ARTIST: Brian Sanders (British, born 1937) NAME: River Police YEAR: 1979 MEDIUM: watercolor on paper CONDITION: Very good. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 19 inches / 35 x 48 cm SIGNATURE: lower right NOTE: The history of the British Police Force is nearly as old as England itself. In 1066, when the Normans conquered England, a system of public protection and safety was established. In this system, men sixteen years old and over were required to stand watch and ward duty for their town. On such assignments the men questioned travelers who were on the road after nightfall and held suspicious persons in custody. They also patrolled the streets to quiet disturbances and prevent crime. If a crime was committed, all able-bodied men joined with the men on watch in a hue and cry, or a chase to capture the suspect. As towns grew, the policing systems also became larger and more organized. By 1800, London had its own special police to guard the docks, the marketplace, and other selected locations. In 1829, Londoner Sir Robert Peel organized the London Metropolitan Police, a body of trained and paid policemen who guarded the city both by day and by night. Named after their founder, these officers were soon known throughout London as "bobbies" or "peelers." The name stuck and to this day, the Metropolitan Police Force is referred to by the name "bobbies." Today, this force is a far cry from that of the early days. It is a league of professional crime fighters and dedicated public servants, skilled in modern police procedures. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118258 US SHIPPING: $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (United Kingdom, born 1937) TITLE: Illustration - Medical Assistance of Africa (titled on label) YEAR: 1984 MEDIUM: watercolor on paper CONDITION: Very good. ART SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 19 inches / 35 x 48 cm SIGNATURE: unsigned but has publishing house labels on verso NOTE: This painting was originally published on the Fleetwood First Day Cover for the Great Britain 17p British Council stamps issued September 25, 1984. An African nurse who is educated in the medical field can save countless lives by giving her patients inoculations and teaching them proper health care and nutrition. A majority of the British Council's scientific and medical programs are conducted in England and promising students come from the world over to study, whereupon they return to their own nations, eager to heal, build and improve their country. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: old antique vintage painting for auction sale online AD: ART WANTED: Consign, Trade In, Cash Offer SKU#: 133251 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (United Kingdom, 1937 - ???) TITLE: Ship - Admiral Graf Spee (titled on label) YEAR: 1998 MEDIUM: oil on canvas. Canvas applied to board. CONDITION: One minor paint loss. No visible inpaint under UV light. ART SIZE: 11 x 13 inches / 27 x 33 cm BOARD SIZE: 15 x 17 inches / 38 x 43 cm SIGNATURE: lower right NOTE: This painting is the original painting which was published on the Republic of the Marshall Islands History's Greatest Fighting Ships sheetlet issued December 1, 1998. The Graf Spee, a German pocket battleship launched in 1936, was heavily gunned, with a top speed of 25 knots and an endurance of 12,500 miles. The huge German ship conducted a reign of terror in the South Atlantic throughout the latter part of 1939, sinking several British merchant ships. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: old antique vintage painting for auction sale online AD: ART WANTED: Consign, Trade In, Cash Offer SKU#: 132569 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (United Kingdom, born 1937) TITLE: Illustration - Girl Guides Association (titled on label) YEAR: 1981 MEDIUM: watercolor on paper CONDITION: Very good. ART SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 19 inches / 35 x 48 cm SIGNATURE: unsigned but has publishing house labels on verso NOTE: This artwork originally appeared on the Fleetwood First Day Cover for the Great Britain Girl Guides stamp issued March 24, 1982. When in 1908 Robert Baden-Powell's tremendously successful book "Scouting for Boys" was published, girls all over the country began to borrow their brothers' copies and to form small groups, calling themselves Girl Scouts. Powell's original intention was that Scouting should be for boys only. But girls, seeing the fun and adventure their brothers were having as Boy Scouts, began asking to join too. Robert Powell soon realized that if girls continued to call themselves Scouts , the boys, for whom the training was originally intended, may lose interest. He also knew that parents at that time would not approve such a tomboyish image for their daughters. He therefore chose for the girls a new name ... Girl Guides. Powell's sister, Agnes Baden-Powell, adapted "Scouting for Boys" as the basis of a parallel program for girls and, in conjunction with her brother, wrote "How Girls Can Help to Build Up the Empire" -- the official handbook for Girl Guides which was published in 1912. Due to popular demand the "Rosebuds," later re-named the Brownies, was added to the girls' movement to serve girls eight to eleven years old. Since their inception, the Girl Guides and Brownies have increased membership dramatically every year, with a combined total today of over 300,000 Guides and Brownies in the United Kingdom alone and millions more throughout the world. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: old antique vintage painting for auction sale online AD: ART WANTED: Consign, Trade In, Cash Offer SKU#: 133250 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: Mounted Police YEAR: 1979 MEDIUM: watercolor on heavy paper CONDITION: Excellent. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 20 inches / 35 x 50 cm SIGNATURE: on verso PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120042 US Shipping $60 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (United Kingdom, 1937 - ???) TITLE: Purse Seiner - Fishing Boat MEDIUM: watercolor on heavy paper CONDITION: Very good. ART SIZE: 13 x 14 inches / 33 x 35 cm FRAME SIZE: 14 x 19 inches / 35 x 48 cm SIGNATURE: unsigned but has publishing house labels on verso PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. NOTE: This painting was originally published on the Fleetwood First Day Cover for the Great Britain 25p Purse Seiner stamp issue of September 23, 1981. It was thousands of years ago that man first harvested the bounty of the sea. Today, nearly five million people make their living fishing in the world's oceans. Pulling over 152 billion pounds of fish a year from the sea, these fishermen annually catch the equivalent of nearly forty-two pounds of fish for every person in the world. To gather this kind of harvest from the ocean requires the most advanced fishing equipment. Using helicopters, radar, and other electronic gear to locate fish, the great fleets roam the earth in search of fish. The fishing vessel featured in the painting is using purse seining, probably the most efficient method of net fishing ever devised. Armed with sonar and other electronic equipment, the boat's captain can obtain video information of the underwater world in full color. This enables him to pinpoint shoaling fish and determine the depth at which they are swimming. Casting their nets far from the boat so that they can encircle a vast area of water, the fishermen often catch their week's quota in a matter of hours. As the net is pulled in close to the ship, the opening tightens like a drawstring purse. Instead of hauling the fish on deck and risking damage to the expensive nets, the men use a fish pump to suck up the catch and pour it straight into the hold. The purse seiner is one of man's finest fishing innovations, allowing him to gather tons of fish from the sea to feed the world's people. CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 126890 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: Collage of Police Transportation YEAR: 1979 MEDIUM: watercolor on heavy paper CONDITION: Excellent. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 13 x 20 inches / 33 x 50 cm SIGNATURE: on verso NOTE: This painting is the original which was published on the Fleetwood First Day Cover for the Great Britain 11 1/2P Traffic Police Mammoth stamp issued September 26, 1979. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120043 US Shipping $60 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
Brian Sanders (British, B. 1937) "The Mary Rose" Original Oil on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Republic of the Marshall Islands History's Greatest Fighting Ships sheetlet issued December 1, 1998. In 1545, England's Henry VIII ordered his warships to attack a fleet of hostile Frenchmen off Portsmouth. The knight in charge of the Mary Rose forgot to close his gun ports and as the great warship heeled with the wind, its lower gun ports flooded. In full view of the King and his court, the Mary Rose plunged to the bottom, drowning most of its crew. Image Size: 11 x 13 in. Overall Size: 15 x 17 in. Unframed. (B16194)
Brian Sanders (British, B. 1937) "Medical Assistance in Africa" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 17p British Council stamps issued September 25, 1984. An African nurse who is educated in the medical field can save countless lives by giving her patients inoculations and teaching them proper health care and nutrition. A majority of the British Council's scientific and medical programs are conducted in England and promising students come from the world over to study, whereupon they return to their own nations, eager to heal, build and improve their country. Image Size: 11.75 x 13.75 in. Overall Size: 14.25 x 18.75 in. Unframed. (B08977)
Brian Sanders (British, B. 1937) "Girl Guides Association" Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day Cover for the Great Britain Girl Guides stamp issued March 24, 1982. When in 1908 Robert Baden-Powell's tremendously successful book "Scouting for Boys" was published, girls all over the country began to borrow their brothers' copies and to form small groups, calling themselves Girl Scouts. Powell's original intention was that Scouting should be for boys only. But girls, seeing the fun and adventure their brothers were having as Boy Scouts, began asking to join too. Robert Powell soon realized that if girls continued to call themselves Scouts , the boys, for whom the training was originally intended, may lose interest. He also knew that parents at that time would not approve such a tomboyish image for their daughters. He therefore chose for the girls a new name ... Girl Guides. Powell's sister, Agnes Baden-Powell, adapted "Scouting for Boys" as the basis of a parallel program for girls and, in conjunction with her brother, wrote "How Girls Can Help to Build Up the Empire" -- the official handbook for Girl Guides which was published in 1912. Due to popular demand the "Rosebuds," later re-named the Brownies, was added to the girls' movement to serve girls eight to eleven years old. Since their inception, the Girl Guides and Brownies have increased membership dramatically every year, with a combined total today of over 300,000 Guides and Brownies in the United Kingdom alone and millions more throughout the world. Image Size: 12 x 14 in. Overall Size: 13.25 x 19.5 in. Unframed. (B06220)
ARTIST: Brian Sanders (United Kingdom, born 1937) TITLE: Illustration - Boys Brigade (titled on label) YEAR: 1981 MEDIUM: watercolor on paper CONDITION: One small tear 1"long to left edge. Minor paint losses. ART SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 13 x 20 inches / 33 x 50 cm SIGNATURE: unsigned NOTE: This artwork originally appeared on the Fleetwood First Day Cover for the Great Britain Boys Brigade stamp issued March 24, 1982. In October 1883 PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 128269 US Shipping $60 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (United Kingdom, born 1937) TITLE: VE-Day YEAR: 1995 MEDIUM: oil on canvas CONDITION: Unstretched (In-House stretching available). Very good. No visible inpaint under UV light. ART SIZE: 26 x 40 inches / 66 x 101 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: unsigned but has publishing house labels on verso PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 127963 US Shipping $149 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
Brian Sanders (British, B. 1937) "Raid on Saint-Nazaire" Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Republic of the Marshall Islands 29c Raid on Saint-Nazaire 1942 stamp issued March 27, 1992. In 1942, the British Admiralty decided to destroy the only dock large enough to accommodate the German battleship Tirpitz. On March 26, the HMS Campbeltown and a small flotilla sailed from Falmouth for Saint-Nazaire, France. Shortly after 1:00 a.m. on March 27, the Campbeltown, laden with timed explosives, rammed the lock's caisson. The torpedo boat fired its timed torpedoes into the lock as well. More than 600 commandoes put ashore to begin their sabotage efforts, but heavy enemy fire forced their withdrawal. More than 140 men died, and many others were captured. But the ensuing explosions on March 28 demolished the caisson and terrified the German soldiers, who in a panic shot hundreds of their own men and civilian dock workers. Image Size: 13.75 x 16.75 in. Overall Size: 17.75 x 20.25 in. Unframed. (B13663)
Brian Sanders (British, B. 1937) "Admiral Graf Spee" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Republic of the Marshall Islands History's Greatest Fighting Ships sheetlet issued December 1, 1998. The Graf Spee, a German pocket battleship launched in 1936, was heavily gunned, with a top speed of 25 knots and an endurance of 12,500 miles. The huge German ship conducted a reign of terror in the South Atlantic throughout the latter part of 1939, sinking several British merchant ships. Image Size: 10.5 x 13 in. Overall Size: 14.5 x 17 in. Unframed. (B16017)
ARTIST: Brian Sanders (United Kingdom, 1937 - ???) TITLE: Purse Seiner - Fishing Boat MEDIUM: watercolor on heavy paper CONDITION: Very good. ART SIZE: 13 x 14 inches / 33 x 35 cm FRAME SIZE: 14 x 19 inches / 35 x 48 cm SIGNATURE: unsigned but has publishing house labels on verso PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. NOTE: This painting was originally published on the Fleetwood First Day Cover for the Great Britain 25p Purse Seiner stamp issue of September 23, 1981. It was thousands of years ago that man first harvested the bounty of the sea. Today, nearly five million people make their living fishing in the world's oceans. Pulling over 152 billion pounds of fish a year from the sea, these fishermen annually catch the equivalent of nearly forty-two pounds of fish for every person in the world. To gather this kind of harvest from the ocean requires the most advanced fishing equipment. Using helicopters, radar, and other electronic gear to locate fish, the great fleets roam the earth in search of fish. The fishing vessel featured in the painting is using purse seining, probably the most efficient method of net fishing ever devised. Armed with sonar and other electronic equipment, the boat's captain can obtain video information of the underwater world in full color. This enables him to pinpoint shoaling fish and determine the depth at which they are swimming. Casting their nets far from the boat so that they can encircle a vast area of water, the fishermen often catch their week's quota in a matter of hours. As the net is pulled in close to the ship, the opening tightens like a drawstring purse. Instead of hauling the fish on deck and risking damage to the expensive nets, the men use a fish pump to suck up the catch and pour it straight into the hold. The purse seiner is one of man's finest fishing innovations, allowing him to gather tons of fish from the sea to feed the world's people. CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 126890 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (United Kingdom, born 1937) TITLE: VE-Day YEAR: 1995 MEDIUM: oil on canvas CONDITION: Unstretched (In-House stretching available). Very good. No visible inpaint under UV light. ART SIZE: 26 x 40 inches / 66 x 101 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: unsigned but has publishing house labels on verso PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 127963 US Shipping $149 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: River Police YEAR: 1979 MEDIUM: watercolor on paper CONDITION: Very good. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 19 inches / 35 x 48 cm SIGNATURE: lower right NOTE: The history of the British Police Force is nearly as old as England itself. In 1066, when the Normans conquered England, a system of public protection and safety was established. In this system, men sixteen years old and over were required to stand watch and ward duty for their town. On such assignments the men questioned travelers who were on the road after nightfall and held suspicious persons in custody. They also patrolled the streets to quiet disturbances and prevent crime. If a crime was committed, all able-bodied men joined with the men on watch in a hue and cry, or a chase to capture the suspect. As towns grew, the policing systems also became larger and more organized. By 1800, London had its own special police to guard the docks, the marketplace, and other selected locations. In 1829, Londoner Sir Robert Peel organized the London Metropolitan Police, a body of trained and paid policemen who guarded the city both by day and by night. Named after their founder, these officers were soon known throughout London as "bobbies" or "peelers." The name stuck and to this day, the Metropolitan Police Force is referred to by the name "bobbies." Today, this force is a far cry from that of the early days. It is a league of professional crime fighters and dedicated public servants, skilled in modern police procedures. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118258 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: Mounted Police YEAR: 1979 MEDIUM: watercolor on heavy paper CONDITION: Excellent. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 20 inches / 35 x 50 cm SIGNATURE: on verso PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120042 US Shipping $60 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (United Kingdom, born 1937) TITLE: Illustration - Boys Brigade (titled on label) YEAR: 1981 MEDIUM: watercolor on paper CONDITION: One small tear 1"long to left edge. Minor paint losses. ART SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 13 x 20 inches / 33 x 50 cm SIGNATURE: unsigned NOTE: This artwork originally appeared on the Fleetwood First Day Cover for the Great Britain Boys Brigade stamp issued March 24, 1982. In October 1883 PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 128269 US Shipping $60 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (United Kingdom, born 1937) TITLE: Hugh Trenchard YEAR: 1986 MEDIUM: watercolor on paper CONDITION: Very good. ART SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 19 inches / 35 x 48 cm SIGNATURE: unsigned NOTE: This painting was originally published on the Fleetwood First Day Cover for the Great Britain 29p Lord Trenchard/DH9A stamp issued September 16, 1986. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 128270 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: Collage of Police Transportation YEAR: 1979 MEDIUM: watercolor on heavy paper CONDITION: Excellent. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 13 x 20 inches / 33 x 50 cm SIGNATURE: on verso NOTE: This painting is the original which was published on the Fleetwood First Day Cover for the Great Britain 11 1/2P Traffic Police Mammoth stamp issued September 26, 1979. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120043 US Shipping $60 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (United Kingdom, 1937 - ???) TITLE: Purse Seiner - Fishing Boat MEDIUM: watercolor on heavy paper CONDITION: Very good. ART SIZE: 13 x 14 inches / 33 x 35 cm FRAME SIZE: 14 x 19 inches / 35 x 48 cm SIGNATURE: unsigned but has publishing house labels on verso PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. NOTE: This painting was originally published on the Fleetwood First Day Cover for the Great Britain 25p Purse Seiner stamp issue of September 23, 1981. It was thousands of years ago that man first harvested the bounty of the sea. Today, nearly five million people make their living fishing in the world's oceans. Pulling over 152 billion pounds of fish a year from the sea, these fishermen annually catch the equivalent of nearly forty-two pounds of fish for every person in the world. To gather this kind of harvest from the ocean requires the most advanced fishing equipment. Using helicopters, radar, and other electronic gear to locate fish, the great fleets roam the earth in search of fish. The fishing vessel featured in the painting is using purse seining, probably the most efficient method of net fishing ever devised. Armed with sonar and other electronic equipment, the boat's captain can obtain video information of the underwater world in full color. This enables him to pinpoint shoaling fish and determine the depth at which they are swimming. Casting their nets far from the boat so that they can encircle a vast area of water, the fishermen often catch their week's quota in a matter of hours. As the net is pulled in close to the ship, the opening tightens like a drawstring purse. Instead of hauling the fish on deck and risking damage to the expensive nets, the men use a fish pump to suck up the catch and pour it straight into the hold. The purse seiner is one of man's finest fishing innovations, allowing him to gather tons of fish from the sea to feed the world's people. CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 126890 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (United Kingdom, born 1937) TITLE: VE-Day YEAR: 1995 MEDIUM: oil on canvas CONDITION: Unstretched (In-House stretching available). Very good. No visible inpaint under UV light. ART SIZE: 26 x 40 inches / 66 x 101 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: unsigned but has publishing house labels on verso PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 127963 US Shipping $149 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the "Swinging Sixties", mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: Mounted Police YEAR: 1979 MEDIUM: watercolor on heavy paper CONDITION: Excellent. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 20 inches / 35 x 50 cm SIGNATURE: on verso PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120042 US Shipping $60 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: River Police YEAR: 1979 MEDIUM: watercolor on paper CONDITION: Very good. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 19 inches / 35 x 48 cm SIGNATURE: lower right NOTE: The history of the British Police Force is nearly as old as England itself. In 1066, when the Normans conquered England, a system of public protection and safety was established. In this system, men sixteen years old and over were required to stand watch and ward duty for their town. On such assignments the men questioned travelers who were on the road after nightfall and held suspicious persons in custody. They also patrolled the streets to quiet disturbances and prevent crime. If a crime was committed, all able-bodied men joined with the men on watch in a hue and cry, or a chase to capture the suspect. As towns grew, the policing systems also became larger and more organized. By 1800, London had its own special police to guard the docks, the marketplace, and other selected locations. In 1829, Londoner Sir Robert Peel organized the London Metropolitan Police, a body of trained and paid policemen who guarded the city both by day and by night. Named after their founder, these officers were soon known throughout London as "bobbies" or "peelers." The name stuck and to this day, the Metropolitan Police Force is referred to by the name "bobbies." Today, this force is a far cry from that of the early days. It is a league of professional crime fighters and dedicated public servants, skilled in modern police procedures. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118258 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: Collage of Police Transportation YEAR: 1979 MEDIUM: watercolor on heavy paper CONDITION: Excellent. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 13 x 20 inches / 33 x 50 cm SIGNATURE: on verso NOTE: This painting is the original which was published on the Fleetwood First Day Cover for the Great Britain 11 1/2P Traffic Police Mammoth stamp issued September 26, 1979. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120043 US Shipping $60 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
Brian Sanders (British, B. 1937) "Medical Assistance in Africa" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 17p British Council stamps issued September 25, 1984. An African nurse who is educated in the medical field can save countless lives by giving her patients inoculations and teaching them proper health care and nutrition. A majority of the British Council's scientific and medical programs are conducted in England and promising students come from the world over to study, whereupon they return to their own nations, eager to heal, build and improve their country. Image Size: 11.75 x 13.75 in. Overall Size: 14.25 x 18.75 in. Unframed. (B08977)
Brian Sanders (British, B. 1937) "British Orchestra in Greece" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 22p British Council stamps issued September 25, 1984. The presentation of orchestras, theater companies and exhibitions abroad invariably requires planning, organization and funding ... things which the British Council supplies enabling the world to become familiar with the richness of English Arts. Image Size: 12 x 14 in. Overall Size: 14.25 x 18.5 in. Unframed. (B08975)
Brian Sanders (British, B. 1937) "Hugh Trenchard and DH9A" Original Watercolor on paper painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 29p Lord Trenchard/DH9A stamp issued September 16, 1986. Hugh Trenchard was commissioned in the British Army in 1891 and served with distinction in Great Britain's colonial forces. Realizing the potential of military aviation, Trenchard resolved to learn to fly in 1912. Within a week, he soloed and earned his military pilot rating. At the outbreak of World War I, Trenchard was installed as 3 Commandant of the Military Wing, Royal Flying Corps and commanded the first Royal Flying Corps (RFC) wing in France. Knighted in 1918, Trenchard insisted on the highest training standards, on finding the best men and machines and setting up schools to meet his exacting criteria. One plane which Hugh Trenchard held in high esteem was the DH9A. The plane was produced in 1918 as a replacement for the DH4 and DH8 bombers and was designed around its four-hundred horsepower Liberty engine. Some DH9A 's reached France before the Armistice of November 1918 and were used by Royal Air Force squadrons and the First United States Marine Aviation Force to wreak havoc with the enemy. After World War I, the DH9A was used by RAF squadrons at home, in India, Egypt and Iraq. After long service as a hard-working general purpose aircraft, the DH9A was withdrawn in 1931. Image Size: 11.75 x 14 in. Overall Size: 14.25 x 18.5 in. Unframed. (B10537)
Brian Sanders (British, B. 1937) "Construction Site in Asia" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 31p British Council stamps issued September 25, 1984. This artwork depicts a joint construction effort in Asia and typifies the activities of the British Council. The British Council strives to help all nations of the world as they develop their societies and economies. Building projects are only a beginning, as the Council also organizes and operates training programs in the field. Image Size: 12 x 14 in. Overall Size: 14.25 x 18.5 in. Unframed. (B08974)
Brian Sanders (British, B. 1937) "Boys' Brigade" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day Cover for the Great Britain Boys Brigade stamp issued March 24, 1982. In October 1883 William Alexander Smith laid the foundation for what is now the oldest uniformed voluntary boys' organization in the world ... the Boys' Brigade. From the outset, the Boys' Brigade was a church based organization. Its aim was to take thousands of unsupervised boys off the street corners of Glasgow and help them become followers of the Christian faith through self-control, reverence and a sense of responsibility. This new idea soon became the forerunner of all the uniformed youth organizations to follow. When the success of the first Brigade Company was evident other churches in Glasgow quickly took up the idea, and thereafter the organization spread rapidly among all denominations. In November 1885 the Boys' Brigade spread to London where the first British Companies were started, followed soon by Companies in Wales and Ireland. By 1893 the total membership of the Boys' Brigade had surpassed twenty-six thousand boys. One of the greatest innovations of the Boys' Brigade is camping. Very few boys or families had enjoyed the delights of camping outdoors until the Brigade began the tradition in 1886. From the first Brigade Company of fifty boys long ago in 1883, the Boys' Brigade has grown to include a total membership of 184,000 in the United Kingdom and over 400,000 in other countries. Image Size: 12 x 14 in. Overall Size: 13.25 x 19.75 in. Unframed. (B06221)
Brian Sanders (British, B. 1937) "Library Serving the Middle East" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 34p British Council stamps issued September 25, 1984. For many years, the English education system has enjoyed a great respect abroad ... and the British Council is much involved in increasing the reach of education to all peoples of the world. In pursuit of this noble goal, many programs have been created by the British Council which improve connections between those in Great Britain who are qualified to teach and run schools and universities, with their counterparts in nations throughout the world. Another example of the spirit of education being transformed into actual programs is the library system. Two million books are contained in the Council's libraries abroad, and nearly three hundred libraries traveled to over seventy countries to enrich the lives of countless people. Image Size: 12 x 14 in. Overall Size: 14.25 x 18.5 in. Unframed. (B08976)
Brian Sanders (British, B. 1937) "Girl Guides Association" Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day Cover for the Great Britain Girl Guides stamp issued March 24, 1982. When in 1908 Robert Baden-Powell's tremendously successful book "Scouting for Boys" was published, girls all over the country began to borrow their brothers' copies and to form small groups, calling themselves Girl Scouts. Powell's original intention was that Scouting should be for boys only. But girls, seeing the fun and adventure their brothers were having as Boy Scouts, began asking to join too. Robert Powell soon realized that if girls continued to call themselves Scouts , the boys, for whom the training was originally intended, may lose interest. He also knew that parents at that time would not approve such a tomboyish image for their daughters. He therefore chose for the girls a new name ... Girl Guides. Powell's sister, Agnes Baden-Powell, adapted "Scouting for Boys" as the basis of a parallel program for girls and, in conjunction with her brother, wrote "How Girls Can Help to Build Up the Empire" -- the official handbook for Girl Guides which was published in 1912. Due to popular demand the "Rosebuds," later re-named the Brownies, was added to the girls' movement to serve girls eight to eleven years old. Since their inception, the Girl Guides and Brownies have increased membership dramatically every year, with a combined total today of over 300,000 Guides and Brownies in the United Kingdom alone and millions more throughout the world. Image Size: 12 x 14 in. Overall Size: 13.25 x 19.5 in. Unframed. (B06220)
ARTIST: Brian Sanders (British, born 1937) NAME: HMAS Australia YEAR: 1998 MEDIUM: oil on canvas board CONDITION: Excellent. No visible inpaint under UV light. SIGHT SIZE: 10 x 13 inches / 25 x 33 cm BOARD SIZE: 15 x 17 inches / 38 x 43 cm SIGNATURE: lower right NOTE: This painting is the original which appeared on the Republic of the Marshall Islands $1.20 HMAS Australia se-tenant block issued March 19, 1999. HMAS Australia was commissioned on June 21, 1913, at Portsmouth, England. The following month, Australia, under command of Rear Admiral George Edwin Patey, sailed from Portsmouth for Australia. On October 4, 1913, Australia reached Sydney and, as Flagship, led the newly formed Australian Fleet into Port Jackson for the first time. With the outbreak of World War I the next year, Australia countered the German Pacific Squadron. On September 11, 1914, it captured the German ship Sumatra as part of the Australian occupation of German New Guinea. On November 21, 1918, Australia led the Port Column of the Grand Fleet as it escorted the surrendered German Fleet. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120044 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: Mounted Police YEAR: 1979 MEDIUM: watercolor on heavy paper CONDITION: Excellent. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 20 inches / 35 x 50 cm SIGNATURE: on verso PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120042 US Shipping $60 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: River Police YEAR: 1979 MEDIUM: watercolor on paper CONDITION: Very good. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 14 x 19 inches / 35 x 48 cm SIGNATURE: lower right NOTE: The history of the British Police Force is nearly as old as England itself. In 1066, when the Normans conquered England, a system of public protection and safety was established. In this system, men sixteen years old and over were required to stand watch and ward duty for their town. On such assignments the men questioned travelers who were on the road after nightfall and held suspicious persons in custody. They also patrolled the streets to quiet disturbances and prevent crime. If a crime was committed, all able-bodied men joined with the men on watch in a hue and cry, or a chase to capture the suspect. As towns grew, the policing systems also became larger and more organized. By 1800, London had its own special police to guard the docks, the marketplace, and other selected locations. In 1829, Londoner Sir Robert Peel organized the London Metropolitan Police, a body of trained and paid policemen who guarded the city both by day and by night. Named after their founder, these officers were soon known throughout London as "bobbies" or "peelers." The name stuck and to this day, the Metropolitan Police Force is referred to by the name "bobbies." Today, this force is a far cry from that of the early days. It is a league of professional crime fighters and dedicated public servants, skilled in modern police procedures. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118258 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
ARTIST: Brian Sanders (British, born 1937) NAME: Collage of Police Transportation YEAR: 1979 MEDIUM: watercolor on heavy paper CONDITION: Excellent. SIGHT SIZE: 12 x 14 inches / 30 x 35 cm PAPER SIZE: 13 x 20 inches / 33 x 50 cm SIGNATURE: on verso NOTE: This painting is the original which was published on the Fleetwood First Day Cover for the Great Britain 11 1/2P Traffic Police Mammoth stamp issued September 26, 1979. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120043 US Shipping $60 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
Brian Sanders (British, B. 1937) "Girls' Brigade" Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day Cover for the Great Britain Girls' Brigade stamp issued March 24, 1982. As early as 1928, three of the United Kingdom's most prestigious girls' organizations, the Girls' Brigade, the Girls' Guildry, and the Girls' Life Brigade began talks aimed at consolidating all three groups into one youth service both international and interdenominational in scope. Finally, after thirty-six years of negotiations, a united body consisting of these groups was formed. On June 25, 1964, the Girls' Brigade, boasting a combined new membership of over 165,000 girls of all ages was created. The Girls' Brigade, a Christian organization, is designed to help girls attain physical, mental and spiritual maturity, and to encourage girls to express what they learn through practical service to home, community and church. Through the Girls' Brigade, a "Brigader" is given the opportunity to meet friends, to work and play together under trained leaders, to learn new skills, and to take part in exciting new activities such as camping holidays and service to the community. Moreover, for its leaders, the Girls' Brigade offers a wonderful opportunity of service to Christian women who are already a vital part of their local church, and who have a love for young people. As prescribed by the Brigade's constitution, the local church chooses and appoints each Girls' Brigade leader, and training and assistance is provided by the Brigade itself. Image Size: 12 x 14 in. Overall Size: 13.25 x 19.75 in. Unframed. (B06219)
Brian Sanders (British, B. 1937) "VE-Day" Monumental Original Oil on Canvas painting. Artist notations in margins. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Depicting four different scenes of celebration from the end of WWII. "Surrender at Rheims", "Victory Parade in Moscow", "Celebration in NY", "Buckingham Palace London". Overall Size: 42 x 28 in. Unframed. (B14921 / B14922 / B14923 / B14924)
Brian Sanders (British, B. 1937) "Boy Scouts" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original appeared on the Fleetwood First Day Cover for the Great Britain Boy Scouts stamp issued March 24, 1982. Probably the world's most famous youth movement is the 1982 marked its 75th anniversary and anniversary of the birth of its founder, Robert Baden-Powell. By the year 1908, Powell's experiences in the British Army convinced him that British boys needed far more physical training and experience in outdoor life. Having previously written a military manual for British recruits called "Aids to Scouting," Powell decided to rewrite his manual for younger readership. The new version, entitled Scouting for Boys, became a tremendous success. Practically overnight, thousands of Scout Patrols sprang up throughout Britain to try out Powell's fun and adventurous ideas. Powell's original intention was that Scouting should be for boys between the ages of eleven and eighteen. But younger boys, seeing the fun and adventure older brothers and friends were having as Boy Scouts, began asking to join too. Thus, in 1914 Powell announced his plans for "Junior Scouts," since changed to Cub Scouts, to include boys under eleven years of age. Since then, numerous other sub-groups of the prestigious Scout movement have been added. And today, the excitement and magic of Scouting has never been stronger, for there are now over fifteen million Scouts, ages eight to twenty, around the world, with well over 650,000 in the United Kingdom alone! Image Size: 12 x 14.25 in. Overall Size: 13.75 x 19 in. Unframed. (B06249)
Brian Sanders (British, B. 1937) "Purse Seiner - Fishing Boat" Watercolor on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 25p Purse Seiner stamp issue of September 23, 1981. It was thousands of years ago that man first harvested the bounty of the sea. Today, nearly five million people make their living fishing in the world's oceans. Pulling over 152 billion pounds of fish a year from the sea, these fishermen annually catch the equivalent of nearly forty-two pounds of fish for every person in the world. To gather this kind of harvest from the ocean requires the most advanced fishing equipment. Using helicopters, radar, and other electronic gear to locate fish, the great fleets roam the earth in search of fish. The fishing vessel featured in the painting is using purse seining, probably the most efficient method of net fishing ever devised. Armed with sonar and other electronic equipment, the boat's captain can obtain video information of the underwater world in full color. This enables him to pinpoint shoaling fish and determine the depth at which they are swimming. Casting their nets far from the boat so that they can encircle a vast area of water, the fishermen often catch their week's quota in a matter of hours. As the net is pulled in close to the ship, the opening tightens like a drawstring purse. Instead of hauling the fish on deck and risking damage to the expensive nets, the men use a fish pump to suck up the catch and pour it straight into the hold. The purse seiner is one of man's finest fishing innovations, allowing him to gather tons of fish from the sea to feed the world's people. Image Size: 12 x 14 in. Overall Size: 16 x 22.25 in. Unframed. (B06851)
Brian Sanders (British, B. 1937) "Medical Assistance in Africa" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 17p British Council stamps issued September 25, 1984. An African nurse who is educated in the medical field can save countless lives by giving her patients inoculations and teaching them proper health care and nutrition. A majority of the British Council's scientific and medical programs are conducted in England and promising students come from the world over to study, whereupon they return to their own nations, eager to heal, build and improve their country. Image Size: 11.75 x 13.75 in. Overall Size: 14.25 x 18.75 in. Unframed. (B08977)
Brian Sanders (British, B. 1937) "British Orchestra in Greece" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 22p British Council stamps issued September 25, 1984. The presentation of orchestras, theater companies and exhibitions abroad invariably requires planning, organization and funding ... things which the British Council supplies enabling the world to become familiar with the richness of English Arts. Image Size: 12 x 14 in. Overall Size: 14.25 x 18.5 in. Unframed. (B08975)
Brian Sanders (British, B. 1937) "Construction Site in Asia" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 31p British Council stamps issued September 25, 1984. This artwork depicts a joint construction effort in Asia and typifies the activities of the British Council. The British Council strives to help all nations of the world as they develop their societies and economies. Building projects are only a beginning, as the Council also organizes and operates training programs in the field. Image Size: 12 x 14 in. Overall Size: 14.25 x 18.5 in. Unframed. (B08974)
Brian Sanders (British, B. 1937) "Charles Frederick Algernon Portal and de Havilland Mosquito" Original Watercolor on paper painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood First Day Cover for the Great Britain 34p Lord Portal/Mosquito stamp issued September 16, 1986. British officer Charles Frederick Algernon Portal was responsible for the performance of the Royal Air Force (RAF) during World War II. In 1940 Portal was made Commander-in-Chief of the RAF Bomber Command. He then served as Chief of Air Staff for the remainder of World War II. In this important position, Charles Portal had the awesome responsibility of directing operations of the Royal Air Force. In addition, he contributed greatly to the overall war effort through his attendance and suggestions at major war strategy conferences, held at Casablanca in January, 1943; Washington, D.C. in May, 1943 and at Quebec in August, 1943. Indeed, Charles Portal was relied upon and respected by Allied leaders for his wide knowledge of air operations and his skill in conducting the air war against Germany. One plane which Viscount Portal depended upon was the De Havilland Mosquito, the most outstanding British aircraft design of World War II. The Mosquito was an astonishing concept for its time -- both operationally and structurally. It was first designed as an unarmed bomber dependent on superlative performance to avoid interception by enemy fighters. Moreover, it was an all-wood aircraft at a time when all its operational contemporaries were constructed of stressed-skin metal. As a bomber, the Mosquito more than justified the reliance placed upon it. But, it was also used as a night fighter and night intruder and in a photographic reconnaissance and anti-shipping strike capacity. Image Size: 12 x 14 in. Overall Size: 14.25 x 18.5 in. Unframed. (B10535)
Brian Sanders (British, B. 1937) "Girl Guides Association" Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day Cover for the Great Britain Girl Guides stamp issued March 24, 1982. When in 1908 Robert Baden-Powell's tremendously successful book "Scouting for Boys" was published, girls all over the country began to borrow their brothers' copies and to form small groups, calling themselves Girl Scouts. Powell's original intention was that Scouting should be for boys only. But girls, seeing the fun and adventure their brothers were having as Boy Scouts, began asking to join too. Robert Powell soon realized that if girls continued to call themselves Scouts , the boys, for whom the training was originally intended, may lose interest. He also knew that parents at that time would not approve such a tomboyish image for their daughters. He therefore chose for the girls a new name ... Girl Guides. Powell's sister, Agnes Baden-Powell, adapted "Scouting for Boys" as the basis of a parallel program for girls and, in conjunction with her brother, wrote "How Girls Can Help to Build Up the Empire" -- the official handbook for Girl Guides which was published in 1912. Due to popular demand the "Rosebuds," later re-named the Brownies, was added to the girls' movement to serve girls eight to eleven years old. Since their inception, the Girl Guides and Brownies have increased membership dramatically every year, with a combined total today of over 300,000 Guides and Brownies in the United Kingdom alone and millions more throughout the world. Image Size: 12 x 14 in. Overall Size: 13.25 x 19.5 in. Unframed. (B06220)
ARTIST: Brian Sanders (British, born 1937) NAME: HMAS Australia YEAR: 1998 MEDIUM: oil on canvas board CONDITION: Excellent. No visible inpaint under UV light. SIGHT SIZE: 10 x 13 inches / 25 x 33 cm BOARD SIZE: 15 x 17 inches / 38 x 43 cm SIGNATURE: lower right NOTE: This painting is the original which appeared on the Republic of the Marshall Islands $1.20 HMAS Australia se-tenant block issued March 19, 1999. HMAS Australia was commissioned on June 21, 1913, at Portsmouth, England. The following month, Australia, under command of Rear Admiral George Edwin Patey, sailed from Portsmouth for Australia. On October 4, 1913, Australia reached Sydney and, as Flagship, led the newly formed Australian Fleet into Port Jackson for the first time. With the outbreak of World War I the next year, Australia countered the German Pacific Squadron. On September 11, 1914, it captured the German ship Sumatra as part of the Australian occupation of German New Guinea. On November 21, 1918, Australia led the Port Column of the Grand Fleet as it escorted the surrendered German Fleet. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120044 US Shipping $49 + insurance. BIOGRAPHY: Brian Sanders was born in London in 1937, where he attended St. Olave"s Grammar School, by Tower Bridge. His childhood, along with thousands of other children in London, was disrupted during World War Two when he was evacuated to the countryside. Sanders was sent to Saffron Walden in North Essex, close to where he now lives. Whilst still at school Sanders studied at the respected Sir John Cass College of Art in Whitechapel before embarking upon a junior career in advertising, however, in 1956 his career was interrupted by National Service. Serving in the Royal Marines he saw action during the Suez crisis, spending most of his service in and around North Africa and the Mediterranean. In the final year of his service he worked in surveillance, largely due to his technical drawing skills. Sanders returned to London in 1959 and began working as assistant to photographer, Adrian Flowers (replacing Duffy who moved to Vogue). Flowers was a well-known photographer, working in advertising and as a portrait photographer for many celebrities at that time, including Twiggy and Vanessa Redgrave. Sanders assisted Flowers with background painting and visualising, helping to secure major advertising accounts. This role provided the financial stability needed in order for Sanders to work on and build his portfolio before he was able to establish himself as a freelance artist. In 1959 Sanders joined Artist Partners, a leading London Creative agency set up in 1950. Based in Soho, it represented leading artists, illustrators, designers and photographers. He quickly came to the attention of founding partner Betty Luton White, who engineered commissions for major publishing houses, newspapers, advertising agencies, design groups, television, filmmakers and government institutions. During this time Sanders often worked with Joy Hannington, Art Editor at Homes and Gardens. Hannington proved crucial in boosting the careers of a number of successful illustrators, including Sanders. She allowed Sanders, and the other illustrators with whom she worked, the creative freedom to develop their individual styles and forms of expression. The 1960s was a booming time for magazine illustration. The work was experimental and reflected the excitement of the times. The medium was new, the compositions were off-kilter and the colours were brighter. The illustration of this era was a direct product of the “Swinging Sixties”, mirroring the new trends in fashion and music and Sanders looked increasingly to the techniques adopted by American illustrators. Notably he worked with acrylic paint to develop what was referred to as the "bubble and streak" effect. A technique initially created by US masters of illustration such as Joe DeMers and Bernie Fuchs, it was Scottish illustrator Wilson McLean, then working in the US, who sent Sanders his first set of acrylics as they were not available in the U.K. at the time. Throughout the second half of the 1960s, Sanders continued with editorial work for The Sunday Times, The Observer, The Telegraph, Nova and other magazines. Whilst his advertising clients included Ford G.B., Phillips Eindhoven and The British Army. He also produced illustrations for a number of film posters including Oh What A Lovely War, Paint Your Wagon, Darling Lily and Lady Sings The Blues. In 1965, Sanders was commissioned by Stanley Kubrick to be on set as a reportage illustrator during the making of 2001: A Space Odyssey. Sanders would draw on the set two days per week and work on larger paintings in his studio, charting the making of Kubrick's 2001: A Space Odyssey. This was a rare occasion, as Kubrick often worked with a closed set, strictly controlling access. Sanders work for Stanley Kubrick documenting the making of 2001: A Space Odyssey was celebrated and published in Taschen's definitive and highly successful collector's edition of Stanley Kubrick's 2001 "A Space Odyssey" From 1969 - 1985 Sanders was a director of Artist Partners. The 1970s were a more challenging time for illustrators, with magazines moving to more finished work or replacing illustration with photography, and advertising gravitating from print to television. Despite this, Sanders was still in demand as a magazine illustrator, often commissioned by Michael Rand, influential Art Director of The Sunday Times Magazine, for whom he illustrated many articles; from images of major sports figures to notable spreads for the first round the world yacht race. In the early 70s, Sanders was commissioned by the art editor of Pan Books to re-jacket twenty-six John Steinbeck books which signalled a return to working in watercolour. As well as the Steinbeck illustrations Sanders created covers for titles by authors such as Solzhenitsyn, J. B. Priestley, John Fante and all of the James Herriot books published in the U.K. and U.S. As a move to protect illustrators continually losing copyright and ownership of their work, in 1973 Sanders helped found the Association of Illustrators. As a Committee Member he went on to represent the A.O.I. in negotiations with T.U.C., The Whitford Committee on Copyright, The Publishers Association, The Incorporated Practitioners in Advertising and The Board of Trade. In 1985 Sanders and his wife Lizzie moved to join Brian Grimwood at the newly established Central Illustration Agency, based in Covent Garden. It's from this time that Sanders embarked on some extraordinary illustrations for more than 50 sets of stamps. Notable amongst these are the five sets of stamps representing the U.K. Police force, the Scout and Guiding movements and the history of World War II which alone took five years to complete. In 2011, when Mad Men series creator Matthew Weiner, inspired by the painterly illustrations of the 1970s TWA flight menus, wanted a nostalgic image to promote the sixth season of the acclaimed series, he turned to Brian Sanders to produce an illustration for the series six poster and DVD packaging. Sanders continues to work today and remains a respected figure in the illustration world; through the sheer body of work he has completed during his extensive career, academic recognition due to his work as an assessor for various art schools and his professional contribution to the industry as a founding member of the Association of Illustrators.
