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From Album: Armitage Kenneth
KENNETH ARMITAGE 1916 - 2001
KEYWORDS:
KENNETH ARMITAGE
1916 - 2001
Children with Birds 1949
Oil on canvas
Initialled & dated lower left
25 x 33 ins 63.5 x 84 cms
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| Provenance: |
The artist¹s estate
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Matching descriptions:
Children with Birds 1949
Oil on canvas
Initialled & dated lower left
25 x 33 ins 63.5 x 84 cms
Provenance:
The artist’s estate
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From Album: Burra Edward
KEYWORDS: Available
Available
EDWARD BURRA ARA
1905 - 1976
Fountain c.1930
Watercolour on paper
Signature stamp lower right
22 x 31 ins 56 x 79 cms
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| Provenance: |
The artist¹s estate
Lefevre Gallery, London
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Matching descriptions:
EDWARD BURRA ARA
1905 - 1976
Fountain c.1930
Watercolour on paper
Signature stamp lower right
22 x 31 ins 56 x 79 cms
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| Provenance: |
The artist¹s estate
Lefevre Gallery, London
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From Album: Collins Cecile RA, MBE
CECIL COLLINS RA, MBE
1908 - 1989
Matching descriptions:
Thou Lovest Figure in a room 1942
Ink on paper
Signed & dated lower right; titled verso
14 3/4 x 9 3/4 ins 37.4 x 24.8 cms
Exhibited:
Lefevre Gallery, London, 1944, no.48
tate Gallery, London, 1989, no.104, illus.
Anthony d’Offay Gallery, London, 1991
Literature:
Alex Comfort, Cecil Collins Paintings & Drawings 1935-45, Oxford 1946, p20
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From Album: Hilton Roger CBE
KEYWORDS: Available
ROGER HILTON CBE
1911 - 1975
Long Black 1956
Oil on canvas
Inscribed, titled & dated verso
8 x 24 ins 20.25 x 61 cms
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| Provenance: |
The artist¹s estate
Waddington Galleries, London |
Matching descriptions:
ROGER HILTON CBE
1911 - 1975
Long Black 1956
Oil on canvas
Inscribed, titled & dated verso
8 x 24 ins 20.25 x 61 cms
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| Provenance: |
The artist¹s estate
Waddington Galleries, London |
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From Album: Hitchens Ivon
John By Jordan no2 1942
KEYWORDS: Sold
John by Jordan no 2 1942 Signed lower right Signed dated & inscribed on stretcher label Oil on canvas 29 1/4 x 16 1/4 in : 74 x 41 cm
Exhibited Leicester Galleries August 1944 no 132 tate Gallery Retrospective 1963 no 29
In August 1940 Hitchens’ studio at 169 Adelaide Road, Hampstead was damaged by a bomb. He and his wife, together with John, their four-month-old son, moved permanently to Lavington Common, near Petworth in West Sussex, where at first they lived in a caravan which they had bought the year before.
‘Jordan’ was the name of a tin bath, stowed under the caravan when not in use, and the group of John by Jordan paintings are intimate portraits of mother and baby son. The life they depict is one of peace and primal innocence in a sunlit forest glade. Both the subject and its treatment – rich colour and bold brushmarks – express a joyful affirmation in the completest contrast to the anxiety and deprivation of wartime.
Matching descriptions:
1942 Signed lower right Signed dated & inscribed on stretcher label
Oil on canvas
29 1/4 x 16 1/4 in : 74 x 41 cm
Exhibited Leicester Galleries August 1944 no 132 tate Gallery Retrospective 1963 no 29
Comments by Peter Khoroche
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From Album: Pasmore Victor
KEYWORDS: Available
VICTOR PASMORE RA, LG
1908 - 1998
The Supper at Emmaeus 1942-1946
Oil on canvas
Initialled lower right
32 1/4 x 43 3/4 ins 82 x 11 cms
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| Provenance: |
Sir Michael Balcon
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| Exhibited: |
tate Gallery, London, Retrospective, 1965, no.50
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| Literature: |
Alan Bowness & Luigi Lambertini, Victor Pasmore Catalogue Raisonne, New York, 1980, p.11, no.92, ill, p.55 Sir Kenneth Clark, Victor Pasmore, Penguin, 1945, ill, pl.16 Bruce Laughton, The Euston Road School, Scolar Press, 1986, p.228, ill, 285-6
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Matching descriptions:
VICTOR PASMORE RA, LG
1908 - 1998
The Supper at Emmaeus 1942-1946
Oil on canvas
Initialled lower right
32 1/4 x 43 3/4 ins 82 x 11 cms
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| Provenance: |
Sir Michael Balcon
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| Exhibited: |
tate Gallery, London, Retrospective, 1965, no.50
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| Literature: |
Alan Bowness & Luigi Lambertini, Victor Pasmore Catalogue Raisonne, New York, 1980, p.11, no.92, ill, p.55 Sir Kenneth Clark, Victor Pasmore, Penguin, 1945, ill, pl.16 Bruce Laughton, The Euston Road School, Scolar Press, 1986, p.228, ill, 285-6
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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: 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
Matching descriptions:
20
Untitled c.1953
Oil on canvas
Studio stamp verso
9 3/4 x 16 1/4 ins 25 x 41 cms
Following the upright compositions suggestive of soaring air currents
and gliding bird flight of the preceding few years, Wells began a
series of landscape format paintings in the mid 1950s that included
Vista1955 (Exh. tate St. Ives, 1998, no. 38) which was awarded the
Arts Critics Prize in 1957. These presented a patchwork of geometric
shapes, spread out across the composition in a manner suggestive of
an ancient field marking system in a landscape as seen from the air,
and often containing a skewed sense of perspective evoking a bird’s
eye view in motion. This work even incorporates a shaped canvas
to further disrupt the picture plane and enhance the feeling of
disorientation
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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: Wynter Bryan 1915-1975
16. IMOOS No 5 1972-73
KEYWORDS: available Bryan Wynter
16. IMOOS No 5 1972-73
Gouache on card, wire, concave mirror & light set within
a painted wooden box
Size: h. 22 ½ ins 57 cms
w. 20 ins 51 cms
d. 25 ½ ins 65 cms
Exhibited
Waddington Galleries, London, 1974
Penwith Galleries, St Ives, 1976
University of Essex, 1988
tate, St Ives, 1994
tate, St Ives, Retrospective, 2001
Matching descriptions:
Gouache on card, wire, concave mirror & light set within
a painted wooden box
Size: h. 22 ½ ins 57 cms
w. 20 ins 51 cms
d. 25 ½ ins 65 cms
Exhibited
Waddington Galleries, London, 1974
Penwith Galleries, St Ives, 1976
University of Essex, 1988
tate, St Ives, 1994
tate, St Ives, Retrospective, 2001
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From Album: Newman, Jennifer
premeditated
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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.
Matching descriptions:
1934 Signed & dated lower left
Estate stamp verso
Oil on canvas
25 x 32 1/2 in : 63 x 83 cm
Comments by Peter Khoroche
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From Album: Hitchens, Ivon 1893-1979
Outflow from a Lake
KEYWORDS: Available
Outflow from a Lake 1960 Signed lower left signed dated & inscribed on stretcher label Oil on canvas 17 x 58 1/2 in : 43 x 149 cm
Warnford Water, a secluded, tree-fringed lake on a private estate in Hampshire, provides the archetypal subject-matter for a Hitchens painting: a long lake receding into the distance (far right), a water-race in the foreground, a trout-pool (just left of centre at the lower edge), and a stream flowing out of the pool, leading the eye gently leftwards out of the picture. The motif provided material for two series of paintings (1959-60) in which these four main components were given varying emphasis, depending on the focus of interest or the changing weather and time of day. In this variation on the theme equal value is given to each component in a wide, all-inclusive panorama (note the ratio of length to height, almost 31/2 to 1). Other variations concentrate on a single component, subordinating or even eliminating the others.
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From Album: Hitchens, Ivon 1893-1979
Foliage by Water no 3
KEYWORDS: Available
Foliage by Water no 3 1962 Signed lower right signed dated & inscribed on stretcher label Oil on canvas 17 1/2 x 58 1/4 in : 44 x 148 cm
Exhibited tate Gallery Retrospective 1963 no 152
This painting and six others of the same subject were shown together at the
tate retrospective of Hitchens’ work in 1963. They hung in the last room and
one wonders how many visitors, having already seen one hundred and fifty exhibits, will have had the patience and stamina to compare and contrast
these latest masterworks. Yet here was a rare opportunity to study Hitchens’ method, appreciate his aims, and marvel at his inventiveness.
Of the entire series of twelve paintings no 3 is the most daringly economical. The two competing focuses of interest are the sweeping arc on the left and the partially obscured blue diamond on the right. But even as one contemplates these simple geometries, the flat screens of colour, superimposed on one another, create space and recession: the arc becomes a tree-bordered
shoreline; in the background rises the barrier of a forest plantation; and above are the pale blue, thinly clouded skies of spring. A smaller arc, over the blue diamond, echoes the larger and sets up a rhythm. By such seemingly simple gestures Hitchens recreates his experience of a particular landscape while at the same time constructing an independently satisfying pattern on the canvas. Holding the two in equilibrium is Hitchens’ magical secret and the secret of
the painting’s perennial freshness and mystery.
Matching descriptions:
1962
Signed lower right signed dated & inscribed on stretcher label
Oil on canvas
17 1/2 x 58 1/4 in : 44 x 148 cm
Exhibited tate Gallery Retrospective 1963 no 152
Comments by Peter Khoroche
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From Album: Hitchens, Ivon 1893-1979
Spray of Poppies
KEYWORDS:
Spray of Poppies 1965 Estate stamp verso Oil on canvas 20 1/4 x 46 in : 51 x 117 cm
Matching descriptions:
1965
Estate stamp verso
Oil on canvas
20 1/4 x 46 in : 51 x 117 cm
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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.
Matching descriptions:
1933 Estate stamp verso
Oil on canvas
28 x 40 in : 71 x 102 cm
Comments by Peter Khoroche
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From Album: Hitchens, Ivon 1893-1979
Girl In Boat no.2
KEYWORDS: Girl In Boat no.2
sold
1938 Signed lower right Estate stamp verso Oil on canvas 22 x 24 in : 56 x 61 cm
Hitchens made regular visits to Suffolk throughout the 1930s and the paintings he made there form a distinctive group within his work as a whole. This lyrical piece was painted while he and his wife were staying at Holbrook on the Shotley Peninsula, not far from Ipswich. It is one of at least three versions of the subject, made in the intervals between work on the more ambitious Holbrook Pools in the double-square horizontal format that he had adopted two years earlier.
Matching descriptions:
1938 Signed lower right
Estate stamp verso
Oil on canvas
22 x 24 in : 56 x 61 cm
Comments by Peter Khoroche
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From Album: Hitchens, Ivon 1893-1979
Courtyard Steps
KEYWORDS: sold
Courtyard Steps
Estate stamp verso, Oil on canvas
Size 23 ½ x 28 ½ ins / 60 x 72 cms
Matching descriptions:
Estate stamp verso,
Oil on canvas
Size 23 ½ x 28 ½ ins / 60 x 72 cms
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From Album: Hitchens, Ivon 1893-1979
Boat by Pond
KEYWORDS: sold
Boat by Pond
Estate stamp verso, Oil on canvas, Size 18 x 43 ins / 46 x 109 cms
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From Album: Hitchens, Ivon 1893-1979
Sunbather
KEYWORDS: sold
Sunbather
Signed lower right, Estate stamp verso
Oil on canvas, Size 22 x 26 ins / 56 x 66 cms
Matching descriptions:
Signed lower right,
Estate stamp verso
Oil on canvas,
Size 22 x 26 ins / 56 x 66 cms
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From Album: Hitchens, Ivon 1893-1979
Figure with Lilies
KEYWORDS: sold
Figure with Lilies
Estate stamp verso, Oil on canvas
Size 24 x 42 ins / 61 x 107 cms
Matching descriptions:
Estate stamp verso,
Oil on canvas
Size 24 x 42 ins / 61 x 107 cms
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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: Hitchens, Ivon 1893-1979
Courtyard with Susanna No 6
KEYWORDS: sold
Courtyard with Susanna No 6
Signed lower right, Signed dated and inscribed verso
Estate stamp verso, Oil on canvas
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From Album: Hitchens, Ivon 1893-1979
KEYWORDS: Sold
IVON HITCHENS CBE
1893 - 1979
Picnic, Sizewell 1933
Oil on canvas
Estate stamp verso
20 1/2 x 30 ins 52 x 76 cms
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| Provenance: |
The artist1s estate
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Matching descriptions:
IVON HITCHENS CBE
1893 - 1979
Picnic, Sizewell 1933
Oil on canvas
Estate stamp verso
20 1/2 x 30 ins 52 x 76 cms
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| Provenance: |
The artist¹s estate
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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:
13
Homage to Naum Gabo 1948
Oil on canvas
Signed, dated, numbered 73 / 2 & inscribed verso
16 x 20 ins 40.5 x 51 cms
Exhibited:
Penwith Society, St Ives, 1973
Plymouth City Art Gallery, Mackenzie, Mitchell, Wells 1975, no 44
tate St. Ives Retrospective,1998, no. 25
The title Homage to Naum Gaboappears to be Wells’ later
addition to this work which is listed as Painting 1948 (Gaboid)on the
artist’s card index system. Following Gabo’s departure from
St. Ives to travel to America in November 1946, Wells and Lanyon,
the two artists owing the most to his instruction and advice, formed
a close friendship, working through and discussing ideas together.
Throughout the late 1940s Wells continued to make and exhibit
three-dimensional constructions whilst his painted work developed
a more plastic sculptural quality. This composition is one of Wells’
most ambitious creations, combining a sense of lateral motion and
recessional depth for the fractured form that also alludes to the
material quality of Perspex, with radiating lines inscribed into the surface.
The use of the dense green as a textured background may refer
back to Gabo’s first paintings made in St. Ives, which used similar
tones, but it also helps place the object against an organic, natural
environment as if we are glimpsing some elemental force within the
landscape.
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From Album: Wells, John
Matching descriptions:
19
Untitled c.1951
Oil on canvas laid on board
Signed, numbered 90/ 16, studio stamped & inscribed verso
20 x 16 ins 51 x 40.5 cms
This work is drawn from a key series of paintings in which Wells
explored cliff faces and flight forms. The most famous of which
Aspiring Forms1950 in the tate collection, is the first in the series
of upright compositions inspired by the graceful flight of birds
which he observed during his long cliff top walks. The enlarged
scale and the softened geometry evident in this work reveal a
renewed confidence and ambition at this time. The heavily scraped
back paint surface and pale washes of muted colour add to this
strong evocation of atmospheric movement. The vertical thrust of
the angular forms lends the composition an anthropomorphic
aspect with the suggestion of a figure standing to the left.
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From Album: Lanyon, Peter 1918-1964
KEYWORDS: Sold
PETER LANYON
1918 - 64
Airoundland 1961
Oil on board, wood & copper
34 1/2 x 33 1/2 x 1 ins
87.5 x 85 x 2.5 cm
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| Provenance: |
Estate of the artist
S. Lanyon |
Matching descriptions:
Available
Available
PETER LANYON
1918 - 64
Airoundland 1961
Oil on board, wood & copper
34 1/2 x 33 1/2 x 1 ins
87.5 x 85 x 2.5 cm
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| Provenance: |
Estate of the artist
S. Lanyon |
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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
Matching descriptions:
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
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
Matching descriptions:
Nudes c. 1934
Double-sided drawing
Pencil and yellow wash
13 1/4 x 19 3/4 ins
Provenance:
Artist¹s Estate
Private collection England
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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
Matching descriptions:
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: 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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From Album: Hilton, Roger
March 1956 Liver, Black & White
KEYWORDS: Sold
ROGER HILTON CBE
1911 - 1975
March 1956 Liver, Black & White
Signed twice, dated & inscribed verso
Oil on canvas
44 1/8 x 33 7/8 ins 112 x 86 cms
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| Provenance: |
The artist1s estate;
Waddington Galleries, London
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| Exhibited: |
British Council, Recent Paintings by Seven British Artists, Australia, 1959, no.34 |
Matching descriptions:
Oil on canvas
44 1/8 x 33 7/8 ins 112 x 86 cms
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| Provenance: |
The artist1s estate;
Waddington Galleries, London
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| Exhibited: |
British Council, Recent Paintings by Seven British Artists, Australia, 1959, no.34 |
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