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Albums containing "nicholson" |
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Items containing "nicholson" |
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From Album: Nicholson Ben OM
KEYWORDS: Available
BEN nicholson OM
1894 - 1982
Green Chisel 1955
Oil & pencil on canvas
Signed, titled & dated verso
24 x 24 ins 61 x 61 cms
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| Provenance: |
Dartington Hall Trust, Devon
Waddington Galleries, London
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| Literature: |
Herbert Read, Ben nicholson, Lund Humphries, London 1956, vol 2, no.44, illus. Norbert Lynton, Ben nicholson, Phaidon, London 1993, no.276, illus.
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Matching descriptions:
BEN nicholson OM
1894 - 1982
Green Chisel 1955
Oil & pencil on canvas
Signed, titled & dated verso
24 x 24 ins 61 x 61 cms
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| Provenance: |
Dartington Hall Trust, Devon
Waddington Galleries, London
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| Literature: |
Herbert Read, Ben nicholson, Lund Humphries, London 1956, vol 2, no.44, illus. Norbert Lynton, Ben nicholson, Phaidon, London 1993, no.276, illus.
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From Album: Nicholson Sir William
KEYWORDS: Available
SIR WILLIAM nicholson NPS
1872 - 1949
Flowers & Gloves 1909
Oil on canvas
Signed & dated lower right; signed on stretcher verso
255/8 x 21 3/8 ins 65 x 54 cms
Provenance: Hugh Beaumont
Sir John Gielgud
Exhibited: Alex Reid & Lefevre, London
Fischer Fine Art, London
Literature: Lillian Browse, William nicholson,
Rupert Hart Davis,1956, no.145
Matching descriptions:
SIR WILLIAM nicholson NPS
1872 - 1949
Flowers & Gloves 1909
Oil on canvas
Signed & dated lower right; signed on stretcher verso
255/8 x 21 3/8 ins 65 x 54 cms
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| Provenance: |
Hugh Beaumont
Sir John Gielgud
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| Exhibited: |
Alex Reid & Lefevre, London
Fischer Fine Art, London
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| Literature: |
Lillian Browse, William nicholson,
Rupert Hart Davis,1956, no.145
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From Album: Nicholson Sir William
Matching descriptions:
SIR WILLIAM nicholson NPS
1872 - 1949
White Carnations c.1924
Oil on canvas
Monogrammed lower right
18 1/2 x 14 3/4 ins 47 x 37.5 cms
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| Exhibited: |
Barbizon House, London, 1927
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From Album: Nicholson Winifred
WINIFRED nicholson
1893-1981
KEYWORDS: Available
WINIFRED nicholson
1893-1981
Four Pots of Flowers and Two Dolls c. 1925
Oil on canvas
56 x 76 cm
Provenance:
Helen Sutherland
Private Collection, Oxfordshire.
Exhibited:
Crane Kalman Gallery, London
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From Album: Wells John
Matching descriptions:
1. Coastline – Scilly Isles c.1940
Watercolour on paper
Studio stamped
Traces of inscription verso
51/2 x 9 ins 14 x 22.75 cms
Wells took up the post of doctor on the Scilly Isles in 1936. He
continued to paint in his spare time following evening classes at St
Martin’s School of Art and his initial meeting with Ben and Winifred
nicholson and Christopher Wood in Feock, Cornwall in 1928. He
read widely, subscribing to contemporary magazines such as Axis
and Horizon, and his work of this period suggests an affinity with
the biomorphic forms of Surrealism which he used in depictions
of his marine environment. These two studies, never previously
exhibited, explore the organic contours of his island existence.
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From Album: Wells John
Matching descriptions:
2. Sea & Rocks – Scilly Isles c.1940
Watercolour on paper
Studio stamped
51/2 x 9 ins 14 x 22.75 cms
Wells took up the post of doctor on the Scilly Isles in 1936. He
continued to paint in his spare time following evening classes at St
Martin’s School of Art and his initial meeting with Ben and Winifred
nicholson and Christopher Wood in Feock, Cornwall in 1928. He
read widely, subscribing to contemporary magazines such as Axis
and Horizon, and his work of this period suggests an affinity with
the biomorphic forms of Surrealism which he used in depictions
of his marine environment. These two studies, never previously
exhibited, explore the organic contours of his island existence.
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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: Hitchens, Ivon 1893-1979
Cineraria Composition
KEYWORDS: Sold
Cineraria Composition 1934 Signed & dated lower left Estate stamp verso Oil on canvas 25 x 32 1/2 in : 63 x 83 cm
Here Hitchens focuses on the central plant-pot of Spring Mood no 3 and takes reductive abstraction a stage further than in the earlier painting. 1934-7 were
the years in which he pushed his experiments in abstraction as far as they would ever go, culminating in Coronation 1937 (Tate Coll).
It is worth recalling that 1934 was the year of Ben nicholson’s first white reliefs, and that the following years up to the outbreak of war were for him too the period of furthest abstraction, but that even in nicholson’s work pure abstraction at no time wholly ousted figuration.
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From Album: Wells, John
Matching descriptions:
34
Three Discs & Circle 1967
Oil & pencil on board
Signed, dated & numbered 67/ 7 & inscribed verso
14 x 18 ins 35.5 x 45.5 cms
Exhibited:
Penwith Society, 1967
Edinburgh Festival, 1968
This exquisite work represents the height of Wells’ paring down of
his visual vocabulary to the barest minimum. All extraneous colour
has been removed and we are left with the purest and most
complete of forms, devoid of visual distraction. Wells has created a
tantalising dynamic between the four circles, which plays with our
perceptions of real and imagined space, and as such can be seen as
the logical progression from his first initial spatial constructions,
created with the guidance of nicholson and Gabo twenty five
years before.
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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: Nicholson, Ben 1894-1982
KEYWORDS: Sold
BEN nicholson OM
1894 - 1982
Dieppe c.1933
Collage on board
Monogrammed in the composition
Signed & dedicated, Kate from Ben, verso
8 3/8 x 10 1/2 ins 20.1 x 26.5 cms
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| Provenance: |
Kate nicholson
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Matching descriptions:
BEN nicholson OM
1894 - 1982
Dieppe c.1933
Collage on board
Monogrammed in the composition
Signed & dedicated, Kate from Ben, verso
8 3/8 x 10 1/2 ins 20.1 x 26.5 cms
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| Provenance: |
Kate nicholson
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From Album: Nicholson, Ben 1894-1982
nicholson Redforms
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From Album: Nicholson, Ben 1894-1982
Ben nicholson
1894-1982
KEYWORDS: sold
Ben nicholson 1894-1982
Nude c 1932
Pencil on paper
16 x 14 ins
Provenance:
Artist's Estate
Exhibited:
Waddington Gallerie
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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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From Album: Nicholson, Ben 1894-1982
Ben nicholson
1894-1982
KEYWORDS: sold
Ben nicholson
1894-1982
Nudes c. 1934
Double-sided drawing
Pencil and yellow wash
Size: 13 1/4 x 19 3/4 inches
Provenance
Artist¹s Estate
Private collection England
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From Album: Nicholson, Ben 1894-1982
Ben nicholson
1894-1982
KEYWORDS: sold
Ben nicholson 1894-1982
Porthmeor Beach No 2 1928
Signed, dated and inscribed verso
Oil on canvas
Size: 18 x 20 3/4 inches
Provenance
D R Dyde
F Plaunt
Exhibited
Victor Waddington Dublin 1953
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From Album: Nicholson, Ben 1894-1982
Ben nicholson
1894-1982
KEYWORDS: Ben nicholson 1894-1982
Decanter, Goblet and Jug c 1981
Monogrammed and dated verso,
Pen, ink & oil gessoed canvas laid on board,
17 x 18 ins - 43 x 45 1/2 cm
Provenance:
Artist's Estate
Exhibited:
Waddington Galleries
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From Album: Nicholson, Winifred 1893-1981
Winifred nicholson
1893-1981
KEYWORDS: sold
Winifred nicholson 1893-1981
Blue Jug c 1935
Oil on board, Size: 20 x 17 ins
Provenance: Lady Spooner
Exhibited: Michael Parkin Gallery 1986
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From Album: Nicholson, Winifred 1893-1981
Winifred nicholson
1893-1981
KEYWORDS: sold
Winifred nicholson 1893-1981
Green Helebore c 1948
Oil on board, Size: 24 x 24 ins
Provenance: Countess of Moray
Exhibited: City of Bradford Art Gallery and Museums 1955
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