Painting the Landscape: Messum's Studio Summer Exhibition 2019

PAINTING THE LANDSCAPE Summer Exhibition

2019

This page: The gardens at Lord’s Wood with Bridget McCrum’s ‘Merlin’ cat. no. 31 Front cover: Toulgouat ‘Dans la Jardin’ cat. no. 59

www.messums.com

PAINTING THE LANDSCAPE Summer Exhibition 2019

A selection of paintings & sculpture at Messum’s Studio, Marlow All work is available to purchase Sculpture Garden and Studio available to view by appointment www.messums.com

Tel: +44 (0)1628 486565

David Messum Fine Art Ltd. The Studio, Lord’s Wood, Marlow, Bucks SL7 2QS

Tel: +44 (0)1628 486565

www.messums.com FOUNDED 1963

studio@messums.com

Dominic Welch’s ‘Contemplation VII’, cat. no. 65

The Messum’s Studio Team

David Messum

Katie Newman

Michael D L Child

Jenny Clark

Chairman

Studio Manager

Consultant

Accounts Manager

After starting his career at Christie’s and then Bonhams, David opened his first gallery in 1963. A series of exhbitions specialising in early Devon and Newlyn School painters led the gallery to publish the first book on British Impressionism.

Michael Child first joined David Messum in 1967 and with David has helped develop the gallery's reputation as market leaders in early Newlyn School and British Impressionist paintings.

Today, the gallery represents over ten Artist Studio Estates with a focus on British Art from 1880 to the present day and also represents a stable of well known contemporatry artists.

With twenty years in the art trade, Katie brings a wealth of experience in managing galleries, working with artists and developing private collections.

After many years working with Old Master Paintings at Johnny Van Haeften's London gallery she moved to the Bohun Gallery in Oxfordshire, specialising in 20th Century British and Contemporary. It was here that Katie developed her interest in working directly with artists and managing Artist Estates.

Jenny is the latest member to join the Marlow team, heading up the accounts department. With a history of managing large financial teams within major international companies she is looking forward to a more personal approach and the opportunity to liaise directly with both artists and clients alike at Messum’s.

david@messums.com.

katie@messums.com

Michael’s specialist knowledge is recognised within the trade and his role as consultant involves looking after the gallery's special clients.

jenny@messums.com

michael-child@messums.com

David Messum Fine Art Ltd. The Studio, Lord’s Wood, Marlow, Bucks SL7 2QS

Tel: +44 (0)1628 486565

www.messums.com

studio@messums.com

Detail of Edward William Stott’s Maternity, cat. no. 57

LIONEL BULMER

(1919-1992) NEAC

A brilliant draughtsman, Lionel Bulmer’s early work reflects the hardship of the fifties, but in his later pictures he developed a pointellist style more reflective of the ....... change to summer times.

1

Suffolk Beach (left) Oil on board 31 x 31 cm (12 x 12 in)

2

The Pier, Walberswick (right) Oil on board Signed lower left 61 x 61 cm (24 x 24in)

The Lionel Bulmer and Margaret Green Studio Estate is represented by Messum’s

ALAN COTTON Painting in .... of colour, Alan Cotton’s pictures resonate with the spirit of the landscape he visits.

Alan Cotton exhibits with Messum’s later this year. For details please call Katie Newman on 01628 486565.

3

Cyprus Hillside (left) Oil on canvas 92 x 122cm (36 x 48 in)

4

Devon: Evening Sky at Hartland (right) Oil on canvas 92 x 71cm (36 x 28 in)

NANCY DELOUIS

(1919-1992)

Nancy Delouis’s joyful paintings and pastels transport us to a world of dreamlike places and intimate personal spaces. Born and raised in France, she has described Gauguin as her ‘first love’. Like Pierre Bonnard, whose work was recently to be seen at Tate Modern, Delouis revels in the effects of strong sunlight and images of the female nude, French landscapes and exotic interiors. Her gem-like work is suffused with colour, light and a sheer joie de vivre.

5

Les Tissus Rouges (far left)) Pastel 50 x 33 cm (20 x 13 in)

6

Femmes au Paravent (left) Pastel 33 x 21 cm (13 x 8 in)

7

A la Campagned (right) Oil on canvas 81 x 65 cm (32 x 26 in)

LAURENCE EDWARDS

(b. 1967)

One of the few sculptors who casts his own work, Laurence Edwards is fascinated by human anatomy and the metamorphosis of form and matter that governs the lost-wax process. The driving force behind his work is bronze, an alloy that physically and metaphorically illustrates entropy, the natural tendency of any system in time to tend towards disorder and chaos. His sculptures express the raw liquid power of bronze, its versatility, mass and evolution, and the variety of process marks he retains tell the story of how and why each work came to be.

8

Myriad: Evergreen (far left) Bronze - unique 110 x 78 x 38 cm (43 x 31 x 15 in)

9

10

Grey Head (left) Bronze - series of 9 17 cm high (7 in high) Brooding Man I (right) Bronze - series of 8 183 cm high (72 in high)

RICHARD EURICH

(1903 - 1992 OBE RA NEAC)

Richard Eurich won a great number of prizes as a student at the Slade School of Art and he enjoyed considerable recognition between the wars, yet he remains one of the really great but rather underappreciated British artists of the mid-Twentieth Century.

This view is possibly of Salisbury Cathedral, twenty-five miles from Eurich’s home on the edge of the New Forest.

11

Approaching Storm, Salisbury Oil on canvas Signed lower left 51 x 61cm (20 x 24in)

WILFRID de GLEHN

(1854 - 1931) RA NEAC

Prior to the Second World War, Jane and Wilfrid de Glehn travelled extensively in Europe and particularly to the South of France, painting in the hills above St. Tropez and recording their journeys through the Alps on the way to Venice and Corfu.

12

Wittenham Clumps, Wiltshire (right) Oil on canvas 64 x 76 cm (25 x 30 in)

13

Coutances (left) Oil on canvas 64 x 76 cm (25 x 30 in)

The Wilfrid and Jane de Glehn Estate is represented by Messum’s

In April 1941 the de Glehns’ Cheyne Walk home was utterly destroyed by a parachute bomb. The couple had been staying in Grantchester throughout the Blitz, but the destruction of their home, coupled with the death or departure of several of their former circle, left little for them to return to in Chelsea. They decided instead to move permanently to Wiltshire and in early 1942 made the Manor House at Stratford Tony their new home.

Set amidst bordered lawns and backing onto the river Ebble, it was an idyllic setting. Wilfrid built a studio in the grounds and took great pleasure in painting the Wiltshire countryside, including nearby Blake’s Pool, where Jane, and their nieces and nephews often bathed.

WILFRID de GLEHN

continued ...

Wilfrid had known Paris since he was a child, when he often visited his Monod cousins on holidays and of course, throughout his student days at the École des Beaux Arts, when he lived in Montparnasse on the avenue Denfert-Rochereau. He painted this view of the Pont de l’Archevêché and the Cathedral from this particular angle many times, suggesting that he favoured sketching on the Quai de la Tournelle, where he surely must have made direct studies, if not the present work.

14

Notre Dame de Paris (left) Watercolour 38 x 48 cm (15 x 19in)

15

Corfu (below) Watercolour 41 x 51cm (16 x 20 in)

JANE de GLEHN

(1873 - 1961)

Wilfrid probably first visited the French Riviera in 1918, but Jane was not able to accompany him until about two years later. After the destruction they had both seen firsthand in Italy and northern France, the energy and warmth of the region’s fishing villages must have presented a haven of fresh inspiration. They began to make regular yearly trips to Saint-Tropez, Saint-Raphaël and Fréjus.

Jane painted this view of the Port of Saint-Tropez focusing on the bronze statue of Admiral Pierre-André de Suffren (1729– 1788), which was cast from British cannons captured during the Battle of Negapatum.

16

Boboli Gardens (left) Oil on board 48 x 38 cm (19 x 15 in)

17

The Port of St. Tropez (right) Oil on canvas Signed lower right 44 x 53 cm (17 x 21 in)

The Wilfrid and Jane de Glehn Estate is represented by Messum’s

MARGARET GREEN

(1925 - 2003) NEAC

The painterly love affair between Margaret and Lionel Bulmer sustained them until the end. After Lionel’s death in 1992 Margaret never painted again.

These interior pictures are from their home, and old Suffolk cottage near Aldeburgh.

The Lionel Bulmer and Margaret Green Studio Estate is represented by Messum’s

18

Purple curtain ties (left) Oil on board Signed lower right 51 x 62 cm (20 x 24 in)

19

Garden Blossoms through the French Windows (right) Oil on board Signed lower right 76 x 51 cm (30 x 20 in)

KURT JACKSON

(b. 1961)

Kurt’s sparkling palette painted ‘en plein air’ conveys a unique freshness often missing in landscape painting.

20

The Man Who Found Me in his Olive Grove (left) Mixed media on canvas 91 x 91 cm (36 x 36in_

21

Gulls Cry: Cornish Indian Summer Seas (right) Oil on canvas 122 x 122 cm (48 x 48 in)

Leonard Campbell Taylor RA ROI RP, 1874–1969 14. The Lady of the Castle, 1910 oil on canvas 109 x 94 cms 427⁄8 x 37 ins

KARIN JONZEN

(1914 - 1998) RBA

Karin Jonzen found early fame after winning the 1939 Prix de Rome while still a student in Stockholm. Born in London of Swedish parents, and also studying at the Slade, she exhibited with the Royal Academy, New English Art Club, Royal Society of British Artists and the London Group.

Into the 1950s her work was bought by leading collectors (the Sainsburys, Epstein, Kenneth Clark) and praised by critics. Portrait commissions for luminaries such as Ivor Novello and Ninette de Valois followed, and a flow of nameless figures celebrating the feminine form, youthful grace, and motherhood.

22

The Bather Bronze NFS

23

Rebecca Bronze 148 cm high (58 in)

LUCY KEMP-WELCH

(1869 - 1958) RI ROI RBA

Lucy Kemp-Welch’s fascination with animals was not limited to the portrayal of horses. Through her special affection for the working horse she became familiar with other agricultural animals and the labourers and farmers who tended them. Over the span of her long career Kemp Welch created many elegant depictions of agricultural animals often rendered in watercolour or pastel. She is perhaps best known for her illustrations of the 1915 edition of Anna Sewell’s classic tale, ‘Black Beauty’.

The Studio Estate of Lucy Kemp-Welch has been represented by Messum’s since 1972, since when there have been a number of successful exhibitions and two publications leading to her artistic reappraisal.

24

Three Calves in an Orchard (below)

25

Watercolour, signed lower left 23 x 32cm (9 x 12.5 in)

The Lucy Kemp-Welch Studio Estate is represented by Messum’s

The Transient Golden Hour (right) Watercolour, signed lower left 32 x 42 cm (12.5 x 16.5 in)

EARDLEY KNOLLYS

(1902 - 1991)

Eardley Knollys was over fifty before he was cajouled by Edward le Bas RA in to taking up painting. he had, amongtst others things, been a successful art dealer and his vision derived from dealing in paintings fed in to his own work.

The Eardley Knollys Studio Estate is represented by Messum’s

26

Hampshire Fields (left) Oil on paper Signed lower left 45 x 65 cm (18 x 25 in)

27

Summer, Renishaw (right) Oil on canvas Signed lower right 76 x 41 cm (30 x 16 in)

WALTER LANGLEY (1852 - 1922) RI RSA RBA RWA

Walter Langley was the first significant arrival in Newlyn of the artists who are now considered to form the celebrated Newlyn School of painters. Langley differed from the other artists in this group in that he came from an impoverished background in Birmingham and had not had the substantial continental training that the other artists around him had experienced. He was also unusual in that he had chosen to dedicate himself to mastering watercolour and it was not until his fortieth year, in 1892, that he began to exhibit oils regularly.

In many ways, these differences make Langley a particularly striking figure among those in this group. His unstinting and genuine sympathy with all the daily struggles and hardships of the Cornwall fisherfolk led him to explore all the differing aspects of their lives.

28

A Letter From Afar (left) Watercolour Signed lower left 26 x 18cm (10 x 7 in)

29

Afternoon Reverie (right) Watercolour Signed upper right 26 x 18cm (10 x 7 in)

BRIDGET McCRUM Bridget’s work is a potent fusion of the ancient and the modern. Form, time and space expressed in stone , bronze, or in her charcoal drawings. Bird shapes that live about us signify her work. Her studio which rises above the Dart at Dittersham gives her an unparalled view of her chosen subject.

(b. 1934) RWA FRBS 30

Sleeping Bird (below) Bronze, ed. of 9 90 x 110 x 75 cm (35 x 43 x 29 in)

31

Merlin (right) Bronze - ed. of 9 218 x 95 x 22 cm (85 x 37 x 9 in)

JOHN MILLER

(1931 - 2002) NSA

In the 1970s and 1980s Miller travelled a great deal around the Mediterranean. There he became fascinated by the strong sunlight that renders shadows as intensely dark as the light is bright. These experiences loosened his brushwork and brought a new intensity of colour to his paintings of Cornwall. In 1995 he moved from Sancreed Rectory to Beachsid at Lelant and he is perhaps best known for his beach paintings.

32

Blue Dome (left) Oil on canvas 51 x 51cm (20 x 20 in)

33

Foxgloves (right) Oil on canvas 56 x 61 cm (22 x 24 in)

JOHN MILLER

continued ...

34

Evening Yacht Passing (left) Oil on canvas 91 x 86 cm (36 x 34 in)

44

Quiet Bay (below) Oil on canvas 91 x 86 cm (36 x 34 in)

NICOLAS MORETON

(b. 1961)

There is always an organic feel about Nicolas’s pieces. Taken, for the most part, from Ancaster Weatherbed stone, he uses the colour layers to explore and expand his ideas.

45

Lady of the Valley (right) Heather pink Swedish limestone 240 x 30 x 5 cm (94 x W 12 x 2 in)

46

47

A Time to Play (left) Ancaster weatherbed limestone 51 x 51 x 8 cm (20 x 20 x 3 in) From Heaven and Earth (far left) Ancaster weatherbed limestone 200 x 52 x 20 cm (78 x 20 x 8 in)

NORMAN NEASOM 1915-2010 RWS RBSA There remains an essential Englishness within all of Norman Neasom’s work. A faithful, believable record of the discoveries he made about people, situation and landscape during his long and rewarding lifetime.

48

Secret Meeting (left) Pen and wash 13 x 18 cm (5 x 7in)

49

Harvest Supper, Birchensale Farm (right) Pencil and colour on paper 35 x 44 cm (13 3⁄4 x 17 3⁄8 in)

49a

Sunday Morning, Hanbury Church (below right) Pencil and colour on paper 13 x 18 cm (5 x 7 in)

The Norman Neasom Studio Estate is represented by Messum’s

GILES RAYNER

(b. 1975)

Giles Rayner is a water sculptor. Born into a family of fountaineers his work belies it’s simplicity. Water is engineered to power and display to ultimately intregue the viewer.

50

Nebula Water Sculpture (left) Reinforced copper 105 x 110cm (41 x 43 in)

51

Pagoda (right) Bronze 245 x 145 x 145 cm (96 x 57 x 57 in)

KEN SMITH

(b. 1944) Throughout a lifetime caring for others, Ken Smith’s work reflects the human condition. His favoured stone, polyphant, is ideal for small experessive interior sculpture. These pieces are gently honed, impregnating them with meaning.

52

Vulnerability (left) Polyphant stone 67 x 25 x 20cm

53

Japanese Female (below) Alabaster 20 cm high

Ken Smith’s Suppression and Large Head in front of the Studio

KEN SMITH

continued ....

54

Reclining Figure (left) Polyphant 33 x 41 x 24 cm (13 x 16 x 9 in)

55

Big Head (right) Bronze, ed. of 9 64 x 54 x 59 cm (25 x 21 x 23 in)

PHILIP WILSON STEER 1860-1942 OM NEAC

By the beginning of the 1890s, Philip Wilson Steer was the leading exponent of French Impressionism in England.

His beach scenes of the English and French coasts, painted in short flecked brushstrokes in pure unmixed colours, illustrate the most direct borrowings from Monet and Sisley in British art at that time.

Steer painted this scene of yachts tied up at Southampton Water in 1921 using barely tinted washes of colour and long brushstrokes, which make it appear as if seen through streaming glass. Steer was working in Hythe at the time, and based on its subject matter and dimensions, this picture is probably related to four other views of Southampton Water, one of which is in the National Gallery of Victoria in Melbourne.

56

Southampton Water , 1921 Oil on canvas Signed and dated lower left 51 x 81 cm (20 x 32 in)

EDWARD W STOTT 1859-1918 ARA NEAC Throughout the 1890s and the early 1900s, Edward William Stott took his inspiration from the countryside near Amberley in West Sussex, where he had moved in 1889. While he was deeply immersed in day-to-day village life, he never painted directly from nature, and his approach to rustic genre subjects often leans towards the symbolic rather than the realistic.

Exhibited at the New Gallery in 1903, one critic praised Maternity, stating: ‘Among the … pictures that gave me more than a passing pleasure were… Mr Stott’s cottage garden with the dim flower-beds disappearing in the illumination from the lighted window.’ In The Art Journal, Frank Rinder also acclaimed the work, stating: ‘I do not recall any group by [Stott] more tender, more true, than that of the mother, baby on knee, child at side, seated on the low wall of the garden path.

Maternity is a temperamental little picture; it yields pleasure.’

57

Maternity, 1903 Oil on canvas Signed lower left 63 x 67 cm (25 x 27 in) Exhibited: London, The New Gallery, Summer Exhibition, 1903 Literature: ‘Art: From Watts to Boldini’, The Academy, May 1903, p.

443.

Frank Rinder, ‘The New Gallery Exhibition of 1903’, The Art Journal, 1903, p. 183 (illus), 186.

Anon, ‘The New Gallery’, The Magazine of Art, 1903, p. 434 (illus).

JEAN-MARIE TOULGOUAT (1927 - 2006) Great grandson of Monet by marriage, and grandson of American painter Theodore Butler, Jean-Marie Toulgouat was born into an artistic and impressionistic world.

He grew up in and died at Giverney and as a young boy, he played among Monet's late canvases.

The subtle, yet important, link to French Impressionism is clearly visible in Toulgouat's own distinctive, brightly impressionistic yet also searingly modern pictures of flowers and gardens.

58

Les Grands Parots (left) Oil on card 53 x 38 cm (21 x 15 in)

59

Dans le Jardin (right) Oil on canvas 50 x 50 cm (20 x 20 in)

The Jean-Marie Toulgouat Estate is represented by Messum’s

60

Les Soleils dans les I Iris Mauves (right) Oil on canvas 121 x 120 cm (47 x 47 in)

61

Groupe de Dahlias Dans la Grand Jardin (left) Oil on canvas 92 x 73 cm (36 1⁄4 x 8 3⁄4 in)

DOMINIC WELCH

(b. 1970)

The four elements - earth, water, fire and air - are invoked in the most unlikely of materials, the density and weight of stone tranformed to apparant lightness.

Dominic Welch’s creations appear to float or balance on a point, ready to take to the air. They are talismanic shapes, images to dream on.

62

Geotrophic Sphere I (far left) Bronze, ed. of 7 45 cm diameter

63

Embryonic Form IV (above left) Carrara marble 45 x 51 cm

64

Silent Moon (below left) Bronze, ed. of 11 34 x 37 cm

65

Contemplation VII (right) Kilkenney limestone 270 cm high

At the Studio in Marlow, we can offer collectors bespoke, one-on-one consultation, over fifty years of expertise and guided access to our remarkable archives. We look forward to your call to discuss any of the work presented within ‘Painting the Landscape’ or other works represented on the website www.messums.com. We are happy to arrange delivery of sold works and home viewing of any of the paintings included here.

Above all, we look forward to your visit to the Studio and the opportunity to show you the stunning exhibition ‘Painting the Landscape’.

45

Nicolas Moreton Imperial Lord II Indian red granite

240 x 75 x 45 cm (94 x 29 x 18 in)

www.messums.com

To see the full collection, visit the website www.messums.com

or telephone +44(0)1628 486565 to make an appointment The Studio, Lords’ Wood, Marlow, Bucks SL7 2QS Tel: +44 (0)1628 4865656 E: katie@messums.com

www.messums.com

Founded in 1963 by David Messum, the business grew to prominence through its informative exhibition catalogues. These included surveys of the early Newlyn School of painters and the publication of the first book on British Impressionism in 1985.

The company has grown further to include a London gallery at 28 Cork Street, W1S 3NG and Messum’s Wiltshire, Place Farm, Tisbury, Wiltshire SP3 6LW which are run

by Jonathan Messum.

At the Studio in Marlow, we specialise in on-going research representing over ten Artist Estates and providing advice to Art buyers, collection management and conservation.

David Messum Fine Art

The Studio, Lord’s Wood, Marlow, Bucks SL7 2QS Tel: +44 (0)1628 486565

www.messums.com

studio@messums.com