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Albums containing "hepworth" |
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Items containing "hepworth" |
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From Album: Wells John
Matching descriptions: 3. Collage 1941
Pencil, watercolour & paper collage on card
Signed, studio stamped & dated verso
121/2 x 151/2 ins 31.5 x 39 cms
Wells visited Ben Nicholson and Barbara hepworth at Carbis Bay
near St Ives in the spring of 1940 where he was introduced to Naum
Gabo. He was deeply impressed by Gabo’s constructivist ideas and
immediately fashioned a three dimensional response that Gabo
later described to Nicholson as ‘the perfect first effort in spatial
construction’. The present example is an important example of
Wells exploring tension and balance in space through the use of a
series of collaged geometric shapes interconnected within a linear
structure and with the central area of radiating lines.
The coloured concentric circles in each shape were created
with a small brass turntable, a device used by Wells’ father to make
microscope slides, and feature in Wells’ sole surviving relief
construction of the period in the Tate collection.
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From Album: Wells John
Matching descriptions: 4. Boat c.1942
Gouache & collage on paper
mounted on board
73/4 x 117/8 ins 19.5 x 30 cms
Wells visited Ben Nicholson and Barbara hepworth at Carbis Bay
near St Ives in the spring of 1940 where he was introduced to Naum
Gabo. He was deeply impressed by Gabo’s constructivist ideas and
immediately fashioned a three dimensional response that Gabo
later described to Nicholson as ‘the perfect first effort in spatial
construction’. The present example is an important example of
Wells exploring tension and balance in space through the use of a
series of collaged geometric shapes interconnected within a linear
structure and with the central area of radiating lines.
The coloured concentric circles in each shape were created
with a small brass turntable, a device used by Wells’ father to make
microscope slides, and feature in Wells’ sole surviving relief
construction of the period in the Tate collection.
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From Album: Wells John
Matching descriptions: 6. Untitled c.1944
Gouache & pencil on paper
7 1/8 x 9 1/2 ins 18 x 24 cms
During his visits to Carbis Bay Wells used to undertake long coastal
walks with Naum Gabo, during which Gabo collected pebbles or
bones and talked of their affinity with the constructive process.
Gabo’s sojourn in Cornwall appears to have confirmed a new
tendency to allow these natural sources into his work, perhaps
brought on by the state of the war and the means to which science
was being put in it. Wells responded to this romantically inspired
modernism through his own interest in natural phenomena and by
developing his own formal vocabulary to include a triangular ellipse
or pebble form. By presenting multiple aspects of a similar form
within the same picture and by drawing interior radiating lines to
define space, these works reference the contemporary crystal
drawings of Barbara hepworth, an example of which Wells owned.
The use of areas of strong primary colour to indicate an interior
space in Variationsalso recalls the jewel like intensity of colour
used by hepworth in her S culpture with Colour Deep Blue & Red,
1940 in the Tate collection.
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From Album: Wells, John
KEYWORDS:
11
Structure in Oval 1947
Oil on canvas
Signed, dated, numbered 86/ 7 & inscribed verso
18 x 14 ins 46 x 35.5 cms
Exhibited: Waddington Galleries, London, 1960, no. 37
Tate St. Ives, Retrospective,1998, no. 21 illus.
Wells first employed the three sided shape that he referred to as his ‘pebble form’ during his war years on the Isles of Scilly; and in this important painting he presents it floating at the centre of the composition against an undefined background. Through his association with Gabo and hepworth, who both explored the interior of their sculptures as much as the exterior, and his own questioning scientific mind, Wells presents ‘the pebble’ as semitransparent, revealing it’s internal structure and the forces that define and maintain its contour. This is one of a series of paintings produced at this time exploring the interior space of organic oval forms, suggestive of a search for the regenerative forces of nature found within seeds that paralleled Peter Lanyon’s Generation Series.
Matching descriptions: 11
Structure in Oval 1947
Oil on canvas
Signed, dated, numbered 86/ 7 & inscribed verso
18 x 14 ins 46 x 35.5 cms
Exhibited:
Waddington Galleries, London, 1960, no. 37
Tate St. Ives, Retrospective,1998, no. 21 illus.
Wells first employed the three sided shape that he referred to as
his ‘pebble form’ during his war years on the Isles of Scilly; and in
this important painting he presents it floating at the centre of the
composition against an undefined background. Through his
association with Gabo and hepworth, who both explored the
interior of their sculptures as much as the exterior, and his own
questioning scientific mind, Wells presents ‘the pebble’ as semitransparent,
revealing it’s internal structure and the forces that
define and maintain its contour. This is one of a series of paintings
produced at this time exploring the interior space of organic oval
forms, suggestive of a search for the regenerative forces of nature
found within seeds that paralleled Peter Lanyon’s Generation Series.
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From Album: Wells, John
Matching descriptions: 7. Variations 1944
Pen, ink, pencil & tempera on board
Signed, numbered 73 / 3 & inscribed verso
7 x 10 ins 17.75 x 25.5 cms
Exhibited: Plymouth City Art Gallery, Mackenzie, Mitchell, Wells,1975, no. 40
Newlyn Orion Gallery, Penzance, 1975, no. 1
During his visits to Carbis Bay Wells used to undertake long coastal
walks with Naum Gabo, during which Gabo collected pebbles or
bones and talked of their affinity with the constructive process.
Gabo’s sojourn in Cornwall appears to have confirmed a new
tendency to allow these natural sources into his work, perhaps
brought on by the state of the war and the means to which science
was being put in it. Wells responded to this romantically inspired
modernism through his own interest in natural phenomena and by
developing his own formal vocabulary to include a triangular ellipse
or pebble form. By presenting multiple aspects of a similar form
within the same picture and by drawing interior radiating lines to
define space, these works reference the contemporary crystal
drawings of Barbara hepworth, an example of which Wells owned.
The use of areas of strong primary colour to indicate an interior
space in Variationsalso recalls the jewel like intensity of colour
used by hepworth in her S culpture with Colour Deep Blue & Red,
1940 in the Tate collection.
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From Album: Wells, John
Matching descriptions: 17
Village 1948
Oil & pencil on canvas laid on board
Signed, dated, numbered 87/ 17, studio stamped & inscribed verso
11 x 15 1/4 ins 27.5 x 38.5 cms
Wells worked as an assistant to Barbara hepworth from 1949-51,
notably on her series of monumental figurative sculptures of the
period including Cosdon Head, 1949 in the Birmingham City Art
Gallery Collection These works combined hepworth’s interest in
pure abstraction with her figure drawings of the preceding few years.
Many of her works involved two figures presented together, either
the same figure for different viewpoints or entwined in some way.
Wells at this time developed an interest in incorporating heads and
figures within landscape forms as symbolic of man’s interaction with
nature. This rare linear study is also related to a series of etchings
made at this time.
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From Album: Wells, John
Matching descriptions: 18
Figures 1950
Pen, ink & watercolour on paper
Studio stamp & figure drawing verso
7 x 7 ins 18 x 18 cms
Wells worked as an assistant to Barbara hepworth from 1949-51,
notably on her series of monumental figurative sculptures of the
period including Cosdon Head, 1949 in the Birmingham City Art
Gallery Collection These works combined hepworth’s interest in
pure abstraction with her figure drawings of the preceding few years.
Many of her works involved two figures presented together, either
the same figure for different viewpoints or entwined in some way.
Wells at this time developed an interest in incorporating heads and
figures within landscape forms as symbolic of man’s interaction with
nature. This rare linear study is also related to a series of etchings
made at this time.
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From Album: Hepworth, Dame Barbara 1903-1975
Dame Barbara hepworth 1903-1975
KEYWORDS: sold
Dame Barbara hepworth
1903-1975
Discs in Echelon
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From Album: Hepworth, Dame Barbara 1903-1975
Dame Barbara hepworth 1903-1975
KEYWORDS: sold
Dame Barbara hepworth 1903-1975
Small Form (Head ) April 1962
Alabaster
Height: 10 1/2 inches (inc. base)
Provenance:
Bernard and Janet Leach
Exhibited:
Whitechapel Art Gallery, Barbara hepworth
Retrospective 1952 - 1962, 1962, no. 74;
Tate Gallery, Barbara hepworth Retrospective
1927 - 1967, 1968, no. 125
Literature: A. Bowness, The Complete Sculpture of
Barbara hepworth, Lund Humphries, 1971, p. 33, no. 317
Matching descriptions: Small Form (Head ) April 1962
Alabaster
Height: 10 1/2 inches (inc. base)
Provenance:
Bernard and Janet Leach
Exhibited:
Whitechapel Art Gallery, Barbara hepworth
Retrospective 1952 - 1962, 1962, no. 74;
Tate Gallery, Barbara hepworth Retrospective
1927 - 1967, 1968, no. 125
Literature:
A. Bowness, The Complete Sculpture of
Barbara hepworth, Lund Humphries, 1971, p. 33, no. 317
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