Mary Fedden by Masterart

33 New Bond Street, London W1S 2RS Telephone: +44 (0)20 7499 4738 Fax: +44 (0)20 7495 3318 Email: maryfedden@richard-green.com www.richard-green.com

1 9 15 – 2 0 12

Wednesday 15th May – Saturday 1st June 2013 The paintings illustrated are available for purchase, subject to prior sale. The price quoted is inclusive of Artist’s Resale Rights (ARR). Contact: Jonathan Green and Matthew Green 33 New Bond Street, London W1S 2RS Tel: +44 (0)20 7499 4738 Fax: +44 (0)20 7495 3318 Email: maryfedden@richard-green.com

www.richard-green.com

Foreword

In celebration of the life and work of Mary Fedden, one of Britainâ&#x20AC;&#x2122;s favourite painters, we are delighted to present this vibrant exhibition of her oil paintings and watercolours. The exhibition covers Maryâ&#x20AC;&#x2122;s work from 1965 to 2007 and includes a wonderful range of the radiant still lifes for which she was renowned, as well as vivacious fruit and flower pieces and delicate depictions of birds. It also features representations of her riverside home in Chiswick in addition to more exotic landscapes recalled from her extensive travels. We are very grateful to the art critic, writer and good friend of the artist, Mel Gooding, for his insightful introduction to the catalogue and to the photographer Eamonn McCabe for the use of his wonderful image of Mary in her studio. We look forward to welcoming you to the exhibition.

Jonathan Green and Matthew Green

Opposite: Photograph of Mary Fedden RA OBE PPRWA by Eamonn McCabe

The Life of the Eye: Looking at Mary Fedden Introduction by Mel Gooding ‘I use the simplest colours. I don’t transform them myself, it is the relationship which takes charge of them.’ (Henri Matisse)

Two Paintings ‘I hope to paint things as I want them to be, or as well as I can, in a certain mood…’ (Mary Fedden) Let us look at two paintings by Mary Fedden, both made in 1987. In their different ways, both are absolutely characteristic, instantly recognisable; both are quite different in subject, mood and atmosphere. Taken together they demonstrate at once the range and variety of Fedden’s style and manner, her extraordinary capacity to alternate effortlessly between, on the one hand, near abstract still life paintings in radiant celebration of the common things of everyday life, and, on the other, a kind of lighthearted modern genre painting, playful and evocative, with landscape-and-figures, usually in gardens, or in pastoral or seaside settings.

House Inn stands on a concrete and stone breakwater overlooking the sea on the western edge of the neck of the famous Portland stone promontory, with a settlement of sheds, cottages, chapel and houses behind, and a view across the curve of the bay to tumbling screes of the famous stone. Fedden’s portrayal of the pub and its environs is simplified, and its distances foreshortened, but it is in fact remarkably true to its subject. ‘Exactitude is not truth’ said Matisse. ‘It is enough to invent signs. When you have a real feeling for nature, you can create signs which are equivalents to both the artist and the spectator.’ Fedden’s art abounds with such Matissean ‘equivalents’.

Blue still life: The lamp presents us with an early example of what we might quite properly think of as typical of Fedden’s later style. Essentially abstract planes of strong colour, intensified by chromatic contrasts, cause each saturated hue to reverberate in the eye. Clear, clean, decorative shapes, schematically flattened into pure geometries: diamonds, star, ellipse, scallop-edged roundel, disc and circle, arch and curve, bright white against indigo, ultramarine and emerald green. Simplified fruit forms arranged in order, vibrant pansies of dense blue and purple, an arch-back kitchen chair, lamp, plates and dishes, wine bottle, and a glimpse of a garden: the objects of a domestic setting, its commodious harmony signified in the music of colour, and in the contrast and repetition, rhyme, rhythm and interval of the formal motifs. All this in the spirit of Matisse: ‘Colour exists in itself, has its own beauty’, he wrote in ‘The Path of Colour’. ‘I had to get away from imitation, even of light. One can provoke light by the invention of flat planes, as with the harmonies of music. I used colour as a means of expressing my own emotion and not as a transcription of nature.’

Thus, a Fedden landscape is always more concerned with its configured forms, its pictorial tones and colours, and with the thematic resonances of its incidental content, than with topographical exactitude. It is a world of her own making; an image in which is reflected the artist’s reveries of arcadian joy, holiday pleasures. It typically presents us with a memory of place elsewhere, in a time out of time. In Portland Bill, the austere uniformity of the workaday place, the tree-less, stony reality of the scene – scree and gaunt skyline, hard sea wall and pebbled beach − is at once caught and transformed with paradoxical precision by the flat colour rectangles of the houses, a turpentinethinned tonal oil wash and the pebble-greys, browns and duns of unabashed painterly splotches: invented ‘signs’! Human warmth and resilient vitality are discovered in the instantaneous immediacy of the foreground event. The weather-beaten jovial fisherman, Portland Bill himself (the word-play of the title is part of the joke), presented, flat against the picture plane, as if in cut-out, proffers the unseen visitor a wonderfully lively lobster, as vitally blue as his woolly jersey and sailor’s hat. Behind him, in a doggy world of its own, his insouciant little brown terrier is poised alert (how witty and economic is that ‘sign’ for the dog!) on the very edge of the high sea-wall. They are the living components of a painted moment, which compounds quotidian fact and comic imagination. It is a version of pastoral. Continued

Portland Bill is, we might say, a different kettle of fish. The ordered formal composition, and the intense ‘flat planes’ of abstract colour of the still life interior give way to the aerial, atmospheric tonalities of the outdoors caught in an even, marine light. Cove

Opposite: Cat. no. 10 Portland Bill, page 40 6

Art in a Life

Mary Fedden’s later style, in its freely diverse manifestations, was unmistakeable and inimitable. (She was, in fact, the most widely and unsuccessfully imitated painter of her generation). It was a style that developed out of a particular artistic life in particular personal circumstances. This is not to suggest that her work is in any direct or significant way autobiographical or diaristic, though it referred constantly to aspects of her day-to-day life. Indeed the opposite is true: what makes her work so distinctive is its objective quality, the sense we have of a perfectly fixed image of magical conjunctions in which each element is discerned in the whole. There is no confessional or emotively personal subtext to her repertory of familiar objects (though we know she cherished those things), or to the typical table-top theatre, the mise-en-scène, of her still life paintings. And the locale and incident of her landscapes are given and circumstantial: these were simply places she happened to know well, or had visited and enjoyed on her holiday travels, and where things simply happened to provide a memorable image for her poetic imaginings. Fedden’s painting always begins in a perception of the actual, it is born out of visual experience. What is impressive and affecting are precisely the ways in which her painting transcends factual and documentary circumstance, and the most familiar and personal subject matter, to find emblematic or even mythic significance in what are mostly ordinary things, unremarkable places, and inconsequential events. Tuscan gardens and cypress groves, bare Spanish hills, snowy Yorkshire sheep farms, English fishing harbours and Irish inlets are places of timelessly perennial seasonal activity; in Fedden’s visual memory, years after his death, her husband Julian rock pooling becomes an Attic fisherman on the Aegean seashore; a loch-side holiday garden beyond a window becomes a place of the sequestered pleasures of old tales; her birds, like those of Gerard Manley Hopkins’s, are at once quick with the life of the spirit and emblematic, they might have listened, rapt, to St Francis; flowers in a mug, purple grapes, a dark pear in early dawn or crepuscular light register at once the passing of time and the transient pleasures of a life. There is a coherent thematic to these transfigurations.

eye and a mind trained by poetry. Guided by her artist husband, Julian Trevelyan, she artfully assimilated what she needed from the work of modernist painters, especially Matisse and the Fauvists, George Braque and Juan Gris, who laid the ground for Henri Hayden, Ben Nicholson and the vivid colour-world of post-cubist still life. One of her favourite motifs, the still life and window, was a commonplace of English painting between the wars, but Fedden made her own thing of it, treating it with a clarity and freedom of composition and decorative colour that was entirely her own. She had kept in her mind’s eye also the vivid theatrical colour and bold design of Vladimir Polunin, the great Russian theatre designer with whom she had worked as a scene-painter as a student while still at the Slade. Her 1997 design for the programme of Janaček’s The Makropulos Case – one of several she made for Glyndbourne – reminds us of this, and indicates that she might herself have made some marvellous stage designs. By the time Trevelyan died in 1988 Fedden had been working close to him, in her studio at Durham Wharf, for nearly forty years. He had been at first her mentor (in certain paintings of the 1950s it is difficult to tell the difference between them), helping her effect an escape from the dark Sladean tonalities and naturalistic light of her early painting, and he became her most rigorous and valued critic. Through the 1960s and ’70s she had mastered in her still life painting a vigorous impasto style, typical of English painting at the time, but marked by a growing vibrancy of un-English colourism (Blue flowers of 1965 is a fine example.) As time went by her style diverged sharply from that of Trevelyan’s own late style, which was distinguished by schematic colour simplification and a linear ‘jigsaw’ compositional device. In certain paintings from the early 1980s – Bird and basket (1981), Orange tabletop still life (1982), Still life with grapes and pear (1983), and Jug with ivy leaves and flowers (1986) − we can discern this distinctive stylistic development, though these works are still distinguished by tonal nuance and a painterly, visibly brushy handling. By the mid-1980s Fedden had assembled the components of her own later style.

Mary Fedden was a highly sophisticated artist, who had spent many years refining her distinctive vision and developing the technical means to enable its most effective expression. Behind the apparent simplicity of her presentations was an acute artistic Continued Opposite: Cat. no. 8 Charlotte’s jug (Still life in Spain), page 36 9

Fedden’s Later Style

Let me now summarise the most characteristic and frequent pictorial strategies and technical devices of that style. First, in the still lifes, there is the characteristic bright, unmixed chromatic colour – vibrant scarlets and crimsons, blues, pinks, blacks (‘black is a colour’ said Matisse) − setting a specific colour key, creating a mood – serene, dramatic, joyful. Then there is the recurrent decorative resort to simple repetitive abstract shapes and patterns − stripes, circles, dots, diamonds, arabesques, zigzags, stars, scallops, roundels; these geometries are found readymade in textiles, pottery, chair-backs, in the shapes, peel patterns and interiors of fruit, the outlines of the petals and leaves of flowers, in a tabby cat’s fur, a zebra’s coat, the markings and ribs of seashells. The selection of such objects is both arbitrary and deliberate: it is not only that they have those distinctive decorative qualities, but that they also carry emblematic resonances. Thus fruit are often cut, to reveal both hidden symmetries and dark seeds within pale flesh. Feathers, birds’ eggs, pebbles, shells and flowers; jugs, pots, mugs, bowls and bottles: natural or domestic, these things are evocative of the pleasures of life, and lightly symbolic but never solemn or portentous. Then there is the formally schematic placement of discrete objects across the pictorial surface, though never symmetrically: fruit, eggs, shells, bottles arrayed in pairs, or in echelon. Sometimes they seem scattered at random, as in The Hopjes Tin (2002), but they are always isolated and deployed flat across the surface, with no effort at spatial recession. Finally, there is the deliberate flattening of objects to bring them parallel to the picture surface, usually deployed on table tops similarly brought up and forward by 90 degrees to align with the canvas plane as in Pink lilies (2001). These devices emphasise the purely decorative relations between motifs and surface: they are crucial to the visual music. The landscapes, on the other hand, tend (as already noted) to the tonal and spatial in their over-all presentation; and their execution is more brushy and summary. In the oil landscapes there is often recourse to a thinned solution, which creates in different ways a light-filled aerial or aqueous vibrancy, as in Portland Bill, Ducks (1996), Clonakilty, Co. Cork (2002) and The Martini bottle (2004). Fedden’s paintings on paper evince a complete mastery of the effects that watercolour can achieve, above all a miraculous soft translucency created by the white of the paper shining through the surface granularity of the colour medium deposited by the dried

wash: both aspects are lucently vibrant. The light-filled Autumn crocuses in a bottle (1990) is a lovely example. Using a combination of both gouache and watercolour, as in the charming undated Florentine garden, and the beautiful 1988 Still life with lemons, Fedden skilfully plays the opacity of the former against the translucency of the latter. In the oil paintings of her later style, especially in the still lifes, Fedden was moving consciously towards what Roger Fry, the great formalist mentor of her generation, famously called ‘the creative vision’. By this he meant the gifted artist’s ability to transform the circumstantial objective actuality in front of our eyes to an harmonious, rhythmic ‘mosaic of vision’ in which each part is a formal component of a greater whole, in which colours crystallize into an interactive harmony, finding purely pictorial relations to other colours. This ‘creative vision’ demands, Fry wrote, ‘the most complete detachment from any of the meanings and implications of appearances’. It tends, as he knew, to abstraction, to varieties of formalism. Though she loved the pure relations of colour to colour and the drama of contrasts, especially that of black and white, Fedden was, however, never a formalist, and never interested, as an artist, in pure abstraction. In her later art you certainly have that visual mosaic of which Fry wrote, the disposition of motifs according to the formal demands of pattern, harmony, rhythm; but there is never any ‘detachment’ from the individual and specific appearance and character of the objects, and most certainly not from their ‘meanings and implications’. Fedden skilfully uses abstraction – of colour, form, positioning and relation – but always to pictorial and symbolic ends, and always with a love for the particularity, the quirkiness, the incidental charm of actual things – their pied beauty and strangeness to the eye, and their attractiveness to the mind as objects with both circumstantial and symbolic histories. Those familiar objects in Fedden’s paintings certainly do acquire a new life of their own within the composed world of the painting itself, the rectangular and bounded visual actuality of its surface, with its own essentially abstract relations, its particular, purely pictorial structure of shape and colour: ‘more a world’, she once said, ‘of imagination than actual fact’: ‘[The things in my paintings] are not trying to be more real than they really are, they’re trying to be less real than they really are… I would rather transform the things I look at, using apples (or whatever) as a starting point to make the picture that Continued Opposite: Cat. no. 18 Pink lilies, page 58

I want to make.’ She was not interested in naturalistic depiction but in the revelation of a deeper, more intense kind of reality: ‘Sometimes my apples come out looking extraordinarily like apples, when I haven’t perhaps meant them to.’ Looking at those apples, jugs, flowers, lemons, bottles, houses, hillsides, estuaries, we enter that reality with remarkable ease. We recognise those things; we have touched them, seen them; we have been in such places: that is the true reality of an art such as Fedden’s. Her still life arrangements and landscapes were never, in fact, painted direct from the motif; rather they were imaginatively reinvented, starting with one or two objects, a bunch of flowers brought to her by a friend, perhaps, a few studio props, a jug, a variegated pebble, a striped shell, the river seen from a window; some of these things, whatever they may mean to her personally, however effectively they have got her started on the picture, would be eliminated as the work proceeded. Each painting made itself, so to speak, as it was painted, with every decision and indecision, each addition and subtraction: it was composed in the process of painting, in response to formal decisions or pictorial demands. There is more, we might say, to Mary Fedden’s art than meets the eye: the eye that is delighted by colour, by the beauty of material things, by those dynamic patterns, contrasts and complementaries, and that characteristic visual music. As I have suggested, it is an art that came out of a particular life, a particular world: Durham Wharf on the Thames at Chiswick, where she lived in a kind of paradise garden with Julian, her constant companion in life and art; domestic life and its pleasures; looking at paintings; poetry; talk with friends; travel. Above all, it came out of the life of the eye: looking, looking, looking; then in the arrangement of objects and scenes in the mind’s eye; and then in the composition of those things on the plane of the canvas, that other enclosed and magical world of her art. It is an art that accepts life’s pleasures – optical, visual, tactile, sensuous – and represents them in the terms of a considered and cunning artifice using the resources of the painter: colour and form, visual rhythm and rhyme (there are analogies to be drawn with poetry as well as with music and theatre), the light and dark of day and night. The grasp on the actual that is manifest in these brilliant representations derives much of its power from Fedden’s versatile and virtuoso drawing: it is often overlooked

in accounts of her work that she was one of the most gifted draughtsmen of her generation. It is clearly evident in the design of her paintings; but I mean also that her ability to see things clearly in their very quidditas and to transform them to utter simplicity came of the concentration of vision that is the essence of drawing. The world pictured with such intensity is valued the more for its own sake: a life of heightened sensation brings poignant awareness of the passing of time, the transience of things, the finitude of life itself. I cannot better here what I wrote on a previous occasion on the inner themes of Fedden’s art: ‘Flowers are by their nature fleeting presences; fruits are the perennial signifiers of the completed cycle of life, enclosing the seeds of a new beginning; birds’ eggs are emblems of both potentiality and fragility; birds, moths and butterflies are symbols of the brevity of life and the ephemerality of earthly joys. There are also recurrent signifiers of broader temporalities: the pebble is in geological time, the shells and feathers in biological time, the bottle, the teapot and the jug exist in social and circumstantial time; the fruit and flowers are in their own brief and effulgent moment of living time. Thus the objects that appear in her paintings acquire talismanic significance; they are at once emblems of mutability and charms against darkness.’ As with many British artists of her generation (and of the one preceding, with whose work she grew up – David Jones, Ben Nicholson, Winifred Nicholson, John Piper, to name a few), Mary was always greatly intrigued by the possibilities offered by the subject of the still life in front of a window. It offers possibilities of spatial and thematic play, as between the far and the near, interior light and exterior weather. The domestic array is immediately before us, an event in itself, but what lies outside the window, beyond the resonant temporalities of the objects on table or sill? The geology of the green and brown hills and of the chalk cliffs; the trees, now green, now bare of leaves, the vines, the garden flowers in their seasons; the turning times and tides which govern the lives of farmers and sailors; the joys of playing children, heedless of past or future times; the present moment of light over river, field and headland; the ever-present, ever-changing sky and the eternal sea. And always, of course, the making of these visual fictions, with all their thematic implications, took place in Mary’s riverside studio. Using real objects as her starting point, they are imaginatively created, works of the mind as of the eye, part observation, part fantasy, part memory, part reflection: outcomes of cunning artifice. Continued

Opposite: Cat. no. 33 Nasturtiums, page 92 13

A personal postscript

Having completed this text I went downstairs to my kitchen. On the table in a vase beneath a bright lamp a bunch of curving stemmed, black-centred tulips of the most intense scarlet; beside them, Tilly, our black and white cat, posing: a Mary Fedden! On the sill of the window two blowsy, flamboyant pink-striped pale amaryllis, the green of the garden, vague, beyond them: pure Fedden. Outside the window, on the ground beneath the stark late winter laburnum, a pair of chaffinches, male splendid, female a little dowdy beside him, and on the lawn beyond, a gold-beaked soot-black blackbird: favourite birds of Mary, quick as a picture by Fedden. I thought of my friend, Patrick Heron, saying, as he did so often: â&#x20AC;&#x2DC;We literally see the world through the eyes of artistsâ&#x20AC;&#x2122;. We do.

Mel Gooding March 2013

Right: Cat. no. 5 Bird and basket, page 28 14

Contents

Oil Paintings

Watercolours and Collage

Blue flowers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

23 Florentine garden . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Julian by the River Thames . . . . . . . . . . . . . . . . . . . . . . . 22

24 Sheep in the snow . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

White chair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

25 Still life with lemons . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Still life with amaryllis and fruit on a chair . . . . . . . . . . . . . . . . . 26

26 Autumn crocuses in a bottle . . . . . . . . . . . . . . . . . . . . . . 76

Bird and basket . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

27 The song thrush . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Orange table top still life . . . . . . . . . . . . . . . . . . . . . . . . 30

28 The Makropulos Case . . . . . . . . . . . . . . . . . . . . . . . . . 80

Still life with grapes and pear . . . . . . . . . . . . . . . . . . . . . . 32

29 Gardening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Charlotteâ&#x20AC;&#x2122;s jug (Still life in Spain) . . . . . . . . . . . . . . . . . . . . 36

30 Bird (Black-eared Wheatear) . . . . . . . . . . . . . . . . . . . . . . 86

Jug with ivy leaves and flowers . . . . . . . . . . . . . . . . . . . . . 38

31 Flowers and brushes . . . . . . . . . . . . . . . . . . . . . . . . . . 88

10 Portland Bill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

32 Bringing home the catch . . . . . . . . . . . . . . . . . . . . . . . . 90

11 House in Bath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

33 Nasturtiums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

12 Blue still life: The lamp . . . . . . . . . . . . . . . . . . . . . . . . . 44

34 Still life with shell and pebbles . . . . . . . . . . . . . . . . . . . . . 94

13 Autumn crocuses in a wine bottle with a lemon . . . . . . . . . . . . . . 46

35 Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

14 The Teapot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 15 Windowsill still life . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

All works are in chronological order

16 Ducks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 17 Still life with pomegranates, figs and melon . . . . . . . . . . . . . . . . 54 18 Pink lilies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Biographical Chronology . . . . . . . . . . . . . . . . . . . . . . . . . . 100

19 Clonakilty, Co. Cork . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Exhibitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

20 The Hopjes Tin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Public Collections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

21 The Martini bottle . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Select Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

22 Chest of drawers . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Illustrated Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Opposite: Cat. no. 4 Still life with amaryllis and fruit on a chair, page 26

Cat. no. 11 House in Bath, page 42

Oil Paintings

Blue flowers Signed Fedden and dated 1965 (lower right) Oil on canvas: 16 × 20 in / 40.6 × 50.8 cm Frame size: 23 ½ × 27 ½ in / 59.7 × 69.8 cm Provenance The New Art Centre, London Private collection, Newbury, Berkshire, then by descent

Price: £25,000

Julian by the River Thames Signed Fedden and dated 1978 (lower left); signed Mary Fedden, dated and inscribed with the title on the reverse. Signed and inscribed with the title again on a label attached to the reverse Oil on board: 32 × 28 in / 81.3 × 71 cm Frame size: 40 ½ × 35 ½ in / 102.9 × 90.2 cm Provenance Private collection, UK, acquired directly from the artist

Price: £35,000

White chair Signed Fedden and dated 1980 (lower left); signed Mary Fedden and inscribed with the title on a label attached to the reverse Oil on canvas: 30 × 24 in / 76.2 × 61 cm Frame size: 34 ¼ × 28 in / 87 × 71.1 cm Provenance New Grafton Gallery, London Miss C. Fisher, Ingatestone, acquired from the above Mrs Cynthia Hodge, then by descent Exhibited London, New Grafton Gallery, March 1980, cat. no. 6

Price: £38,000

Still life with amaryllis and fruit on a chair Signed Fedden and dated 1980 (lower left) Oil on canvas: 36 × 30 in / 91.4 × 76.2 cm Frame size: 42 ¾ × 37 ⅛ in / 108.6 × 94.3 cm Provenance Private collection, acquired directly from the artist in 1982, then by descent Exhibited London, Durham Wharf, Julian Trevelyan and Mary Fedden Open Studio, 5th June 1982 A note from the artist relating to the sale of this painting accompanies this work

Price: £65,000

Bird and basket Signed Fedden and dated 1981 (lower left); signed Mary Fedden and inscribed with the title on a label attached to the reverse Oil on canvas: 24 × 20 in / 61 × 50.8 cm Frame size: 32 × 28 in / 81.3 × 71.1 cm Provenance Corporate Collection, UK Private collection, UK, 1999

Price: £38,000

Orange table top still life Signed Fedden and dated 1982 (lower right) Oil on canvas: 24 × 20 in / 61 × 50.8 cm Frame size: 31 ¾ × 27 ¾ in / 80.6 × 70.5cm Provenance Private collection, UK

Price: £35,000

Still life with grapes and pear Signed Fedden and dated 1983 (lower left) Oil on panel: 7 × 13 in / 17.8 × 33 cm Frame size: 12 × 18 in / 30.5 × 45.7 cm Provenance Dr Wendy Baron Private collection, UK

Price: £16,000

Cat. no. 7 Still life with grapes and pear, page 32

Charlotte’s jug (Still life in Spain) Signed Fedden and dated 1983 (lower right); signed Mary Fedden and inscribed Still life in Spain on a label attached to the reverse Oil on canvas: 24 × 20 in / 61 × 50.8 cm Frame size: 32 ¼ × 28 ¼ in / 81.9 × 71.8 cm Provenance Bohun Gallery, Henley-on-Thames Private collection, Reading, acquired from the above Anthony Hepworth Gallery, Bath Private collection, Wiltshire Exhibited Henley-on-Thames, Bohun Gallery, Mary Fedden, 1984 Literature Mel Gooding, Mary Fedden, Scolar Press, Aldershot, 1995, p. 57 illustrated in colour

Price: £30,000

Jug with ivy leaves and flowers Signed Fedden and dated 1986 (lower left) Oil on board: 5 ¾ × 7 ½ in / 14.6 × 19 cm Frame size: 11 ½ × 13 ¼ in / 29.2 × 33.7 cm Provenance Private collection, UK

Price: £8,000

Actual size 39

Portland Bill Signed Fedden and dated 1987 (lower right) Oil on canvas: 20 × 24 in / 50.8 × 61 cm Frame size: 26 × 30 in / 66 × 76.2 cm Provenance Private collection, UK

Price: £25,000

House in Bath Signed Fedden and dated 1987 (lower right) Oil on board: 30 × 24 in / 76.2 × 61 cm Frame size: 37 × 31 in / 94 × 78.7 cm Provenance Private collection, UK Exhibited Bristol, Royal West of England Academy, An exhibition by artist members of the academy, 25th April – 21st May 1988, no. 60

Price: £40,000

Blue still life: The lamp Signed Fedden and dated 1987 (lower left) Oil on board: 24 × 30 in / 61 × 76.2 cm Frame size: 32 ½ × 38 in / 82.6 × 96.5 cm Provenance Archeus Fine Art, London Private collection, UK, 2002

Price: £48,000

Autumn crocuses in a wine bottle with a lemon Signed Fedden and dated 1990 (lower left) Oil on canvas: 20 × 16 in / 50.8 × 40.6 cm Frame size: 28 ½ × 24 ½ in / 72.4 × 62.2 cm Provenance Private collection, Buckinghamshire

Price: £20,000

The Teapot Signed Fedden and dated 1991 (lower left); signed Mary Fedden and inscribed with the title on a label attached to the frame Oil on board: 8 × 20 in / 20.3 × 50.8 cm Frame size: 12 ¼ × 24 ⅛ in / 31.1 × 61.3 cm Provenance Beaux Arts Gallery, Bath, December 1991 Private collection, UK, then by descent

Price: £16,000

Windowsill still life Signed Fedden and dated 1992 (lower left) Oil on board: 7 ¾ × 24 in / 19.7 × 61 cm Frame size: 13 ½ × 29 ¾ in / 34.3 × 75.6 cm Provenance Private collection, UK, acquired directly from the artist

Price: £22,000

Ducks Signed Fedden and dated 1996 (lower left) Oil on canvas: 18 ¼ × 21 ¾ in / 46.4 × 55.2 cm Frame size: 24 ¾ × 28 ¼ in / 62.9 × 71.8 cm Provenance Private collection, Bristol, acquired from the RWA exhibition Exhibited Bristol, Royal West of England Academy, Academicians’ exhibition, 14th April – 10th May 1996, no. 25

Price: £25,000

Still life with pomegranates, figs and melon Signed Fedden and dated ’00 (lower left) Oil on canvas: 24 × 30 in / 61 × 76.2 cm Frame size: 32 ¾ × 39 in / 83.2 × 99.1 cm Provenance Private collection, UK

Price: £40,000

Cat. no. 17 Still life with pomegranates, figs and melon, page 54

Pink lilies Signed Fedden and dated ’01 (lower left) Oil on canvas: 20 × 24 in / 50.8 × 61 cm Frame size: 26 ½ × 30 ½ in / 67.3 × 77.5 cm Provenance Private collection, UK, acquired directly from the artist

Price: £35,000

Clonakilty, Co. Cork Signed Fedden and dated ’02 (lower left) Oil on canvas: 31 ½ × 35 ½ in / 80 × 90.2 cm Frame size: 40 × 43 ¼ in / 101.6 × 109.9 cm Provenance Richard Green, London, acquired directly from the artist Private collection, UK, 2003, acquired from the above

Price: £40,000

The Hopjes Tin Signed Fedden and dated ’02 (lower left) Oil on canvas: 36 × 50 in / 91.4 × 127 cm Frame size: 42 ½ × 56 ¼ in / 108 × 142.9 cm Provenance Archeus Fine Art, London, acquired from the Royal Academy exhibition Private collection, UK, 2002 Exhibited London, Royal Academy of Arts, Summer Exhibition, 2002, no. 325

Price: £48,000

The Martini bottle Signed Fedden and dated ’04 (lower right) Oil on canvas: 15 ¾ × 19 ¾ in / 40 × 50.2 cm Frame size: 22 × 26 in / 55.9 × 66 cm Provenance Private collection, UK

Price: £20,000

Chest of drawers Signed Fedden and dated ’06 (lower right) Oil on canvas: 27 ½ × 35 ½ in / 69.8 × 90.2 cm Frame size: 35 3/8 × 43 ½ in / 89.9 × 110.5 cm Provenance Acquired from the Royal Academy exhibition Exhibited London, Royal Academy of Arts, Summer Exhibition, 2006, no. 825 Literature Christopher Andreae, Mary Fedden. Enigmas and Variations, Lund Humphries, Aldershot, 2007, no. 169, p. 143, illustrated in colour

Price: £35,000

Cat. no. 25 Still life with lemons, page 74

Watercolours and Collage

Florentine garden Signed Fedden (lower right); signed Mary Fedden and inscribed with the title on a label attached to the reverse Watercolour and gouache: 10 × 13 ¼ in / 25.4 × 33.7 cm Frame size: 20 ¾ × 24 in / 52.7 × 61 cm Painted c. 1965 Provenance Private collection, UK

Price: £10,000

Sheep in the snow Signed Fedden and dated 1987 (lower right) Watercolour and gouache: 4 ¾ × 5 ¾ in / 12.1 × 14.6 cm Frame size: 15 ¼ × 15 ¾ in / 38.7 × 40 cm Provenance Private collection, a gift from the artist, then by descent

Price: £7,500

Actual size 73

Still life with lemons Signed Fedden and dated 1988 (lower left) Watercolour and gouache: 4 ½ × 7 ¾ in / 11.4 × 19.7 cm Frame size: 15 ¼ × 18 ¼ in / 38.7 × 46.4 cm Provenance Private collection, acquired directly from the artist in 1988

Price: £12,500

Actual size 75

Autumn crocuses in a bottle Signed Fedden and dated 1990 (lower left) Watercolour: 9 ¾ × 5 in / 24.8 × 12.7 cm Frame size: 20 × 14 ¾ in / 50.8 × 37.5 cm Provenance Private collection, Buckinghamshire

Price: £8,000

The song thrush Signed Fedden and dated 1993 (lower right) Watercolour and gouache: 4 ¾ × 5 in / 12 × 12.7 cm Frame size: 14 ½ × 14 ¼ in / 36.8 × 36.2 cm Provenance Richard Hagen Fine Paintings, Worcestershire Private collection, UK

Price: £6,000

Actual size 79

The Makropulos Case Signed Fedden and dated 1997 (lower right); signed Mary Fedden and inscribed with the title on a label attached to the reverse Watercolour and collage: 19 × 22 ¼ in / 48.3 × 56.5 cm Frame size: 31 ½ × 34 ¼ in / 80 × 87 cm Provenance Private collection, UK

Price: £8,000

Gardening Signed Fedden and dated 1999 (lower right); signed Mary Fedden and inscribed with the title on a label attached to the reverse. Also signed with the artist’s address on a postcard attached the reverse. Watercolour: 7 ¼ × 9 in / 18.4 × 22.9 cm Frame size: 20 ⅞ × 22 ½ in / 53 × 57.2 cm Provenance Private collection, acquired directly from the artist

Price: £7,500

Cat. no. 29 Gardening, page 82

Bird (Black-eared Wheatear) Signed Fedden and dated 1999 (lower right) Watercolour: 9 ¾ × 11 ¼ in / 24.8 × 28.6 cm Frame size: 20 ⅛ × 18 ⅞ in / 51 × 47.9 cm Provenance Private collection, UK

Price: £7,000

Flowers and brushes Signed Fedden and dated ’02 (lower left) Watercolour, gouache and paper collage: 9 × 11 in / 22.9 × 27.9 cm Frame size: 19 ¾ × 21 in / 50.2 × 53.3 cm Provenance Private collection, UK

Price: £15,000

Bringing home the catch Signed Fedden and dated ’02 (lower left) Watercolour and gouache: 9 ¾ × 11 in / 24.8 × 27.9 cm Frame size: 21 × 22 in / 53.3 × 55.9 cm Provenance Private collection, UK

Price: £12,000

Nasturtiums Signed Fedden and dated ’04 (lower left); signed Mary Fedden and inscribed with the title on a label attached to the reverse Watercolour: 7 ½ × 9 ¾ in / 19 × 24.8 cm Frame size: 17 ½ × 19 ½ in / 44.4 × 49.5 cm Provenance Private collection, UK, acquired directly from the artist

Price: £9,500

Still life with shell and pebbles Signed Fedden and dated ’06 (lower left) Watercolour and gouache: 10 ½ × 7 ¼ in / 26.7 × 18.4 cm Frame size: 22 ½ × 18 ½ in / 57.2 × 47 cm Provenance Private collection, UK

Price: £12,500

Brushes Signed Fedden and dated ’07 (lower left) Watercolour: 10 ¾ × 8 in / 27.3 × 20.6 cm Frame size: 21 ⅝ × 18 ½ in / 54.9 × 47 cm Provenance Private collection, UK

Price: £12,500

Cat. no. 22 Chest of drawers, page 66

Biographical Chronology Exhibitions Public Collections Select Bibliography Illustrated Books

Biographical Chronology

1915 Born in Bristol on 14th August 1932 Commenced studies at the Slade School of Art, London, where she was inspired by her tutor, Vladimir Polunin and met Julian Trevelyan for the first time

1951 Married Julian Trevelyan Painted a mural for the children’s section in the Television pavilion on the South Bank at the Festival of Britain

1936 Graduated from Slade School of Art, London and returned to her native Bristol to teach

1958–64 Taught at the Royal College of Art, London where she was the first female tutor in the Painting School, her pupils including David Hockney, Allen Jones and Patrick Caulfield

1939–44 Moved to London and joined the Land Army and the Women’s Voluntary Service

1961 Commissioned to paint a mural for the P&O liner Canberra

1944 Called up and sent to Europe as a driver for the Navy, Army and Air Force Institutes

1965–70 Taught at the Yehudi Menuhin School, Surrey

1946 Returned to London, buying a house in Redcliffe Road with Maise Meiklejohn 1947 First one-woman exhibition at the Mansard Gallery in Heal’s Department Store, which led to a three year commission to paint the covers of Woman magazine 1949 Travelled through Europe with the artist Julian Trevelyan. On their return to London they settled together in Trevelyan’s home and studio by the Thames at Durham Wharf, Chiswick

1995 Publication of Mary Fedden by Mel Gooding 1996 Received an Honorary Doctorate of Literature from the University of Bath 1997 Awarded OBE 2007 Publication of Mary Fedden. Enigmas and Variations by Christopher Andreae 2012 Died in Chiswick on 22nd June

1980 Painted a mural for Charing Cross Hospital with Julian Trevelyan 1984–88 President of Royal West of England Academy, Bristol 1985 Painted a mural for Colindale Hospital 1988 Death of Julian Trevelyan 1992 Elected Royal Academician in the Senior Order

Opposite: Cat. no. 9 Jug with ivy leaves and flowers, page 38 100

Exhibitions

1947 Mansard Art Gallery, London

1977 New Grafton Gallery, London

1994 Glyndebourne Opera

1953 Redfern Gallery, London

1980 New Grafton Gallery, London

1996 Royal West of England Academy, Bristol

1956 Redfern Gallery, London

1982 New Grafton Gallery, London

2004 Redfern Gallery, London

1959 Redfern Gallery, London

1984 New Grafton Gallery, London Bohun Gallery, Henley-on-Thames Beaux Arts Gallery, Bath

2007 Royal Academy of Arts, London

1962 Redfern Gallery, London 1965 Mansard Art Gallery, London 1967 Redfern Gallery, London 1969 Oxford Gallery, Oxford 1970 Hamet Gallery, London 1971 Hamet Gallery, London Oxford Gallery, Oxford 1975 New Grafton Gallery, London

1986 Bohun Gallery, Henley-on-Thames Beaux Arts Gallery, Bath New Grafton Gallery, London The New Ashgate Gallery, Farnham

2008 Richard Green, London 2011 Royal West of England Academy, Bristol

1988 New Grafton Gallery, London Royal West of England Academy, Bristol 1989 Bohun Gallery, Henley-on-Thames Christopher Hull Gallery, London Beaux Arts Gallery, Bath 1991 Glyndebourne Opera 1992 Glyndebourne Opera

Opposite: Cat. no. 31 Flowers and brushes, page 88 102

Works by Mary Fedden can be found in the following public collections: Abbot Hall Art Gallery, Kendal, Cumbria Birmingham Museums and Art Gallery Bristol Museum and Art Gallery Chelsea and Westminster Health Charity Contemporary Art Society Derbyshire & Derby School Library Service Durham University Government Art Collection Gracefield Arts Centre, Dumfries and Galloway Council Guildford House Gallery Herbert Art Gallery & Museum, Coventry Hereford Museum and Art Gallery HM The Queen Imperial College Healthcare Charity Art Collection, St Maryâ&#x20AC;&#x2122;s Hospital, London Lucy Cavendish Collection, Cambridge National Gallery of New Zealand National Assembly for Wales / Ty Hywel National Museum of Wales / Amgueddfa Cymru, Cardiff The New Art Gallery Walsall New Hall Art Collection, Murray Edwards College, University of Cambridge Newnham College, University of Cambridge Newport Museum and Art Gallery Nuffield College, University of Oxford

Open University Otter Gallery, University of Chichester Pallant House Gallery, Chichester Pembroke College Oxford JCR Art Collection Peterborough Museum & Art Gallery Reading Museum & Town Hall Royal Academy of Arts, London Royal West of England Academy Museums Sheffield Southampton City Art Gallery Swindon Art Gallery Tate Britain Tulie House Museum and Art Gallery Trust, Carlisle Mead Gallery, University of Warwick University of Bath University College London Hospitals University of Leeds Art Collection and Gallery University of York Victoria Art Gallery, Bath Whitworth Art Gallery, University of Manchester Williamson Art Gallery & Museum, Wirral York Museums Trust

Opposite: Cat. no. 35 Brushes, page 96 104

Select Bibliography Mel Gooding, Mary Fedden, Scolar Press, Aldershot, 1995 Christopher Andreae, Mary Fedden, Enigmas and Variations, Lund Humphries, Aldershot, 2007 JosĂŠ Manser, Mary Fedden and Julian Trevelyan: Life and Art by the River Thames, Unicorn Press Ltd, London, 2012

Illustrated Books Susannah Amoore, Motley the Cat, Viking, London, 1997 Jane Gardam, The green man: an eternity, The Windrush Press, Moreton-in-Marsh, 1998 Mary Fedden with foreword by Mel Gooding, Birds, The Windrush Press, Moreton-inMarsh, 1999

Opposite: Cat. no. 6 Orange table top still life, page 30 106

Forthcoming Fairs and Exhibitions

European Portraits and Conversation Pieces 5th June–5th July 147 New Bond Street, London W1S 2TS

Focus on Lowry

Master Paintings Week

19 June–10 July 33 New Bond Street, London W1S 2RS

28 June–5 July 147 New Bond Street, London W1S 2TS

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Terms and Conditions

1. DEFINITIONS OF TERMS ‘Address’ the address to which both parties have agreed in writing the Work is to be delivered; ‘Agreement’ the agreement for the sale of the Work set out on the Invoice; ‘Buyer’ the person(s) named on the Invoice; ‘Delivery’ when the Work is received by Buyer or Buyer’s agent at the Address; ‘Invoice’ the sales invoice; ‘Invoice Address’ the address which Buyer has requested on the Invoice; ‘Local Taxes’ local import taxes and duties, and local sales and use taxes, including VAT where applicable; ‘Price’ the Invoice price of the Work; ‘Seller’ Richard Green (Fine Paintings) or Richard Green & Sons Limited; ‘Terms’ the terms and conditions of sale in this document which include any special terms agreed in writing between Buyer and Seller; ‘Third Party Payer’ shall have the meaning set out at clause 2.4; ‘VAT’ United Kingdom value added tax; and ‘Work’ the work or works of art detailed on the Invoice. 2. BASIS OF PURCHASE 2.1 The Terms shall govern the Agreement to the exclusion of any other terms and representations communicated to Buyer prior to entering into this Agreement and to Buyer’s own conditions (if any) and constitute the entire agreement and understanding of the parties in relation to the sale of the Work. 2.2 Delivery of the Work will be made following receipt by Seller of the Price in cleared funds. Buyer shall be responsible for all costs of Delivery. 2.3 Seller reserves the right to require Buyer to present such documents as Seller may require to confirm Buyer’s identity. 2.4 Where payment of the Price is made by someone other than Buyer (‘Third Party Payer’) Seller may require documents to confirm the identity of Third Party Payer and the relationship between Buyer and Third Party Payer. Seller may decline payments from Third Party Payers. 3. RISK TITLE AND INSURANCE 3.1 Seller shall deliver the Work to the Address. Risk of damage to or loss of the Work shall pass to Buyer on Delivery. Dates quoted for Delivery are approximate and Seller shall not be liable for delay. Time of Delivery shall not be of the essence. Buyer shall provide Seller with all information and documentation necessary to enable Delivery. 3.2 Notwithstanding Delivery and passing of risk, title in the Work shall not pass to Buyer until Seller (1) receives in cleared funds the Price and any ot her amount owed by Buyer in connection with the sale of the Work; and (2) is satisfied as to the identity of Buyer and any Third Party Payer and its relationship to Buyer. 3.3 If Buyer fails to accept delivery of the Work at the Address at the agreed time (1) Seller may

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charge Buyer for the reasonable costs of storage, insurance and re-delivery; (2) risk in the Work shall immediately pass to Buyer; and (3) Seller is irrevocably authorised by the Buyer to deposit the Work at the Address if delivery has not occurred within six months. 3.4 Seller is not responsible for any deterioration of the Work, howsoever occasioned, after risk in the Work has passed to Buyer. 3.5 Unless agreed in writing between the parties, responsibility for insurance of the Work passes to Buyer on Delivery and Buyer acknowledges that thereafter Seller shall not be responsible for insuring the Work. 4. PAYMENT 4.1 The Price shall be as stated on the Invoice. Payment shall be made in full by bank transfer or cheque and is received when Seller has cleared funds. 4.2 Full payment of the Price shall be made to Seller within 30 days of receipt of Invoice. Interest shall be payable on overdue amounts at the rate of 3% per annum above Royal Bank of Scotland Base Rate for Sterling. 4.3 Until full title to the Work has passed, Buyer shall not sell, export, dispose of, or part with possession of the Work. 4.4 Until full title to the Work has passed, Buyer shall hold the Work unencumbered as Seller’s fiduciary agent and bailee and shall: (1) keep the Work at Buyer’s premises separate from the property of Buyer and third parties and identified as Seller’s property and properly stored with adequate security measures; (2) keep the Work comprehensively insured for not less than the Price, have Seller’s interest noted on the policy and provide a copy of such notification to Seller; and (3) preserve the Work in an unaltered state, in particular not undertake any work whatsoever and shall take all reasonable steps to prevent any damage to or deterioration of the Work. 4.5 Until such time as full title to the Work has passed, if Buyer is in breach of clauses 4.3 or 4.4; or (1) Buyer (if it is more than one person, jointly and/or severally) shall enter into, and/or itself apply for, and/or call meetings of members and/or partners and/or creditors with a view to, one or more of a moratorium, interim order, administration, liquidation (of any kind, including provisional), bankruptcy (including appointment of an interim receiver), or composition and/or arrangement (whether under deed or otherwise) with creditors, and/or have any of its property subjected to one or more of appointment of a receiver (of any kind), enforcement of security, distress, or execution of a judgment (to include similar events under the laws of other countries);or (2) Seller reasonably apprehends that any of the events mentioned above is about to occur in relation to Buyer and notifies Buyer accordingly; or (3) Buyer does anything which may in any way adversely affect Seller’s title in the Work, then Seller or its agent may immediately repossess the Work and/or void the sale with or without notice and Buyer will return the Work to Seller’s nominated address (at Buyer’s sole risk and cost), or, at Seller’s option, Seller may enter the premises where the Work is kept to regain possession.

5. REPRESENTATION OF SELLER 5.1 Seller confirms that, to the best of its knowledge and belief, it has authority to sell the Work. 5.2 Buyer agrees that all liability of Seller and all rights of Buyer against Seller in relation to the Work howsoever arising and of whatever nature shall cease after the expiry of five years from Delivery. This paragraph does not prejudice Buyer’s statutory rights. 5.3 Notwithstanding anything in this Agreement to the contrary, Seller shall not be liable to Buyer for any loss of profits, loss of revenue, goodwill or for any indirect or consequential loss arising out of or in connection with this Agreement, whenever the same may arise, and Seller’s total and cumulative liability for losses whether for breach of contract, tort or otherwise and including liability for negligence (except in relation to (i) death or personal injury caused by Seller’s negligence or (ii) fraud or fraudulent misrepresentation by Seller) shall in no event exceed the Price. 5.4 All representations made by Seller as to the authenticity, attribution, description, date, age, provenance, title or condition of the Work constitute the Seller’s opinion only and are not warranted by Seller. Seller accepts no liability as a result of any changes in expert opinion or scholarship which may take place subsequent to entry into this Agreement. 6.

COPYRIGHT All copyright in material relating to the Work vesting in Seller shall remain Seller’s. Seller reserves the right to exploit all such copyright.

7. EXPORT AND LOCAL TAXES 7.1 Where the Work is to be exported from the UK by Buyer, this Agreement is conditional on the granting of any requisite export licence or permission, which the parties shall use reasonable endeavours to obtain. 7.2 Where the Work is, or is to be exported from the European Union and VAT has not been charged because, by reason of such intended export, the Work is zero rated or not subject to VAT, both parties shall take all necessary steps to ensure that there is compliance with the time limits and formalities laid down by HM Revenue & Customs and that such documentation as is required, including any necessary proofs of export and Bills of Lading are fully and properly completed. Buyer shall indemnify Seller against any claims made against Seller for VAT or any other expenses or penalties imposed by reason of Buyer’s failure to observe and comply with the formalities referred to herein. 7.3 Unless otherwise stated on the Invoice, Buyer shall be responsible for all Local Taxes. 8. GENERAL 8.1 Buyer shall not be entitled to the benefit of any set-off and sums payable to Seller shall be paid without any deduction whatsoever. In the event of non-payment Seller shall be entitled to obtain and enforce judgement without determination of any cross claim by Buyer. 8.2 Both parties agree that in entering into the Agreement neither party relies on, nor has any

8.3 8.4

8.5

8.6

8.7 8.8

remedy in respect of, any statement, representation or warranty, negligently or innocently made to any person (whether party to this Agreement or not) other than as set out in the Agreement as a warranty. The only remedy for breach of any warranty shall be for breach of contract under the Agreement. Nothing in the Agreement shall operate to limit or exclude any liability for fraud. The benefit of the Agreement and the rights thereunder shall not be assignable by Buyer. Seller may sub-contract its obligations. Any notice in connection with the Agreement shall be in writing and shall be delivered by hand or by post to Seller’s registered office at the time of posting or to Buyer to the Invoice Address, and shall be deemed delivered on delivery if by hand or on the third day after posting if posted. In the case of a consumer contract within the meaning of the Unfair Contract Terms Act 1977, these conditions shall not apply to the extent that they would be rendered void or unenforceable by virtue of the provisions thereof. No amendment, modification, waiver of or variation to the Invoice or the Agreement shall be binding unless agreed in writing and signed by an authorised representative of Buyer and Seller. Neither Seller nor Buyer intends the terms of the Agreement to be enforceable by a third party pursuant to the Contracts (Rights of Third Parties) Act 1999. The Agreement and all rights and obligations of Seller and Buyer under it shall be governed by English Law in every particular and, subject always to the prior application of the arbitration provisions set out in clause 9, both parties agree to submit to the exclusive jurisdiction of the English Courts.

9. ARBITRATION 9.1 All claims and disputes relating to, or in connection with, the Agreement are to be referred to a single arbitrator in London pursuant to the Arbitration Act 1996. In the event that the parties cannot agree upon an arbitrator either party may apply to the President of the Law Society of England and Wales for the time being to appoint as arbitrator a Queen’s Counsel of not less than 5 years standing. The decision of the arbitrator shall be final and binding. 9.2 Save that Buyer acknowledges Seller’s right to seek, and the power of the High Court to grant interim relief, no action shall be brought in relation to any claim or dispute until the arbitrator has conducted an arbitration and made his award.

March 2006 “Richard Green” is a registered trade mark of Richard Green Old Master Paintings Ltd in the EU, the USA and other countries. Asking prices are current at time of going to press – Richard Green reserves the right to amend these prices in line with market values.

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Richard Green has assisted in the formation and development of numerous private and public collections including the following: UNITED KINGDOM Aberdeen: City Art Gallery Altrincham: Dunham Massey (NT) Barnard Castle: Bowes Museum Bedford: Cecil Higgins Museum Canterbury: Royal Museum and Art Gallery Cheltenham: Art Gallery and Museum Chester: The Grosvenor Museum Coventry: City Museum Dedham: Sir Alfred Munnings Art Museum Hampshire: County Museums Service Hull: Ferens Art Gallery Ipswich: Borough Council Museums and Galleries Leeds: Leeds City Art Gallery Lincoln: Usher Gallery Liskeard: Thorburn Museum London: Chiswick House (English Heritage) Department of the Environment The Iveagh Bequest, Kenwood The Museum of London National Maritime Museum National Portrait Gallery National Postal Museum Tate Britain The Wimbledon Lawn Tennis Museum Lydiard Tregoze: Lydiard House Norwich: Castle Museum Plymouth: City Museum and Art Gallery Richmond: London Borough of Richmond upon Thames and Orleans House Gallery St Helier: States of Jersey (Office) Southsea: Royal Marine Museum Stirling: Stirling Smith Art Gallery and Museum York: York City Art Gallery

CANADA Fredericton: Beaverbrook Art Gallery Ottawa: The National Gallery of Canada UNITED STATES OF AMERICA Boston, MA: Museum of Fine Arts Cincinnati, OH: Art Museum Gainesville, FL: Harn Museum of Art Houston, TX: Sarah Campbell Blaffer Foundation Los Angeles, CA: J Paul Getty Museum New Haven, CT: Yale Center for British Art New York, NY: Dahesh Museum Ocala, FL: The Appleton Museum of Art Omaha, NE: Joslyn Art Museum Pasadena, CA: Norton Simon Museum Rochester, NY: Genessee County Museum San Marino, CA: The Huntington Library St Louis, MO: Missouri Historical Society Sharon, MA: Kendall Whaling Museum Toledo, OH: Toledo Museum of Art Ventura County, CA: Maritime Museum Washington, DC: The National Gallery The White House Williamstown, MA: Sterling and Francine Clark Art Institute Winona, MN: Minnesota Marine Art Museum Worcester, MA: Worcester Art Museum BELGIUM Antwerp: Maisons Rockox Courtrai: City Art Gallery DENMARK Tröense: Maritime Museum

IRELAND Dublin: National Gallery of Ireland FRANCE Compiègne: Musée National du Château GERMANY Berlin: Staatliche Kunsthalle Darmstadt: Hessisches Landesmuseum Hannover: Niedersachsisches Landesmuseum Karlsruhe: Staatliche Kunsthalle Speyer am Rhein: Historisches Museum der Pfalz HOLLAND Amsterdam: Joods Historisch Museum Rijksmuseum Utrecht: Centraal Museum SOUTH AFRICA Durban: Art Museum SPAIN Madrid: Real Academia de Bellas Artes de Sun Fernando Museo Thyssen-Bornemisza Museo Nacional del Prado SWITZERLAND Zurich: Schweizerisches Landesmuseum THAILAND Bangkok: Museum of Contemporary Art

Published by Richard Green. © 2013 All rights reserved. Catalogue by Rachel Boyd. Photography by Beth Saunders. Graphic Design by Chris Rees. Printed in England by Hampton Printing (Bristol) Ltd. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated (without the publisher’s prior consent), in any form of binding or other cover than in which it is published, and without similar condition being imposed on another purchaser. All material contained in this catalogue is subject to the new laws of copyright, December 1989. 112

147 New Bond Street, London W1S 2TS Telephone: +44 (0)20 7493 3939 Fax: +44 (0)20 7499 3278 Email: maryfedden@richard-green.com www.richard-green.com