- 199
A modern silver bowl, Brian Illsey, London, 1989
Estimate
800 - 1,200 GBP
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Description
- silver
- 28cm, 11 in diameter; 41oz 16dwt, 1302gr
Condition
In overall excellent condition.
For further queries regarding this lot please contact the Silver Department directly on +44(0)207.293.5100.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Bryan Illsey is a well established artist whose
diverse practice includes painting, sculpture in
metal or ceramics and jewellery. Born in
Surbiton in 1937, he came from a working-class
background with no interest in the arts. In the
1950s while he was an apprentice to a
stonemason, he attended evening classes at
Kingston School of Art, together with his
brother. In 1963 he moved to St Ives and
worked at the Bernard Leach Pottery, 'a time of
tremendous importance which made [his]
vague artistic thoughts more concrete,' working
with clay and discovering a 'physical
relationship with the material.' In 1964 he
started working with the jeweller Breon
O'Casey and became his partner in 1966. He
spent ten years in his studio in St Ives, working
with iron and precious metal, melting down his
scraps into silver ingots and beating these out
rather than working from new sheets. He also
became a painter.
He now lives in London. Experimentingwith
colour, texture, form and structure, his abstract
designs and their unexpected roughness recall
some of those early Dada experiments that
Illsey admires for its 'certain sort of purity and
innocence', a quality he nows feels is lost in our
most egocentric world.
diverse practice includes painting, sculpture in
metal or ceramics and jewellery. Born in
Surbiton in 1937, he came from a working-class
background with no interest in the arts. In the
1950s while he was an apprentice to a
stonemason, he attended evening classes at
Kingston School of Art, together with his
brother. In 1963 he moved to St Ives and
worked at the Bernard Leach Pottery, 'a time of
tremendous importance which made [his]
vague artistic thoughts more concrete,' working
with clay and discovering a 'physical
relationship with the material.' In 1964 he
started working with the jeweller Breon
O'Casey and became his partner in 1966. He
spent ten years in his studio in St Ives, working
with iron and precious metal, melting down his
scraps into silver ingots and beating these out
rather than working from new sheets. He also
became a painter.
He now lives in London. Experimentingwith
colour, texture, form and structure, his abstract
designs and their unexpected roughness recall
some of those early Dada experiments that
Illsey admires for its 'certain sort of purity and
innocence', a quality he nows feels is lost in our
most egocentric world.