Alison Watt

Scottish, b. 1965

166 followers

Alison Watt

Bio

Scottish, b. 1965

Followers
166
Auction results
Filter auction results to compare past lots by medium, size, and more. Note that auction prices vary based on market specifics at the time of the auction and may not be indicative of the current gallery market. To get the best sense of value, pair the artist’s auction results with their career highlights like exhibition history, gallery representation, and presence in museum collections. For more information on how auction pricing differs from gallery pricing, check out this article.
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Showing 24 results
Showing 24 results
£68,750
MADAME RIVIÈRE - FRAGMENT V, 1997
Sold on Jun 18, 2019
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Artwork Info
paintings
183.0 x 152.5 cm
Estimate
Realized Price
£68,750
Auction Sale
Jun 18, 2019
Sotheby's
Description
MADAME RIVIÈRE - FRAGMENT V, 1997
paintings
Jun 18, 2019
Sotheby's
£68,750
Realized price
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Artwork Info
183.0 x 152.5 cm
Estimate
Auction Sale
Jun 18, 2019
Sotheby's
Realized Price
£68,750
No artwork image
£37,500
TOURNON
Sold on Jun 13, 2018
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Artwork Info
Painting
oil on canvas
213.5 by 213.5cm
Estimate
Realized Price
£37,500
Auction Sale
Jun 13, 2018
Sotheby's
Description
signed, titled twice and dated 1998-99 oil on canvas 213.5 by 213.5cm.; 84 by 84in.
No artwork image
TOURNON
oil on canvas
Jun 13, 2018
Sotheby's
£37,500
Realized price
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Artwork Info
Painting
213.5 by 213.5cm
Estimate
Auction Sale
Jun 13, 2018
Sotheby's
Realized Price
£37,500
Description
signed, titled twice and dated 1998-99 oil on canvas 213.5 by 213.5cm.; 84 by 84in.
No artwork image
£18,750
SELF-PORTRAIT
Sold on Jun 13, 2018
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Artwork Info
30.5 by 25.5cm
Estimate
Realized Price
£18,750
Auction Sale
Jun 13, 2018
Sotheby's
Description
signed oil on canvasboard 30.5 by 25.5cm.; 12 by 10in. Executed circa 1990.
No artwork image
SELF-PORTRAIT
Jun 13, 2018
Sotheby's
£18,750
Realized price
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Artwork Info
30.5 by 25.5cm
Estimate
Auction Sale
Jun 13, 2018
Sotheby's
Realized Price
£18,750
Description
signed oil on canvasboard 30.5 by 25.5cm.; 12 by 10in. Executed circa 1990.
£18,750
ALISON, 1996
Sold on Jun 12, 2018
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Artwork Info
paintings
25.5 x 30.5 cm
Estimate
Realized Price
£18,750
Auction Sale
Jun 12, 2018
Sotheby's
Description
ALISON, 1996
paintings
Jun 12, 2018
Sotheby's
£18,750
Realized price
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Artwork Info
25.5 x 30.5 cm
Estimate
Auction Sale
Jun 12, 2018
Sotheby's
Realized Price
£18,750
£37,500
TOURNON, 1998
Sold on Jun 12, 2018
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Artwork Info
paintings
213.5 x 213.5 cm
Estimate
Realized Price
£37,500
Auction Sale
Jun 12, 2018
Sotheby's
Description
TOURNON, 1998
paintings
Jun 12, 2018
Sotheby's
£37,500
Realized price
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Artwork Info
213.5 x 213.5 cm
Estimate
Auction Sale
Jun 12, 2018
Sotheby's
Realized Price
£37,500
£10,000
Deep Within the Heart of Me, 2017
Sold on Mar 8, 2017
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Artwork Info
Painting
signed and dated 'Alison Watt 2017' (on the overlap); titled and inscribed ''Deep Within the Heart of Me' Oil & Charles Rennie Mackintosh Bookcase on Canvas' (on the stretcher)
46 x 46cm
Estimate
Realized Price
£10,000
Auction Sale
Mar 8, 2017
Christie's
Description
Alison Watt (b. 1965) _Deep Within the Heart of Me_ signed and dated 'Alison Watt 2017' (on the overlap); titled and inscribed ''Deep Within the Heart of Me' Oil & Charles Rennie Mackintosh Bookcase on Canvas' (on the stretcher) oil and Charles Rennie Mackintosh bookcase on canvas 18 1/8 x 18 1/8in. (46 x 46cm.) Executed in 2017
Deep Within the Heart of Me, 2017
signed and dated 'Alison Watt 2017' (on the overlap); titled and inscribed ''Deep Within the Heart of Me' Oil & Charles Rennie Mackintosh Bookcase on Canvas' (on the stretcher)
Mar 8, 2017
Christie's
£10,000
Realized price
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Artwork Info
Painting
46 x 46cm
Estimate
Auction Sale
Mar 8, 2017
Christie's
Realized Price
£10,000
Description
Alison Watt (b. 1965) _Deep Within the Heart of Me_ signed and dated 'Alison Watt 2017' (on the overlap); titled and inscribed ''Deep Within the Heart of Me' Oil & Charles Rennie Mackintosh Bookcase on Canvas' (on the stretcher) oil and Charles Rennie Mackintosh bookcase on canvas 18 1/8 x 18 1/8in. (46 x 46cm.) Executed in 2017
No artwork image
£75,000
ODALISQUE; FRAGMENT I
Sold on Nov 23, 2016
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Artwork Info
Painting
oil and pencil on canvas; diptych
153 by 183cm
Estimate
Realized Price
£75,000
Auction Sale
Nov 23, 2016
Sotheby's
Description
Quantity: 2 oil and pencil on canvas; diptych each: 153 by 183cm.; 60 by 72in. Executed in 1996.
No artwork image
ODALISQUE; FRAGMENT I
oil and pencil on canvas; diptych
Nov 23, 2016
Sotheby's
£75,000
Realized price
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Artwork Info
Painting
153 by 183cm
Estimate
Auction Sale
Nov 23, 2016
Sotheby's
Realized Price
£75,000
Description
Quantity: 2 oil and pencil on canvas; diptych each: 153 by 183cm.; 60 by 72in. Executed in 1996.
£75,000
ODALISQUE; FRAGMENT I, 1996
Sold on Nov 22, 2016
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Artwork Info
paintings
183.0 x 153.0 cm
Estimate
Realized Price
£75,000
Auction Sale
Nov 22, 2016
Sotheby's
Description
ODALISQUE; FRAGMENT I, 1996
paintings
Nov 22, 2016
Sotheby's
£75,000
Realized price
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Artwork Info
183.0 x 153.0 cm
Estimate
Auction Sale
Nov 22, 2016
Sotheby's
Realized Price
£75,000
Bought in
Pears
Sold on Nov 18, 2015
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Artwork Info
paintings
180.49 x 152.5 in
Estimate
Realized Price
Price not available
Auction Sale
Nov 18, 2015
Sotheby's
Description
Pears
paintings
Nov 18, 2015
Sotheby's
Bought in
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Artwork Info
180.49 x 152.5 in
Estimate
Auction Sale
Nov 18, 2015
Sotheby's
Realized Price
Price not available
£36,250
Sold on Nov 18, 2015
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Artwork Info
Painting
oil on canvas
Estimate
Realized Price
£36,250
Auction Sale
Nov 18, 2015
Sotheby's
Description
The focus of Watt’s paintings during the 1990s was highly realistic female figures posed alongside drapery. Here we see a naked woman, seated upon a low futon shrouded in a white sheet, awkwardly propped up against several pillows. Watt has acknowledged the early influence on her work of Ingres’ Odalisques, with their erotic and romanticised images of the female form, located in a sensuous, oriental setting. Here, however, the sitter is not idealized but very candid; the awkwardness of the pose anchors the model in reality. The room is very sparse, with bare floorboards and paint splatters on the floor – there has been no attempt to mask the reality that this is a model being painted in an artist’s studio. The painting, titled Pears, refers to the unexpected element of the image: the pile of pears placed in the sitter’s lap. Why are the pears there? The green colour is the most highly keyed element of the painting, drawing the eye into the image, in order to focus the viewer on this area of the composition, where the pears also serve to cover the sitter’s genitalia. This recalls not only the fig leaf associated with Adam and Eve, but also alludes to forbidden fruit. Over time, Watt found herself more interested in the impression left upon the drapery by the human figure than the sitters themselves. Despite this, her later paintings are still very much connected to the human form and rooted in these early nudes. It is the interplay with presence and absence, the idea of the impact of the figure on its surroundings, which begins to interest Watt. Alison Watt graduated from the Glasgow School of Art in 1988. Her significance and skill were recognised at a young age, when she won the John Player Portrait Award at the National Portrait Gallery in London in 1987. There have been extensive exhibitions of her works, including at Flowers East (1995), where this painting was exhibited. She also served as artist in residence at the National Gallery from 2006 to 2008, and was the youngest artist to do so. She was awarded an OBE in 2008.
oil on canvas
Nov 18, 2015
Sotheby's
£36,250
Realized price
Reveal more
Artwork Info
Painting
Estimate
Auction Sale
Nov 18, 2015
Sotheby's
Realized Price
£36,250
Description
The focus of Watt’s paintings during the 1990s was highly realistic female figures posed alongside drapery. Here we see a naked woman, seated upon a low futon shrouded in a white sheet, awkwardly propped up against several pillows. Watt has acknowledged the early influence on her work of Ingres’ Odalisques, with their erotic and romanticised images of the female form, located in a sensuous, oriental setting. Here, however, the sitter is not idealized but very candid; the awkwardness of the pose anchors the model in reality. The room is very sparse, with bare floorboards and paint splatters on the floor – there has been no attempt to mask the reality that this is a model being painted in an artist’s studio. The painting, titled Pears, refers to the unexpected element of the image: the pile of pears placed in the sitter’s lap. Why are the pears there? The green colour is the most highly keyed element of the painting, drawing the eye into the image, in order to focus the viewer on this area of the composition, where the pears also serve to cover the sitter’s genitalia. This recalls not only the fig leaf associated with Adam and Eve, but also alludes to forbidden fruit. Over time, Watt found herself more interested in the impression left upon the drapery by the human figure than the sitters themselves. Despite this, her later paintings are still very much connected to the human form and rooted in these early nudes. It is the interplay with presence and absence, the idea of the impact of the figure on its surroundings, which begins to interest Watt. Alison Watt graduated from the Glasgow School of Art in 1988. Her significance and skill were recognised at a young age, when she won the John Player Portrait Award at the National Portrait Gallery in London in 1987. There have been extensive exhibitions of her works, including at Flowers East (1995), where this painting was exhibited. She also served as artist in residence at the National Gallery from 2006 to 2008, and was the youngest artist to do so. She was awarded an OBE in 2008.
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