IAN DAVENPORT (B. 1966) Poured Painting: Red/Black/Red IAN DAVENPORT (B. 1966) Poured Painting: Red/Black/Red signed, titled and dated 'Poured Painting Red/Black/Red Davenport 1998' (on the reverse) household gloss paint on fiberboard 231⁄2 x 24 in. (60 x 61 cm.) Painted in 1998.
IAN DAVENPORT (B. 1966) Poured Painting: dark yellow, light yellow, dark IAN DAVENPORT (B. 1966) Poured Painting: dark yellow, light yellow, dark household paint on aluminum board 78 x 78 in. (198.1 x 198.1 cm.) Painted in 1999.
Ian Davenport (British, born 1988) Autumn, from The Four Seasons Etching in colours, 2019, chine collé on Hahnemühle Bright White wove paper, signed, dated and numbered 1/30 in pencil, printed by Thumbprint Editions Ltd., published by Cristea Roberts Gallery, London, the full sheet, framed Plate 964 x 964mm (38 x 38in) Sheet 1150 x 1130mm (45 1/4 x 44 1/2in)
Ian DAVENPORT Poured Painting : Magenta, Green, Blue - 2000 Laque sur panneaux d'aluminium (triptyque) Signé au dos 290 x 75 cm chaque panneau Lacquer on aluminum panels (triptych) ; signed on the reverse 114,17 x 29,52 in. Provenance : Galerie Xippas, Paris Acquis directement auprès de cette dernière par l'actuel propriétaire FR Les œuvres de Ian Davenport témoignent d'une approche structurelle et analytique de la peinture. Chaque pièce révèle son inclination à mettre en place des procédures d'investigation qui l'amènent à explorer les propriétés du médium. L'utilisation de la couleur et de la peinture vise une approche sculpturale de l'œuvre ; l'acte de peindre est physique et la couleur s'affirme comme un matériau solide. Malgré l'aspect séduisant du matériau qu'il utilise - un émail industriel - Davenport tente de nous libérer de toute émotion illusoire. Ses peintures renvoient constamment à leur processus mécanique de création. La palette est composée d'une gamme de couleurs allant du rose pastel ou du bleu électrique au jaune, au violet ou au rouge intense. L'utilisation de la peinture maison exprime le refus de l'interprétation et révèle l'attachement au tableau en tant qu'objet. Dans ce travail, le processus physique de l'acte de peindre et la matérialité de la peinture bloquent les références et les associations habituelles du spectateur. Chacune des peintures de Davenport est une combinaison de deux couleurs contrastées, soit pures, soit subtilement nuancées. Les peintures sont réalisées en trois phases. Tout d'abord, une couleur de fond est pulvérisée sur un panneau d'aluminium ou de fibre de bois. Une fois sec, il verse la deuxième couleur sur ce fond monochrome, formant une forme circulaire ou elliptique naturelle, avant d'incliner la surface pour que l'excédent de peinture s'écoule, laissant la surface restante sécher. Il répète la procédure en utilisant la couleur initiale, mais arrête le mouvement d'étalement juste avant la zone couverte par la première coulée. Une ligne sinueuse et tendue apparaît, s'arquant à travers un champ de couleurs non modulées, une élégance extraordinaire à partir d'un ensemble de gestes physiques de base. Le contrôle nécessaire à la réalisation de ces œuvres contraste avec la nature aléatoire de ses matériaux. L'artiste s'intéresse au hasard et cette procédure lui permet d'observer les limites et les transformations du liquide. EN The works of Ian Davenport bear witness to a structural and analytic approach to painting. Each piece reveals his inclination to set up investigative procedures leading him to explore the properties of the medium. The use made of color and paint seeks a sculptural approach to the work; the act of painting is physical and the color asserts itself as a solid material. Despite the seductive aspect of the material he uses – an industrial enamel – Davenport attempts to free us from any illusory emotion. His paintings constantly refer back to their mechanical process of creation. The palette is composed of a range of colors varying from pastel pink or electric blue to yellow, purple, or intense red. The use of house paint expresses the refusal of interpretation, and reveals the attachment to the painting as object. In this work, the physical process of the act of painting and the materiality of the paint block off the viewer’s habitual references and associations. Each of Davenport’s paintings is a combination of two contrasting colours, either pure or subtley nuanced. The paintings are carried out in three phases. First a ground colour is sprayed onto an aluminium or fiberboard panel. Once dry, he pours the second colour onto this monochrome ground, forming a naturally occuring circular or eliptical shape, before tilting the surface so that excess paint runs off leaving the remaining surface to dry. He repeats the procedure using the initial colour but stops the spreading movement just short of the area covered by the first pour. A tense sinous line occurs, arching through a field of unmodulated colour, an extraordinary elegance out of a set of basic physical gestures. The control necessary to make these works contrasts with the random nature of his materials. The artist is concerned with chance and this procedure allows him to observe the limitations and transformations of the liquid. Ian DAVENPORT FR Les œuvres de Ian Davenport témoignent d'une approche structurelle et analytique de la peinture. Chaque pièce révèle son inclination à mettre en place des procédures d'investigation qui l'amènent à explorer les propriétés du médium. L'utilisation de la couleur et de la peinture vise une approche sculpturale de l'œuvre ; l'acte de peindre est physique et la couleur s'affirme comme un matériau solide. Malgré l'aspect séduisant du matériau qu'il utilise - un émail industriel - Davenport tente de nous libérer de toute émotion illusoire. Ses peintures renvoient constamment à leur processus mécanique de création. La palette est composée d'une gamme de couleurs allant du rose pastel ou du bleu électrique au jaune, au violet ou au rouge intense. L'utilisation de la peinture maison exprime le refus de l'interprétation et révèle l'attachement au tableau en tant qu'objet. Dans ce travail, le processus physique de l'acte de peindre et la matérialité de la peinture bloquent les références et les associations habituelles du spectateur. Chacune des peintures de Davenport est une combinaison de deux couleurs contrastées, soit pures, soit subtilement nuancées. Les peintures sont réalisées en trois phases. Tout d'abord, une couleur de fond est pulvérisée sur un panneau d'aluminium ou de fibre de bois. Une fois sec, il verse la deuxième couleur sur ce fond monochrome, formant une forme circulaire ou elliptique naturelle, avant d'incliner la surface pour que l'excédent de peinture s'écoule, laissant la surface restante sécher. Il répète la procédure en utilisant la couleur initiale, mais arrête le mouvement d'étalement juste avant la zone couverte par la première coulée. Une ligne sinueuse et tendue apparaît, s'arquant à travers un champ de couleurs non modulées, une élégance extraordinaire à partir d'un ensemble de gestes physiques de base. Le contrôle nécessaire à la réalisation de ces œuvres contraste avec la nature aléatoire de ses matériaux. L'artiste s'intéresse au hasard et cette procédure lui permet d'observer les limites et les transformations du liquide. EN The works of Ian Davenport bear witness to a structural and analytic approach to painting. Each piece reveals his inclination to set up investigative procedures leading him to explore the properties of the medium. The use made of color and paint seeks a sculptural approach to the work; the act of painting is physical and the color asserts itself as a solid material. Despite the seductive aspect of the material he uses – an industrial enamel – Davenport attempts to free us from any illusory emotion. His paintings constantly refer back to their mechanical process of creation. The palette is composed of a range of colors varying from pastel pink or electric blue to yellow, purple, or intense red. The use of house paint expresses the refusal of interpretation, and reveals the attachment to the painting as object. In this work, the physical process of the act of painting and the materiality of the paint block off the viewer’s habitual references and associations. Each of Davenport’s paintings is a combination of two contrasting colours, either pure or subtley nuanced. The paintings are carried out in three phases. First a ground colour is sprayed onto an aluminium or fiberboard panel. Once dry, he pours the second colour onto this monochrome ground, forming a naturally occuring circular or eliptical shape, before tilting the surface so that excess paint runs off leaving the remaining surface to dry. He repeats the procedure using the initial colour but stops the spreading movement just short of the area covered by the first pour. A tense sinous line occurs, arching through a field of unmodulated colour, an extraordinary elegance out of a set of basic physical gestures. The control necessary to make these works contrasts with the random nature of his materials. The artist is concerned with chance and this procedure allows him to observe the limitations and transformations of the liquid.
Ian Davenport (b.1966) Untitled Etching with aquatint, 2009, signed, inscribed 'For Leslie' and dated in pencil, numbered from the edition of 21, printed by Thumbprint Editions, published by Waddington Galleries, London, on wove paper, with full margins, sheet 430 x 356mm (16 7/8 x 14in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Ian Davenport Poured Painting: Red Blue, Green Blue, Red Blue 1998 house paint on wood 96 h x 71.75 w in (244 x 182 cm) Signed, titled, dated and inscribed to verso 'I. Davenport 1998 Poured Painting Red Blue / Green Blue / Red Blue'. Provenance: Galerie Xippas, Paris | Private Collection This work will ship from Chicago, Illinois.
Ian Davenport (British 1966-), 'Uplift', 2020, digital inkjet print on 330gsm Somerset Satin Enhanced paper, signed and numbered from an edition of 125; sheet: 70.5 x 55cm ARR
Ian Davenport Style Acrylic on Canvas "Stripes" Signed illegibly Lower Right. Measures 60" x 48-1/4". Condition: Three small holes on the canvas otherwise good condition. Estimate $200.00 - $1000.00 Domestic shipping Third party
▲ Ian Davenport (b.1966) 'Etched Lines 1' etching in colours, signed and dated 'I Davenport 2006' in pencil l.r., numbered '23/25' plate 67 x 47cm Provenance: With Alan Cristea Gallery, London. Condition Report: Framed: 98 x 72.5cm Sheet: 91 x 66cm Appears to be in good condition. Well presented and ready to hang. There is a small scratch to the glazing over the light grey stripe, upper centre. Not viewed out of glazed frame.
Ian Davenport (British, born 1988) Autumn, from The Four Seasons Etching in colours, 2019, chine collé on Hahnemühle Bright White wove paper, signed, dated and numbered 1/30 in pencil, printed by Thumbprint Editions Ltd., published by Cristea Roberts Gallery, London, the full sheet, framed Plate 964 x 964mm (38 x 38in) Sheet 1150 x 1130mm (45 1/4 x 44 1/2in)
IAN DAVENPORT (N. 1966) Poured lines: Dresden II 2008 peinture à l'eau sur papier waterpaint on paper 76.5 x 51 cm. 30 1/8 x 20 1/16 in. Réalisé en 2008.
IAN DAVENPORT (BRITISH 1966-) UNTITLED (COLOUR STUDY FOR SPECIAL EDITION MONOGRAPH - 2014) Acrylic and water-based paints on Fabriano Artistico paper 30.5cm x 27cm (12in x 10.5in) Note: From a series of thirty paintings undertaken by Davenport to mark the publication of the artist’s monograph.
IAN DAVENPORT (BRITISH 1966-) NINE ARCHES, 2005 each signed, dated and numbered 30 in pencil (on Artist's label, to reverse), nine screenprints on paper 27cm x 27cm (10 5/8in x 10 5/8in) each (9) Alan Cristea Gallery, London, from whom acquired by the present owner.
Ian Davenport (b.1966) Untitled Etching with aquatint, 2009, signed, inscribed 'For Clodagh' and dated in pencil, numbered from the edition of 21, printed by Thumbprint Editions, published by Waddington Galleries, London, on wove paper, with full margins, sheet 430 x 358mm (16 7/8 x 14 1/8in) (framed) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Ian Davenport (b.1966) Untitled Etching with aquatint, 2009, signed, inscribed 'For Clodagh' and dated in pencil, numbered from the edition of 21, printed by Thumbprint Editions, published by Waddington Galleries, London, on wove paper, with full margins, sheet 430 x 358mm (16 7/8 x 14 1/8in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Ian Davenport Style Acrylic on Canvas "Stripes" Signed illegibly Lower Right. Measures 60" x 48-1/4". Condition: Three small holes on the canvas otherwise good condition. Estimate $200.00 - $1000.00 Domestic shipping Third party
IAN DAVENPORT (Kent 1966–lives and works in London) Colourcade: Orange and Yellow. 2015. Acrylic on stainless steel on aluminium. Signed on the gallery label on the reverse: I. Davenport, as well as with the technical description. 150 × 200 cm (2-parts). Provenance: - Artist's studio. - Galerie Andres Thalmann, Zurich (verso with the label). - Art Leasing & Invest AG. - Company collection Jelmoli, Switzerland. Exhibition: - Zurich 2015, British Artists: Michael Craig-Martin, Ian Davenport, Nigel Hall, Howard Hodgin. Galerie Andres Thalmann, 13 June - 11 July. - Zurich 2017, Jelmoli Grand Opening, Renovation of the fassade. Literature: Exh. cat.: Ian Davenport, Mirrors and Light, Galerie Andres Thalmann, Zurich 2022. The British artist Ian Davenport is a master of colour. In his works he is not interested in narrative but in the effect and interplay of colours. His love of experimentation and testing boundaries seem unlimited. "Colourcade: Orange and Yellow" from 2015, which is offered here, is an outstanding example of Davenport's mature work. Influenced by the stripe paintings of minimalists such as Frank Stella, Kenneth Noland and Bridget Riley, the Goldsmiths graduate began to experiment and develop his own painting technique. Using a syringe, he applies the paint to the upper edge of a thin steel sheet and allows it run down - randomly at first. Only then would Davenport begin to guide the resulting irregular lines to create straight, linear stripes. These "Poured Lines" have become his trademark. A variation of this and hence the other prominent series within his oeuvre, are the "Puddle Paintings" - of which the work offered here is also an example. In these works, the artist bends the lower part of the steel sheet upwards so that the paint running down converges in random puddles. A further extension of this idea is Davenport's contribution to the Venice Biennale in 2017, where his "Giardini Colourfall" runs down to the ground to form puddles. --------------- IAN DAVENPORT (Kent 1966–lebt und arbeitet in London) Colourcade: Orange and Yellow. 2015. Acryl auf Edelstahl auf Aluminium. Verso auf dem Galerieetikett signiert: I. Davenport, sowie mit den Werkangaben. 150 × 200 cm (2-teilig). Provenienz: - Atelier des Künstlers. - Galerie Andres Thalmann, Zürich (verso mit dem Etikett). - Art Leasing & Invest AG. - Firmensammlung Jelmoli, Schweiz. Ausstellungen: - Zürich 2015, British Artists: Michael Craig-Martin, Ian Davenport, Nigel Hall, Howard Hodgin. Galerie Andres Thalmann, 13. Juni - 11. Juli. - Zürich 2017. Jelmoli Grand Opening Fassaden Renovierung. Literatur: Ausst.Kat.: Ian Davenport, Mirrors and Light, Galerie Andres Thalmann, Zürich 2022. Der Brite Ian Davenport ist ein Meister der Farbe. Er ist bei seinen Werken nicht an einer Narration interessiert, sondern an der Wirkung und dem Zusammenspiel von Farben. Seine Experimentierfreude und das Austesten von Grenzen scheinen unbeschränkt. Das hier angebotene "Colourcade: Orange and Yellow" von 2015 ist ein herausragendes Beispiel für Davenport reifes Schaffen. Beeinflusst durch die Streifenbilder der Minimalisten wie Frank Stella, Kenneth Noland, Bridget Riley beginnt der Goldsmith Absolvent zu experimentieren und entwickelt seine eigene Maltechnik. Mit einer Spritze trägt er die Farbe am Oberrand eines dünnen Stahlblechs auf und lässt sie zunächst zufällig herunterlaufen. Erst dann beginnt Davenport die so entstehenden unregelmässigen Linien zu leiten, um dann gerade, linear verlaufende Streifen zu schaffen. Diese "Poured Lines" sind zu seinem Markenzeichen geworden. Eine Abwandlung, und somit die zweite beherrschende Serie seines Œuvres, sind die "Puddle Paintings" – Pfützenbilder – zu denen auch das hier angebotene Werk gehört. Bei diesen Werken biegt der Künstler den unteren Teil des Stahlblechs nach oben, so dass die herunterlaufende Farbe in zufälligen Pfützen zusammenläuft. Eine zusätzliche Erweiterung dieser Idee ist Davenports Beitrag zur Venedig Biennale im Jahr 2017, wo sein "Giardini Colourfall" bis auf den Boden läuft, um dort "Pfützen" zu bilden. ---------------
Ian Davenport (British, born 1966) Puddle Painting: Jazz signed, titled and dated 'I. Davenport/2010/Puddle Painting: Jazz' (verso) acrylic on stainless steel 147 x 123.3 cm. (57 7/8 x 48 1/2 in.) (unframed)
Ian DAVENPORT (Né en 1966) Puddle painting: white - 2010 Acrylique sur panneau d'aluminium Signé, daté et titré au dos "G. Davenport, 2010, Puddle Painting: White" h: 48 w: 37 cm Provenance : Galerie Hopkins, Paris Collection particulière européenne Commentaire : Acrylic on aluminium panel; signed, dated and titled on the reverse Lot en importation temporaire. L'acquéreur devra acquitter des frais d'importation, soit 5,5% en sus du prix d'adjudication sauf s'il réexporte immédiatement le lot hors de l'Union Européenne. This work is in temporary import. The buyer will have to pay import fees of 5.5% in addition to the hammer price, unless the buyer immediately re-exports the lot outside the European Union. Estimation 10 000 - 15 000 €
Ian DAVENPORT (Né en 1966) Untitled - 2010 Acrylique sur panneau d'aluminium Signé, daté et titré au dos "G. Davenport, 2010, Untitled" h: 60,50 w: 47,50 cm Provenance : Galerie Hopkins, Paris Collection particulière européenne Commentaire : Acrylic on aluminium panel; signed, dated and titled on the reverse Lot en importation temporaire. L'acquéreur devra acquitter des frais d'importation, soit 5,5% en sus du prix d'adjudication sauf s'il réexporte immédiatement le lot hors de l'Union Européenne. This work is in temporary import. The buyer will have to pay import fees of 5.5% in addition to the hammer price, unless the buyer immediately re-exports the lot outside the European Union. Estimation 12 000 - 18 000 €
IAN DAVENPORT (BRITISH B.1966) Colour Splat Cluster 2018 signed, dated and numbered 33/40 in pencil verso screenprint in colours on Arches wove published by the Terrence Higgins Trust, London sheet 85 x 56cm unframed ARR
IAN DAVENPORT (BRITISH B.1966) Untitled 2009 signed, dated, numbered 3/21 and inscribed 'for Veronica' in pencil etching with aquatint on wove printed at Thumbprint Editions, published by Waddington Galleries, London sheet 42.7 x 35.2cm framed ARR
§ IAN DAVENPORT (BRITISH 1966-) LIFT - 2021 Etching with chine collé, A.P. 1/5, signed, dated and editioned in pencil to margin (image size 59cm x 49cm (23.25in x 19.25in)) Provenance: Cristea Roberts Gallery Note: Ian Davenport is best known for his colourful “puddle” paintings. To make them, the artist meticulously pours hundreds of thin acrylic lines down a canvas, and they artfully pool and swerve at the bottom. All of Davenport’s work embraces experimentation: he has used a variety of industrial and everyday tools—including wind machines, hypodermic syringes, and watering cans—to manipulate paint and draw as much attention to the process of artmaking as to the finished works themselves. Davenport graduated from Goldsmiths College in London in 1988, the same year he featured in the Freeze exhibition curated by fellow Young British Artist Damien Hirst. In the years since, Davenport has exhibited at the Royal Academy of Arts, the Galleria Nazionale Arte Moderna in Rome, the Hammer Museum, and Kunsthal Rotterdam, among other institutions.
IAN DAVENPORT (né en 1966) Poured Lines: Red, Yellow, Grey, Blue, Orange, 1993 Peinture domestique brillante sur toile. Glanzende huiselijke verf op doek. 213,4 x 213,4 cm
§ Ian Davenport (British 1966-) Untitled (No.15), 2014 15/30, signed, dated and numbered in pencil (to reverse), acrylic on paper (30.5cm x 27cm (12in x 10 5/8in)) From a series of thirty paintings undertaken by Davenport to mark the publication of the artist’s monograph.
§ Ian Davenport (British 1966-) Untitled, circa 1989 signed and dated (to reverse), oil on canvas (151.5cm x 113.5cm (59.6in x 44.75in)) Provenance: Karsten Schubert Ltd., London; Timothy Taylor Gallery, London; Richard Salmon Gallery, London. Instantly recognisable for his signature pouring of paint onto a tilted surface, the work of abstract artist Ian Davenport occupies a significant place in contemporary British art. These early paintings date from the formative period of his career between graduating from Goldsmiths College in 1988, and his first solo exhibition in 1990 and Turner Prize nomination in 1991. His abstract paintings are created by pouring layers of paint onto prepared canvases or board making complex colour combinations that visualise the artist’s fascination with colour and its importance in establishing the boundaries between representation and abstraction, evoking the processes of the Post-painterly Abstraction movement in America in the 1950s and 60s. Often employing unconventional materials such as electric fans and nails, Davenport’s work explores the materiality of paint as a subject matter in its own right, creating compositions that considers the act of painting as well as the importance of visual harmony.
§ Ian Davenport (British 1966-) Untitled, 1988 signed and dated (to reverse), oil on canvas (55.5cm x 55.5cm (21.9in x 21.9in)) Provenance: Richard Salmon Gallery, London. Instantly recognisable for his signature pouring of paint onto a tilted surface, the work of abstract artist Ian Davenport occupy a significant place in contemporary British art. These early paintings date from the formative period of his career between graduating from Goldsmiths College in 1988, and his first solo exhibition in 1990 and Turner Prize nomination in 1991. His abstract paintings are created by pouring layers of paint onto prepared canvases or board making complex colour combinations that visualise the artist’s fascination with colour and its importance in establishing the boundaries between representation and abstraction, evoking the processes of the Post-painterly Abstraction movement in America in the 1950s and 60s. Often employing unconventional materials such as electric fans and nails, Davenport’s work explores the materiality of paint as a subject matter in its own right, creating compositions that considers the act of painting as well as the importance of visual harmony.
Ian Davenport (British, born 1966) Poured Painting: Blue, Purple, Violet, 2001 signed, titled and dated 'Poured Painting: Blue/Purple/Violet/I.Davenport/2001' (verso) household paint on board in three parts 244 x 183cm (96 1/16 x 72 1/16in) overall For further information on this lot please visit the Bonhams website
Ian Davenport (British, born 1966) Poured Painting: Green/Yellow Green signed and titled 'I. Davenport/Poured Painting/Green/Yellow/Green' (on board verso) household paint on fibreboard 244 x 60.5cm (96 1/16 x 23 13/16in). (unframed) Painted in 2000 For further information on this lot please visit the Bonhams website
IAN DAVENPORT (B. 1966) Winter (from The Four Seasons) etching and chine collé on paper image: 38 x 38in. (96.4 x 96.6cm.) sheet: 45 3/8 x 44 5/8in. (115.1 x 113.2cm.)
Ian Davenport (British, b. 1966) Staggered Lines (a pair of works), 2011 unique color etchings signed, dated, and numbered 1/1 in pencil each 30 1/2 x 22 7/8 inches.
PROPERTY FROM THE COLLECTION OF THE LATE CLODAGH WADDINGTON Ian Davenport, British b.1966- Two untitled etchings, 2009; two etchings with aquatint on wove, each signed, dated, inscribed 'For Leslie' and 'For Clodagh' respectively, numbered 1/21 and 2/21 respectively in pencil, printed at Thumbprint editions, published Waddington Galleries, London, each sheet 43.4 x 35.5cm (unframed) (2) (ARR) Please refer to department for condition report
Ian Davenport (British, born 1966) Poured Painting: Blue, Purple, Violet signed, dated and titled 'Poured Painting: Blue/Purple/Violet/I.Davenport/2001' (verso) household paint on board in three parts 244 x 183 cm. (96 x 72 in.) For further information on this lot please visit the Bonhams website
Ian Davenport, British b.1966 - 21, 2014; acrylic and water-based paints on Fabriano Aristico paper, signed, dated and numbered verso 'I Davenport 2014 21/30', 31 x 27 cm (ARR) Provenance: Waddington Custot, London, where purchased by the present owner. This work is by the English painter Ian Davenport, who attended Goldsmiths College alongside classmates Damien Hirst, Sarah Lucas and Gary Hume. His work was also included in Freeze, a 1988 exhibition curated by Hirst which featured the artworks of a number of artists who would later be classed as the Young British Artists (YBA). This work demonstrates Davenport’s signature style, which involves the application of bright pigments in large-scale vertical lines, leading commentators to compare his work with that of Bridget Riley, another influential contemporary British artist. Please refer to department for condition report
IAN DAVENPORT (B. 1966) Etched Lines: Thirty-Four, Thirty-Five and Thirty-Six Each Image: 27 3/8 x 20 5/8 in. (695 x 523 mm.) Each Sheet: 36 x 27 5/8 in. (915 x 702 mm.) (3)
IAN DAVENPORT (b. 1966) Poured Lines: Dark Cobalt StudyIAN DAVENPORT (b. 1966), Poured Lines: Dark Cobalt Study, signed, inscribed and dated 'Poured Lines:/Dark Cobalt Study/I.Davenport/2007' (on the reverse), acrylic on aluminium panel, 70 7/8 x 59 1/8..."
Ian Davenport (British, born 1966) Poured Painting: Green/Yellow Green, 2000 signed and titled 'I. Davenport/Poured Painting/Green/Yellow/Green' (on board verso) household paint on fibreboard, unframed 244 x 60.5cm (96 1/16 x 23 13/16in). For further information on this lot please visit the Bonhams website
Ian Davenport (British, born 1966) Magenta and Green, 2008 acrylic on aluminium 60 x 50cm (23 5/8 x 19 11/16in). For further information on this lot please visit the Bonhams website
Ian Davenport, British b.1966- 22, 2014; acrylic and water-based paints on Fabriano Aristico paper, signed, dated 2014 and numbered 22/30, 31x27cm (ARR) Provenance: Waddington Custot, London, where purchased from the present owner. Note: This work is accompanied with an accompanying special edition monograph book on the artist. This work is by the English painter Ian Davenport, who attended Goldsmiths College alongside classmates Damien Hirst, Sarah Lucas and Gary Hume. His work was also included in Freeze, a 1988 exhibition curated by Hirst which featured the artworks of a number of artists who would later be classed as the Young British Artists (YBA). This work demonstrates Davenport’s signature style, which involves the application of bright pigments in large-scale vertical lines, leading commentators to compare his work with that of Bridget Riley, another influential contemporary British artist. Please refer to department for condition report
Ian Davenport British, b. 1966 Poured Painting, 1996 Signed and dated Davenport 1996 on the reverse Housepaint on fibreboard 11 3/4 x 11 3/4 inches (29.8 x 29.8 cm) Unframed Provenance: Waddington Galleries, London C
