Waterhouse & Dodd
Sandra Safta Waterhouse
We have been dealing in fine paintings from a London gallery since 1987 and now have two galleries in London, two galleries in New York and an office in Paris. Our stock always includes Impressionist, Post-Impressionist and Modernist works, with works by both important and minor artists. We also deal in Contemporary art, representing artists in both the UK and USA.
Our sister firm, Fine Art Brokers, is one of the world's most respected art advisory services: www.fineartbrokers.com.
Also exhibited by:
Also represented by:
Other Represented Artists
One of the most celebrated artists of the twentieth century, Calder produced works that are both
ground-breaking and light-hearted, balancing logical formal qualities with humour and play. He
redefined sculpture by introducing movement and by the 1950s had achieved international significance,
allowing him to expand his studios in the United States and France and create works on a monumental
scale. Calder cited Mondrian and Miró as influences and indeed his paintings and mobiles exhibit the
same buoyancy, wit and whimsy, conveying a sense of movement through serpentine, unbroken lines.
His work is in numerous international public collections, including the Whitney Museum of American
Art, the Museum of Modern Art in New York, the Centre Georges Pompidou and the National Gallery of
Art in Washington, D.C. Calder's public commissions are on view in cities throughout the world, and his
work has been the subject of hundreds of shows and retrospectives, including Alexander Calder: 1898–
1976 at the National Gallery of Art in Washington, D.C. (1998); Calder: Gravity and Grace at the
Guggenheim Bilbao (2003); Calder at Samsung Museum of Art in Seoul (2013); and Calder and
Abstraction: From Avant-Garde to Iconic at the Los Angeles County Museum of Art (2014)
Tours, Château de Tours, Absence et présences, 1st April-7th 2006
Tours, Château de Tours, Calder en Touraine, 6th June-19th October 2008
Detailed Description :
Composition in red is remarkable amongst Calder’s body of work for its spontaneity and unconstrained
brilliant colour. Its dazzling expanse of red and broad swathes of yellow conjure a rolling landscape that
is unrestrained by formula or painting surface. This visceral aspect stands in contrast to many of Calder’s
gouaches, where colour appears almost graphically in geometric shapes or flat, static planes. Painted in
Touraine in 1961, this work is significantly earlier than the majority of pieces currently on the market.
Calder gifted it to his close friend and collaborator, the writer Pierre Halet, and the work formed part of
a 2006 exhibition held in Halet’s honour at the Château de Tours.
Also represented by:
Allan D’Arcangelo has long been recognised as a leading figure among the first generation of American Pop Artists. These artists reacted to the relatively new and utterly pervasive visual landscape of mid twentieth-century America – one defined by endlessly reproduced images from popular and consumer culture. While his early Pop work engaged with mass culture, by 1962 D’Arcangelo turned his attention to the open road, an equally ubiquitous aspect of the post-war American experience. Developed throughout the 1960s, these landscape paintings are amongst Pop Art’s most iconic images.
D’Arcangelo’s landscapes follow the development of the inter-state highway network in 1956, which replaced winding state roads with endless concrete ribbons. Beginning with his 1962 Full Moon and subsequent US Highway #1 series, D’Arcangelo captured the American landscape through the standardised language of road signs and markers that became one of its defining features.
By the second half of the 1960s, D’Arcangelo began to emphasize the road sign’s formal elements in compositions that became increasingly abstract, such as the present work. Herein lies what Nicolas Calas, undoubtedly one of the artist’s most insightful commentators, described as the metaphysical aspect of his work. Calas compares D’Arcangelo to Giorgio De Chirico, who placed ancient images in a context where they lost their meaning. The present work similarly divides contemporary images from their factual form, emphasizing colour and spatial relationships over meaning. Faced with symbols that are both recognisable and unintelligible, the viewer’s mind is free to wander unobstructed by fact.
This surreal quality indicates a major difference between D'Arcangelo's conception of the highway and one presented by Jack Kerouac and Robert Frank. Whereas the latter two see the road as a series of places, where rites of passage occur and stories unfold, for D'Arcangelo it is a place without time and
Karen GUNDERSON was born in 1943 in Racine, Wisconsin and lives and works in New York.
Beginning in the 1980s, Karen Gunderson developed her own style and language of painting in which she applies black oil paint with innovative brush strokes. She uses five different hues of black and by scoring the surface to create impasto and manipulate the reflections of light she generates extraordinary effects - in her sea paintings, for example, the viewer experiences an illusion of movement in the waves and clouds as they walk around the canvas. One could accurately describe her medium as ‘light on oil paint on canvas’.
Also represented by:
Jade Oakley is a practising artist. She attended the College of Fine Arts where she achieved a Bachelor of Fine Arts with Honours in sculpture.
“For the past 18 years I have been creating kinetic sculptures and for the past seven years I have made mobiles of all scales and in many different materials. Inspired by Alexander Calder, I enjoy working out the mechanics of complex kinetics in mobiles that move and dance in a variety of ways and create a continually changing visual spectacle.
In the last five years I have had the opportunity to scale up my more fragile gallery work to large settings including hospitals, restaurants, hotels, casinos and even railway stations. I work closely with designers, architects, engineers, and fabricators in a collaborative spirit to generate ideas that integrate into architectural spaces, responding to nuanced design requirements such as way finding and sense of place.
Through colour, composition and form the artworks themselves are often a response to a particular environment or landscape, creating a unique focal point for each setting, transforming and uplifting in a soft but dynamic way. I am inspired by nature and a love of colour and its composition.
The mobiles I build are infinitely flexible - adapting materials and their strength to the scale of the pieces and the size of the elements. I work in metal, silk, paper and polymers. I can work in fine wire or engineered stainless steel to achieve the same effects at all scales. I dye my own fabric and print my own paper and engage the help of subcontractors to scale up my work for more robust settings, overseeing the complex process of coordinating but always controlling and intervening to create a highly crafted artwork. My work is adaptable to many kinds of settings, indoor and outdoor, intimate spaces and especially large atria.
To me art is about communicating with the viewer and I am committed to communicating joy and peace through my art
Jean-Francois Rauzier is an internationally acclaimed photographer, who has had museum shows in Paris, Moscow, Los Angeles and Washington DC. Waterhouse & Dodd is his exclusive agent in the USA, UK and Middle East and has shown his work in exhibitions and fairs in New York, Palm Beach, Miami, Los Angeles, Abu Dhabi, Maastricht and London, selling over 200 of his ‘Hyperphotos’.
In 2002, when Jean-François Rauzier created his first ‘Hyperphotos’, he was already an established photographer and had been searching for a new creative method that would differ considerably from the traditional model. With his ‘Hyperphotos’ he strove to capture “the panorama and the macro view all at once, to stop time and to have the possibility of viewing all the details of a static image”.
Rauzier’s work transforms reality; it fascinates us with its scale, and takes the viewer on a journey through the visible world. Rauzier uses thousands of high-resolution close-ups views and stitches them into his large compositions, maintaining the focus and sharpness of the smallest detail.
Rauzier carefully composes each work from elements and images he has collected over many years, working in some ways more like a painter than a photographer, creating his own supernatural man-made world. Using digital technology, he cuts, moves and constructs buildings, gardens, animals, and many other objects. Carefully collected during long photographic sessions to inspire a new fantastic landscape, a capricious picture or a baroque masterpiece. He strives to transform the world according to his dreams, wishes and anxieties, and to recreate the magic and secrecy of ancient legends and stories using 21st century media.
Of course, none of his mastery of technology would be worthy unless it was combined with a true artistic vision. Rauzier also possesses a deep knowledge of literature, art history and history, and utilizes all these with his unique wit and humor.
Size variations may
Living the world with a camera
When he was 9 years old, Georges Rousse received the legendary Kodak Brownie camera
as a Christmas gift. Since then, the camera has never left his side. While attending medical
school in Nice, he decided to study professional photography and printing techniques, then
opened his own studio dedicated to architectural photography. Soon, his passion for the
medium led to devote himself entirely to photography, following in the footsteps of such great
American masters as Steichen, Stieglitz and Ansel Adams.
After he discovered Land Art and Malevich's Black Square against a white field, Georges
Rousse altered his relationship to photography, inventing a unique approach that shifted the
relationship of painting to space. He began making installations in the types of abandoned or
derelict buildings that have long held an attraction for him--creating ephemeral, one-of-a-kind
artworks by transforming these sites into pictorial spaces that are visible only in his
From the early 1980s on, Georges Rousse has chosen to show his photographs on a large
scale, so that his viewers participate in the work and experience the sense of space in a
Collapsing the usual restrictions between artistic mediums, his unique body of work quickly
made its mark on the contemporary art world. Since his first exhibition in Paris, at the Galerie
de France in 1981, Georges Rousse has continued creating his installations and showing his
photographs around the world, in Europe, in Asia (Japan, Korea, China, Nepal.), in the
United States, in Quebec and in Latin America.
He has participated in numerous biennials (Paris, Venice, Sydney) and received many
1983: Villa Medicis hors les murs, New York
1985 -1987: Villa Medicis, Rome
1988: International Center of Photography Award, New York
1989: Salon de Montrouge Drawing Prize
1992: Romain Roland Fellowship, Calcutta
1993: National Grand Prix of Photography
2008: Succeeded Sol LeW