kodak Professional Endura Supra Lustre paper, printed 2008 Signed and numbered 2/9 in pen lower right s.47.5cm x 61cm Provenance: Taxie gallery This lot is accompanied by a certificate of authenticity from the artist Martha Cooper is perhaps best known for documenting the New York graffiti scene of the 1970s and 80s. The landmark book Subway Art, published in 1984, which Cooper co-authored with Henry Chalfant is frequently credited as the catalyst and foundation for aerosol art movements worldwide. 70 0-90 0

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12 M i m i The Clown (Fr e n ch, b.1975) I feel fine, 2008 Spraypaint and stencil on canvas Signed and dated in pen lower right Signed, dated and titled in pen on reverse 74cm x 74cm
Provenance: Eddie Lock This lot is accompanied by a certificate of authenticity from Eddie Lock 40 0-60 0

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13 B a n k s y ( B r i t i s h , b . 1 975) Flower Thrower, 2003 Screenprint Signed and dated 03 in pen lower right Numbered 170/500 in pencil lower right 70cm x 48cm
Provenance: Pictures on Walls Authenticated by Pest Control Office 5,0 0 0-7,0 0 0

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14 D o r a ( B r i t i s h , b . 1 977) Beleaf, 2008 Pen, ink and watercolour on found wood Signed and dated in pen on reverse Unframed 34cm x 45.5cm Provenance: 39 Steps Gallery 50 0-70 0

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15 Fa i l e ( A m e r ican, Canadian, Japanese) Butterfly Girl, 2003 Mixed media on hand printed paper Original 1/1 Signed and dated in pencil lower right 112cm x 82cm 3,0 0 0-5,0 0 0

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16 Mantis (South A f r ican, b.1974) All Fall Down, 2007 Mixed media on canvas Signed, dated and numbered 3/4 in pen on reverse Unframed 91cm x 61cm Provenance: The Mantis Project This lot is accompanied by a certificate of authenticity from The Mantis Project 1,0 0 0-1,50 0

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17 Jim St a r r ( B r itish, b.1976) Venice Beach Princes, 2008 Screenprint and acrylic on Indian cotton canvas Signed and dated on reverse 102cm x 152cm Provenance: David Simon Gallery 60 0-80 0

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18 C h u ( B r i t i s h , b . 1 971) Her Masters Vice, 2008 Spraypaint on canvas Diptcyh Signed 2nd canvas on reverse Unframed Each 122cm x 91.5cm Provenance: Submitted for sale by the artist 80 0-1,20 0

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19 Mau Mau (Br itish) Mermaid on Oil, 2008 Spraypaint on drift wood Signed lower right Unframed 135.5cm x 62.5cm Provenence: Eddie Lock This lot is accompanied by a certificate of authenticity from Eddie Lock 2,0 0 0-3,0 0 0

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20 E d w i n G o o d w r i t e ( A m e r ican, b.1976) Positive, 2008 Stencil spraypaint and acrylic on canvas Signed and dated in pen on reverse Unframed 80cm x 80cm Provenance: Taxie Gallery 80 0-1,20 0

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21 E d w i n G o o d w r i t e ( A m e r ican, 1976) Negative, 2008 Stencil spraypaint and acrylic on canvas Signed and dated in pen on reverse Unframed 80cm x 80cm Provenance: Taxie Gallery 80 0-1,20 0

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22 S P Q R ( B r i t i s h , b . 1 970) Days End, 2008 Stencil spraypaint and acrylic on brushed steel Signed and numbered 1/1 on reverse Unframed 90cm x 60cm Provenance: Submitted for sale by the artist 60 0-80 0

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23 B a n k s y ( B r i t i s h , b . 1 975) Laugh Now But One Day Well Be In Charge, 2004 Screenprint Signed and dated 04 in pen lower right Numbered 43/150 lower right 68cm x 48cm
Provenance: Pictures on Walls Authenticated by Pest Control Office 3,0 0 0-5,0 0 0

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24 Bast (Amer ican) Bvlgari, 2008 Silkscreen collage on wood panel Signed and dated on reverse Unframed 91.5cm x 63.5cm Provenance: New Image Art This lot is accompanied by a certificate of authenticity from Bast 2,0 0 0-3,0 0 0

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25 Bast (Amer ican) Papa Smurfs 6, 2008 Mixed media on canvas Original 1/1 Signed and dated in pen on reverse 40.5cm x 50.8cm Provenance: Leonard Street Gallery This lot is accompanied by a certificate of authenticity from Leonard Street Gallery 1,50 0-2,0 0 0

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26 K l i t ( B r i t i s h , b . 1 980) The Woods Hedgehog, 2008 Spraypaint and pen painted on 2 panels of wood Unframed Each. 100cm x 30cm Provenance: New Cross Gallery This lot is accompanied by a certificate of authenticity from New Cross Gallery 60 0-80 0
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27 Pam Gl ew (Br itish, b.1978) Night Shade, 2008 Dye and bleaching on brocade fabric Stitched signature lower right 68cm x 140cm Provenance: Graffle /Steal from work 2008 1,50 0-2,0 0 0

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28 D a n ( I t a l i a n , b . 1 971) Day and Night, 2008 Stencil spraypaint and acrylic on canvas stretched on wood Signed, dated and numbered 1/3 in pen on reverse Unframed 81.5cm x 106.5cm Provenance: 39 Steps Gallery 80 0-1,20 0

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29 R y c a ( B r i t i s h , b . 1 981) Dot, 2008 Oil based screenprint ink & gilding leaf overlaid on canvas Signed on reverse Unframed 76cm x 76cm Provenance: S-editions This lot is accompanied by a certificate of authenticity from S-editions 40 0-50 0

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30 G o l d i e ( B r i t i s h , b . 1 965) The Co Operative (3 Peace Suite), 2008 Unique hand finished screen printed canvas Signed and numbered 3/4 in pen on reverse Unframed 52cm x 100cm Provenance: Eddie Lock This lot is accompanied by a certificate of authenticity by Eddie Lock 1,0 0 0-1,50 0

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31 N i ck Wa l ke r ( B r itish, b.1969) Headless Astronaut, 2007 Spraypaint, stencil and acrylic on card Signed and numbered 1/3 in pencil lower right 72cm x 41cm
Provenance: Black Rat Press This lot is accompanied by a certificate of authenticity from Black Rat Press 2,0 0 0-3,0 0 0

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32 Jeff A e rosol (Fr e n ch, b.1957) Sitting Kid, 2007 Stencil spraypaint on cardboard Signed and dated lower left 58cm x 73cm
Provenance: Eddie Lock This lot is accompanied by a certificate of authenticity by Eddie Lock 50 0-70 0

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33 Blek Le Rat (Fr e n ch, b.1951) Diana, 2007 Spraypaint on canvas Signed and dated in pen lower right Signed and numbered 1/3 in pen on reverse 195.5cm x 131cm
Provenance: The Leonard Street Gallery This lots is accompanied by a certificate of authenticity from the Leonard Street Gallery 5,0 0 0-7,0 0 0

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34 B e n S l o w ( B r i t i s h , b . 1 984) Twiggy, 2008 Mixed media on canvas Signed, titled and dated 08 on reverse 114cm x 84cm Provenance: Submitted for sale by the artist 40 0-60 0
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35 B a n k s y ( B r i t i s h , b . 1 975) Kate Moss, 2005 Screenprint Signed, dated and numbered 15/20 in pencil lower right 68cm x 68cm
Provenance: Laz Inc Authenticated by Pest Control Office 20,0 0 0-30,0 0 0 This image stands as yet another example of Banksys artistic wit and success in applying modern flavours to iconic masterpieces. In a contemporary re-working of Andy Warhols infamous Marilyn Monroe series, Banksy illustrates his debt to the ground breaking 1950s Pop Art movement, with its focus on the mass-produced visual commodities of popular culture. This silk screenprint, originally displayed in Banksys 2005 Crude Oil exhibition, mimics the bold, flat patches of colour of Warhols work, evoking the mask-like, iconic quality of the Monroe series. In depicting Kate Moss, arguably contemporary societys answer to the infamously beautiful and sexualised figure of Monroe, Banksy revamps this globally recognised format into an iconic evocation of contemporary celebrity culture. This is not, however, Banksys first encounter with the work of Andy Warhol, whos bold and often risqu depictions of popular culture were of primary influence to the development of Urban Art as a genre. His Discount Soupcan (smuggled into the New York Museum of Modern Art by the artist in 2005), also clearly refers to Warhols Campbells Soup Cans (1962), whilst making a witty critical comment on our current consumerist society.

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36 David Wa l ke r ( B r itish, b.1976) Razor Blade Plectrum, 2008 Acrylic on wood Signed and numbered 4/10 on reverse Unframed 50cm x 43.5cm Provenance: S-editions This lot is accompanied by a certificate of authenticity from S-editions 20 0-30 0

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37 David Wa l ke r ( B r itish, b.1976) Jo, 2008 Oil and mixed media on canvas Signed lower left Unframed 40cm x 40cm Provenance: S-editions This lot is accompanied by a certificate of authenticity from S-editions 40 0-50 0

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38 Manuel Duboe (Argentinean, b.1974) Year Zero, 2008 Collage and mixed media on paper Signed and dated in pencil lower left 76.5cm x 57.5cm Provenance: S-editions This lot is accompanied by a certificate of authenticity from S-editions 50 0-60 0
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39 Judith Supine (Amer ican) Untitled, 2007 Collage and mixed media on wood 91cm x 61cm Provenance: Urban Sprawl Exhibition This lot is accompanied by a certificate of authenticity from The Leonard Street Gallery 1,50 0-2,0 0 0

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40 A d a m N e a t e ( B r i t i s h , b . 1 978) Graffiti World Box, 2007 Stencil spraypaint on cardboard Box number 58 of 600 Unframed 25.7cm x 25cm
Provenance: Acquired by the current owner at the time of its release by Thames and Hudson 80 0-1,20 0

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41 A d a m N e a t e ( B r i t i s h , b . 1 978) Untitled, 2005 Mixed media on cardboard Signed lower left 57cm x 29cm
Provenance: Collected from the street opposite Liverpool Street station in July 2005. This forms part of a series of works that were exhibited on the streets throughout the summer of 2005. Reference: www.adamneate.co.uk 80 0-1,20 0

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42 Rene Gagnon (Fr e n ch ) Tesco Soup, 2008 Spraypaint and stencil on canvas Signed, dated and numbered 10/10 on right hand edge Unframed 51.5cm x 51.5cm
Provenance: Acquired by the current owner from the artist This lot is accompanied by its original box which depicts a stencil drawing alluding to Michelangelos Creation of Adam from the Sistine Chapel but in this instance the brush points to the spray can! The original box is signed and dated lower right. 30 0-50 0

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43 B a n k s y ( B r i t i s h , b . 1 975) CND, 2005 Screenprint Signed and dated in pencil lower left Numbered in pencil 204/350 lower right 69 x 49cm
Provenance: Pictures on Walls Authenticated by Pest Control Office 4,0 0 0-6,0 0 0

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44 A n t o n y M i c a l l e f ( B r i t i s h , b . 1 975) Judgement Day, 2006 Screenprint Signed in pencil lower right Numbered 470/500 in pencil lower left 76cm x 106cm
Provenance: Santas Ghetto 2006 60 0-80 0

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45 A n t o n y M i c a l l e f ( B r i t i s h , b . 1 975) 21st Century Love, 2005 Giclee print on 308gsm Hanhemuhle photorag paper Signed in pencil lower right Numbered 3/95 lower left 74.5cm x 74.5cm
Provenance: Eyestorm This lot is accompanied by a certificate of authenticity from Eyestorm 4,0 0 0-5,0 0 0

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46 Seen (Amer ican) Blue New York City Map, 2007 Pen and acrylic on paper Signed and numbered 94/500 in pen lower right 83.5cm x 58cm Provenance: The Lucius Gallery This lot is accompanied by a certificate of authenticity from Lucius Gallery 80 0-1,20 0

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47 Seen (Amer ican) Red New York City Map, 2007 Pen and acrylic on paper Signed in pen lower right 83.5cm x 58cm Provenance: The Lucius Gallery This lot is accompanied by a certificate of authenticity from Lucius Gallery 80 0-1,20 0

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48 Felix Flx B r a u n ( B r i t i s h ) Awake, 2008 Spraypaint on canvas Signed and dated on reverse Unframed 50cm x 80cm Provenance: 39 Steps Gallery 20 0-40 0

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49 R ow d y ( B r i t i s h ) Grisson, 2007 Spraypaint and mixed media on canvas Signed and dated in pencil on reverse 70cm x 70cm Provenance: 39 Steps Gallery 70 0-90 0

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50 J a m i e A m e ( B r i t i s h , b . 1 972) Tough Love, 2008 Used M16 shells encased in box Signed, dated and numbered 4/5 in pen on reverse 34cm x 34cm x 7cm Provenance: Submitted for sale by the artist This lot is accompanied by a certificate of authenticity from the artist 70 0-90 0

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51 T R X T R ( B r i t i s h , b . 1 954) David and Goliath, 2008 Mixed media on canvas Signed in pencil on reverse Unframed 51cm x 56cm Provenance: Red Propeller This lot is accompanied by a certificate of authenticity from Red Propeller 40 0-60 0

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52 Beejoir (Br itish) Immodium, 2007 Spraypaint on stretched circular canvas Signed on reverse Radius 97cm
Provenance: The Leonard Street Gallery This lot is accompanied by a certificate of authenticity from The Leonard Street Gallery 2,50 0-3,50 0

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53 B a n k s y ( B r i t i s h , b . 1 975) Heavy Weaponry, 2003 Stencil spraypaint on canvas Signed and numbered 1/3 on reverse Stamped with artist insignia right hand edge Framed by Pauli Frames 30cm x 26cm
Provenance: Purchased from PYMCA in 2003 Authenticated by Pest Control Office This lot is accompanied by a certificate of authenticity from Pest Control Office 25,0 0 0-35,0 0 0

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54 K e v M u n d a y ( B r i t i s h , b . 1 986) Neon, 2008 Spraypaint and marker pen on canvas Signed and dated in pen on reverse Unframed 102cm x 77cm Provenance: New Cross Gallery This lot is accompanied by a certificate of authenticity from New Cross Gallery 40 0-60 0

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55 P i n k y ( B r i t i s h , b . 1 970) When The Shit Goes Down You Better Be Ready, 2008 Four layered hand paper cut 83.5cm x 63.5cm Provenance: Submitted for sale by the artist 60 0-80 0

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56 K G u y ( B r i t i s h , b . 1 968) In God We Trust, 2008 Stencil and acrylic on aluminium Signed and numbered 3/4 in pen on reverse Unframed 37.5cm x 76.5cm Provenance: Submitted for sale by the artist This lot is accompanied by a certificate of authenticity from the artist 40 0-60 0

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57 E e l u s ( B r i t i s h , b . 1 979) What a Bleedin Mess, 2008 Stencil spraypaint and acrylic on canvas Signed and numbered in pen 1/1 on reverse Pen sketch inscribed on reverse 91xm x 61cm Provenance: Submitted for sale by the artist This lot is accompanied by a certificate of authenticity from Eelus 2,50 0-3,0 0 0

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58 Faith 47 (South A f r ican, b.1979) Self, 2008 Acrylic on canvas Signed lower right 28cm x 22cm Provenance: Little Scratch 30 0-40 0

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59 G u y D e n n i n g ( B r i t i s h , b . 1 965) Annihilatory Tendencies, 2008 Oil on canvas Signed and dated in pen on reverse Unframed 62cm x 76cm Provenance: Tunnadine Fine Art This lot is accompanied by a certificate of authenticity from Tunnadine Fine Art 1,50 0-2,50 0

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60 A d a m N e a t e ( B r i t i s h , b . 1 978) 2am Blog, 2007 Screenprint Signed, dated and numbered in pencil 53/100 lower right s.89cm x 56cm
Provenance: Elms Lesters 50 0-70 0
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61 A d a m N e a t e ( B r i t i s h , b . 1 978) Blue Couple, 2006 Mixed media on cardboard Signed lower left 145cm x 106cm
Provenance: Elms Lesters 25,0 0 0-35,0 0 0
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62 D * Fa c e ( B r i t i s h ) Friendly Fire, 2008 Stencil spraypaint on canvas Signed in pen on reverse 66cm x 66cm Provenance: Black Rat Press 1,80 0-2,20 0 This lot is accompanied by a certificate of authenticity from Black Rat Press

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63 B a n k s y ( B r i t i s h , b . 1 975) Di-Faced Tenners, 2004 Litho print on paper Signed and dated 04 in pen lower right Numbered 8/50 in pen lower left s.41.5cm x 31cm
Provenance: Pictures on Walls This lot is accompanied by a certificate of authenticity from Pictures on Walls Authenticated by Pest Control Office 4,0 0 0-6,0 0 0

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64 S i l e n t H o b o ( B r i t i s h , b . 1 978) Outside on the inside, 2008 Oil on canvas block mounted Signed lower right Unframed 40cm x 29cm Provenance: Submitted for sale by the artist 40 0-60 0

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65 B y r o g l y p h i c s ( B r t i t i s h , b . 1 971) Superlex November, 2008 Mixed media on canvas Signed on reverse 143cm x 102cm Provenance: Red Propeller This lot is accompanied by a certificate of authenticity from Red Propeller 60 0-80 0
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66 Danny OC o n n o r ( B r itish, b.1981) C Working Things Out, 2008 Acrylic on canvas Signed and dated on reverse Unframed 92.5cm x 61cm Provenance: Submitted for sale by the artist 30 0-50 0
70 www.dnfa.com/urbanart

67 M a t t S m a l l ( B r i t i s h , b . 1 975) Thug Dog, 2008 Oil on metal and framed in perspex box Signed, dated and titled on reverse 56cm x 65cm
Provenance: Campbarbossa This lot is accompanied by a certificate of authenticity from Campbarbossa 2,50 0-3,50 0

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68 I n k i e ( B r i t i s h , b . 1 971) Cannes Cannes Girl, 2008 Spraypaint and acrylic on canvas Signed and dated on reverse Unframed 200cm x 200cm Provenance: Donated by the artist to the Elizabeth 798 Fund Please note that all proceeds of this lot will be donated to the Elizabeth 798 Fund 1,50 0-2,0 0 0

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69 B a n k s y ( B r i t i s h , b . 1 975) No Ball Games, 2008 Spraypaint on steel Unique in this format Signed and dated in pen on reverse Framed by Pauli Framers 91cm x 91.5cm
Provenance: Acquired by the current owner directly from the artist Authenticated by Pest Control Office This lot is accompanied by a certificate of authenticity from Pest Control Office 30,0 0 0-60,0 0 0

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70 J a m i e A m e ( B r i t i s h , b . 1 972) Thats all folks, 2008 Spraypaint and acrylic on aluminium Signed and dated in pen on reverse 99cm x 98.5cm Provenance: Submitted for sale by the artist This lot is accompanied by a certificate of authenticity from the artist 1,0 0 0-2,0 0 0

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The Princes Trust Success Collection

I am delighted to introduce The Princes Trust Success collection, a unique set of original works that have kindly been donated by 25 of the UKs leading urban artists. We are extremely grateful for their support and feel that their success reflects a positive source of inspiration to many of the young people that we aim to help. It is a sad fact that numerous young people are stressed, depressed, unhealthy and unhappy with one in five experiencing mental health problems. However it is equally true that many are creative and with the right encouragement can find positive benefits from art. All proceeds from this auction will go directly to support more young people and beyond this event, we will be working with some of the artists on community projects and workshops to offer encouragement and motivation to those who may be considering a creative path. I hope you enjoy the collection

Martina Milburn Chief Executive

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71 G o l d i e ( B r i t i s h , b . 1 965) Daily Bread, 2008 Spraypaint, collage & freehand on layered canvas Signed and numbered 2/2 in pen on reverse Poem inscribed on reverse 50cm x 37.5cms Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Eddie Lock. Poem inscribed on reverse; The Price of success...I Guess...is having money to burn...na ..not ..me...its about the self worth...the importance of being...someone who stands out...the success of life in our hearts....daily bread!

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72 E e l u s ( B r i t i s h , b . 1 979) Skipper, Swinger, Splasher Triptych, 2008 Stencil spraypaint on canvas Signed, dated, titled and numbered 1/3 in pen on reverse Signed right hand edge Unframed Each. 101.5cm x 76cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Stella Dore

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73 M a t t S m a l l ( B r i t i s h , b . 1 975) Peter, 2008 Mixed media on found wood Signed on reverse Unframed 87cm x 59.5cm Provenance: Donated by the artist to The Princes Trust Success Collection

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74 Felix Flx B r a u n ( B r i t i s h ) Black President (Fela Kuti), 2008 Spraypaint and stencil on canvas Signed, titled and dated on reverse Unframed 122cm x 61cm Provenance: Donated by the artist to The Princes Trust Success Collection

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75 N i ck Wa l ke r ( B r itish, b.1969) Ratatouille, 2009 1/1 handfinished screenprint Signed in pencil lower right 89.5cm x 73cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Black Rat Press

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76 D o r a ( B r i t i s h , b . 1 977) The Ready Girls, 2008 Pen, Ink and watercolour on found wood Signed and dated in pen on reverse Unframed 34cm x 45.5cm Provenance: Donated by the artist to The Princes Trust Success Collection

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77 I a n F r a n c i s ( B r i t i s h , b . 1 979) Untitled, 2009 Charcoal, pen, pencil, acrylic and oil fixative on canvas Signed and dated on reverse Unframed 102 x 72cm Provenance: Donated by the artist to The Princes Trust Success Collection

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78 I n k i e ( B r i t i s h , b . 1 970) Dorian Grey v.2, 2008 Spraypaint, acrylic and gold leaf on canvas Signed and dated on reverse Unframed 46cm x 35cm Provenance: Donated by the artist to The Princes Trust Success Collection

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79 D * Fa c e ( B r i t i s h ) Hit and Run, 2008 Screenprint and acrylic on layered paper Framed in perspex box 102cm x 79cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Black Rat Press

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80 David Wa l ke r ( B r itish, b.1976) Michelle, 2008 Oil and mixed media on wood Signed lower right Signed and titled on reverse Unframed 84.5cm x 49cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from S-editions

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81 M r J a g o ( B r i t i s h , b . 1 972) Fifth, 2009 Mixed media on canvas Signed and dated on reverse Unframed 76cm x 76cm Provenance: Donated by the artist to The Princes Trust Success Collection

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82 T R X T R ( B r i t i s h , b . 1 954) The Final Hurdle, 2009 Mixed media on canvas Signed, titled, dated on reverse Unframed 91.5cm x 61cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Red Propeller

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83 D i c y ( B r i t i s h , b . 1 971) Success Aint Easy, 2009 Spraypaint and stencil on canvas Signed and dated on reverse Unframed 60cm x 60cm Provenance: Donated by the artist to The Princes Trust Success Collection Stencil Image provided by Mark Simmons

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84 G r a f t e r ( B r i t i s h , b . 1 965) Splash, 2008 Spraypaint, stencil and acrylic on wood Signed, dated and numbered 3/3 on reverse Unframed 116.5cm x 88cm Provenance: Donated by the artist to The Princes Trust Success Collection

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85 S P Q R ( B r i t i s h , b . 1 970) Vedran. 2008 Stencil spraypaint on canvas Signed and numbered 1/3 in pen on reverse Unframed 120cm x 60cm Provenance: Donated by the artist to The Princes Trust Success Collection

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86 B y r o g l y p h i c s ( B r i t i s h , b . 1 971) Dbleuglitch, 2008 Mixed media on canvas Signed in pencil on reverse Unframed 76cm x 51cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Red Propeller
92 www.dnfa.com/urbanart

87 K i d A c n e ( B r i t i s h , b . 1 978) Warrior Girls (Pink) Diptych, 2009 Screenprint and ink on tissue paper and newsprint on ply board Signed and dated in pen on reverse Unframed Each. 91cm x 91cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Stella Dore

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88 S t e p h a n D a v i d s ( B r i t i s h , b . 1 965) Boy, 2008 Ink and Chinese ink on Khadi 600gms paper Signed and dated lower right hand edge Signed and numbered 1/1 on reverse 100cm x 69cm Provenance: Donated by the artist to The Princes Trust Success Collection

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89 G u y D e n n i n g ( B r i t i s h , b . 1 965) Lasciate Ogne Speranza Voi Chintrate (Imaginary Enemies), 2008 Oil on canvas Signed and dated 2008 in pen on reverse 62cm x 92cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Tunnadine Fine Art

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90 I - L i b ( B r i t i s h , b . 1 986) A Love Lost, 2008 Pencil, pen, cotton and coffee on paper 57cm x 45.5cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Stella Dore

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91 C a t J o h n s t o n ( B r i t i s h , b . 1 979) Pisse, Ers, Bourge and Jesu, 2008 Pen and collage on mount board Each signed, titled and numbered 1/1 on reverse Each. 30cm x 21cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Stella Dore

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92 C y c l o p s ( B r i t i s h , b . 1 979) Telepathik Heights, 2008 Watercolour, pen and pencil on paper 56cm x 38cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Black Rat Press

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93 Mau Mau (Br itish) Suc Sess, 2008 1/1 Original Acrylic, spraypaint, oil, pastel on 300g watercolour paper Signed lower centre right 56cm x 76cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Eddie Lock.

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94 R u g m a n ( B r i t i s h , b . 1 978) Dead Money, 2008 Acrylic, wood and gold leaf Original 1/1 Unframed 61cm x 61cm Provenance: Donated by the artist to The Princes Trust Success Collection This lot is accompanied by a certificate of authenticity from Stella Dore

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95 H u s h ( B r itish, b.1976) Juvenile, 2008 Screen print, acrylic, spraypaint and tea on a hand torn collage Signed, dated and numbered 4/5 lower left 75cm x 56cm Provenance: Donated by the artist to The Princes Trust Success Collection

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96 B a n k s y ( B r i t i s h , b . 1 975) Go Flock Yourself, 2008 Spraypaint on steel Signed and dated in pen on reverse This work is unique Framed by Pauli Framers 91cm x 91cm
Provenance: Acquired by the current owner from the artist Authenticated by Pest Control Office This lot is accompanied by a certificate of authenticity from Pest Control Office A fixed percentage of the hammer price is generously being donated to The Princes Trust Success Collection. 40,0 0 0-60,0 0 0

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A r tist Biographies
Unless otherwise accredited, these have been written by the artists or their representatives and are intended to form a compendium supporting the work offered in the sale. All biographical images are supplied by the artists who have executed works specifically for this sale. Please contact us if you would like more statistical data on any of the featured artists.

AEROSOL, JEFF

Lot: 32

Jeff is a graduate of the Blek le Rat school of art. He started working on the Parisian Streets in the late 1980s after witnessing the birth of stencil art and has continued to produce his portraits of mainstream and often cheesy icons ever since. Written by King Adz. The artists website: www.JefAerosol.co.uk

J A M I E AME (AME 72)

Lots: 50, 70

Jamie Ame is probably best known for his lego stencils which represent thought provoking and humorous images reflecting life in today's society, which has also earned him the nickname 'the lego guy'. Having created works over the last 3 decades and across 5 continents, Jamie quotes his greatest achievement as 'doing the rubiks cube without using a hammer'.

The artists website: www.ame72.com

BANKSY

Lots: 1, 7, 13, 23, 35, 43, 53, 63, 69, 96

Banksy is the undisputed leader of the Street Art movement. His amazing work has changed many peoples pre-conceptions of street art and has taken it to the next level. Banksy is to street art what slicing was to bread. And after his 'Cans' event he is the global ambassador for stencil art and shows that when he says 'jump' the world's media asks 'how high?'. Written by King Adz. The artists websit:e: www.banksy.co.uk

BAST

Lots: 24, 25

Bast is the real deal, like Holyfield. It was only until recently that he still worked as a baggage handler at JFK airport, which shows a true sense of where he is coming from. He produces some of the hardest art around. A true player. He is the King of New York. Written by King Adz. The artists website: www.bastny.com

BEEJOIR

Lots 4, 52

Beejoir is a Bangkok based artist who gives a lot of his money to local charities. His 'LV child' was killer and, quite rightly, the print sold out in the blink of an eye. His process of combining two opposing images to create a unique voice and art, is what makes him an original voice in a overcrowded noisy room. His 'Shellmet' 2005 piece - an American solders helmet with a Shell Oil logo - made a very powerful image and introduced the question about soldiers carrying sponsorship logos into battle. Written by King Adz. The artists website: www.beejoir.co.uk

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BLEK LE R AT

Lot: 33

Blek discovered graffiti on a trip to NYC in 1971 and marinated on the idea of creating his own euro-centric street art for 10 years. He decided on the stencil, after having seen political art on the Paris walls, which was always stencilled. He began spraying the image of a rat on the walls in 1981 and progressed to full-length figures. After a court case in the 1990's he switched to posters and this has had a double effect on street art - first stencils then posters. For 25 years he was wandering about in the wilderness but then rose to fame thanks to a 2006 DVD about his life work and the publication of a Thames & Hudson monograph 'Getting Through The Walls' in 2008. Written by King Adz. The artists website: http://bleklerat.free.fr/

BYROGLYPHICS

Lots: 65, 86

After years working as a commercial illustrator, Byroglyphics gave it up to work as an independent artist. He shot to fame via the internet by producing beautiful, ridiculously cheap prints, which often sold out within hours. He now has dedicated collectors all over the world. Last year he joined Red Propeller Gallery and had his first solo show of canvases, which sold out in record time. He is now working on largescale paintings on canvas, which are causing a huge stir in the urban art scene. For my graphic work I compile as much source material as possible in the form of textures, random marks and scribbles etc and scan it all, the primary image is drawn and also scanned. I then manipulate the constituent parts on the computer; I keep the amount of layers to a bare minimum so the results are as spontaneous as possible. I dont use any filters at all to keep the 'digital' nature of the image to a minimum.

The artists website: www.byroglyphics.com

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CHU

Lot 18

I started painting in aerosol in 1983, inspired by the lettering on a school friends electro mix tape. Through meeting Dez, another highly skilled writer in my second year at college, I realised I wasn't on my own. I became involved with a community arts project and in 1988 we secured a legal spot called The Paddock. The local authority employed me as one of only two practising writers in the country, to take care of 'street art provisions' in the borough. It was necessary to pursue my career in art and design since, as a public figure defending the right to allow young, aspiring artists to use aerosol paint, I was in the firing line. I cannot teach that which I cannot learn. Through travelling, painting and exchanging photos I would form links with other artists nationwide and before long I was invited to join Ikonoklast, the UKs first super crew. Painting became a family affair with friends painting alongside one another. Desire, Goldie, Disc, Kel & Size from Walsall, Part2 from York, System from Llandudno, Juice, Cryse & Fuze from Birmingham, Rough from London, Temper from Wolverhampton, Solo One from Hinckley and Inkie from Bristol.

The artists website: www.schudio.co.uk

COOPER, MARTHA

Lots: 10, 11

Martha Cooper is an American photojournalist born in the 1940s. She earned an art degree at age 19 from Grinnell college, taught English as a Peace Corps volunteer in Thailand, journeyed by motorcycle from Bangkok to London and received an ethnology diploma from Oxford. She is perhaps best known for documenting the New York graffiti scene of the 1970s and 80s. The landmark book Subway Art, published in 1984, which Cooper co-authored with Henry Chalfant is frequently credited as the catalyst and foundation for aerosol art movements worldwide. In 1994 she co-authored R.I.P.: Memorial Wall Art with Joseph Sciorra. Her photos, covering a wide variety of topics in addition to graffiti, have appeared in countless publications throughout the world including National Geographic. Recently she has contributed to Seattle Experience Music Project s History of Hip Hop. Her work has been displayed at the Museum of the City of New York and The Whitney.

The artists website: www.taxiegallery.com

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CYCLOPS

Lot: 92

Cyclops is a Manchester-born artist who currently resides in Bristol. His large-scale street pieces are found in the East End of London and you can't miss his work along Brick Lane. He used art as a way of getting off drugs and I reckon that is a very good thing: Art not drugs. He often collaborates with Sweet Toof and his stuff is mental (thats good mental not mental mental). Written by King Adz. The artists website: www.beforechrome.com www.stealfromwork.org www.sartorialart.com

D*FACE

Lots: 62, 79

D*Face began making stickers when he was bored at his job in a London Advertising Agency and stuck them up on the bus control boxes next to the road on the way home. Soon he was pretty much all over the city and people began to get into his imagery. He has built up a massive loyal following and his brand of Pop art/punk/street art is seriously wicked. His art deals with consumerism (Clich, Everything must go); the monarchy (Facelift); The USA (What wars are for) and he nails it every time. He will be one of the few artists who remain working when the flames die down and the hype gently blows away Written by King Adz The artists website: www.dface.co.uk

DAN

Lot: 28

Born in Rome in 1971, Dan began traditional painting at the age of 16. During the late eighties Dan started working with aerosol, painting big murals and graffiti pieces in the streets of Rome. After moving to London in 1996, Dan continued painting street art. Since moving to Bristol in 2002, he has developed stencil techniques with distinctive works of social commentary going up around the city, often of a comical nature. Dan has collaborated with various artists, including Rowdy, Andy Council, Paris and other Bristol based artists. Dan has shown work at various shows, most notably at 2007s 12 Days of Xmas show in Bristol and The Cans Festival in London (2008), where he was one of the listed artists.

The artists website: www.dan.eu.com

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DAVIDS, STEPHEN

Lot: 88

His work is a complex mix of naive childlike doodles fused with a mature controlled graphic line that have life and energy. Stephens world combines an innocence, and youthful energy, depicting fun, solitude and confusion. Stephens work is a hybrid mix of cartoons and autobiographical images of characters and creatures who appear lost and bewildered. Stephen is self taught and has had no formal training or creative direction; but what he has inherited is a desire and a need to communicate through painting and drawing. Stephen embraces the challenge when he produces a piece of art, whether it is an assemblage, a drawing or a painting. The apprehension and the unknown of what the end result will be, add to the excitement he gains from the creative process. Stephens work is in part autobiographic and is reflective of his complex identity and self. Though his style may appear conflictive, there lies a clear cohesive link in his work. Each piece he creates is a hybrid from what has come before. Stephens pursuit of Brut has led him in many directions both tangible and psychological. Although deeply influenced by the great artists before him, his style is uniquely his own. Thick, black graphic lines are symbolic of his confidence in who he is and how he wants to be seen by the world. These are supplemented by the subtle hairline squiggles that appear sporadically on paper or canvas, but together they represent and show a willingness and harmony at being content with who he is. This picture of him is extended and developed by the scratches, etchings, scrawls that reflect his moment to moment decision making and deeper mental state. What appears frantic and manic in fact is controlled, precision execution. Paint and line is applied with a determined intensity and precision that harps back to a childhood state of naivety. The fluidity of this process is the essence to the creation of the piece. Stephen has many references to a childhood state in his work and also there is a clear sense of a mature graphic control and precision. Splodges of ink are juxtaposed with the primal application of paint that appears to be applied with no clear motive other than to fill a void on the canvas; this is not the case. What appears confused and irrelevant in his work is in fact a marrying of an innocent, determined expression. The art is knowing when to stop. Stephen does this with an effortless style and panache.

The artists website: www.stephendavids.com

DENNING, GUY

Lots: 59, 89

Guy Denning, though only coming to greater attention in the past year, has in fact been painting for over twenty years. He was repeatedly refused entry to study painting at the English colleges and universities he applied to through the eighties but, undeterred, he continued alone. Perhaps to compensate for this refusal he struck up friendships with other, older painters who taught him aspects of technique and he pursued his own avenue of study in art history, eventually gaining a degree from the Open University. One of the criticisms he faced when seeking a university place in the mid eighties was that his work focused too heavily on figurative representation of political subject matters and his technique was too reliant on the unfashionable 'expressionist' idiom. Another was that his use of the photocopier as a tool was more appropriate to graphics, and for 'fine' art. Denning took on board some of these criticisms and through the nineties he turned to abstraction, taking particular inspiration from the work of the American painter Franz Kline. This yielded little in terms of significant exhibitions, but a modest success in occasional sales. However, by the mid-nineties he considered himself to be 'painting a dead aesthetic into a dead-end' and he looked around for fresher ideas. At that time he was supporting his painting with a job in a stationery shop; it was here that he returned to the photocopier as a tool to work with. Simultaneously he left abstraction in favour of a return to both figuration and the depiction of sexual politics. Since that key change Denning has slowly returned to what could be considered a traditional painterly route with the contemporary, perhaps punk-inspired, twist of embedded collaged and stencilled text. This new aesthetic, blended with a political narrative, has found Denning a new audience in the collectors of 'urban art and he is now in a financially strong enough position to paint full-time. In 2007 he left his native Bristol for Brittany, where he now lives and works. The artists website: www.guydenning.org

020 3291 2832

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DICY

Lot: 83

Dicy was born and raised in the West Midlands. After watching the seminal hip hop documentary, Style Wars , (1985 on Channel 4), Dicy became addicted to the flourishing UK graffiti scene, due to visits to the Midlands and Bristol from some of New Yorks biggest graffiti pioneers. In 1987 Dicy went to Birmingham to embark on a two year art foundation course, enabling him to experiment with different mediums. However it was a struggle to push graffiti aesthetics through college work since, at the time, there was limited institutional understanding of the art form. From here, Dicy went to Bristol to do a degree in 3-dimensional design, where he was introduced to a graffiti scene that had been driven underground after a series of arrests and a general crackdown on graffiti within the city. Over the next few years, with an influx of new graffiti writers flocking to Bristol, Dicy became part of the TCF (Twentieth Century Frescos) crew, a group of artists that were to become a central part of the developing Bristol street scene. Alongside projects for companies like Channel 4, Wrangler, Fred Perry, Dunlop and Virgin, Dicy started to establish himself as an important part of the Bristol street scene, organizing exhibitions and events. In 1998, he set up a partnership opening the clothing store Alterior, very much supporting the whole graffiti scene through selling related clothing and products and pushing local artists via a monthly exhibition space within the store. Initially known for his letter forms, Dicys style has become more twisted and abstract with the flow of the content being the key element to his work. He examines how a piece fits into its environment, using that to determine the flow rather than just slapping a statement into the middle of a wall or canvas. The fill in of Dicys pieces has now become the actual content of the piece, pushing him to work more loosely and break things up into a more abstract style. With the spray can being just another tool, its allowed Dicy to experiment with different ways of using it, alongside more traditional tools like brushes and paint. As well as abstract painting, Dicy likes to play with other styles of work, taking imagery and influence from the streets around him, mixing in screen printing and stencil techniques in order to create very vibrant and dynamic pieces.

The artists website: www.letthemhang.co.uk

DOR A

Lots: 14, 76

Dora uses her friends as the basis of most of her work. Her distinctive style encompasses Graffiti, illustrative ink, drawing on reclaimed wood, canvas and screen print, reflecting her many influences from Art Nouveau, Japanese prints, modern day burlesque and 50s tattoo design all entwined within natural free flowing forms. Her collaborations in the 39 Steps collective include Rowdy, Hine, Paris and Milk and her designs have been seen on the streets of Bristol, Berlin and London. Recently she has exhibited work in the 12 days of Xmas show in Bristol and in 0121 as part of Mutate Britain, London.

The artists website: www.okdora.com 108 www.dnfa.com/urbanart

DUBOE, MANUEL

Lot: 38

Manuel Duboe, originally from Argentina but now based in London, creates assemblage paintings, billboard modifications and other street interventions by combining found elements that do not typically belong together. He mixes collage techniques with oil sticks, acrylics, pencil and other materials to take the viewer to a slightly disturbing and visually chaotic new world.

The artists website: www.duboedesign.com

EELUS

Lots: 57, 72

After moving to London from the north of England some years ago, Eelus first discovered the world of street art and was instantly hooked. He decided to use his background in design and illustration to try his hand at some of his own pieces and hasnt looked back since. The success of the popular Shat-at image gained him recognition and he has taken part in Santas Ghetto, the Planet Patrol sessions, Nuart and most recently the Cans Festival Canada. Hes painted and pasted his way around East London, Bristol, NYC and Norway but admits recently hes been tied to the studio so much with commissioned pieces that the street side of his work has been hard to keep up. Recently packing in his day job to concentrate on his new found career as an artist, hes looking forward to teaching himself more and developing his style both on and off the street. Taking his inspiration from films, comics, the undead, sex, pies, and anything else he fancies at the time, he hopes to continue to show us his twisted and humorous outlook on life for as long as possible.

The artist's website: www.eelus.com

020 3291 2832

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FAITH 47

Lot: 58

Faith 47 searches for a tone of ink that goes straight to the heart. Her work is a fixation, merging the intimately fragile and most subtle gestures with a violent and stark darkness. Faiths images live on broken down cars and old factories, down dusty side roads in lost towns, inner-city alleyways and highways, large buildings and small shacks. Her work flows over from the streets onto oil canvas, prints and illustration with a certain sense of purpose. She travels extensively through her art but lives in South Africa where the soil is red and her blood feels uncomfortably yet peacefully on edge. Faith 47s style is strong but subtle, so that whilst an observer may be initially struck by the quality and beauty of her work, this is often followed by a more gradual recognition of a powerful message.

The artists website: www.faith47.com

FAILE

Lots: 3, 15

Faile (Patrick McNeil (Canada) and Patrick Miller (U.S.)) formed in 1999 in Brooklyn and have dominated the street art scene both on and off the streets. Their unique posters, prints and pieces have become synonymous with quality work and they have a loyal fan base of collectors around the world. They initially made their name by hitting as many city walls around the US and then Europe as they could, (perhaps following Obey's relentless campaign). They did this until they owned the walls, and then took a detour into legal work (murals, galleries, collaborations, products). Written by King Adz. The artists website: www.faile.net

FELIX FLX BR AUN

Lots: 48, 74

A pioneer of the Bristol graffiti scene, Felix started painting twenty-five years ago alongside Inkie and Nick Walker in the infamous Crime Inc Crew. These days he paints walls and canvases and has recently written his first book, Children Of The Can: 25 Years Of Bristol Graffiti, which documents the history of Bristols fertile scene, and is published by Tangent Books in the UK.

The artists website: www.flxdesign.co.uk F R ANCIS, IAN Lot: 77

Ian Francis' hyper-intelligent, multi-layered, work is intricate in form and content. It's effortlessly uncomfortable whilst at the same time dramatically appealing; seemingly parochial yet peppered with pan-national references. Figures in intimate situations are illuminated by farreaching backdrops. Mainstream motifs play out complex, open-ended scenes made with the ultra-modern methods of graphic art pioneers Bill Sienkiewicz and DaveMcKean. Francis himself says his work is "about pornography and news reports from war-zones rather than sex and death", echoing the atomized and hedonistic nature of modern everyday life. He has repeated that his work is "about celebrity", but equally it concerns a lack of it. However, for all this the human spirit cannot be dulled and remains a force; hope, pleasure, laughter and love remain. Ian Francis is one of several Lazarides artists originating from the West Country of England. The artists website: www.ifrancis.co.uk 110 www.dnfa.com/urbanart

G AG N O N , R E N E

Lot: 42

Renes work displays a mixture of street and pop influences and is a great product of how street art has become urban contemporary art. He has exhibited all over the world and his motto is: "I make shit that looks cool." Written by King Adz. The artists website: www. renegagnonfineart.com

GLEW, PAM

Lot: 27

Pam Glew, born in 1978, is a contemporary British artist who uses unique bleaching techniques with vintage fabrics to create her strong cinematic paintings. Heavily influenced by film, her current Fear series focuses on screen stills of women in horror films, playing with our notion of paranoia, attraction and the American dream. She is one of the few female urban artists to emerge in recent times and has recently joined The Stella Dore Gallery, London. She has exhibited in numerous urban art exhibitions throughout the UK and USA. In 2008 she had two successful solo shows and her large work was prominent in exhibitions at Carmichael Gallery, L.A., Village Underground, Black Rat Press and Stella Dore, London. Her work features in collections in Europe, USA and the Far East. Exhibitions planned for 2009 include a group show in Carmichael Gallery in the summer and a highly anticipated solo at Stella Dore.

The artists website: www.pamglew.co.uk

GOLDIE

Lots: 30 , 71

Pioneer, cult status graffiti artist, drum 'n' bass icon, DJ, actor and producer, Goldie is a total original and a multi-talented complex shapeshifter, selling more than 2.5 million records worldwide. Against all odds and despite a traumatic childhood, he succeeded in unleashing his boundless creativity from a very young age and is now a star, having transformed an underground British sound into a mainstream international movement and collaborated with major pop icons along the way. Goldie's produced artistic works with 3D (Massive Attack) and Sarah Gregory. He has also commissioned and provided pieces to Neneh Cherry, Noel Gallagher, Bjork, James Lavelle, Nellee Hooper, Kevin Spacey and Jason Statham to name a few, depicting his prolific work. Goldie earned his name as a graffiti artist in the West Midlands in the early eighties. His artwork around Birmingham and Wolverhampton was featured heavily in Afrikaa Bambaataa's feature film documentary Bombing (which was broadcast on Channel 4 in the UK). He took part in the largest ever British graffiti art battle alongside Bristol artist 3D who later went on to form Massive Attack. He is also featured in the book Spraycan Art by Henry Chalfant and James Prigoff. Further to being one of the UKs earliest and most important Graffiti writers Goldie has had great success as a Drum and Bass DJ, producer and actor. 1994 saw him setting up his own record label, Metalheadz. The label was a huge success releasing some of the most important tunes of that era and remains hugely successful and respected to this day. Film credits include Bond film The World is Not Enough and Guy Ritchies Snatch. Goldie has just completed sleeve artwork for Faithless's new single and continues working on International DJ Pete Tong's Ibiza club brand "Wonderland" as artistic director.

The artists website: www.eddielock.co.uk

020 3291 2832

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GOODWRITE, EDWIN

Lots: 20, 21

Edwin Goodwrite grew up in the Bronx amidst the old timers of the graffiti movement. He studied in Saint Petersburg at a time when graffiti was a budding art form. Tag-painting was found in staircases most often, barely stylised, and it appealed to Edwin Goodwrite for this very reason: this is what graffiti looked like in New York in the late seventies. An intense reflection on post-graffiti led him to the conclusion that the profusion of graffiti tends to reduce its meaning to zero degree, as it becomes pure abstraction. He first exhibited his production in cityscapes and used all possible supports found in street environments, then moved on to studio work and created pieces pregnant with humour and cynicism, tag-painting endless canvases, on a backdrop of crowds or block capital letters.

The artists website: www.taxiegallery.com

GR AF TER

Lot: 84

"The best things in life usually take a lot of work and perseverance to get right......otherwise everything would be cheap and tatty". This is the ethos of London born graffiti artist GRAFTER. The intricate detail apparent in his stencil work and the relentless effort he puts into maintaining his street presence gives added meaning to his adopted nom de plume. Focusing on portrait based character work he likes to remind people of a time before the realities of life overtook our zest for simply enjoying being around. "If I can capture in a snapshot something that lets the passer-by forget about paying the gas bill for a moment and remember that sheer exhilarating thrill we all felt at one time in our life of jumping in a puddle, simply because it's there, then I consider my work here done." The artists website: http://grafter.bigcartel.com

HUSH

Lot: 95

Hush is the hottest artist right now! He is no overnight sensation, as he has been painting for the past 12 years and his work reflects this. Hailing from Newcastle and having worked in the Far East, Hush mixes his genres like a 'chef' making 'special' brownies: Pop, Street, Manga, Classical producing one of the most original styles seen in urban art, if not the most original....watch this space! Written by King Adz. The artists website: http://www.flickr.com/groups/580139@N23/ I-LIB Lot: 90

If it is possible for a man not to spontaneously self-combust due to excessive use of hairspray, then it is wholly viable and plausible that the same man can successfully combine graffiti, liquor and Art Nouveau to create storming artwork - I-Lib (I Lurk In Bushes) pulls it off with veritable aplomb! Monochromatic organic imagery sprouting from the grout on which it is painted evokes a strong desire to segregate the common virtues of graffiti and to establish a current yet retrospective view on the genre. If the purist wishes to shy away, then he may, but beware, he is possibly missing out on the next big thing. The artists website: www.stelladore.com

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INKIE

Lots: 6, 68, 78

One of the pioneers of the UK's Street Art scene, and having come second in the street art world championships and also named as British Transport Police's most wanted vandal as part of their Operation Anderson in 1989. Inkie regularly painted with Banksy, 3D and Nick Walker as a central part of the early Bristol graffiti school of art. More recently he has toured the world painting live at locations including LA, NY, Mumbai and Cannes film festival. He currently shares an office with Jade Jagger in West London producing graphics, paintings and clothing designs. Recent media includes the world street art film 'Bomb It' the Sky Arts documentary Tags to Riches and the books Banksy's Bristol and Children of the Can: 25 years of Bristol Graffiti.

The artists website: www.inkie.co.uk

JOHNSTON, CAT

Lot: 91

Cat Johnston's art is a nightmare. A stuck in the mud, faceless scarecrow, rampaging hillbillies and hideous mouse-men kind of a nightmare. She cites her childhood as her greatest influence so it is probably no surprise to hear that she comes from "a small village near Cheddar". Her commercial work has been varied and includes crafting a miniature theatre set for The Zutons; styling dead animals for Radiohead and - if it could get any weirder - giving Johnny Cash his eyebrows. (Oh okay, the wax model of Mr Cash at Madame Tussauds!)

The artists website: www.unseenagency.co.uk

020 3291 2832

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K-GUY

Lot: 56

Over the past couple of years K-GUY has decorated the streets with his hard-edged graphic style, often using discarded trash and found objects as the basis or medium of his work. He has brought a poignant, relevant and thought-provoking slant to the street art scene tackling challenging and sometimes controversial subjects which manifest themselves in the form of visual rants. Sticking two fingers firmly up at the culturally elite he likes nothing more than to expose societys dysfunction and the things people automatically sweep under the grey matter. "We are all Prostitutes and Junkies! Remember that when you're trudging through the rain to work sipping your skinny Latte". (K-Guy)

The artists website: www.k-guy.co.uk

K I D AC N E

Lot: 87

Kid Acne was born in Malawi in 1978. His career as an artist began with an appearance on Rolf's Cartoon Club at the age of twelve. Within a year he'd taken up graffiti and was in hospital recovering from a bad acid trip. Neither were related to Rolf in any way! His work has been exhibited throughout the world, from wheatpastes in Brooklyn to group shows in Brazil, via spraypainted murals along the bus routes of Baku, knitwear collections in West Yorkshire, tags backstage in Vienna and illustrations for Milan's fashionista. Deceptively simple depictions of female warriors in both a state of undress and euphoria continue to be his chosen theme of exploration in an ongoing body of work. He doesn't use stencils - and he still has acne!

The artists website: www.kidacne.com

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KLIT

Lot: 26

Klit started painting in the streets across the river from Lisbon in 1998 with the help of Roket, a graffiti writer from the old-school Almada movement. Since then Klit has developed a unique style of graffiti, distinguished by flowing lines with a strong organic feel that have often been mistaken for flowers. Nevertheless, his letters are always present, on the edge of subliminal communication. Klit was the main drive behind the formation of the LEG Crew and VSP: two of Portugals best and most prolific graffiti collectives. VSP has held an annual exhibition since 2005, with the 2007 edition culminating in the publication of a 300+ page book that not only focuses on the work of the crew, but also documents the Portuguese graffiti scene over the past few years. Klit has also held various solo shows in Lisbon, whilst maintaining his presence on the street, not only in Portugal but across Europe, where he has taken part in several international paint jams. The respect and admiration he has achieved on the streets has been, in recent years, consolidated in the legal production field; in the hall of fame setting and in collective and solo exhibitions throughout Europe. Klit's style continues to mature and evolve as he explores his graphic language at a deeper level, venturing into other artistic areas such as illustration, design, installation and even interior decoration.

The artists website:

www.lettersnotflowers.com www.myspace.com/klitone

MANTIS

Lot: 16

Mantis has a great anti-globalisation and anti-consumer stance and produces art using stencils as well as free hand. His Jack the Painter piece earned him some much deserved press (it was even included in the London chapter of The Urban Cookbook.) Written by King Adz. The artists website: www.themantisproject.co.uk MAU MAU Lots: 19, 93

Devon based Mau Mau has been documenting the times with his distinctive freehand style for over ten years. Enviro-political imagery bitterly topical with tongue-in-cheek sweetening - consistently runs through his work. Architect of UK pop-cult brands 90s clothing label, Sewerside and games off-shoot, Fear Trade - his artwork has also illustrated disc sleeves, logos and video animations for the likes of Dizzee Rascal, Roots Manuva, Herbaliser, Skitz, Rodney P and Estelle. With sell-out print runs for Souled Out Studios and an established reputation for canvass work, Mau Mau continues to paint free-range from shipwrecks to surfboards to billboards to city walls - worldwide.

The artists website: www.mau-mau.co.uk

020 3291 2832

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MICALLEF

Lots: 44, 45

Micallef's career began in 2000 after he came 2nd in the BP portrait awards at the NPG and then toured the world off the back of it collecting experiences to develop his style. He is a fine artist with a Banksy-esq sense of humour and has a host of bonafide stars collecting his work after his LA show sold out in 2 hours. His work developed into something unique after he introduced some Pop art influences and a darker tone throughout. Written by King Adz. The artists website: www.antonymicallef.com

MIMI THE CLOWN

Lot: 12

Mimi is a French Stencil artist whose work has a political and social edge to it. He started out in 2003, creating abstract art with heavy social messages etched into the bright paint, and has progressed to the present day with the use of images of clowns as a motif. Crazy French shit. Written by King Adz. The artists website: www.mimitheclown.com

MR JAGO Bristol based Mr Jago is considered by many as a veteran of the urban art and design scene. Described as a pioneer of the doodle or scrawl movement, his skills lie in everything from painting and illustration to creating artwork and designs for some of the biggest international brands available. With an interest in graffiti, street art and hip-hop, growing up in the small village of Eye in Suffolk, Duncan had little occasion to expand his skills. However, it was moving to Bristol to study illustration that gave Duncan the opportunity to express his flair for art and design, gaining commercial work designing flyers for the clubs and bars of the cities music scene.

Lot: 81

It was in Bristol that Duncan met Steff Plaetz and Will Barras, which as founding members of the now renowned Scrawl Collective, lead to the way in which the agency was shaped in the early days, playing an inaugural part in many of projects that helped create its name. Duncans inspirations and influences span the cultures of hip-hop, comic books, impressionist masters as well as Japanese manga, nature and fellow artists such as Futura 2000 and Mode 2.With no easy way to describe the structure in Duncans work, robotic characters, and multi-layered landscapes create the centre pieces of much of it. The free flowing strokes and organic colours in Duncans paintings explore the ideas of space and depth in the landscapes, while the fast lines in his work attempt to make subject seem alive and animated.

The artists website: www.mrjago.com

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MUNDAY, KEV

Lot: 54

Raised in the old market town of Basingstoke, Kev Munday has never felt the need to jump on the bandwagon and claim an affiliation to London or Bristol, despite being situated between the two and being an active participant in both their art scenes. Instead, Kev has chosen to embrace his differences, creating suburban art; as much inspired by his leafy suburb surroundings as the inner cities just a short journey away. Kev Munday has been a part of the urban art scene since his early teens, having been influenced by such notable artists as Jean-Michel Basquiat, David Choe, Keith Haring and Andy Howell. Kevs roots in graffiti and street art in general have instilled within him a strong DIY ethic. It is thanks to this self-publishing spirit that Kevs work may be seen on anything anywhere; often where one would least expect to find it. This has helped raise Kev to the position within the scene which he enjoys today. Having grown weary of his work being obliterated within weeks of creation, Kev decided to change tack and brought his art off the streets and onto canvas. Having never sold a painted wall, but suddenly selling his canvases with ease, Kev was encouraged to let his creativity freely explore new avenues. In his late teens, Kev started his own label, UnderTheHat. Drawing on the popularity of his outdoor catalogue, Kev soon secured a dozen retail doors across the UK and many more throughout the rest of Europe, with each collection receiving higher praise than the last. Still just in his early twenties, Kev is regularly exhibiting and painting live, both solo and together with his Visual Tourettes collective. Having recently been invited onboard Andy Howells Arts Projekt and featured heavily in the Let Them Create Gallerys Walking The Line Exhibition, as well as the New Cross Gallerys Creativity Killed the Cat and Squared Up exhibitions with other notable urban artists such as Rough, System, Prefab, Blam, Dan Kitchener and TML Stars, Kev Munday is looking forward to many more years of watching paint dry.

The artists website: www.kevmunday.com

NEATE, ADAM

Lots: 40, 41, 60, 61

Adam is perhaps the most important of the new urban painters. He has two modes of work: his gallery paintings and his street paintings. Over the last five years he has painted and left over a thousand of pieces on cardboard around London. Before moving to London he spent time skateboarding and painting and came up with the idea of leaving his paintings in the street, and if you liked it you could take it home with you. Over the last few years Adam has developed his talents into a completely original style, supported and guided by Paul Jones of the Elms Lesters Gallery, who has nurtured his talent. Written by Kng Adz. The artists website: www.adamneate.co.uk

020 3291 2832

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OCONNOR, DANNY

Lot: 66

Danny O'Connor aka DOC is a Graphic Arts Graduate from Liverpool's John Moores Art School. There is a strong graphic element in his paintings with influences from character design, comics, illustration and graffiti art, all pulled together to create his stylized portraiture. He uses a wide range of media to create his work from acrylics, spraypaint, ink and paint markers, to household paints such as gloss and emulsion. The result is visually striking paintings full of energy, often with expressive brush strokes and splashes of paint with an almost hypnotic appearance. The strong urban influences are reflected in the work he places on the street for passers by to view and take with them if they wish. The street application of the work adds fresh dimension to the paintings, bringing the characters in them to life and sharing his passion for his work with everyone. DOC has exhibited work country-wide including Liverpool, Manchester, London and Bristol. It was in Bristol he shared his techniques with onlookers during the Urban Paint Festival at the Tobacco Factory, drawing a large crowd as his strokes and expression left their mark on this once plain canvas. The progression of Danny's work been astonishing, developing a self confident and passionate style which has lead to a rich and meaningful group of urban portraits.

The artists website: www.edgeart.com

PINKY Pinky is out there taking art to the people, spreading the love, free-styling those cut-ups and painting on walls.

Lot: 55

Pinky's place in the history of the UK scene is assured with a 20 year legacy. His unique style celebrates the psychedelic side of Graffiti Art, questioning the perception of street art and graffiti as a macho pursuit. 2008 witnessed Pinky Solo shows Love Is The Drug at Inkd Gallery Brighton, The Crunch at Shoreditch Old Station and Manchester show Turn On. Plus group shows The Universal at Friends & Co Gallery Bristol, Saints and Sinners at St Martins Lane London and Reload X in Amsterdam.

The artists website: www.pinkyvision.com

PURE EVIL

Lots: 8, 9

Pure Evil has always done his own thing. He is one of the last artists who works with a true punk ethic, as all the others have sold out. Pure Evil has his own gallery in London and is in total control of his artistic destiny. Written by King Adz. The artists website: http://pureevilforum.proboards.com/

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ROWDY

Lot: 49

Rowdy's artistic career has been relentless. Established in 1987 when he became an integral part of the Bristol graffiti scene, his work appears throughout Europe and can be found in the most unlikely places from underground rural settings to highly visible urban reaches. Rowdys trade mark crocodiles are often huge in scale and are indicative of the playful nature of the imagery in his work, and long may we continue to see oversized mice and crocs attacking our walls. His recent cityscape paintings take on a meditative quality which is in total contrast to the short sharp shock of his urban graffiti work. Rowdy recently appeared in the Channel 4 shorts on Street Art in conjunction with the Tate Modern. Literature references include Street Art the Graffiti Revolution by Cedar Lewisohn published by the Tate 2008 and Burning Candy exhibition catalogue for Cyclops and Sweet Toof. Dwelling literally in the underground, Rowdy uses graffiti as a tool of resistance. Deeply politically motivated, his work is on permanent display in Spain, Italy, France and England. June 2009 will see Sartorial Contemporary Art, London, hosting a major show of the artists work.

The artists website: www.farmyardeez.com RUGMAN Lot: 94

Rugman was bought up a catholic, thus his very first drawing at the tender age of 5 was of the Pope kissing the ground. We asked all our artists whether they would prefer to burn or to freeze to death and he was the only one who said "burn". This is because he is resigned to his fate of burning in hell forever more with his cousin who stole a penny sweet from the shop while the rest of his family wave from 'pon high. He hails from Scotland, resides in London and attended Chelsea School of Art before exhibiting in Barcelona, London, Dublin and Glasgow.

The artists website: www.rugmanart.co.uk

020 3291 2832

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RYCA

Lot: 29

Born and bred in East London, RYCA graduated in 3D design and studied industrial model making and graphics. He made a conscious decision not to study fine art, although Mondrivan is an excellent example of his art historical influences. Since his first print release at the end of 2006, RYCA's work has been exhibited in Los Angeles, Paris, Tokyo, Berlin and London. "My work is all about bringing together elements of different cultures, cinema and fine art, and a sense of humour is important. Oh, and did I mention Star Wars?"

The artists website: www.ryca.net

SEEN

Lots: 46, 47

Without any shadow of doubt, Seen is the godfather of wild style graffiti. He is the star of the seminal film 'Style Wars' and has been living off his art since the 1980's. Born and raised in the Bronx, Seen began writing in 1973 on the NYC subway with his crew United Artists. After graffiti and hip hop had began to blow up in the 1980's Seen was one of the first artists to make a successful transition from street to gallery, with solo and group shows with other artists such as Haring, Warhol, Basquiat, and Dondi (perhaps the most talented and respected graffiti artist from NYC). After a successful decade running his Tattoo shop in Brooklyn, Seen now lives in Paris and works in all artistic mediums. Written by King Adz. The artists website: www.seenworld.com

SILENT HOBO

Lot: 64

When out painting Silent Hobo (Wei Ong) is a traditionalist, sticking to the can and steering clear of stencils, he leaves it to those who know how. A character-based artist whose style is a mix of comic art influenced by early graffiti, manga and 2000AD. His characters can be seen around Bristol on walls, in community centres, pubs, libraries, train stations and at festivals. In the studio Silent Hobo concentrates on making artwork, which he sells as limited edition prints. His pictures mix photography with illustration to create stylised and beautifully composed scenes. Commissioned regularly based on the strength of his illustrations his drawings have been used by Fanta and Sprite for limited edition cans. In 2008 Silent Hobo has run workshops for spraypainting and drawing at both the Trinity Community Centre and Knowle West Media Centre. The artists website: www.silenthobo.co.uk 120 www.dnfa.com/urbanart

SLOW, BEN

Lot: 34

Ben studied fine art at Kiad, Canterbury. It was during his foundation year that he really discovered the fun of colour, then started splashing and dripping. Texture is vital to his work, building up lots of layers and then scratching them down to draw out colour from depth. Ben describes his work as controlled mess, mainly focusing on people of interest to him, including classic characters and people in motion. He has brought life to the dullness of grey cities. Originally focusing on paste ups he now brings life to buildings with hours of controlled colour explosions. To quote Ben 'I try not to limit myself, I keep on pushing my boundaries exploring the colour, depth and texture'. Ben sees any object as a canvas with any surface which accepts his colour and puts life back into something in the most obscure way. His inspiration derives from pop art and commercial works of Worhol through to deep, free, expressive marks and drips of Pollock and varied textures of Van Gogh. There are two aspects to all his work, the initial aesthetic appeal and the tactile desire to get closer, being drawn in to touch, see and feel the texture and expression. Ben has always loved touching things and in conflict with childhood rules he's now been able to escape these restrictions, which has lead to his creative work today.

The artists website: www.thewonderlandcollective.com

SMALL, MAT T

Lots: 67, 73

By painting directly onto used pieces of metal Matt gives his work a raw, urban immediacy. The subjects of his art are also found, filmed without their knowledge (in a way we're choosing not to find a little creepy) in and around London, enabling Matt to bypass the posed, staginess of a lot of portraiture. Executed with astonishingly textured brushstrokes, Matt produces works with a thick visceral painterly quality that feel both abstract and incredibly real and vital. The artists website: www.mattysmall.com

SPQR

Lots: 22, 85

SPQR uses a mix of stencils and freehand spray-can work to montage and subvert popular contemporary imagery from the pop art world and ancient iconography through to images harvested from the continual media onslaught. Silent are the thoughts of those who choose to stand quietly. Assuming the position of nothing to say, and so thought of as a quiet kind of being! So far from the truth! Who could think such a thing. Faster than light, the planning and plotting goes into the early hours, while everyone else seeks much needed sleep. He who waits for the worms to wake, goes on to pro create. In time. In space. In the face of the shadows of all the known (and unknown) greats. I stand forth as SPQR. One other thing, while you decide whether to love me or hate me. Buy me or leave me hanging alone on this gallery wall. We all have a duty in life, if not to each other, then to ourselves. Whatever your stance, we are all the same, the child is first an artist. Before we can read, before we can write, we draw... all around the world, irrespective of religion, colour or creed - Global are the artists, each and every- one and all. The artist's website: www.spqr.uk.net

020 3291 2832

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STARR, JIM Lot: 17 Jim Starrs use of pop culture and pin up imagery is guaranteed to inspire anyone who loves the louche and the lowbrow. His work fuels the spirit and strikes a chord in the soul which continues to resonate long after the first glance. After an initial brush with spray stencilling in the mid nineties Jim moved over to screen printing having been influenced by Robert Rauschenberg and many of the painter/printmakers of the New York scene from the 50s and 60s,whilst keeping an eye on newer painters JeanMichel Basquait and Keith Haring from the 80s. Using a mixture of original screen printed material, photography, freehand drawings and collage he creates unique and sometimes complex hand-made prints, with no two turning out the same. For Jim there is no such thing as an average print. They can vary from five layers to forty and can take weeks or even months to complete. Having printed on denim, silk, surfboards and many other surfaces Jims bigger images are printed on canvas and reworked and refined using acrylic and spraypaint. His current work utilises his borderline obsession with timeless universal icons. These easy on the eye images skilfully offer an entry point into a complex world which has much more to it that first meets the eye. Jim has exhibited in solo and group shows on many occasions in London and Bristol and has painted and drawn on location worldwide. His work has appeared on Tshirts, clothing designs, flyers, records and canvases. Written by James Sandercock.

The artists website: www.jamesstarr.co.uk

SUPINE, JUDITH

Lot: 39

Judiths work is a bright day-glo montage/collage of all things kitsch, figurative and cultural. His floating piece in the NYs East River last year was great and was the icing on the cake of his global street campaign. His work translates into the gallery equally well and his prints are wicked. Written by King Adz. The artists website: www.flickr.com/photos/judithsupine/ THE ART TART Lot: 2

Once upon a time there was a girl called Rose Popay. Rose was born in 1974 to thespian parents and so was always destined to perform. As founding members of Bath's Natural Theatre Company, Rose's mum and dad created a magical, inspirational environment in which nothing was impossible and everyday was an adventure. After this artistic and creative childhood, Rose went on to gain a BA (Hons) in Fine Art at Bretton Hall in Yorkshire and to perform all over the world in the Naturals herself. As a result, her visual work now is diverse and vibrant with a strong sense of playfulness and interaction. She has previously worked for Damien Hirst and Nick Walker, posed naked for David Bailey and now presents us with her larger than life stencil work through her alter-ego, The Art Tart. Bursting onto the scene (and out of her blouse) this year at The Cans Festival in London, along with appearances at Glastonbury, UpFest, The Frieze Art Fair and various other places, she has jiggled her way into the hearts of many. There's something decidedly off-the-wall, about how the Tart puts her Art on the wall. It's been said that girls will be girls, and this particular girl is on a mission to inject a pinch of colour and make the world a touch less grey, a smidgen more glamorous and to leave it smelling of roses...!

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TRXTR

Lots: 51, 82

TRXTR (pronounced trickster) started drawing birds and film stars at an early age, primarily to impress his friends and family but soon became obsessed with creating pictures. Immediately on entering art school he gravitated to print making and politically motivated art at a time when this was seriously frowned upon by the art educational establishment. At degree level he immediately locked horns with the teaching staff over the irreverent and disruptive nature of his work which focused on anti war and anti art. After leaving the politically apathetic and stifling restraints of art education TRXTR spent a number of years producing biodegradable organic sculptures in hidden landscapes across the UK and USA. Chemical based photographs were the only evidence of this secret work, which being by its very nature un-commercial, was therefore financially supported by Northern Arts. Whilst designing album covers he became increasingly interested in the freedom and creative flexibility that digital imaging gave over traditional photography, printmaking and painting. His artwork now displays a distinctive style that fuses layer upon layer of digital collage using both found and personal images with hand-finished effects on archival canvas. His subject matter consistently revolves around war, drugs, religious bigotry and the cult of celebrity. Long obsessed with the darker motivators of western civilization, i.e. Sex, war, drugs and celebrity, TRXTR rips loaded images from the public domain layers and remixes them with his own extensive photographic image bank.

The artists website: www.redpropeller.co.uk

WALKER, DAVID

Lots: 36, 37, 80 David Walker is a member of the Scrawl Collective, alongside RYCA, Mr. Jago, Nick Walker and Will Barras. He is also a founder member of the Babylon Academy travelling exhibition (www.babylonacademy.com). He attacks canvas and found wood with spraypaints, marker pens and his fingers to create powerful images of his friends, enemies and idols. His deeplayered images are snap shots from his own life and experiences, and are as punk as they are ethereal.

The artists website: www.davidwalkerart.com

WALKER, NICK

Lots: 5, 31, 75

Nick began his career as a graff artist as Ego but soon he was working on commercial projects and picked up a blade and cut a stencil. His works for Snapple in 1994 are light years ahead of anything commercial at the time and still kill today. He worked with Stanley Kubrick on the set design for 'Eyes Wide Shut' and has had over 40 exhibitions around the world since 1985. Written by King Adz. The artists website: www.apishangel.com

020 3291 2832

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Donnington Priory Salerooms

Peter Nahum At The Leicester Galleries, the remaining stock


Tuesday 24th February 2009 Enquiries: Archie Parker Tel: 01635 553553 Email: donnington@dnfa.com www.dnfa.com/donnington

John Tunnard (1900-1971), False Dawn, gouache, signed, dated '60 and inscribed '6.G.1', lower right, 37cm x 54cm. 7,000-10,000

Donnington Priory, Donnington, Newbury, Berkshire RG14 2JE

www.dnfa.com

Ultralounge, Selfridges London

Passion Killer by Dicy and Will Barras Limited Edition of 100 Screenprint Signed by both artists 150 per print Exclusive to Dreweatts and only available for sale during the preview exhibition at Selfridges from the 13th - 26th February 2009

Ultralounge, Selfridges, 400 Oxford Street, London W1A 7AJ

www.dnfa.com/urban art

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS Dreweatts CONDITIONS OF BUSINESS June 2006
INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyers Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. Buyers Premium. The Buyer agrees to pay a buyer's premium on the hammer price of each lot purchased. The buyer's premium is 20% of the hammer price on each lot up to and including 250,000, plus 12% for any amount in excess of 250,000. In addition where a lot has been purchased through or using the services of ATG Online Live Auctions, or any other live online auction services, a further additional charge of 3% is payable on the hammer price of each lot purchased. VAT at the prevailing rate of 15% is added to all of these premiums and additional charges as defined below. 5. VAT. (*) indicates that VAT is payable by the purchaser at the standard rate (presently 15%) on the hammer price as well as being an element in the buyers premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 15% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyers premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. Descriptions and Conditions. Condition reports are provided on our web site or upon request. The absence of a report does not imply that a lot is without imperfections. The detail in a report will reflect the estimated value of the lot, and large numbers of such requests received shortly before the sale may not receive a response to all lots. Members of staff are not trained restorers or conservators and, particularly for higher value lots, you should obtain an opinion from such a professional. We recommend that you always view a lot in person. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are deliberate forgeries may be returned and repayment made. There is a 3 week time limit. (The expression deliberate forgery is defined in our Conditions of Sale). 7. Electrical goods. These are sold as antiques only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory. Ask us if you need help. 9. Bidding. Bidders may be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or FAX. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. The following methods of payment are acceptable: Sterling cheque. To be drawn on a UK bank and made payable to Dreweatts-The Fine Art Auction Group. If you have a credit or cheque acceptance account with Dreweatts, you will be able to take your goods immediately providing the sum is within the agreed limit. Otherwise, it will be necessary to allow at least five working days for the cheque to clear before collecting your purchases Sterling bankers draft. This will need to be confirmed with the issuing bank, prior to acceptance. Bank transfer. All transfers must state the relevant sale number, lot number and your bid / paddle number. If transferring from a foreign currency, the amount we receive must be the total due in pounds sterling (after currency conversion and the deduction of any bank charges). Our bank details can be found on the reverse of your invoice or in the sale catalogue under Important Notices Debit cards drawn on a UK bank. There is no additional charge for purchases made with these cards. Debit cards drawn on an overseas bank or deferred debit cards will be subject to a 2% surcharge. Sterling cash payments of up to 8,000 and debit cards payments can be made at the Cashiers Office, either during or after the sale. 12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges. 13. Droit de suite royalty charges. From 14th February 2006 all UK art market professionals (which includes, but is not limited to; auctioneers, dealers, galleries, agents and other intermediaries) are required to collect a royalty payment for all works of art that have been produced by living artists. This payment is only calculated on qualifying works of art which are sold for a hammer price more than the UK sterling equivalent of EURO 1,000 the UK sterling equivalent will fluctuate in line with prevailing exchange rates. It is entirely the responsibility of the buyer to acquaint himself with the precise EURO to UK Sterling exchange rate on the day of the sale in this regard, and the auctioneer accepts no responsibility whatsoever if the qualifying rate is different to the rate indicated. All items in this catalogue that are marked with are potentially qualifying items, and the royalty charge will be applied if the hammer price achieved is more than the UK sterling equivalent of EURO 1,000. The royalty charge will be added to all relevant buyers invoices, and must be paid before items can be cleared. All royalty charges are passed on to the Design and Artists Copyright Society (DACS), no handling costs or additional fees with respect to these charges will be retained by the auctioneers. The royalty charge that will be applied to qualifying items which achieve a hammer price of more than the UK sterling equivalent of EURO 1,000, but less than the UK sterling equivalent of EURO 50,000 is 4%. For qualifying items that sell for more than the UK sterling equivalent of EURO 50,000 a sliding scale of royalty charges will apply for a complete list of the royalty charges and threshold levels, please see www.dacs.org.uk. There is no VAT payable on this royalty charge. TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words you, yours, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Sellers authority to contract. Similarly the words we, us, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates:please enquire at our salerooms. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage of goods. (a) Loss and Damage Warranty - Dreweatts is not regulated by the FSA for the provision of insurance to its clients. However, Dreweatts, for its own protection, assumes liability for property consigned to it at lower pre-sale estimate. To justify accepting liability, Dreweatts makes a charge of 1.5% of the hammer price plus VAT (subject to a minimum charge of 1.50) or, if unsold, our lower estimate of the hammer price. (b) If the owner of goods consigned instructs us in writing not to take such action, they then remain at owners risk unless and until the property in them passes to the Buyer or

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they are collected by or on behalf of the owner, and clause 4(a) is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the Lot should be illustrated your permission will be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. We may sell Lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us a discretion we may accept a bid of up to 10% below the formal reserve. 7. Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must -collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Withdrawn and bought in items. These are liable to incur a charge of 15 % plus VAT on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business after the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of 10 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. After sale settlement of the net sum due to you normally takes place within 21 days of the sale (by crossed cheque to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 21 days from the date of sale. CONDITIONS OF SALE The Fine Art Auction Group Limited trading as Dreweatts Fine Art (DNFA) carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) auctioneer means the firm of Dreweatts or its authorised auctioneer, as appropriate; (b) deliberate forgery means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) hammer price means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;

(d) terms of consignment means the stipulated terms and rates of commission on which Dreweatts accepts instructions from sellers or their agents; (e) total amount due means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) sale proceeds means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) You, Your, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate. 2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneers absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (2) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneers sole discretion. 4. THE PURCHASE PRICE together with a premium thereon of 23% which shall include VAT on the premium at the rate imposed by law. In addition, where a lot is bought through or using the services of ATG Live Auctions or any other live internet services, the buyer shall pay a further additional charge of 3% on the hammer price plus VAT on such additional charge at the rate imposed by law, resulting in such buyers paying the hammer price together with a total premium and charge of 23% plus VAT on the premium and charge at the rate imposed by law. The buyer will also be liable for any royalties payable under Droit de Suite as setout under Information for Buyers above. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to Information for Buyers for a brief explanation of the VAT position). 6. PAYMENT (1) Immediately a Lot is sold you will: (a) give to us, if requested, proof of identity, and (b) pay to us the total amount due or in such other way as is agreed by us. (2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

020 3291 2832

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(3) Buyers who utilise the services of ATG Live Auctions or any other live internet services are hereby informed that the payment method details that are provided to ATG Live Auctions or any other live internet services as part of the process of registration will, in the absence of compliance with paragraph (1) of this clause, be utilised by us to settle any amounts owing by such buyers to us. 7. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (3) No purchase can be claimed or removed until it has been paid for. (4) Dreweatts is unable to arrange packaging or shipping of items. Successful buyers must make these arrangements independently, though the saleroom may be able to suggest specialist shipping companies who can advise buyers, this advice is not a recommendation and the saleroom is not liable for any aspect of the packaging and shipping process. Please note that the cost of packaging and shipping depends on the size/weight of the item(s) purchased, insurance requirements, and the shipping destination, not on the value of the item(s) purchased. Please note that any items not collected within one week of the sale date may be automatically removed to commercial storage and subject to a storage charge. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that Lot and/or any other Lots sold by us to you; (c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (g) to retain that or any other Lot sold to you until you pay the total amount due; (h) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;

(i) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale. 10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot. 14. DESCRIPTIONS AND CONDITION (1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the

foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 information to buyers. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyers premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail, email or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 21. English law applies to the interpretation of these Conditions.

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Ultralounge Selfridges 400 Oxford Street London W1A 7AJ Sale enquiries 020 3291 2832

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