St Ives and Modern British Art 2024
31 March – 22 April
Tues–Sat / 10.30am–4.30pm
Higher Bussow Farm, Towednack, St Ives, Cornwall TR26 3BB
01736 794888 www.belgravestives.co.uk info@belgravestives.co.uk
Directions: Search Google Maps Belgrave St Ives or use what3words: ///flinch.gums.relief
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GILLIAN AYERS 1930–2018
Untitled (Woman and Birds)
Gouache / 16 x 20 cm
Signed on reverse
Gillian Ayres
Possibly painted whilst a student at Camberwell Art School (1946–50) this painting is Neo-Romantic in nature and close to similar work being made at the time by John Minton and Prunella Clough.
Ayres left Camberwell shortly before graduating in May 1950 and travelled to Cornwall where she spent the summer working.
2
Romi Behrens (Rosemary Tunstall Behrens)
Oil on board / 82 x 115 cm
Signed ‘R Tunstall Behrens’ and titled on reverse
Behrens moved to Cornwall in 1959. An artist and musician, she was a long-term member of the Newlyn Society of Artists, where her paintings were exhibited regularly. Behrens also exhibited at the Arnolfini, Bristol and Royal Academy Summer Exhibitions.
3
ROMI BEHRENS 1939–2019
Chapel
WILHELMINA BARNS-GRAHAM 1912–2004
St Ives to the Lighthouse Series
(A view from Bellair Terrace) / 1990
Pen, ink and gouache on paper / 29.5 x 42 cm
Signed
Also signed, titled and dated
1978–90 on reverse
Provenance: Wilhelmina Barns-Graham Trust
Note: Barns-Graham was a founder member of the Crypt Group.
WILHELMINA BARNS-GRAHAM
Wind Dance, North Sea / 1979
Mixed media on board / 19.5 x 20 cm
Signed and dated
Also signed, titled and dated on reverse
Provenance: Wilhelmina Barns-Graham Trust
4
WILHELMINA BARNS-GRAHAM
Railings, St Ives / 1947
Pen and ink / 32 x 29 cm
Signed and dated
Provenance: Wilhelmina Barns-Graham Trust
Note: In the iconic photograph of the Crypt Group used on the cover of the new book by Peter Davies, this study drawing can be seen to the left of the larger canvas. Presumably a working study at this stage, the image seems to have formed the basis of at least two larger works.
5
WILHELMINA BARNS-GRAHAM
Collage I (Migration Series) / 1982
Acrylic on board / 24 x 36 cm
Signed and dated
Signed, titled and dated on reverse
Provenance: Wilhelmina Barns-Graham Trust
6
BEATY 1922–2015
Untitled (Landscape Study)
Oil on board / 25 x 35 cm
Signed
Moira Beaty
Beaty studied at Glasgow School of Art, where her contemporaries included Joan Eardley and Margot Sandman. Her studies were interrupted by the war, and she was recruited to Bletchley Park, where she worked as a code breaker with Peter Twinn’s team. As a cryptographer, Beaty’s work formed a vital part in the war effort. After the war, Beaty returned to Scotland to resume her studies and career as an artist and teacher. She exhibited at (amongst others) the Open Eye Gallery Edinburgh, Collins Gallery Glasgow, Cadogan Gallery London, and Gracefield Arts Centre, where a major retrospective exhibition of her, and husband Stuart Beaty’s work, was held in 2001.
7
MOIRA
SVEN BERLIN 1911–1999
Man in Admiral’s Hat / 1967
Oil on board / 52.5 x 31.5 cm
Signed and dated
Provenance: Private Collection
Note: Berlin was a founder member of the Crypt Group.
SVEN BERLIN
Untitled (Portrait of Julia) / 1971
Oil on canvas / 29 x 24 cm
Signed with monogram and dated ‘JU ‘71’ on reverse
8
Man
Pentelic marble / 40 cm (H)
Inscribed with monogram and dated
Children / 1948
White marble / 63 cm (H)
Signed with monogram
Note: This work was carved during Berlin’s time living and working at ‘The Tower’, Porthgwidden, St Ives. A design for this sculpture is illustrated in ‘The Coat of Many Colours’.
9
SVEN BERLIN
Warrior’s Head / 1980
SVEN BERLIN
with
Coastal
1965
Oil on board / 18 x 30 cm
Signed and dated on reverse
10
MICHAEL CANNEY 1923–1999
/
Through the Window / 1994
Oil on board / 62.5 x 74.5 cm
Signed, titled and dated on label on reverse
11
BOB BOURNE 1931–2021
CHRISTOPHER CHAMBERLAIN 1918–1984
Bottles and Chiffonier
Oil on board / 61 x 46 cm
Flower study on reverse
Provenance: Artist’s Estate
CHRISTOPHER CHAMBERLAIN
Still Life with Flowers / 1978
Pastel on paper / 16 x 11 cm
Signed with initials and dated
12
CHRISTOPHER CHAMBERLAIN
Untitled (Watney Ales, Fulham)
Oil on canvas / 61 x 76 cm
Christopher Chamberlain
Studied at Clapham School of Art and the Royal College of Art (1939–1940 and 1946–1948). Taught painting at Camberwell School of Art, where his Social Realist subject matter matched the ethos of the school at the time.
Chamberlain exhibited widely and was known for his scenes of London. He stated ‘I have made many studies in this area where I live, in the belief that one must learn thoroughly something about a particular and loosely limited area within one’s experience. I don’t believe it is possible to make much of a statement about anything unless one knows one’s subject very well indeed’ (1951).
13
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TOM CROSS 1931–2009
Two Boys Swimming / 1954
Oil on board / 101 x 76 cm
Signed, titled and dated on reverse
Provenance: The Artist’s Family
TOM CROSS
Riverside / 1999
Oil on canvas / 102 x 76 cm
Signed
Signed, titled and dated on reverse
Provenance: The Artist’s Family
John Christopherson
JOHN CHRISTOPHERSON
1921–1996
Trezion from Academy Terrace, St Ives / 1984
Oil on board
22.5 x 18 cm
Signed with initials
Also signed, titled and dated on reverse
Memorably describing the time-worn as the ‘forlorn poetry of the unregarded’, Christropherson’s background in geology and antiquity, and interest in old buildings, led him to be encouraged by Jean Dubuffet to become an artist. He was inspired by the older artist’s use of texture and Surrealist technique, for instance in the use of Frottage. Christopherson’s almost naïve intensity, combined with a degree of sophistication, produced magical, gem-like small paintings often haunted by a sense of déjà vu, where the ordinary becomes extraordinary.
Of Cornish ancestry, Christopherson regularly visited St Ives, where he knew many of the artists working there. He exhibited at the Leicester Galleries, Marjorie Parr Gallery, Agnews and England and Co. amongst others. Particularly admiring the work of Ben Nicholson, the small painting in this exhibition of Nicholson’s former home in St Ives could be seen as a sort of homage.
15
John Copnall
Born into a family of artists, Copnall’s initial art education was at Sir John Cass School of Art under the tutelage of his father. Copnall went on to study at the Architectural Association and the Royal Academy Schools, winning the Turner Gold Medal for Landscape Painting in 1954. His first solo exhibition was at the Piccadilly Gallery in 1955. He lived in Spain and exhibited his work there from 1955 to 1968. During this period, his work transformed from what was initially landscape painting to abstraction.
By the time of his return to the UK in 1968, Copnall was creating large canvases influenced by American Abstract Expressionism, sometimes brushing, sometimes pouring acrylic paint, onto cotton duck canvas to create colourful effervescent stripes. He exhibited throughout his career, winning several awards.
A major show of his work was held in the De La Warr Pavilion, Bexhill. Copnall taught at the Canterbury and Central Schools of Art. He was elected to the London Group in 1988.
Oil on board / 71 x 89.5 cm
Signed and dated
Also signed, titled and dated on reverse
16
JOHN COPNALL 1928–2007
Black Dunes / 1957
Oil on board / 65 x 75 cm
Signed and dated
Also signed, titled and dated on reverse
17
CLIFFORD FISHWICK 1923–1997
Cliff, Cove and Boat / 1955
Anthony Gross
Studied at the Slade School for a short while and then attended evening classes in etching at Central School of Arts and Crafts. Specialist print dealer W R Deighton showed the artist’s etchings early on. Gross undertook further studies at Academic Julian and École des Beaux-Arts in Paris.
Extensive travel throughout Europe provided rich subject matter. He lived mostly in France often returning to Britain to undertake various projects. Gross became interested in animation and worked on the film La Joie de Vivre amongst many other highly regarded animations. During the War he was appointed an Official War Artist.
He published the authoritative book Etching, Engraving and Intaglio Printing by Oxford University Press in 1970. Elected a Royal Academician and awarded CBE in 1982.
ANTHONY GROSS 1905–1984
Woman and Wheelbarrow / 1956
Etching / 46 x 52 cm
Signed and titled Edition 10/50
Provenance: Cambridgeshire Education Committee
Note: There is another copy of this print in the Victoria & Albert Museum collection.
18
Anthony Eyton
Studied Fine Art at Reading University in 1941 before serving in the Army from 1942 to 1947. He continued his studies at Camberwell School of Art from 1947 to 1950, and in 1951 received an Abbey Major Scholarship, taking him to work in Italy. He taught at the Royal Academy Schools and Camberwell School of Art (1950s to 1990s).
Eyton has had solo exhibitions at the New Art Centre, London, from 1959, the New Grafton Gallery, London, 1973, Newcastle-upon-Tyne Polytechnic Gallery, 1978, and at the Imperial War Museum, London, 1983. A retrospective of his work was held at the South London Art Gallery in 1980 and subsequently toured. He has exhibited regularly in solo exhibitions at Browse and Darby, London, since 1980, most recently in 2023 in celebration of his 100th birthday. Eyton’s work has also been included in many key group exhibitions.
Among Eyton’s awards are John Moores Prize Winner (1972), First Prize at the Second British International Drawing Biennale, Middlesbrough (1975), Charles Wollaston Award (Royal Academy, 1989) and many others. Eyton was elected a Member of the London Group in 1958, Member of the Royal West of England Academy in 1984 and Royal Academician in 1986. Since 1999 he has been Resident Artist at the Eden Project in Cornwall. In June 2023 he was awarded an OBE in the King’s Birthday Honours for services to painting and to the art community.
Oil on canvas / 46 x 55.5 cm
Signed
Also signed and titled on reverse
19
ANTHONY EYTON b. 1923
Seated Nude, Artist’s Studio
DAVID HAUGHTON 1924–1991
Carne Bosavern
Etching / 27 x 77 cm
Signed and titled
Edition 37/50
Note: This terrace of houses on the outskirts of St Just, Cornwall, was a subject to which the artist returned on a number of occasions.
20
BOB CROSSLEY 1912–2010
Untitled (Cornish Landscape) / 1988
Acrylic on board / 28 x 35.5 cm
Signed and dated
Provenance: The Artist’s Estate
BOB CROSSLEY
Untitled (Landscape) / 2006
Oil on paper laid on board / 21.5 x 30.5 cm
Provenance: The Artist’s Estate
21
Anthony Fry
Anthony Fry studied at Edinburgh College of Art and Camberwell School of Art, where he was awarded The Rome Scholarship in Painting in 1950. He held a first one-person exhibition at St George’s Gallery, 1954, and became a member of the London Group. He taught at Bath Academy (alongside Terry Frost, Peter Lanyon, William Scott and others), as well as Chelsea and Camberwell Schools of Art.
A first cousin of the Bloomsbury Group painter and critic Roger Fry, and cousin of the painter Sir Howard Hodgkin, Fry enjoyed early success at the Leicester Galleries, and exhibited regularly at New Art Centre and Browse and Darby from the 1980s. His work was included in several Public Gallery exhibitions, including the Tate Gallery.
Fry travelled widely, and his experience of prolonged trips to Southern Europe and India is reflected in his use of intense colour, as seen in the examples shown here.
ANTHONY FRY 1927–2016
Indian Bed / 1994
Carborundum etching on paper / 40 x 45 cm
Signed and dated
Titled on label on reverse Edition 22/30
Provenance: Browse and Derby, London
22
Oil on paper / 45 x 60 cm
Artist’s name, title and date on label on reverse
Provenance: Contemporary Art Society Market, London
23
ANTHONY FRY
Morocco Landscape / 1988
Oil on canvas
Signed and titled on reverse
24
JOHN EMANUEL b. 1930
Figure / c1970s
/ 152 x 102 cm
Oil on canvas / 85 x 132 cm
Signed, titled and dated ‘1978–1982’ on reverse
25
JOHN EMANUEL
Woman I / 1982
Hilda Goldwag
Mudflats / 1973
Oil on board / 61 x 102 cm
Signed and dated
Also signed and titled on reverse
Born in Vienna, Goldwag graduated from the Graphische Staatsämter und Versuchs Anmalt with a special commendation in 1938. Following the Anschluss, Goldwag managed to secure a travel permit to Scotland (1939). Tragically her family couldn’t leave Austria in time and were later murdered by the Nazis. From 1945–1955 she was head designer at Friedlanders, a textile company in Glasgow, before working as a book illustrator, maintaining her painting practice throughout and beyond this period.
Often painting plein air, her subjects included the nearby Forth and Clyde canal, the tenements and warehouses of Cowcaddens, panoramic landscapes and waterscapes, as in the example illustrated here. Goldwag exhibited at the Lillie Art Gallery, and was an exhibiting member of the Scottish Society of Women Artists. ‘Hilda Goldwag’s Glasgow’ was organised at the Collins Gallery, Strathclyde University, 2005. Posthumous exhibitions have been held at the Hidden Lane Gallery, Glasgow (2010 and 2012). Goldwag’s work was included in Ben Uri’s survey exhibition Out of Austria: Austrian Artists in Exile in Great Britain 1933–45
26
HILDA GOLDWAG 1912–2008
Cornish Cove / 1954
Mixed media on paper / 26.5 x 36.5 cm
Signed and dated
Titled on reverse
Provenance: The Redfern Gallery
27
PAUL FEILER 1918–2013
1911–2000
Untitled (Fishermen)
Watercolour and ink on paper
17.5 x 21.5 cm
Signed on reverse
28
JOSEF HERMAN
PATRICK HAYMAN 1915–1988
Lady into Fox / 1974
Oil on board / 34 x 11 cm
Signed
Also signed, titled and dated on reverse
Provenance: Private Collection
PATRICK HAYMAN
Untitled (Three Trees)
Oil on board / 35 x 45.5 cm
Signed on reverse
Provenance: The Artist’s Estate
29
Yorkshire Landscape (Sheep) (Kemp 22) / 1956
Etching / 6.5 x 12.5 cm
Rare – one of very few proofs printed by the artist No edition
Signed, numbered ‘2’ and dated ‘56
Untitled (Newlyn) (Invert of Kemp 145) / 1991
Aquatint / 34 x 33 cm
Signed and dated
Artist’s proof
Note: This is a rare early use of this popular plate which was issued in inverted form in 1995 as Kemp 145. The plate was further used in 1997 (Kemp 173) and 2002 (Kemp 242).
Note: “The diagonal unetched ‘bar’ represents a dry stone wall, and the ‘spirals’ were to do with the movement made in the sheep’s wool by the wind in the Dales” – Terry Frost
30
SIR TERRY FROST
SIR TERRY FROST
SIR TERRY FROST 1915–2003
Untitled 02 from Trewellard Suns Portfolio (Kemp 111) / 1989
Linocut / 46.5 x 38 cm (image)
Sheet size: 64 x 64.5 cm
Published by The Paragon Press, London
Printed by Vivien Hendry, London
Signed and dated ‘90’
Edition 30/40
Provenance: Private Collection
31
SIR TERRY FROST
Sun and Boat (Kemp 135) / c1992
Screenprint / 31 x 33.5 cm
c1992–1996
Signed
Laced Joy VIII / 2000
Collage and acrylic / 31.5 x 24 cm
Signed and dated ‘8/00’
Also signed and titled on reverse
Edition 1/50
Note. This first print from the edition is a rare unadorned copy. Most of the remainder of the edition carried extensive hand working.
32
SIR TERRY FROST
SIR TERRY FROST
Life is Just a Bowl of Cherries II (Kemp 252) / 2003
Screenprint / 42 x 29 cm (image)
Sheet size: 59.5 x 44.5 cm
Printed by Coriander Studio, London
Published by the Royal Academy of Arts, London
Printed ’Terry Frost’ signature countersigned in pencil by Lady Kathleen Frost (K.M. Frost)
Note: This print was part of the Royal Academy Schools ‘Portfolio of 10 Artists’, 2003
33
SIR TERRY FROST
A Book of Ideas – Pages 58/59 / 1974
Acrylic and graphite / 46 x 75 cm
Dated Sept 13 ‘74
This study relates to the ‘Lorca Suite’ of eleven etchings, published 1989
Provenance: The Artist’s Estate
34
Red and Black
Mixed media / 56 x 57 cm
Signed
Also signed, titled and dated ‘circa 60/62’ on reverse
35
SIR TERRY FROST
Ride / c1960s
DAME BARBARA HEPWORTH 1903–1975
Two Marble Forms (Mykonos) / 1969
Lithograph / 81 x 59 cm
Published by the Curwen Press
Printer’s blindstamp
Unsigned proof aside from the edition of 60 (There was also an overseas edition of 30)
Note: There is a copy of this print in the Tate collection.
Argos / 1969
Lithograph / 82 x 59 cm
Published by Curwen Press, London, with their blindstamp, on Barcham Green handmade paper, watermarked with the artist’s initials.
Signed / Edition 24/60 (home edition)
(There was also an overseas edition of 30)
Note: There is a copy of this print in the Tate collection.
36
DAME BARBARA HEPWORTH
Sun Setting / 1971
Lithograph / 75.5 x 54.5 cm
From ‘The Aegean Suite’
Printed by Curwen Studios, London
Signed, numbered and blind stamped Edition 9/60 (home edition)
(There was also an overseas edition of 30)
Note: There is a copy of this print in the Tate collection.
37
DAME BARBARA HEPWORTH
ROGER HILTON 1911–1975
Untitled (Female Nude Seated on a Stool) / c1960s/70s
Chalk on paper / 25 x 20 cm
Signed on reverse
Provenance: New Art Centre, London / Hayward Gallery, London, November 1993 – February 1994 and National Touring Exhibitions
Purchased: The Earl of Gowrie, January 1987
Publication: Roger Hilton: Night Letters and Selected Drawings, 1980, preface by Rose Hilton, introduction by Michael Canney.
ROGER HILTON
Untitled (Seated Figures) / 1974
Lithograph / 36 x 48
Signed with initials and dated in the plate
Also signed with initials and date beneath the image
Artist’s Proof
Note: There is a copy of this print in the Tate collection.
38
Untitled / 1960
Oil on canvas / 63.5 x 76 cm
Signed and dated ‘Aug ‘60’ on reverse
Provenance: Private Collection
39
ROGER HILTON
ROGER HILTON
Untitled (Green Abstract Forms) / 1974
Gouache / 27 x 17 cm
Signed with initials and dated
Provenance: Private Collection
ROGER HILTON
Untitled (Green Plant Forms) / 1973
Gouache / 34 x 55 cm
Signed with initials and dated
Provenance: Private Collection
40
JAMES HULL 1921–1990
Untitled / 1953
Lithograph / 37.5 x 56.5 cm (sheet)
Signed Edition 38/50
James Hull
Hull started painting in 1938, also studying architectural design after the War. Encouraged by Herbert Read, he had his first one-person exhibition at Brook Street Gallery in 1949, exhibiting at several galleries throughout the 1950s. He painted his mural The Story of Coal for the Festival of Britain’s Dome of Discovery in 1951, and held a two-person exhibition with Roger Hilton at Gimpel Fils in 1956. His first paintings were Surrealistic, but this changed to a Constructionist style using pure colour and basic geometrical shapes.
Despite later shows in Paris and New York, financial pressures ultimately led Hull to enter and win a competition to design the interior of the Daily Mirror building, and he went on to work for the IPC publishing conglomerate until 1970. He lived abroad in the 1970s, returning to UK in 1980 and continuing to paint. A one-person exhibition was held at Whitford and Hughes in 1990.
41
PATRICK HERON 1920–1999
Mini January VIII : 1974 / 1974
Screenprint / 50 x 35 cm (sheet)
From the portfolio ‘Shapes of Colour : 1943–1978’
Printed by Chris Prater at Kelpra Studio
Published by Kelpra Studio and Waddington and Tooth Graphics
Signed / Edition of 50
Note: There is a second print from ‘Shapes of Colour’, ‘Two Greens with Violet and Blue : 1967’ on the reverse of this print. There is a copy of this print in the Tate collection.
PATRICK HERON
Morning Red / 1979
Etching and aquatint / 55 x 69 cm
Printed by Chris Prater at Kelpra Studio, London
Published by Waddington Graphics, London
Signed and dated
Edition 42/50
42
Winchester Red I / 1967
Screenprint / 57 x 89.5 cm
Signed, titled and dated
Edition 45/49
Provenance: Former property of IBM (A38)
43
PATRICK HERON
John Hitchens
Sussex Common / 1958
Oil on canvas / 45.5 x 109 cm
Signed and numbered ‘3’
Also signed, titled and dated ‘Feb 1958’ on label on reverse
Studied at Bath Academy of Art, Corsham. Lives in West Sussex where his father, the artist Ivon Hitchens, built a studio in the woods. Like his father, Hitchens’ painting is based on the local landscape in Sussex, also in North Wales and North West Scotland, where he has spent extended periods. Hitchens began exhibiting in the 1960s, including shows with Marjorie Parr Gallery and Montpelier Studio. In 2020, Southampton City Art Gallery mounted a major retrospective of his paintings, covering more than five decades of work. Hitchens is represented in several public collections.
44
JOHN HITCHENS b. 1940
45
JANET LEACH 1918–1997 Bowl
Stoneware / 20 cm ø
Impressed Leach Pottery and potter’s seals
ALAN LOWNDES 1921–1978
Untitled (Industrial Street View) / 1955
Chalk / 35 x 26 cm
Signed and dated
DOROTHY MEAD 1928–1975
Untitled (Seated Figure) / 1957
Charcoal on paper / 57 x 38.5 cm
Dated in the artist’s hand
Provenance: The Boundary Gallery, London / The Margaret Bailey Collection
46
Moorland Storm / 1973
Oil on board / 10 x 17 cm
Signed, titled and dated on reverse
Still Life with Birds
Oil on board / 27 x 39 cm
Signed
47
JOHN MILLER 1931–2002
DAPHNE MCCLURE 1930–2023
PETER LANYON 1918–1964
Venezia / 1950
Pencil, gouache and watercolour on paper / 54 x 39 cm
Signed, titled and dated
Provenance: Private Collection
Exhibited: ‘Drawings and Graphic Work’, City Museum and Art Gallery, Stoke-on-Trent (then touring to Oxford and Plymouth), 1981. ‘Visions of Venice’, Bankside Gallery, London, August 1990.
Note: Lanyon was a founder member of the Crypt Group.
48
The Returned Seaman / 1973
Lithograph / 63 x 70 cm (image)
Sheet size: 66 x 81 cm
Based on the 1949 linocut of the same name
Printed by Curwen Studio, 1971
Published as part of the Penwith Portfolio, 1973
Signed in the plate
Edition 77/90
Provenance: Gimpels Fine Art
49
PETER LANYON
PAUL MOUNT 1922–2009
Untitled (Two Figure Forms)
Bronze / 12.5 cm (H) (incl. base)
Signed on the base
JOHN MILNE 1931–1978
Untitled / 1974
Chalk and pastel on paper / 28 x 40 cm
Signed and dated on reverse
50
Island / 1978
Oil on board / 34 x 45 cm
Signed and dated
51
BREON O’CASEY 1928–2011
MARGO MAECKELBERGHE 1932–2014
High Sky / 1980
Screenprint / 34.5 x 49.5 cm
From the portfolio ‘Ten Prints’, printed by Ken Tindill and Christine Woodhead
Published by Penwith Print Workshop, November 1980
Signed, titled and dated Edition 48/100
Exhibited: ‘Prints from Cornwall’ (cat. no.54), John Graham Fine Arts, Harlow, June 1983
MARGO MAECKELBERGHE
Chûn Castle, West Penwith / 1962
Oil on canvas / 35.5 x 46 cm
Signed, titled and dated on reverse
52
Sea Spray / c1960s
Oil on board / 41.5 x 71.5 cm
Signed and titled on reverse
Provenance: Peter Hyde Fine Art, 1968
53
MARGO MAECKELBERGHE
MARGO MAECKELBERGHE
Off Shore Gold
Gouache / 24 x 34 cm
Signed
Also signed and titled on reverse
54
Mixed media on paper / 49 x 67 cm
Signed
Provenance: Private Collection / Beaux Arts, Bath
55
JOHN PIPER 1903–1992 Garden
Etching on wove paper / 27.5 x 44.5 cm
Signed, titled and dated Artist’s proof
56
ALEXANDER MACKENZIE 1932–2014
Merrivale / 1973
Bosjigga / 1955
Linocut / 8 x 11 cm
Signed, titled and dated
57
ALEXANDER MACKENZIE
Untitled (Harbour)
Conté on paper / 25 x 32 cm
Signed
58
BRYAN PEARCE 1929–2007
St Ives Harbour All Around / 1997
Screenprint / 46 x 56 cm
Signed and dated
Titled on publisher’s label on reverse
Edition 58/75
59
BRYAN PEARCE
BRYAN PEARCE
Busy Lizzie and Island View / 1999
Screenprint / 43 x 55 cm
Signed and dated
Edition 13/75
60
Bowl of Fruit on a
Patterned Tablecloth / 1981
Screenprint / 40 x 50 cm
Signed and dated
Edition 50/75
61
BRYAN PEARCE
Signed with monogram and dated Edition 72/90
62
VICTOR PASMORE 1908–1998
Blue Mandala / 1978
Lithograph / 51.3 x 53 cm
BEN NICHOLSON 1894–1982
White Relief 1935 / 1960
Oil on wood / 25 x 40 cm
Collection: The Tate, London
Multiple in painted, carved hardwood after Ben Nicholson, from an edition of unknown size (it is suspected the edition was 50 but there may not have been that many actually made).
Manufactured in the 1960s by the West End Engraving Company Limited, London, and published by the Tate Gallery, depicting the original work White Relief, 1935. The work is presented in its period aluminium frame.
63
BEN NICHOLSON
Euboea (Lafranca 102) / 1967
Etching / 36 x 34 cm
Unsigned proof aside from the edition of 50
Provenance: The Collection of Francois Lafranca
BEN NICHOLSON
Aquileia (Lafranca 12) / 1965
Etching / 32 x 28 cm
Sheet size: 43.5 x 37 cm
Signed, titled, dated and inscribed ‘Artists’ Copy’ Lafranca blindstamp
64
BEN NICHOLSON
Ben Nicholson: Reliefs and Oilwash Drawings / 1962
Book / 38 x 26 cm
A book containing 3 loose colour screenprints
Exhibition Catalogue: Geh durch den Spiegel, Folge 30, Galerie Der Spiegel, Cologne, October / November 1962
Edition of 300
KATE NICHOLSON 1929–2019
Hunting Grave Stone / 1980
Oil on canvas / 35 x 25 cm
Signed, titled and dated on reverse
Exhibited: LYC Museum and Art Gallery, Brampton (Ref. LYC 1981 N-34)
65
HUMPHREY SPENDER 1910–2005
Untitled / 1975
Pencil / 25 x 35 cm
Signed and dated
Titled on labels on reverse
Note: The drawing appears to be a study for the painting ‘Seawall in Estuary’, 1975
Humphrey Spender
Spender initially studied architecture at the Architectural Association before a planned career change led him to train as a photographer. He briefly studied art history at Freiburg University where he spent time with his brother Stephen Spender and other literary figures such as Christopher Isherwood. During this period he gained exposure to the European Avant Garde, going on to work for a number of magazines as a photojournalist, including Picture Post and Harper’s Bazaar.
Spender became a member of the Mass Observation movement, an independent body aiming to record the reality of daily life in Britain 1937–1940, for whom his ‘Worktown Study’ of life in Bolton is particularly notable. He was made War Office Official Photographer during the War, and worked as an interpreter of photo-reconnaissance pictures before becoming a successful textile designer and tutor at the Royal College of Art from 1953 to 1975. He continued to paint and draw throughout his life.
66
Untitled (Reading in Isolation Tube)
Oil on board / 43 x 48 cm
David Smith
Studied at Lowestoft and Norwich Schools of Art, served with the Royal Air Force 1940–45. After the war he continued his studies at the Slade School of Fine Art, winning a scholarship to the British School in Rome. Taught at Chelsea School of Art.
Smith was Official Artist to the British Antarctic Survey in 1975/76 and 1979/80. Painter, printmaker and illustrator, he exhibited widely, including a major exhibition in Japan at Sogo Art Gallery, Yokohama, 1991, and a retrospective at Bankside Gallery 1996.
67
DAVID SMITH 1920–1999
Sir Richard Rees
Rees was a British diplomat, writer, humanitarian and painter. In 1930 John Middleton Murry appointed him editor of the literary journal Adelphi, where he provided encouragement to George Orwell among others. He was the inspiration for the character Ravelston, publisher of the socialist magazine Antichrist, in Orwell’s Keep the Aspidistra Flying
Rees was a lecturer for the Worker’s Education Association. During the Spanish Civil War he worked for the Joint Committee for Spanish Relief, driving an ambulance and helping to secure safe settlement for refugees. During WWII Rees served with the Royal Naval Volunteer Reserves, seeing action in the Mediterranean.
In 1945–6 Rees studied at Camberwell under William Coldstream, Victor Pasmore and Claude Rogers. He exhibited at the Royal Academy, London.
Near
Oil on canvas / 34 x 44 cm
Signed and titled on reverse
68
SIR RICHARD REES 1900–1970
Clapham Junction
Guy Roddon
Studied at Goldsmiths College and Byam Shaw School of Art. During the war he served in the Camouflage Unit that included many significant British artists including Frederick Gore, Claude Rogers, William Coldstream, Julian Trevelyan etc. The unit based at Farnham was under the command of Jack Beddington, director of Wildenstein’s, and gallery owner Freddy Mayor. Roddon transferred to a unit based in Norwich that was led by Roland Penrose, artist and critic.
After the war Roddon worked as a portrait painter, his subjects included L P Hartley and Sir Roy Strong but this was not his preferred practice. He held teaching positions in USA, Goldsmiths, London and Brighton College of Art. Roddon travelled widely and spent periods living in Paris and the South of France and this is where his palette developed to reflect the colour and joie de vivre of the Cote d’Azur. Roddon exhibited regularly – latterly a retrospective at Piers Feetham Gallery, 1998 and at Portland Gallery, 2000.
GUY RODDON 1919–2006
Woman in Interior
Oil on canvas / 26 x 30.5 cm
Signed
Titled on label on reverse
Provenance: Leigh Underhill Gallery
/ The Tom Rand and Ian Wilson Collection
69
Pencil and watercolour on paper / 33 x 33 cm
Signed, titled and dated
Provenance: The Artist’s Studio
70
BRIAN RICE b. 1936
Drawing for Painting No.13 / 1963
Watercolour on paper / 25.5 x 35.5 cm
Signed, titled and dated
Provenance: The Artist’s Studio
71
BRIAN RICE
Badge for a Hero / 1962
Brown Field Defined / 1972
Lithograph / 58 x 78.5 cm
Signed and dated
Artist’s Proof
Note: There is a copy of this print in the Tate collection.
72
WILLIAM SCOTT 1913–1989
Cup, Bowl, Pan, Browns and Ochres / 1970
Screenprint / 59 x 88 cm
Sheet size: 70 x 100 cm
Signed and dated / Edition 28/100
Provenance: Private Collection / Sheviock Gallery
Note: There is a copy of this print in the Tate collection.
73
WILLIAM SCOTT
Sheet of Studies
Pencil on paper / 25 x 11.5 cm
With notes in the artist’s hand showing above images
Provenance: Anthony Hepworth Fine Art
KEITH VAUGHAN
Untitled (Orpheus) / 1948
Pen and ink / 9 x 8.5 cm
Signed on backboard
Inscribed ‘2’
Publication: Illustration (tailpiece) for Orpheus – A Symposium of the Arts, Volume I, John Lehmann, London, p.26
74
KEITH VAUGHAN 1912–1977
The Walled Garden / 1951
Lithograph / 39 x 49.5 cm
Signed and dated
Artist’s proof
75
KEITH VAUGHAN
KEITH VAUGHAN
Untitled (Study for Assembly of Figures)
Pencil and wash on paper / 12 x 10 cm
Provenance: Private Collection / Cyril Gerber Fine Art, Glasgow
76
Arnold Van Praag
Studied at Slade School of Art before teaching at Hertfordshire College of Art and Camberwell School of Art.
Van Praag had a solo exhibition at the ICA in 1963, regular exhibitions at Roland Browse and Delbanco from 1965, and later at Cadogan Gallery and Art Space Gallery from 1994. Van Praag’s work was included in several group shows, including at the Whitechapel Art Gallery 1967 and The Subjective Eye at Arnolfini Gallery, Bristol in 1980.
In 2016, The Redfern Gallery exhibited a selection of the artist’s work in Arnold Van Praag at 90
ARNOLD VAN PRAAG 1926–2020
Boy in a Red Waistcoat (After Cézanne) / 2006
Oil on board / 30.5 x 38 cm
Titled and dated on label on reverse
Provenance: James Hyman Fine Art
77
Screenprint / 31 x 44.5 cm
From the portfolio Ten Prints, printed by Ken Tindill and Christine Woodhead
Published: Penwith Print Workshop, November 1980
Signed, titled and dated / Edition 48/100
Exhibited: ‘Sea Aspects’ (cat. no.44), John Graham Fine Arts, Harlow, July 1983
‘Roy Walker: Directions’ (cat. no.29), John Graham Fine Arts, Harlow, January / February 1984
Provenance: The Estate of John Graham (1927–2021), Harlow
78
ROY WALKER 1936–2001 Twist / 1980
Untitled (Nude) / c1970
Charcoal / 56 x 76.5 cm
Provenance: The Artist’s Estate
Untitled (Kenidjack) / c1960s
Charcoal / 33 x 53.5 cm
Estate stamped on reverse
79
KARL WESCHKE 1925–2005
KARL WESCHKE
KARL WESCHKE
Sturmflöten / 1966
Oil on canvas / 213.5 x 152 cm
Dated 1965/66
Provenance: Private Collection (purchased direct from the artist)
Exhibited: ‘Karl Weschke’, Whitechapel Gallery, London 1974
Exhibited: ‘Karl Weschke: Beneath a Black Sky: Paintings and Drawings 1953-2004’, Tate St Ives, 2004
Literature: Jeremy Lewison, ‘Karl Weschke’, Kunstsammlung Gera, 2001, p.70 (illus.)
Literature: Jeremy Lewison, ‘Karl Weschke – Portrait of a Painter’, 1998, p.81
Note: A similar painting to this is Weschke’s ‘Pillar of Smoke’, 1964, in the Tate collection.
80
KARL WESCHKE
Trees / 1970
Oil on canvas / 152.5 x 122 cm
Provenance: The Arnolfini Gallery, Bristol
Bought direct from the artist by the previous owner
Exhibited: The British Art Show, Recent Paintings and Sculpture by 112 Artists, selected by William Packer, Arts Council of Britain Touring Exhibition, 1979.
81
Untitled XIX
Watercolour and charcoal / 22.5 x 35.5 cm
Studio stamp
Provenance: The Artist’s Estate
Note: Wells was a founder member of the Crypt Group.
82
JOHN WELLS 1907–2000
Landscape with Thistle / 1947
Ink and wash / 15 x 22 cm
Signed and dated
Provenance: Denis Mitchell Collection
Note: Wynter was a founder member of the Crypt Group.
83
BRYAN WYNTER 1915–1975
Untitled (Four Boats)
Oil, mixed media and pencil on card / 19 x 40 cm
Signed
Provenance: Private Collection / Wills Lane Gallery / McAlpine Collection
84
ALFRED WALLIS 1855–1942
Exhibiting Artists
Gillian Ayers CBE
Wilhelmina Barns-Graham CBE
Moira Beaty
Romi Behrens
Sven Berlin
Bob Bourne
Michael Canney
Christopher Chamberlain
John Christopherson
John Copnall
Tom Cross
Bob Crossley
John Emanuel
Anthony Eyton OBE RA
Paul Feiler
Clifford Fishwick
Sir Terry Frost RA
Anthony Fry
Hilda Goldwag
Anthony Gross CBE RA
David Haughton
Patrick Hayman
Dame Barbara Hepworth DBE
Josef Herman
Patrick Heron CBE
Roger Hilton CBE
John Hitchens
James Hull
Peter Lanyon
Janet Leach
Alan Lowndes
Alexander Mackenzie
Margo Maeckelberghe
Daphne McClure
Dorothy Mead
John Miller
John Milne
Paul Mount
Ben Nicholson OM
Kate Nicholson
Breon O’Casey
Victor Pasmore CH CBE
Bryan Pearce
John Piper CH
Sir Richard Rees
Brian Rice
Guy Roddon
William Scott CBE RA
David Smith
Humphrey Spender
Arnold Van Praag
Keith Vaughan
Roy Walker
Alfred Wallis
John Wells
Karl Weschke
Bryan Wynter
