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Albums containing "exhibition" |
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Items containing "exhibition" |
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From Album: Armfield Maxwell
Matching descriptions:
MAXWELL ARMFIELD RWS
1882 - 1972
The Actress, Sunday Wilshin 1930
Tempera on panel
Signed, dated & numbered OP. 93 lower left
24 x 14 1/2 ins 61 x 37 cms
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| Provenance: |
The artist¹s until 1967
M. Martin
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| Exhibited: |
Royal Academy, London, 1930, no.893
Art exhibitions Bureau, London, 1930, no.4
Arlington Gallery, New York, 1938 |
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From Album: Brooker William
Milos 1962
KEYWORDS: Available
3
oil on canvas
30 x 40 in / 76.1 x 101.6 cm
signed & dated lower right
also signed, titled & dated verso
Provenance
Arthur Tooth & Sons Ltd, London
Exhibited
William Brooker – An exhibition of Recent Paintings, Arthur Tooth
& Sons Ltd, London, 16 October – 10 November 1962, no.10
William Brooker Paintings 1952-1968, Arthur Tooth & Sons Ltd,
London, 6 – 24 February 1968, no. 49
William Brooker: Paintings 1950-1983, Polytechnic Gallery,
Newcastle-upon-Tyne, 20 May – 19 June 1987, travelling to
Thomas Agnew & Sons Ltd, London, 23 June – 17 July 1983,
no. 29 (illustrated p.21)
Matching descriptions:
3
oil on canvas
30 x 40 in / 76.1 x 101.6 cm
signed & dated lower right
also signed, titled & dated verso
Provenance
Arthur Tooth & Sons Ltd, London
Exhibited
William Brooker – An exhibition of Recent Paintings, Arthur Tooth
& Sons Ltd, London, 16 October – 10 November 1962, no.10
William Brooker Paintings 1952-1968, Arthur Tooth & Sons Ltd,
London, 6 – 24 February 1968, no. 49
William Brooker: Paintings 1950-1983, Polytechnic Gallery,
Newcastle-upon-Tyne, 20 May – 19 June 1987, travelling to
Thomas Agnew & Sons Ltd, London, 23 June – 17 July 1983,
no. 29 (illustrated p.21)
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From Album: Brooker William
White Still Life
KEYWORDS: Available
4
Blue Bottle & Gauloises Packet 1966
oil on canvas
40 x 40 in / 101.6 x 101.6 cm
signed & dated lower right
also signed, titled & dated verso
Provenance
Arthur Tooth & Sons Ltd, London
Exhibited
William Brooker – An exhibition of Recent Paintings, Arthur Tooth
& Sons Ltd, London, 29 March – 22 April 1967, no.10
William Brooker Paintings 1952 -1968, Arthur Tooth & Sons Ltd,
London, 6 – 24 February 1968, no. 37
Matching descriptions:
4
Blue Bottle & Gauloises Packet 1966
oil on canvas
40 x 40 in / 101.6 x 101.6 cm
signed & dated lower right
also signed, titled & dated verso
Provenance
Arthur Tooth & Sons Ltd, London
Exhibited
William Brooker – An exhibition of Recent Paintings, Arthur Tooth
& Sons Ltd, London, 29 March – 22 April 1967, no.10
William Brooker Paintings 1952 -1968, Arthur Tooth & Sons Ltd,
London, 6 – 24 February 1968, no. 37
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From Album: Brooker William
Hydra 1962
KEYWORDS: Available
5
oil on canvas
30 x 40 in / 76.1 x 101.6 cm
signed & dated lower left
Provenance
Arthur Tooth & Sons, London
Exhibited
William Brooker – An exhibition of Recent Paintings, Arthur Tooth & Sons Ltd,
London, 16 October – 10 November 1962, no. 9
Matching descriptions:
5
oil on canvas
30 x 40 in / 76.1 x 101.6 cm
signed & dated lower left
Provenance
Arthur Tooth & Sons, London
Exhibited
William Brooker – An exhibition of Recent Paintings, Arthur Tooth & Sons Ltd,
London, 16 October – 10 November 1962, no. 9
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From Album: Brooker William
White Bottles ...
KEYWORDS: Available
6
White Bottles with Black Tin
1966
oil on canvas
36 x 40 in / 91.4 x 101.6 cm
signed & dated lower right
Provenance
Arthur Tooth & Sons Ltd, London
Exhibited
William Brooker – An exhibition of Recent Paintings, Arthur Tooth
& Sons Ltd, London, 29 March – 22 April 1967, no. 7 (illustrated)
William Brooker Paintings 1952-1968, Arthur Tooth & Sons Ltd,
London, 6 – 24 February 1968, no. 4 (illustrated)
Norfolk Contemporary Art Society exhibition, Castle Museum,
Norwich, October 1981, no. 9
Matching descriptions:
6
White Bottles with Black Tin
1966
oil on canvas
36 x 40 in / 91.4 x 101.6 cm
signed & dated lower right
Provenance
Arthur Tooth & Sons Ltd, London
Exhibited
William Brooker – An exhibition of Recent Paintings, Arthur Tooth
& Sons Ltd, London, 29 March – 22 April 1967, no. 7 (illustrated)
William Brooker Paintings 1952-1968, Arthur Tooth & Sons Ltd,
London, 6 – 24 February 1968, no. 4 (illustrated)
Norfolk Contemporary Art Society exhibition, Castle Museum,
Norwich, October 1981, no. 9
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From Album: Burra Edward
KEYWORDS:
EDWARD BURRA ARA
1905 - 1976
Clothes Shop 1931-2
Pencil on paper
Signature stamp lower left
24 x 19 1/2 ins 61 x 49.5 cms
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| Verso: |
Civil War |
| Exhibited: |
Hayward Gallery, London, Retrospective, 1985, no.51
Arts Council, Touring exhibition: Edward Burra: Drawings from
the 1920¹s & 1930¹s, 1993, no.19, illus. |
Matching descriptions:
EDWARD BURRA ARA
1905 - 1976
Clothes Shop 1931-2
Pencil on paper
Signature stamp lower left
24 x 19 1/2 ins 61 x 49.5 cms
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| Verso: |
Civil War |
| Exhibited: |
Hayward Gallery, London, Retrospective, 1985, no.51
Arts Council, Touring exhibition: Edward Burra: Drawings from
the 1920¹s & 1930¹s, 1993, no.19, illus. |
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From Album: Piper John
KEYWORDS:
JOHN PIPER LG, CH
1903 - 1992
Public Bar 1933
Gouache & collage on paper
Signed lower centre
15 x 19 1/4 ins 38.1 x 48.8 cms
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| Provenance: |
Myfanwy Piper
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| Exhibited: |
Temple Newsham Gallery, Leeds, Henry Moore,
John Piper & Graham Sutherland, 1941
Tate Gallery, London, Retrospective 1983, no.53, illus.
Dulwich Picture Gallery, London, John Piper in the 1930¹s,
Centenary exhibition, 2003, no.8, illus.
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Matching descriptions:
JOHN PIPER LG, CH
1903 - 1992
Public Bar 1933
Gouache & collage on paper
Signed lower centre
15 x 19 1/4 ins 38.1 x 48.8 cms
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| Provenance: |
Myfanwy Piper
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| Exhibited: |
Temple Newsham Gallery, Leeds, Henry Moore,
John Piper & Graham Sutherland, 1941
Tate Gallery, London, Retrospective 1983, no.53, illus.
Dulwich Picture Gallery, London, John Piper in the 1930¹s,
Centenary exhibition, 2003, no.8, illus.
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From Album: Sickert Walter Richard
WALTER RICHARD SICKERT, A.R.A
1860-1942
KEYWORDS: Available
WALTER RICHARD SICKERT, A.R.A
1860-1942
Santa Maria della Salute c.1901
Signed lower right
Oil on panel
10 x 8 ins / 25.4 x 20.3 cm
Provenance:
Dr. Robert Emmons;
Edward Le Bas;
Raymond Mortimer
Exhibited:
Leicester Galleries, London, June 1929, no. 49;
Agnews, London, Paintings & Drawings by Sickert
from the Collection of Robert Emmons, 1947, no. 64;
Royal Academy, London, A Painter’s Collection, 1963, no. 142;
Fine Art Society, London, Sickert Loan exhibition, May – June 1973,
no.38, touring to Edinburgh, June 1973.
Literature:
A. Bertram, Sickert, London & New York, 1955, pl. 13;
W. Baron, Sickert, London, 1973, pp. 63 & 326
Matching descriptions:
Santa Maria della Salute c.1901
Signed lower right
Oil on panel
10 x 8 ins / 25.4 x 20.3 cm
Provenance:
Dr. Robert Emmons;
Edward Le Bas;
Raymond Mortimer
Exhibited:
Leicester Galleries, London, June 1929, no. 49;
Agnews, London, Paintings & Drawings by Sickert
from the Collection of Robert Emmons, 1947, no. 64;
Royal Academy, London, A Painter’s Collection, 1963, no. 142;
Fine Art Society, London, Sickert Loan exhibition, May – June 1973,
no.38, touring to Edinburgh, June 1973.
Literature:
A. Bertram, Sickert, London & New York, 1955, pl. 13;
W. Baron, Sickert, London, 1973, pp. 63 & 326
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From Album: Wells John
Matching descriptions:
24
Study c.1959
Oil on card
Studio stamp verso
3 1/4 x 15 1/2 ins 8 x 39 cms
As he worked towards his first solo exhibition for the Waddington
Galleries in 1960, Wells introduced a larger scale to his paintings, up
to 24 x 58 ins for Landscape Evocation1959, by far the largest work
he had produced. These were generally characterised by a looser
more gestural technique that perhaps both indicate Wells’ awareness
of the contemporary work of his colleagues in St Ives and the
influence of his dealer urging him to make larger, more significant
statements. Many of these paintings possess an elongated horizontal
format, encouraging a linear narrative reading across the composition
and attempting to capture the enormity of the experience of
landscape within a single picture. The change in scale and technique
brought with it uncertainties that led Wells to make, for the first
time, provisional studies for the larger paintings, having abandoned
his technique of scoring the backboard with lines based on systems
of proportion such as the Golden Section. The urgency of
production brought about by the deadline of the Waddington
exhibition is evident in these loosely painted small scale studies.
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From Album: Wells John
Matching descriptions:
25
Landscript c.1959
Oil on board
Studio stamp verso
3 1/2 x 28 ins 9 x 71 cms
As he worked towards his first solo exhibition for the Waddington
Galleries in 1960, Wells introduced a larger scale to his paintings, up
to 24 x 58 ins for Landscape Evocation1959, by far the largest work
he had produced. These were generally characterised by a looser
more gestural technique that perhaps both indicate Wells’ awareness
of the contemporary work of his colleagues in St Ives and the
influence of his dealer urging him to make larger, more significant
statements. Many of these paintings possess an elongated horizontal
format, encouraging a linear narrative reading across the composition
and attempting to capture the enormity of the experience of
landscape within a single picture. The change in scale and technique
brought with it uncertainties that led Wells to make, for the first
time, provisional studies for the larger paintings, having abandoned
his technique of scoring the backboard with lines based on systems
of proportion such as the Golden Section. The urgency of
production brought about by the deadline of the Waddington
exhibition is evident in these loosely painted small scale studies.
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From Album: Wells John
Matching descriptions:
32
Three Circles in Squares 1967
Oil on wood construction
Signed, dated, numbered 67/ 2 & inscribed verso
32 x 26 ins 82 x 66.5 cms
Exhibited:
Penwith Gallery, St Ives, 1967
Edinburgh Festival, 1967
Sheviock Gallery, 1970
Penwith Society, 1970
By 1967 Wells had arrived at a position of the utmost simplicity of
forms and means of expression, reducing the image to a few
repeated shapes and combined colours. In this work, a rare relief,
the proportion of the circles to the squares remains consistent but
each is treated in a different colour to create an undefined and
ambiguous spatial sense. The interior of the middle sized square is
painted with a pure cobalt blue whilst the larger square is applied
with a mixture of cobalt blue and white. Following its extended
exhibition history, Wells repainted a number of sections in 1972.
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From Album: Wells John
Matching descriptions:
36
Painting 1976
Oil & pencil on board
Numbered 87/ 10, studio stamped & dated verso
12 x 16 ins 30.5 x 40.5 cms
The last painting in the exhibition illustrates Wells’ increasing
awareness of the development and consistency of his career.
Many of the forms used in this work, from the crescent shape in
the upper left, to the small drawn circle above it, refer back to his
war time constructivist works, whilst the coloured square within a
square to the lower right is drawn from more recently produced
work. All of this geometric visual language is combined with the
central, heavily textured area. This may be an earlier painting
reworked by the artist, a practice that dominated his late work
from the 1980s.
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From Album: Hitchens, Ivon 1893-1979
Statue in Courtyard
KEYWORDS: Available
Statue in Courtyard circa 1959 Oil on canvas 33 x 60 in : 84 x 152 cm
A sculpted female torso in a studio interior was the subject of a painting shown
at Hitchens’ first solo exhibition in 1925. Fifty years later the presence of a statue in a landscape painting, lending it an extra dimension and mystery, still appealed to the artist (eg. A Sibylline Courtyard 1974 in the Courtauld Institute collection).
There is certainly an extra dimension of mystery in the present painting, since
the statue depicted in it is in fact based on a living model, while the river and buildings in the left half seem to be drawn from the imagination.
Laying aside the probably unanswerable question of sources, let us accept the painting for what it is: a complex and powerful composition which, somewhat against the odds, imposes itself on the imagination.
Both halves of the picture provide a welcome reminder of the too easily overlooked element of drawing in Hitchens’ work. On the left we get a rare glimpse of the detailed structure, or armature, that underlies the sweeping brushstrokes and patches of colour in most of his works; on the right an
example of his fluent and vital figure drawing, which can be seen in the many
ink or charcoal studies he made in preparation for his large mural paintings
in the 1950s and early ‘60s.
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From Album: Hitchens, Ivon 1893-1979
Spring Mood no.3
KEYWORDS: Ivon Hitchens
sold
1 Spring Mood no 3 1933 Estate stamp verso Oil on canvas 28 x 40 in : 71 x 102 cm
Almost every painting in this exhibition is one of several versions or variations on a theme, whether it be still life or landscape. Hitchens’ interest was not so much in the subject itself as in the pictorial opportunities it offered. It was therefore natural that he should want to explore the different aspects of the subject in a series of paintings.
The subject of Spring Mood no 3 is a group of plants and flowers in pots and vases placed on a table in the artist’s Hampstead studio, with a view out of the window to distant rooftops. This is one of at least three treatments of the theme. (There are, in addition, two exquisite miniature versions, each measuring 6 x 7 ins, painted in the following year, 1934.) In Spring Mood nos 1 & 3 Hitchens is concerned with the bare bones of the composition: rhythm, line and colour-shape, while in no 2 he exploits contrasts of pattern and detail.
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From Album: Hitchens, Ivon 1893-1979
Blue Door
KEYWORDS: sold
Blue Door
Estate stamp verso
Oil on canvas, Size 16 x 34 ½ ins / 40.5 x 87.5 cms
exhibition: De la Warr Pavilion Bexhill-on-Sea
Matching descriptions:
Estate stamp verso
Oil on canvas,
Size 16 x 34 ½ ins / 40.5 x 87.5 cms
exhibition: De la Warr Pavilion Bexhill-on-Sea
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From Album: Wells, John
Matching descriptions:
16
Chalice 1948
Oil on card
Studio stamp verso
7 3/4 x 10 ins 19.75 x 25.5 cms
Whilst working alongside Peter Lanyon, Sven Berlin, Bryan Wynter
and later Wilhelmina Barns Graham, Patrick Heron and others
around the three Crypt Group exhibitions in 1946-8, Wells began
to accommodate more explicit figurative references within his work.
During this time he tackled a number of still life themes and in
line with the overtly romantic aspirations for the Group as a whole,
he also at times adopted a more expressive manner. The current
painting is a clear example of this tendency, in its presentation
of antiquated still life forms set within an undefined almost
subterranean light. The use of strong local colours make the
shapes emerge jewel like from this dusk creating an interplay
of floating forms across the picture plane.
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From Album: Wells, John
Matching descriptions:
28
Composition Variation 1 1963
Oil on board
Signed, dated, numbered 67/ 12, studio stamped & inscribed verso
48 3/8 x 18 1/8 ins 123.5 x 46.5 cms
Exhibited: Waddington Galleries, London, 1964, no. 14
Following the commercial success of his more loosely handled landscape
evocations at the 1960 Waddington exhibition, Wells appears to have become
dissatisfied with the lack of structure and coherence in the larger work. He
wrote to Ben Nicholson in January 1961, ‘You may have heard I had a show at
Waddingtons in September last. It seems to have gone quite well. I wish I
could say the same of the work since then. I have produced virtually nothing
and feel as if I never will. I know a show is upsetting but three months is too
long – in fact pathological.’ He eventually turned to his love of geometry and
systems of proportion and musical structure as a means of support. The first
paintings produced in this new austere hard edge style date from later that
year. The present example is an essay in tonal and structural harmony and
recaptures some of the purity of his earliest constructivist work.
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From Album: Tunnard, John ARA LG 1900 - 1971
John Tunnard
1900-1971
KEYWORDS: sold
John Tunnard 1900-1971
Project 1942
Signed and dated
Signed and inscribed verso
Oil on board, Size 23 3/4 x 36 ins
Provenance: Sir D. Scott
Exhibited: Redfern Gallery 1942 no 3
British Council touring exhibition of Argentina 1943
Literatur: A. Peat and B. Whitton John Tunnard
His Life and Work, Aldershot 1997 no 273
Matching descriptions:
Project 1942
Signed and dated
Signed and inscribed verso
Oil on board, Size 23 3/4 x 36 ins
Provenance: Sir D. Scott
Exhibited: Redfern Gallery 1942 no 3
British Council touring exhibition of Argentina 1943
Literatur: A. Peat and B. Whitton John Tunnard
His Life and Work, Aldershot 1997 no 273
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From Album: Lanyon, Peter 1918-1964
Peter Lanyon
KEYWORDS: Peter Lanyon 1918-1964
Two Diving 1962
Signed, dated and inscribed verso
Oil on board with glass plastic and enamel
Size 34 x 16 ins
Exhibited: Gimpel Fils 1975 no 26
Hayward Gallery touring exhibition 1992-3, p41 no 33 illus
Matching descriptions:
1918-1964
Two Diving 1962
Signed, dated and inscribed verso
Oil on board with glass plastic and enamel
Size 34 x 16 ins
Exhibited: Gimpel Fils 1975 no 26
Hayward Gallery touring exhibition
1992-3, p41 no 33 illus
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From Album: Nicholson, Ben 1894-1982
Ben Nicholson
1894-1982
KEYWORDS: sold
Ben Nicholson (1894 - 1982)
Jenny Wren 1925
Signed, dated and inscribed on overlap Ben Nicholson 1925 Jenny Wren for
Tim & Charlotte.
Oil on canvas mounted
on panel.
38 x 47 cm (15 x 181/8 in).
Provenance: Wilfrid Roberts; Waddington Galleries, London.
Exhibited: Cambridge, Kettles Yard Gallery, Ben Nicholson: The Years of Experiment
1919-39, July 1983-January 1984, Arts Council Touring exhibition, no.17, illus.;
Tokyo, Fuji Television Gallery, 25 March-11 April 1986,
no.1 illus.
Matching descriptions:
Jenny Wren 1925
Signed, dated & inscribed on overlap
Ben Nicholson 1925 Jenny Wren for
Tim & Charlotte
Oil on canvas mounted on panel
15 x 18 1/8 ins - 38 x 47 cm
Provenance:
Wilfrid Roberts; Waddington Galleries, London
Exhibited:
Cambridge, Kettles Yard Gallery, Ben Nicholson: The Years of
Experiment 1919-39, July 1983-January 1984,
Arts Council Touring exhibition, no.17, illus.;
Tokyo, Fuji Television Gallery,
25 March-11 April 1986,
no.1 illus
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