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Lot 22
BRIAN CLARKE (B. 1953)
Night Orchid 200
Fermé23 July 2020
Prix réalisé
GBP 5,250
Plus d'informations
BRIAN CLARKE (B. 1953)
Night Orchid 200
signed and dated 'Brian Clarke, 2015' (lower right)
watercolour, graphite and white pencil on card
23 3/8 x 16 ½in. (59.5 x 42cm.)
Executed in 2015
Night Orchid 200
signed and dated 'Brian Clarke, 2015' (lower right)
watercolour, graphite and white pencil on card
23 3/8 x 16 ½in. (59.5 x 42cm.)
Executed in 2015
BRIAN CLARKE (B. 1953)
Night Orchid 200
signed and dated 'Brian Clarke, 2015' (lower right)
watercolour, graphite and white pencil on card
23 3/8 x 16 ½in. (59.5 x 42cm.)
Executed in 2015
Night Orchid 200
signed and dated 'Brian Clarke, 2015' (lower right)
watercolour, graphite and white pencil on card
23 3/8 x 16 ½in. (59.5 x 42cm.)
Executed in 2015
Courtesy of the artist.
R. Storr, Night Orchids, London 2016.
London, Pace Gallery, Night Orchirds, 2016.
Norwich, Sainsbury Centre for Visual Arts, The Art of Light, 2018.
Norwich, Sainsbury Centre for Visual Arts, The Art of Light, 2018.
‘This work is a 'portrait' of Zaha Hadid. In its way it's 'her' to me. When she and I were staying in Thailand I started drawing and painting what became my series Night Orchids. Later when we went on a few trips to Miami, and I continued them there, there was one about which Zaha remarked “What is that? The plan of a building?” and I said “No, it's a portrait of you.” And then she used to always say, “I'm an orchid – Brian says I'm an orchid.” And this found its way into the ‘Flowers for Zaha’ stained glass screen, which I was working on when she died, and became a tribute to her. We were both fond of Charles Jencks and Maggie Keswick [founders of Maggie’s] and deeply respected what they did with the Maggie's Centres, so being asked to donate a work, and being able to give this one - especially in light of Zaha's connection as a Maggie's architect and supporter - is a privilege.'
'All the drawings and paintings that I do in some degree reflect my interest in stained glass as an architectural medium, and very often these works, including this one, I imagine as architectural experiences on an enormous scale: huge walls of stained glass flickering with liquid colour, a sort of harnessed euphoria; a line of lead in glass or a sculptural form, free-standing, in front of a building.’- Brian Clarke, 2020
'All the drawings and paintings that I do in some degree reflect my interest in stained glass as an architectural medium, and very often these works, including this one, I imagine as architectural experiences on an enormous scale: huge walls of stained glass flickering with liquid colour, a sort of harnessed euphoria; a line of lead in glass or a sculptural form, free-standing, in front of a building.’- Brian Clarke, 2020
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.