Halcyon Gallery, 2004
Private Collection, United Kingdom
Buy with confidence: our assurance to you
We have built up a strong reputation for the quality of the paintings, drawings and sculpture that we curate, exhibit and sell. Our professional associations with bodies such as The British Antique Dealers’ Association (BADA) and the Association of Art & Antique Dealers (LAPADA) are as a result of our reputation for integrity, our wide knowledge of fine arts and the high quality of our stock. Our business standards and expertise are reviewed regularly to adhere vigorously to enforced Codes. Our memberships and commitment to its Code of Conducts gives our buyers confidence when purchasing a work from us.
Condition reports and certificates of authenticity vary in their nature by artwork, for more information on your pieces of interest, please enquire with the gallery.
We take pride in the attention we give to our images of the artworks for purchase and invest in these to ensure outputs are aligned as closely as possible to the item in reality. We do not apply filters or modify images, we provide high-quality images to reflect the high quality of our artworks.
Your purchase process
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The Trinity House promise to you
Shipping and packaging
Shipping and packaging requirements are assessed per piece to ensure the most suitable protection for the artwork. Trinity House will therefore call following purchase to agree the recommendations and costs.
Our After Sales services
We offer the following services which we will be happy to discuss with you following your purchase, alternatively, you can enquire for more information.
We offer insurance appraisals to protect your prised artwork and help you find the right cover and policy for you.
We are able to advise on framing and have access to every type and style to suit any artistic period or room setting.
The nature of the materials involved in a painting mean that on occasion some pieces are susceptible to movement and the effects of natural ageing. We are able to provide advice on practical measures to conserve the original condition of a piece and have relationships with restorers and framers to offer you a range of services to meet your needs.
‘Born on 7th May 1966 in Rome to the Oscar Award winning Mexican American actor Anthony Quinn and his second wife, costume designer Iolanda Addolori, Quinn’s childhood was split between Italy and the United States. His father had a profound influence on him, both in terms of living in the limelight of the film world and with respect to Anthony’s early work in painting and sculpting architecture.
Quinn studied at the American Academy of Fine Arts in New York, planning to be a Surrealist painter. However, aged 21 he decided that his future lay in sculpture, which could better accommodate his energy and originality. He vividly recalls the moment in 1989 when he felt that he had created his first genuine work of art: ‘I had made a torso from Michelangelo’s drawing of Adam… an artisan’s job … I had an idea and began chiselling away, and Eve came out of Adam’s body… It had started as a purely academic exercise, yet it had become an artwork.’
In 1988 Quinn married Giovanna Cicutto, and on the birth of the first of their three sons they decided to leave New York – a place that ‘hardens your human values’ – and settle in Spain. ‘We chose Spain for its Latin character, its fervour and values of people and family, and for its great artistic trajectory’, he explains.
In his twenties Quinn enjoyed a brief acting career, including playing alongside his father in Stradivari (1989), and also giving an acclaimed performance as Salvador Dalí. However, he did not enjoy working in the acting profession and decided to concentrate purely on sculpture.
Quinn’s creative ideas spark quickly into life: ‘The inspiration comes within a millisecond’, he says, as he is driven to sculpt by observing life’s everyday energy. Yet a finished project takes months to realise, and it has to carry a clear meaning. Quinn usually conceives each work in writing, and the poetic text is ultimately displayed with the sculpture, as an integral part of the piece, not merely as an explanation.
Quinn’s work appears in many private collections throughout the world and has been exhibited internationally throughout the past two decades. Among his commissions is the Tree of Life, produced for the United Nations and issued by the organisation as a stamp in 1993. The follolwing year the Vatican engaged him to sculpt a likeness of St Anthony for the Basilica del Santo in Padua, in commemoration of the 800th anniversary of the saint’s birth; the sculpture was blessed by the pope in St Peter’s Square, Rome, in front of a crowd of 35,000.’