▲ Derek Jarman (British, 1942-1994) Untitled, 1970

signed and dated 'Derek Jarman 70' on the base of the triangle, pencil and oil on board, triangle 16.5cm high, 33cm long; framed 36 x 53cm, The Jean-Yves Mock Collection; Bloomsbury Auctions, London, 20 June 2005, lot 67, where acquired by the present owner. Derek Jarman was a multidisciplinary artist whose practice encompassed painting, sculpture, filmmaking, writing, set design, gardening and activism. He studied painting at the Slade School of Fine Art, and in 1967 his work was included in the Tate Gallery’s ', Derek Jarman was a multidisciplinary artist whose practice encompassed painting, sculpture, filmmaking, writing, set design, gardening and activism. He studied painting at the Slade School of Fine Art, and in 1967 his work was included in the Tate Gallery’s 'Young Contemporaries' exhibition. He subsequently established a career as a set designer, including working on Sir Frederick Ashton’s 1968 ballet 'Jazz Calendar'. During the 1970s, Jarman increasingly focused on filmmaking, developing a distinctive visual style through which he explored political, social and personal themes. He was also a prominent LGBTQIA+ activist and became an important public voice during the HIV and AIDS crisis. Throughout his practice, he addressed issues of sexuality, politics, identity and freedom of artistic expression. In the mid-to-late 1960s, Jarman began experimenting with the physical form of his paintings. Rather than adhering to the conventional rectangular canvas, he explored unconventional formats, including triangular compositions. These shapes challenged traditional expectations of pictorial space and altered how viewers perceived the relationship between the artwork and its surroundings. In some cases, Jarman placed these irregularly shaped paintings within conventional rectangular frames, creating a deliberate tension between the form of the artwork and the traditional framework through which it was presented. exhibition. He subsequently established a career as a set designer, including working on Sir Frederick Ashton’s 1968 ballet ', . During the 1970s, Jarman increasingly focused on filmmaking, developing a distinctive visual style through which he explored political, social and personal themes. He was also a prominent LGBTQIA+ activist and became an important public voice during the HIV and AIDS crisis. Throughout his practice, he addressed issues of sexuality, politics, identity and freedom of artistic expression. In the mid-to-late 1960s, Jarman began experimenting with the physical form of his paintings. Rather than adhering to the conventional rectangular canvas, he explored unconventional formats, including triangular compositions. These shapes challenged traditional expectations of pictorial space and altered how viewers perceived the relationship between the artwork and its surroundings. In some cases, Jarman placed these irregularly shaped paintings within conventional rectangular frames, creating a deliberate tension between the form of the artwork and the traditional framework through which it was presented. Condition Report, Condition Report, Surface dust and dirt. A couple of small, faint marks to the front of the triangle. There are some light dirty marks, scuffs and scratches to the board behind. There is some yellow discolouration (glue residue?) to the outside edges of the frame with small drilled holes at regular intervals. Request A Condition Report, Request A Condition Report

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