(i) AS THOUGH SHE WERE STONE OR STRUCK BY THUNDER (ii) THE OBSERVER'S BOOK OF PAINTING, PLATE 50
(i) signed and dated Annmarie James 2012 lower right; numbered 1/25 lower left
screenprint in colours on Fabriano paper
34.5 x 26.5cm; 13 1/2 x 10 1/2in
39.5 x 31.5cm; 15 1/2 x 12 1/2in (framed)
(ii) signed, titled and dated The Observer's Book of Painting, Pl. 50 / 2015, Annmarie James on the endpaper
The fourth reprint edition of The Observer's Book of Painting and Graphic Art by William Gaunt, 1976, with hand-colouring in gouache and biro on plate 50, contained in the artist's cloth-covered presentation box with printed title
14.6 x 9.4 x 1.5cm; 5 3/4 x 3 3/4 x 1/2in (book)
20.4 x 25.9 x 3.4cm; 8 x 10 1/2 x 1 1/2in (box)

Property from the Estate of Karsten Schubert

Ann-Marie James works with classical source materials, appropriating and mutating culturally-defined art historical masterpieces to create an image that is both recognisable and distorted.

As Though She Were Stone or Struck by Thunder recalls Bernini's Rape of Proserpine, yet the repetition of figurative elements blended with complex abstract configurations results in a wholly new image that marries baroque iconography with the visual genius of a contemporary mind. In The Observer's Book of Painting James repetitively layers ink and gouache on top of plate 50, an illustration of Leonardo da Vinci's Madonna of the Rocks in the National Gallery, to give way to an abstract composition that, whilst still retaining a memory of Da Vinci's work, negotiates a new visual language.

Property from the Estate of Karsten Schubert (lots 53 & 54)

Introduction
Born in Berlin, Karsten Schubert (1961-2019) was a pioneer on the 1980’s London Art scene, opening doors of opportunity to many artists who were associated with the Young British Artist movement (YBAs). He began his career at the Lisson Gallery which, in the early 80’s, was one of the very few London galleries offering space to young undiscovered artistic talent. Inspired to create his own forum for a new generation of art, Karsten sought investment from dealer Richard Salmon, and at the age of 25 established a gallery on Charlotte Street, Fitzrovia.

His first exhibition featured the work of Alison Wilding and, following on from Damien Hirst’s Freeze show of 1988, he began representing Goldsmith graduates Gary Hume, Michael Landy and Ian Davenport. Karsten typically gave his artists free reign to create as they pleased. In 1992 the exhibition Closing Down saw artist Michael Landy fill shopping trolleys with cheap tat emblazoned with banners: ‘Cor What a Bargain’ and ‘Everything Must Go.’ Equally as outlandish was Anya Gallacio’s project in which she covered the gallery interior with chocolate. Although groundbreaking and inspiring these exhibitions were ultimately uncommercial, Karsten was obliged to relocate to smaller premises on Foley Street and a number of his protégés left him for other representation in London’s popular West End.

In 1995, Karsten turned his attention to publishing. Teaming up with Thomas Dane and Charles Asprey, he established Ridinghouse Editions focusing on prints. Later in his career, his literary focus shifted to more academic endeavours and Ridinghouse became a publisher of art history and theory including a number of artist monographs. Karsten's artistic focus also shifted and he concentrated on the works of the likes of Bridget Riley and Tess Jaray from his Lexington Street Gallery in Soho.

Loved and admired in the London art world and beyond, in 2015, Schubert was diagnosed with a rare form of thyroid cancer. While recovering from surgery in a suite at Claridge’s, London (his hotel bill was met by two friends) he wrote a semi-autobiographical book, Room 225-6: A Novel. The book was published by Ridinghouse, with the proceeds going towards research into robotic surgery.