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  Duggie Fields, “Girl with Shoulder Bag”, Oil on linen 1970

  DUGGIE FIELDS (1945-) London, UK

  “Girl with Shoulder Bag” 1970

  Oil on linen, custom wood and green lacquer Shadow box frame

  Marks: “Girl with Shoulder Bag”, Winter 1970 (Dougie Field)

  Canvas: H: 72” x W: 36”
  Framed: H: 74 1/2″ x W: 38 1/2″

  Duggie Fields was born in 1945 and brought up in the village of Tidworth. He spent his youth in the countryside, moving to the outer suburbs of London in his adolescence. He studied architecture, briefly, at Regent Street Polytechnic before going to Chelsea School of Art in 1964 where he stayed for four years, before leaving with a scholarship that took him on his first visit to the United States. As a student his work moved from Minimal, Conceptual and Constructivist phases to a more hard-edge post-Pop figuration. By the middle of the 1970s his work included many elements that were later defined as Post-Modernism. In 1983 in Tokyo, sponsored by the Shiseido Corporation, a gallery was created specially for his show, and the artist and his work were simultaneously featured in a television, magazine, billlboard and subway advertising campaign throughout the country. He started working with digital media in the late 1990’s describing his work in progress as Maximalist. Selected One-Man Exhibitions 1971 Hamet Gallery, London 1972 Bear Lane Gallery, Oxford; 1975 Kinsman-Morrison Gallery, London 1979 Kyle Gallery, London; 1980 lkon Gallery, Birmingham; Midland Group, Nottingham; New 57 Gallery, Edinburgh; Roundhouse Gallery, London 1982 Spacex Gallery, Exeter; B2 Gallery London 1983 Shiseido Exhibition, Tokyo 1987 Albermarle Gallery, London 1991 Rempire Gallery, New York 2000 Random Retrospective, Virtual Gallery, DuggieFields Selected Group Exhibitions 1976 New London in New York, Hal Bromm Gallery, New York 1979 The Figurative Show, Nicola Jacobs Gallery, London; Masks, The Ebury Gallery, London; Culture Shock, The Midland Group, Nottingham; Art and Artifice, B2 Gallery, London 1983 Taste, Victoria and Albert Museum, London 1984 The Male Nude, Homeworks Gallery, London 1985 Image-Codes, Art about Fashion, The Australian Centre for Contemporary Art, Melbourne; VisualAid, Royal Academy, London l986 The Embellishment of the Statue of Liberty, Cooper Hewitt Museum/Barney’s New York 1987 Twenty Artists Twenty Techniques, Albemarle Gallery, London 1989 Fashion and Surrealism, Victoria and Albert Museum, London 1988 Het Mannelisknaakt, Gallery Bruns, Amsterdsm, St. Judes Gallery, London 1990 Universal Language, Rempire Gallery, New York 1993 Tranche d’Art Contemporain Anglais, Tutesaal, Luxemburg 1998 Exquisite Corpse, Jibby Beane, London 1999 Art 1999, Jibby Beane, London; Flesh, Blains Fine Art, London Nerve, I.C.A. London 2000 Art 2000, Jibby Beane, London Up &Co., New York

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  Zygmund Sazevich “Portrait of Victor Arnautoff” Oil on canvas 1925

  ZYGMUND SAZEVICH (1899-1968)

  Portrait of Victor Arnautoff 1925

  Oil on canvas

  Signed: Z. Sazevich 1925 (lower right)

  Framed: H: 34 5/16” x W: 29 9/16”

  Price: $65,000

  Zygmund Sazevich was born in Russia in 1899, and studied briefly at the University in Kazan in 1917, before traveling to Manchuria where he lived and worked as an actor and stage scenery painter. He emigrated to the U.S. via Japan in the early 1920s and entered the School of Architecture at the University of California, Berkeley, supporting himself by working as a house painter and helping stage plays for a local Russian theater company.
Sazevich met Russian artist Eugene Ivanoff, and together they shared living quarters and studied at the California School of Fine Arts in San Francisco. Sazevich was awarded two scholarships, one in painting and one in sculpture.
 During the 1920’s Sazevich exhibited with the San Francisco Art Association, and in 1929 won first prize at their annual exhibit, followed by several sculpture commissions. That same year Sazevich and Ivanoff traveled to live and work in Paris. 
Back in San Francisco in 1931, his work was included in a show of garden sculptures at the California Palace of the Legion of Honor, along with works by Adaline Kent, Ruth Cravath, and others. By 1935 he was working as a W.P.A. muralist. Sazevich and his wife Zena, a decorator, purchased a home in the City, which they filled with Sazevich’s sculptures, woodcarvings, and hand-made furniture.
In 1939 Sazevich exhibited at San Francisco’s Golden Gate International Exposition. His cast terrazzo sculpture Mississippi won the 1940 purchase prize at the annual San Francisco Art Association exhibition, and he had a one-man show at the San Francisco Museum of Art in 1941.
During World War II, Sazevich worked in a shipyard creating wood patterns, and in later years he designed and made hand-blocked Christmas cards that were in great demand. His clients included celebrities such as Greer Garson, Joan Fontaine, and Red Skelton.
From the late 1940s until the 1960s, Sazevich taught art classes, both at the California School of Fine Arts and at Mills College in Oakland. 
He continued to exhibit at the San Francisco Museum of Art through the 1950s, and in 1953 was featured in the museum’s Four Sculptors of the West show. Sazevich also had two solo shows at Mills College in 1950 and 1954, and a show at Raymond & Raymond in San Francisco in 1951.
Zygmund Sazevich passed away in San Francisco in 1968. In 1982 his work was included in The Oakland Museum’s seminal exhibition 100 Years of California Sculpture.

   Though his works are rare today, Zygmund Sazevich was a prolific, versatile and highly-regarded San Francisco Bay Area artist and instructor whose passion for his medium was evident not only in his sculptures and carvings, but also in his drawings and paintings. Sazevich believed that the two-dimensional rendering of the subject was integral to the process of sculpture, along with the necessity for the artist to have a feeling for the material with which he worked. His convictions were reflected in the great variety of woods, metals, and stone he used to create his sculptures, as well as in his paintings.

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  Richard Harold Redvers Taylor, “Modernist building staircase”, Gouache on paper c. 1949

  RICHARD HAROLD REDVERS TAYLOR (1900-1975) United Kingdom

  Modernist building staircase c. 1949

  Gouache on paper, metal and wood frame

  Signed: RHRT (lower left)

  Marks: Gimpel Fils exhibition label (on back)

  Exhibited: “An Exhibition in the Kettle’s Yard Loan Gallery: Sculpture & Painter,

  14 February – 10 March, 1972” Gimpel Fils, London

  Framed: H: 41 7/16” x W: 30 5/16”

  Richard Harold Redvers Taylor (1900-1975) was born in Brighton on March 14^th, 1900 and educated at Brighton College and Heatherleys School of Fine Art, Chelsea. His father, Harold Taylor, was a headmaster. Redvers Taylor retired from the Army (where he specialized in topographical surveying in Africa) in 1937 but was recalled for war service. In 1946 he began a new career as a professional painter. Between 1948 and 1958 Taylor was given a series of six one-man shows by Lefevre and Gimple Fils in London. In the 1960’s he turned to sculpture, and in 1972 an exhibition of his sculpture and paintings was held at the Kettle’s Yard Loan Gallery in Cambridge. His work is held in the permanent collection at the Beith Uri V Rami Museum in Israel. Louise Taylor (née Hayden), his wife, was an American and the adopted daughter and heiress of Alice B. Toklas, the companion of Gertrude Stein. Louise Taylor died on 21 July 1977.

  Purism, otherwise known as l’esprit nouveau was directly inspired by a spare, functionalist aesthetic and is closely associated with the work of Le Corbusier and his circle in Paris in the second quarter of the 20^th Century. In America this purist style was known as Precisionism, which explored similar imaginary during the late 1920’s and 30’s with artists like Charles Sheeler, Charles Demuth and Ralston Crawford at the forefront of this movement. In England, the Vorticist movement (1912-1915) was founded by Wyndham Lewis and others and was the precursor to the Purist movement in Great Britain in the 1930’s and 1940’s. Redvers Taylor created geometrical landscapes while reducing volumes to colored planes and outlines to ridges. His artwork combines depth and perspective with flattened cubist fields of color. Architecture of industrial buildings was his favorite subject, whereas people and nature were usually absent from his compositions.

   

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  Knox Martin, “Eight”, Magna and oil on canvas 1958

  KNOX MARTIN (1923-) USA

  Eight 1958

  Magna and oil on canvas

  Signed: Knox Martin on lower left on front of canvas, Knox M on back of canvas

  Marks: From: CORE, 38 Park Row, New York 38, NY, To: Martin, Knox, Eight, 1958, Magna/Oil, 30×40, 700. (paper label), Fischbach Gallery, 799 Madison Avenue, New York 21, Knox Martin, Eight, C.O.R.E., Price $700 (paper label), Mr. Ned L. Pines, 605 Park Ave., New York 21, NY (address label).

  Exhibited: Fischbach Gallery, New York 1963; I. Jankowski Gallery, New York, 1975

  Provenance: Personal Collection of the artist; Private Collection New York

  Canvas: H: 40 1/4” x W: 26 1/4””

  Framed: H: 52 3/8” x W: 38 3/8”

  From 1957 to about 1964, the spirit of art in New York City was moving in directions for which Abstract Expressionism had not prepared us. By 1965, the strokes, swipes, drips, and splatters of New York painting had given way to cool, laconic representations of the most ordinary of ordinary objects. It was a transformation in artistic culture in which intellectual rewards replaced, or at least supplemented, visual ones, and the whole philosophical face of art was beginning to disclose itself in a particularly vivid way. I saw Knox Martin’s paintings as embodying this transformative moment. In them, I thought, the tension between the two rival philosophies of art could be felt. the way I saw them: they appeared at first glance to be collages, made of large, irregular, overlapping swatches of patterned cloth. Some of the swatches were striped, some appeared to be decorated with circles. It must be conceded that stripes and circles belong to the vocabulary of one kind of abstract art, while the irregular shapes, which felt as though they had been torn from bolts of material, belonged to another.

  So one might properly claim that Martin was synthesizing an expressionist abstraction with a geometrical one. For me, however, Knox’s stripes and circles evoked the life of the circus: the striped tents, the loudly patterned costume of clowns. And Martin’s colors—pistachio, raspberry, banana—were festive and impudent. That is why I felt that the paintings referred to vernacular reality, as much so as Campbell Soup cans or Coca Cola bottles. The circus was a recurring theme in modernist art, and I thought it appropriate for late modernist painting to reduce the circus to patterned rags expressive of its raucous gaiety.