Front cover image:
Theodoros STAMOS (1922-1997)
Low White Sun, 1962 (detail)
Acrylic on canvas
56 x 52 inches / 142 x 132 cms
12th OCTOBER – 21st DECEMBER 2023
Donald BAECHLER (1956-2022)
Sir Max BEERBOHM (1872-1956)
Ross BLECKNER (b. 1949)
Alexander CALDER (1898-1976)
Sir Anthony CARO om, cbe (1924-2013)
William CROSBIE (1915-1999)
Albert Moulton FOWERAKER rba (1873-1942)
L.S. LOWRY ra (1887-1976)
Amedeo MODIGLIANI (1884-1920)
Henry MOORE om, ch (1898-1986)
Sir Cedric Lockwood MORRIS (1889-1982)
Mary NEWCOMB (1922-2008)
Tessa NEWCOMB (b. 1955)
Winifred NICHOLSON (1893-1981)
Kenzo OKADA (1902-1982)
John PIPER ch (1903-1992)
Theodoros STAMOS (1922-1997)
Saul STEINBERG (1914-1999)
Théophile-Alexandre STEINLEN (1859-1923)
Hiroshi SUGITO (b. 1970)
William TURNBULL (1922-2012)
Un Petit Remontant
Watercolour over pencil on paper
12.4 x 10.6 inches / 31.5 x 27 cms
Signed lower right
1. Théophile-Alexandre STEINLEN (1859-1923)
Albert Moulton FOWERAKER (1873-1942)
Constantine Bay, Cornwall, c.1905
Watercolour on paper
13.75 x 20.5 inches / 34.9 x 52.1 cms
Signed A M Foweraker lower right
2.Sir Max BEERBOHM (1872-1956)
Civilisation and Uncle Sam, 1928
Watercolour, pencil and paper collage
16.5 x 20.75 inches / 42 x 52.5 cms
Signed on the sheet and on the mount, inscribed with title
3.4.
Amedeo MODIGLIANI (1884-1920)
Portrait of Chaim Soutine, c. 1916
Charcoal on board
24 x 18.1 inches / 61 x 46 cms
Henry MOORE (1898-1986)
Reclining Figures, 1939
Pencil, crayon, chalk, watercolour, pen and ink on paper laid on thick card 10.1 x 17.2 inches / 25.7 x 43.6 cms
signed and dated ‘Moore/39’ lower right
5.Henry MOORE (1898-1986)
Four Standing Sculpture Ideas, 1980
Watercolour, charcoal, chalk, pen and ink
9.8 x 13.6 inches / 25 x 35.2 cms
Signed and dated ‘Moore/80’ lower right
6.Sir Cedric Lockwood MORRIS (1889-1982)
Worm’s Head, Gower Peninsula, 1928
Oil on canvas
22 x 27 inches / 56 x 68.5 cms
Signed lower left
8. John PIPER (1903-1992)
Valle Crucis Abbey, 1940
Oil on board
24 x 30 inches / 61 x 76.2 cms
Signed, titled and dated on the reverse
L.S. LOWRY (1887-1976)
Woman Walking, 1965
Oil on canvas
11 x 9 inches / 28 x 22.9 cms
William CROSBIE (1915-1999)
Abstract (Genesis)
Oil on canvas
19.6 x 23.6 inches / 50 x 60 cms
11.
Winifred NICHOLSON (1893-1981)
Woodland, Spring, 1960
Oil on canvas
17.5 x 21.2 inches / 44.5 x 53.8 cms
Signed Winifred Nicholson verso
Theodoros STAMOS (1922-1997)
Little Bird on a Rock, 1945
Oil on masonite
24 x 30 inches / 61 x 76 cms
Theodoros STAMOS (1922-1997)
Low White Sun, 1962
Acrylic on canvas
56 x 52 inches / 142 x 132 cms
14. Alexander CALDER (1898-1976)
Bled, 1972
Gouache and ink on paper
29.5 x 43.25 inches / 75 x 110 cms
15.
Alexander CALDER (1898-1976)
No Four Letter Words, 1974
Gouache and ink on paper
29.5 x 43.25 inches / 75 x 110 cms
Signed and dated lower right
Poker, 1974
Gouache and ink on paper
29.5 x 43.25 inches / 75 x 110 cms
Signed and dated lower right
16. Alexander CALDER (1898-1976)Wyoming, 1971
Watercolour
28.5 x 22.5 inches / 72.4 x 62cms
Signed and dated middle right
17. Saul STEINBERG (1914-1999)San Gennaro, CA, 1987
Crayon and ink on paper
19.5 x 25.5 inches / 50 x 62 cms
Initialed and dated lower right
18. Saul STEINBERG (1914-1999)19.
Kenzo OKADA (1902-1982)
Untitled, 1970
Oil on canvas
39.5 x 31.5 inches / 100.3 x 80 cms
Signed lower right ‘Kenzo Okada’
20.
William TURNBULL (1922-2012)
Small Spade Venus, 1986
Bronze Sculpture
35.5 (h) x 17 (w) x 1.5 (d) inches / 89.8 (h) x 43 (w) x 4 (d) cms
Edition of 6
York Stone base
21.
Mary NEWCOMB (1922-2008)
Daffodils in the wind, 1991
Oil on canvas
32.2 x 33.9 inches / 82 x 86 cms
Signed lower right
Sir Anthony CARO (1924-2013)
Table Piece CCLXXXVII (Metronome), 1976
Rusted Steel
There are so many, 2011
Oil on linen
72 x 72 inches / 183 x 183 cms
Signed and dated on reverse
Donald BAECHLER (1956-2022)
Abstract Composition with Burmese Flower IV, 1996
Acrylic, graphite, ink, cloth and paper collage on paper
40 x 40 inches / 101.6 x 101.6 cms
Initialed and dated lower left
25.
Hiroshi SUGITO (b.1970)
Connecting Man, 2002
Acrylic, pencil and glitter on canvas
76 x 41 inches / 193 x 104.2 cms
Signed, titled and dated verso
LIST OF WORKS
1. Théophile-Alexandre STEINLEN (1859-1923)
Un Petit Remontant
Watercolour over pencil on paper
12.4 x 10.6 inches / 31.5 x 27 cms
Signed lower right
2.
Albert Moulton FOWERAKER (1873-1942)
Constantine Bay, Cornwall, c.1905
Watercolour on paper
13.75 x 20.5 inches / 34.9 x 52.1 cms
Signed A M Foweraker lower right
3.
Sir Max BEERBOHM (1872-1956)
Civilisation and Uncle Sam, 1928
Watercolour, pencil and paper collage
16.5 x 20.75 inches / 42 x 52.5 cms
Signed on the sheet and on the mount, inscribed with title
A typewritten excerpt from a letter sent to Beerbohm and attached to the work explains the inspiration for the image:
‘The leading section will be devoted to a symposium / upon the status and tendencies of Civilisation, with an ap- / praisal of recent influences upon it, and a summation by the / principal minds of our time as to what Civilisation is coming / to.’
Provenance: Private Collection, London
4. Amedeo MODIGLIANI (1884-1920)
Portrait of Chaim Soutine, c. 1916
Charcoal on board
24 x 18.1 inches / 61 x 46 cms
Provenance: Eddy Sackville-West, Kent
Eardley Knollys, London
Mattei Radev Collection, London (by descent from the above)
Private Collection, London (by descent from above)
5.
Henry MOORE (1898-1986)
Reclining Figures, 1939
pencil, crayon, chalk, watercolour, pen and ink on paper laid on thick card
10.1 x 17.2 inches / 25.7 x 43.6 cms
signed and dated ‘Moore/39’ lower right
Provenance: Roger Senhouse, London
Redfern Gallery, London
Lew Kaplan
Lefevre Gallery, London
Private Collection, U.K.
Exhibited: Brussels, Palais des Beaux-Arts, Henry Moore: Sculptures et Dessins (organised by the British Council), 1949-50, cat.no.71; this exhibition toured to Paris, Musée d’Art
Moderne, Amsterdam, Stedilijk Museum; Hamburg, Kunsthalle; Düsseldorf, Städtische
Kunstsammlung; Berne, Kunsthalle
London, Tate Gallery, Sculpture and Drawings by Henry Moore, 2 May-29 July 1951, cat.no.101 Berlin, Schloss Charlottenburg, Moderne Englische Zeichnungen und Aquarelle, 1951-52, cat.no.38; this exhibition toured to Vienna, Graphische Sammlung
Albertina; Linz, Neue Galerie de Stadt
Hanover, Kestner-Gesellschaft, Henry Moore, 1953-54, cat.no.43; this exhibition toured to Munich, Haus der Kunst; Frankfurt, Städelisches Kunstinstitut; Stuttgart, Staatsgalerie; Mannheim, Städtische Kunsthalle; Bremen, Kunsthalle; Göttingen, Stadverwaltung Göttingen; Berlin, Der Senat für Volksbildung
Rye, Rye Art Gallery, Henry Moore, 10 April-4 May 1968, cat.no.31
London, Lefevre Gallery, Small Bronzes and Drawings by Henry Moore, 30 November-23 December 1972, cat.no.42
Literature: Robert Melville, Henry Moore: Sculpture and Drawings 1921-1969, Thames and Hudson, London, 1970, pl.219 (ill.b&w)
Alan Wilkinson, The Drawings of Henry Moore, Garland, London and New York, 1984, p.286, pl.210 (ill.b&w)
Ann Garrould (ed.), Henry Moore: Complete Drawings 1930-39 (Volume 2), The Henry Moore Foundation in association with Lund Humphries, London and Much
Hadham, 1998, p.232, cat.no.AG39-40.14 (ill.b&w)
6. Henry MOORE (1898-1986)
Four Standing Sculpture Ideas, 1980
Watercolour, charcoal, chalk, pen and ink
9.8 x 13.6 inches / 25 x 35.2 cms
Signed and dated ‘Moore/80’ lower right
Provenance: Royal Shakespeare Company
Galerie Beyeler, Basel, 1982
Galerie Maeght, Paris, 1983 Private Collection, U.K
Exhibited: Basel, Galerie Beyeler, Henry Moore: Sculptures, Drawings: The Last 10 years, 1982, cat. no. 61
Paris, Galerie Maeght, Henry Moore, 1983, cat. no. 55
Literature: Ann Garrould (ed.), Henry Moore; Complete Drawings 1977-81, Volume 5, The Henry Moore Foundation in association with Lund Humphries, London, 1994, p. 151, cat. no. 80.316 (ill. b&w)
7.
Sir Cedric Lockwood MORRIS (1889-1982)
Worm’s Head, Gower Peninsula, 1928
Oil on canvas
22 x 27 inches / 56 x 68.5 cms
Signed lower left
Exhibited: ‘Cedric Morris Retrospective’, National Museum of Wales, Welsh Arts Council, Cyngor Celfyddydau Cymru, 1968
‘Cedric Morris’, The Tate Gallery, 28 March-13 May 1984
‘Modern Paintings and Ceramics’, Waterman Fine Art, London, MayJune 1991
Provenance: Lady Lubbock
8. John PIPER (1903-1992)
Valle Crucis Abbey, 1940
Oil on board
24 x 30 inches / 61 x 76.2 cms
Signed, titled and dated on the reverse
Provenance: The Leicester Gallery, London Private Collection, Manchester Ivor Braka Ltd, London
Crane Kalman Gallery, London (acquired from the above in 1992) Private Collection, London (acquired from the above in 1992)
Crane Kalman Gallery, London
Private Collection, London / Sweden (acquired from the above in 1998)
Exhibited: Paintings and Watercolours by John Piper, Leicester Galleries, London, March 1940, (no. 4454)
The American British Art Centre, New York, (founded by Ala Story in 1940), c.1941
Crane Kalman Gallery, London, 1992
John Piper: The Forties, The Imperial War Museum, London, October 2000 - January 2001, Cat. No.39, illustrated in colour on p.28
9.
L.S. LOWRY (1887-1976)
Woman Walking, 1965
Oil on canvas
11 x 9 inches / 28 x 22.9 cms
Provenance: The Lefevre Gallery, London (118/66) (where purchased by James Ashton and by descent)
Private Collection, London
10.
William CROSBIE (1915-1999)
Abstract (Genesis)
Oil on canvas
19.6 x 23.6 inches / 50 x 60 cms
11.
Winifred NICHOLSON (1893-1981)
Woodland, Spring, 1960
Oil on canvas
17.5 x 21.2 inches / 44.5 x 53.8 cms
Signed Winifred Nicholson verso
Provenance: Private Collection, England
Gifted by Winifred Nicholson to the present owner’s Grandmother; Given to Christina 1981 – Winifred Nicholson (inscribed on the reverse of the canvas)
12.
Theodoros STAMOS (1922-1997)
Little Bird on a Rock, 1945
Oil on masonite
24 x 30 inches / 61 x 76 cms
Provenance: Private Collection, New England Private Collection, Sweden
Exhibited: ‘Theodoros Stamos’, Crane Kalman Gallery, London, 24th May- 16th July 2005
‘Paintings in the United States’, Carnegie Institute, Pittsburgh, October-December, 1945
Literature: ‘Theodoros Stamos’, Crane Kalman, London 24th May- 16th July 2005, illus. in colour, plate 3
13.
(front cover)
Theodoros STAMOS (1922-1997)
Low White Sun, 1962
Acrylic on canvas
56 x 52 inches / 142 x 132 cms
Provenance: Private Collection, Sweden
Exhibited: ‘Theodoros Stamos’, Crane Kalman Gallery, London, 24th May- 16th July 2005
‘Theodoros Stamos: Works from 1945 to 1984’, Galerie Knoedler, Zurich, June-August 1984
Literature: ‘Theodoros Stamos’, Crane Kalman, London 24th May- 16th July 2005, illus. in colour on cover
14.
Alexander CALDER (1898-1976)
Bled, 1972
Gouache and ink on paper
29.5 x 43.25 inches / 75 x 110 cms
Provenance: Galerie Maeght, Paris
Private Collection, London (acquired from the above in 1974)
Calder Foundation number: A26699
15.
Alexander CALDER (1898-1976)
No Four Letter Words, 1974
Gouache and ink on paper
29.5 x 43.25 inches / 75 x 110 cms
Signed and dated lower right
Provenance: Galerie Maeght, Paris
Private Collection, London (purchased from above in 1974)
Published: Calder á Saché Editions Cercle d’Art, Paris, Marice Bruzeau, 1975, p.57, pl. 91 in colour
Alexander Calder Foundation Number: A12634
16.
Alexander CALDER (1898-1976)
Poker, 1974
Gouache and ink on paper
29.5 x 43.25 inches / 75 x 110 cms
Signed and dated lower right
Provenance: Galerie Maeght, Paris 1974
Private Collection, London (acquired from the above in 1974)
Alexander Calder Foundation Number: A12674
17.
Saul STEINBERG (1914-1999)
Wyoming, 1971
Watercolour
28.5 x 22.5 inches / 72.4 x 62 cms
Signed and dated middle right
Provenance: Sidney Janis Gallery, NY
John Berggruen Gallery, San Francisco
18.
Saul STEINBERG (1914-1999)
San Gennaro, CA, 1987
Crayon and ink on paper
19.5 x 25.5 inches / 50 x 62 cms
Initialed and dated lower right
Provenance: Pace Gallery, NY
Private Collection
Exhibited: ‘Saul Steinberg: The Discovery of America’, The Pace Gallery, 5th December 1992 - 9th January 1993, also with Blum Helman Gallery, Los Angeles
‘Structures - Architecture in American Art 1900 – 77’, John Berggruen Gallery, San Francisco, July - Sept 1997
‘Land of the Free, Home of the Brave’, Art Basel, June 2000 and Crane Kalman Gallery, London, July - August 2000
Literature: ‘Saul Steinberg The Discover of America’, Arthur C Danto, published by Alfred A. Knopf, New York, 1992, illus. p.202
‘Land of the Free, Home of the Brave, Artist immigrants in America in the 20th Century’ Crane Kalman Gallery, London, Preface by Bryan Robertson, August 2000, Exhibition catalogue, illus. in colour plate no. 35
19.
Kenzo OKADA (1902-1982)
Untitled, 1970
Oil on canvas
39.5 x 31.5 inches / 100.3 x 80 cms
Signed lower right ‘Kenzo Okada’
Provenance: Betty Parsons Gallery, New York
Private Collection, New York (acquired from the above)
Exhibited: Crane Kalman Gallery, London ‘Land of the Free, Home of the Brave’, artist immigrants in America in the Twentieth Century, (preface by Bryan Robertson), August 2000, cat. No. 40, illustrated in colour
20.
William TURNBULL (1922-2012)
Small Spade Venus, 1986
Bronze Sculpture
35.5 (h) x 17 (w) x 1.5 (d) inches / 89.8 (h) x 43 (w) x 4 (d) cms
Edition of 6
York Stone base
Exhibited: Waddington Galleries ‘William Turnbull’, 1987
Literature: ‘William Turnbull’, Waddington Galleries, 1987, Exhibition catalogue, cat. no. 23 illus. in colour. p. 59
21.
Mary
NEWCOMB (1922-2008)
Daffodils in the wind, 1991
Oil on canvas
32.2 x 33.9 inches / 82 x 86 cms
Signed lower right
Provenance: Private Collection, London
22.
Sir
Anthony CARO (1924-2013)
Table
Piece CCLXXXVII (Metronome), 1976
Rusted Steel
Unique
24.5 x 32 x 18 inches / 62 .2 x 81.3 x 45.7 cms
Provenance: Frank Martin, gift from Anthony Caro
Private Collection, London
Literature: The Sculpture of Anthony Caro 1942-1980 – A Catalogue Raisonné
by Dieter BlumeVerlag Galerie Wentzel, Cologne,Vol. 1, Table and Related Sculptures
1966-1978, no. 292, illus. in b/w, p. 112
23.
Ross BLECKNER (b. 1949)
There are so many, 2011
Oil on linen
72 x 72 inches / 183 x 183 cms
Provenance: The Artist
24.
Donald BAECHLER (1956-2022)
Abstract Composition with Burmese Flower IV, 1996
Acrylic, graphite, ink, cloth and paper collage on paper
40 x 40 inches / 101.6 x 101.6 cms
Initialed and dated lower left
Provenance: Tony Shafrazi Gallery, New York
Exhibited: ‘Collage - The Pasted Paper Revolution’, Crane Kalman Gallery, London, June-July 1999
Literature: ‘Collage - The Pasted Paper Revolution’, Crane Kalman Gallery, London, June-July 1999, cat. no.55, p.53
25.
Hiroshi SUGITO (b.1970)
Connecting Man, 2002
Acrylic, pencil and glitter on canvas
76 x 41 inches / 193 x 104.2 cms
Signed, titled and dated verso
Provenance: Max Wigram Gallery, London Private Collection
26. (back cover)
Tessa NEWCOMB (b. 1955)
Flowers Before Snow, 2021
Oil on card
8.9 x 8.3 inches / 22.5 x 21 cms
Initialed and dated lower right
Donald BAECHLER (1956-2022)
Donald Baechler was born in Connecticut and attended the Maryland Institute College of Art in Baltimore from 1974-77 and the Cooper Union in New York from 1977-78. In 1979 he spent a year in Germany at the art school Staatliche Hochschule für Bilende Künste, Frankfurt, where he was influenced by the work of German artists Sigmar Polke, Gerhard Richter and Georg Baselitz.
In the early eighties Baechler was part of the post war art scene in New York. Artists including Baechler, Julian Schnabel, David Salle, Jean Michel Basquiat and Philip Taffe were combining painting and collage in new ways. Baechler worked from images he had photographed, sketched and collected from newspapers, magazines and books which would often be used as the background, or as he termed it the ‘white noise’ of his paintings. Baechler inherited his mother’s large collection of fabric from her time as a quilter and much of this material make up his paintings.
Baechler’s work was included in the Sao Paulo Biennial in 1987, the Whitney Biennial in 1989, exhibited soon after in Thaddaeus Ropac, Paris and the Museum der Moderne, Salzburg. In 1988 he had his first solo foreign exhibition at the Kunsthalle in Basel, Switzerland. Baechler’s work is part of collections including Museum of Modern Art, New York; the Musuem of Contemporary Art, Los Angeles; the Stedelijk Museum, Amsterdam and the Pompidou Centre, Paris.
Sir Henry Maximilian BEERBOHM (1872-1956)
Sir Henry Maximilian Beerbohm was an English artist, writer, critic, and occasional radio broadcaster. He was educated at Oxford University and became a leading literary figure in London.
In 1898 Beerbohm was the drama critic for the Saturday Review until 1910 when he then moved to Rapallo, Italy, and the following year published his novel Zuleika Dobson.
His drawings, often comical, suggest a curious nature and whimsy. Beerbohm exhibited in numerous galleries, including the Grosvenor Gallery in 1917, the Leicester Galleries in 1921 and The Tate in 1923. His works are in many public collections including the National Portrait Gallery and the Tate Gallery in London.
Ross BLECKNER (b.1949)
Ross Bleckner was born in 1949 in New York. He received a BA from New York University in 1971 and then studied at the California Institute of the Arts where he gained his MFA in 1973.
Bleckner is perhaps best known for the Cell paintings he produced in the 90’s. In the context of the AIDS epidemic his works explored ideas of loss, change, time and memory – themes that remain central to his work today. Symbols and anatomical imagery are used to reference parts of the human body at the microscopic level, and with paint that is applied in smooth layers onto the canvas.
‘Life is short. Life goes fast’ he has said. ‘And what I really want to do in my life is to bring something new, something beautiful and something filled with light into the world.’
His first solo museum exhibition was organized by the San Francisco Museum of Modern Art in 1988. Bleckner is the youngest artist to date to receive a midcareer retrospective at the Solomon R. Guggenheim Museum (1995). His paintings can be found in several major public and private collections, including in the Whitney Museum of American Art in New York, where his work was also shown in their Biennial in 1975, 1987, and 1989; the Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; Museum of Modern Art, New York; Museo Nacional Centro de Arte Reina Sofia, Madrid; San Francisco Museum of Modern Art, San Francisco and the National Gallery of Art, Washington, DC.
Bleckner continues to live and work in New York City.
Alexander CALDER (1898-1976)
Born in 1898 to parents who were both artists - his father was a sculptor and his mother a painter, Calder became the fourth generation to take up sculpting. His first known art tool was a pair of pliers and from the age of eight Calder was given his own workshop within the family home.
Calder’s interest initially led not to art, but to Mechanical Engineering and Applied Kinetics, however in 1923 Calder decided to pursue a career as an artist and he enrolled at the Art Students League, New York. Calder worked abstractly in wire (‘drawings in space’ as they would later become known), sheet metal, wood and paint. Calder made many joyful and bold gouaches; seemingly simple but always inventive and witty – some based on natural forms, others on abstract designs. In the sixties and seventies Calder designed exuberant tapestries – working closely with weavers at Pinton Frères in France. His later years were spent creating his largest publicly commissioned pieces: monumental steel pieces that are part of our urban landscape and are situated in many public spaces; the Getty Museum, Los Angeles; Museo Reina Sofia, Madrid; Hakone Open Air Museum, Kanagawa, Japan; Aztec Stadium, Mexico; the Empire State Plaza and JFK airport to name a few.
Calder has become known as one of the most innovative artists of the twentieth century. Numerous retrospectives of his work were held during his lifetime; the first was at the George Walter Vincent Smith Gallery in Springfields, Massachusetts, 1938, and in 1943 a second major retrospective was exhibited at the Museum of Modern Art in New York. Further retrospectives were held at the Guggenheim Museum in New York, 1964 and at the Musée National d’Art Moderne, Paris, 1965. Calder’s Universe was held in 1976 at the Whitney Museum of American Art in New York.
Anthony CARO OM, CBE (1924-2013)
Born in Surrey, Caro studied sculpture at the Royal Academy Schools, London (1947) and shortly after moved to Hertfordshire to work as an assistant to Henry Moore. His early works were figurative, working with plaster and clay, sometimes casting in bronze. These works were first shown in the 1955 exhibition at the Institute of Contemporary Art, London: New Sculptors and PainterSculptors. Large steel abstract sculptures painted in vivid colours were introduced in his solo show at the Whitechapel Gallery in 1963 and was regarded as a revolutionary moment in the history of sculpture. Throughout Caro’s sixty year career, he would continue to work with steel but from the 1980’s onwards included the use of materials such as wood, ceramic, lead, paper and bronze.
Internationally considered as one the most influential sculptors of his generation, Anthony Caro played a significant role in the development of sculpture in the 20th Century, pushing boundaries between sculpture and painting, music and architecture, and was highly influential both through his teaching at St Martin’s School of Art (1953-1981) and through his own practice, opening up new possibilities for sculpture worldwide.
Major exhibitions include retrospectives at the Hayward Gallery, 1969, Museum of Modern Art, New York, 1975, the Trajan’s Market, Rome, 1992, the Museum of Contemporary Art, Tokyo, 1995, Tate Britain, London, 2005, and three museums in Pas-de-Calais, France, 2008, to accompany the opening of his Chapel of Light at Bourbourg. Caro has been awarded numerous prizes, including the Praemium Imperiale for Sculpture in Tokyo in 1992 and the Lifetime Achievement Award for Sculpture in 1997. He was knighted in 1987 and received the Order of Merit in 2000. Works by Caro are held in numerous public collections including that of the Tate Gallery, London; The Museum of Modern Art, New York; The Kröller-Müller Museum, Otterlo and The National Gallery of Washington.
William CROSBIE (1915-1999)
William Crosbie was born in Hankow, China, to Scottish parents. The family moved back to Glasgow in 1926 where Crosbie attended the Glasgow School of Art in 1932. In his final year he was awarded the Haldane Travelling Scholarship which allowed him to travel to Europe.
In Paris, Crosbie studied at École des Beaux-Arts and soon after, through examination, was granted entry to study under Fernand Léger. Later, he had the opportunity to attend drawing lessons by Aristide Maillol, and also studied History of Art at The Sorbonne.
During the next two decades Crosbie would come to be known as a mural painter, with commissions including a mural for the Victoria and Albert Museum’s Britain Can Make It show in 1946 and for the Festival of Britain’s Exhibition of Industrial Power in 1951. Alongside his mural paintings, Crosbie painted landscapes of Scotland, England and France, still life, portraiture - often of his friends during the war years when artists, like John Duncan Fergusson, Josef Herman and Jankel Adler, along with playwrights and actors would gather to meet in his Glasgow studio.
Crosbie’s first major solo exhibition was held at the Annan Gallery, Glasgow in 1944. In 1980 the Scottish Gallery, Edinburgh held a retrospective of Crosbie’s work and in 1990 a retrospective of his work was hung at Ewan Mundy and Celia Philo in Glasgow. Crosbie’s work hangs at the Scottish National Portrait Gallery, Scottish Arts Council and the Scottish National Gallery of Modern Art, and is part of the Royal Collection and British Museum, London.
Albert Moulton FOWERAKER RBA (1873-1942)
Foweraker was an English painter born in Dorset, 1873. He obtained a degree in Applied Science in 1893, Christ’s College, Cambridge and after briefly working as an engineer, and then a journalist, took up art professionally in 1898. He was made a member of the Royal Society of British Artists in 1902 and exhibited regularly at their Galleries in Pall Mall until 1912.
Foweraker moved to Cornwall in 1902 and taught watercolour painting at Algernon Talmadge’s Cornish School of Landscape and Sea Painting in St Ives. He travelled frequently to Spain, France and North Africa painting many landscapes during his travels as well as of local scenes from Devon, Cornwall and Dorset. Foweraker’s paintings show an interest in the effect of natural light on the environment, moonlight in particular.
In the mid-1930’s Foweraker became a member of the St Ives Society of Artists and exhibited at many local galleries. Throughout his career his work was also frequently shown in London, as well as in Birmingham, Glasgow, Liverpool and Manchester.
L.S. LOWRY RA (1887-1976)
Lowry was born in Old Trafford, Manchester, in 1887. In 1904 he left school and attended the private painting classes of William Fitz in Moss Side. From 1905 to 1915, he studied drawing and painting at the Municipal College of Art in Manchester. In 1918 Lowry was accepted for life-classes at the Manchester Academy of Fine Arts and in 1920 he attended classes at the Salford School of Art.
Although Lowry is most famous for his bustling scenes of industrial life in early 20th Century Manchester, Britain’s industrial hub at the time, he also produced some paintings of the sea, striking landscapes, single figures and isolated buildings.
Lowry’s work was first shown by the Crane (Kalman) Gallery in 1952, when the gallery was still in Manchester and frequent exhibitions of his work have been held here since. In 1968, Andras Kalman, organised an exhibition titled The Loneliness of L. S. Lowry, with the same theme explored again in an exhibition at Abbott Hall Art Gallery, Kendal in 2010, in collaboration with Crane Kalman.
The Royal Academy held a retrospective of Lowry’s work, just a few months after his death in 1976. The Tate Britain produced a major exhibition of his work, Lowry and the Painting of Modern Life in 2013 and the following year a solo show was held at The Art Museum of Nanjing University in China. Lowry’s works are included in numerous public collections in the UK and abroad, including amongst others, The Royal Academy of Arts, London; Tate, London; The Lowry, Salford; The Hepworth, Wakefield and the Arts Council Collection, London.
Amedeo MODIGLIANI (1884-1920)
Born in Livorno, Italy, Modigliani trained as a painter in his home town before moving to Paris at twenty-one to pursue a career as an artist.
There he was exposed to progressive contemporary art, and soon after his move to Paris, loose brushwork and brighter colours featured in his work, marking a departure from his more traditional style having previously been influenced by Renaissance art. Whilst living in Montparnasse, Modigliani focused almost exclusively on his sculptural work, primarily using Limestone as his medium. Visits to the museums in Paris, including the Louvre and the Musée d’Ethnographie du Trocadéro, where he saw Egyptian, Khmer, and African art, inspired Modigliani’s sculptural pieces. His work was selected to exhibit in the Salon d’Automne in 1912.
In 1917 Modigliani’s work caused controversy when his nudes were first shown in his only solo exhibition at Galerie B. Weill. These paintings, along with portraits of his friends - including Pablo Picasso, Constantin Brancusi and Chaïm Soutine - have become some of the most iconic work of the 20th century. Troubled with drug and alcohol dependency and ill health Modigliani died in January 1920 at the age of 35.
Henry MOORE OM CH (1898-1986)
Henry Spencer Moore was one of the most iconic British artists of the twentieth century and became internationally known for his semi-abstract bronze sculptures. In the context of social and cultural change, Moore established a new vision for modern sculpture, creating abstract works inspired by nature where body and landscape often morphed.
In 1919 he enrolled first at Leeds School of Art, and then the Royal College of Art in London. By the 1930s he was one of the leading avant-garde sculptors in Europe. Although most well known for his monumental sculptures Moore also created drawings – most notably of people sheltering in the London Underground during the Blitz, as well as tapestries, textiles and prints.
Moore had major exhibitions abroad including his retrospective at the Museum of Modern Art, New York, in 1946. In 1948, he won the International Prize for Sculpture at the Venice Biennale where he represented Britain alongside J.M.W. Turner, and created a public commission sculpture for UNESCO headquarters in Paris. In the UK Moore exhibited at the Whitechapel Gallery, 1960, The Scottish Gallery of Modern Art, Edinburgh, 1961 and his public commission at the Houses of Parliament remain at this site since the installation in 1965. Moore was given retrospectives at the Tate Gallery in 1951, 1968 and 2010, the same year he was awarded the Erasmus Prize. In the last decade of his life Moore and his family established The Henry Moore Foundation to support enjoyment and opportunity in the arts, with a focus on sculpture.
Sir Cedric Lockwood MORRIS (1889-1982)
Sir Cedric Morris was a British artist and horticulturalist born in Swansea. He attended the Royal College of Music, London to study singing however soon gave this up for painting. From April 1914 he studied at the Académie Delécluse in Montparnasse, Paris.
When World War I broke out Morris joined the Artists Rifles, Special Air Service Regiment (Artists, Reserve). In 1917 he moved to Cornwall where he studied plants and painted in watercolour and after three years there moved to Paris which became his base as he travelled through Europe.
In 1924 and 1926 he had exhibitions in London and moved back to the UK later that year. Morris became part of the London Artist’s Association as well as the Seven and Five Society and by the late 20’s he had worked on commercial projects including designing posters for Shell and BP. With Arthur Lett-Haines, Morris opened the East Anglian School of Painting and Drawing at Dedham (1937), attended by artists including Lucian Freud, Maggi Hambling and Joan Warburton.
Morris painted portraits, still lifes – mainly flowers, and landscapes that are part of several public collections including the National Portrait Gallery, London, Tate Britain, London, and the National Museum, Cardiff. His work is characterised by his bold use of colour and impasto application of paint. The Tate Gallery held a retrospective of Morris work in 1984 and in 2022 a permanent exhibition of his works was installed at Gainsborough’s House, Sudbury (Suffolk).
Mary NEWCOMB (1922-2008)
Mary Newcomb was born in Harrow-on-the-Hill, England, in 1922. She took a degree in Natural Sciences at Reading University in 1943 and went on to teach science and mathematics in Somerset, before moving to Norfolk in 1950. Here, Newcomb started painting and became a member of the Norfolk and Norwich Art Circle.
Newcomb’s paintings offer unexpected views of everyday rural moments, brimming with an individual sensitivity and often humorous view of the world around her.
Newcomb’s first solo show was held at Crane Kalman Gallery in 1970 and the gallery has regularly held exhibitions of her work since. It was in association with the gallery that Christopher Andreae wrote a book on her work in 1996.
Newcomb’s work can be found in a number of public gallery collections including the Tate Gallery, London, Norwich Castle Museum and Art Gallery, Sainsbury Centre for Visual Arts, Norwich, The Pier Arts Centre, Orkney. In 2021 Crane Kalman Gallery presented a large retrospective exhibition of Mary Newcomb’s work in conjunction with Compton Verney Art Gallery in Warwickshire.
Tessa NEWCOMB (b. 1955)
Born in Suffolk in 1955, Tessa Newcomb is the daughter of the artist Mary Newcomb. She attended the Norwich School of Art from 1972 and received a BA (Hons) in Fine Art from Bath Academy of Art in 1976. In 1977 she attended a course on printmaking at the Wimbledon School of Art.
Newcomb’s first solo exhibition was held at the Annexe Gallery, Wimbledon in 1979. Her work was included in mixed exhibitions at Crane Kalman Gallery between 1995 and 1997 and nine solo shows were held here from 2002- 2023. She has works in public collections including the Bradford Metropolitan Museum, the Archant Art Collection, Norwich and the Whitworth Art Gallery, Manchester.
The Suffolk countryside and country events feature in Newcomb’s paintings. Tessa and author Phillip Vann worked on a book entitled ‘Tessa Newcomb’ (Sansom & Company, 2010). Tessa also published a number of books with Sansom & Company including ‘The Adorable Plot’, 2012, ‘Tessa Newcomb’s Paris’, 2014 and ‘An artist in The Garden’, 2012.
Winifred NICHOLSON (1893-1981)
Winifred Nicholson was born in Oxford, granddaughter to the artist George Howard, and spent her childhood between Cumberland,Yorkshire and London. Nicholson inherited her grandfather’s paints when he died in 1911 and the following year Nicholson enrolled at the Byam Shaw School of Art in London, continuing to study there during World War I, whilst also making plaster casts for artificial limbs for soldiers.
In 1920 Winifred married Ben Nicholson and they worked alongside each other in Italy, France, Devon and Cornwall until their separation in 1938. Winifred was a member of the Seven and Five Society and exhibited with them until the Society closed in 1935, (exhibiting alongside Ben Nicholson, Christopher Wood, Henry Moore, John Piper, Barbara Hepworth and David Jones).
From the early 30’s Winifred lived in Paris and met many of the artists living there, including Alberto Giacometti, Piet Mondrian, Constantin Brancusi, Jean Hélion, Jean Arp and Wassily Kandinsky. During this time she began to paint abstract paintings, exhibiting them at the Seven and Five Exhibition at the Zwemmer Gallery and at the London Gallery in an Exhibition of Constructivist Art, both times under the name of Winifred Dacre. By 1938, with war looming, Winifred returned to Britain to her house in Cumberland. Winifred was a keen traveller and visited the Hebrides and Western Scotland during the early 1950’s, painting lyrical and light filled landscapes and flower paintings. She also travelled in Greece, France and Morocco.
Winifred’s work has been exhibited at Crane Kalman Gallery since 1967. Other exhibitions include Kettle’s Yard, Cambridge, 2001, the Scottish National Gallery of Modern Art, 2003, and Middlesbrough Institute of Modern Art, 2016. Retrospective exhibitions have been held at Abbot Hall Art Gallery, Kendal, 1969; the Scottish Arts Council – a show that travelled to Glasgow, Edinburgh, Carlisle, Newcastle and Cornwall, 1979; and at the Tate, London, 1987.
Kenzo OKADA (1902-1982)
Born in Yokohama, Japan, Okada enrolled at the Tokyo School of Fine Arts in 1922. In 1924 he moved to Paris where he studied with the Japanese artist Tsuguharu Foujita and exhibited at the Salon d’Automne, Paris in 1927.
On his return to Japan in 1929, Okada had his first solo exhibition at the Galerie Nichido, Tokyo, where he would continue to exhibit until 1935. Whilst living in Japan Okada also taught at the School of Fine Arts, Nippon University, Musashino Art Institute, Tokyo and the Tama Fine Arts College, Tokyo.
In the 50’s Okada moved to New York, and was influenced by the Abstract Expressionists, such as Mark Rothko and Clyfford Still, whose theories he used to explore his cultural heritage and became interested in the subconscious. Okada produced figurative works and impressionistic landscapes often painted in subdued palettes. Particular influences include those of Zen Buddhism and nature.
Betty Parsons Gallery held his first solo show in New York, marking the start of a professional relationship with the gallery until his death.
Other solo exhibitions include: the Corcoran Gallery of Art, Washington D.C., 1955; Sao Paulo Biennial as U.S. representative, 1955; The Massachusetts Institute of Technology Museum, Cambridge, 1963. International awards include: the Annual Art Prize from the Art Institute of Chicago, 1954; the International Prize at the Pittsburgh (Carnegie) International, 1955; the Astorre Meyer Prize at the Venice Biennale, 1958; and the Art Prize from the Ford Foundation, 1960. Okada also had a travelling retrospective exhibition at the Buffalo AKG Art Museum, New York, 1965; and retrospectives at both the Seibu Museum of Art, Tokyo and the Fukuoka Art Museum, Japan, 1982. More recently Okada’s work has been part of exhibitions at the Museum of Modern Art, New York including Abstract Expressionist, New York, 2010 and Degree Zero: Drawing at Mid-century, 2020.
John PIPER CH (1903-1992)
Born in 1903 in Epsom, Surrey, John Egerton Christmas Piper, was a printmaker draughtsman, and designer of stained-glass windows and designer of opera and theatre sets.
Piper studied at the Richmond School of Art and then at the Royal College of Art. From 1933 Piper was a member of the London Group and the Seven and Five Society from 1934 to 1935; Piper exhibited alongside Ivon Hitchens, Winifred Nicholson, Ben Nicholson, Christopher Wood, Barbara Hepworth, Cedric Morris and Henry Moore.
Piper held his first solo show at the London Gallery in 1938 and the works exhibited were predominantly paintings inspired by the south coast. Piper had become one of the leading British abstract artists in the 1930’s before he turned to a more naturalistic approach just before the Second World War.
During the war, Piper was an official war artist, and became well known for his work of architectural subjects, particularly of churches and landmarks affected by bombings in London, Bath, Bristol and Coventry. His work was acquired by several public collections and have been exhibited at The Tate, London; Royal Academy of Art, London; The Whitechapel Gallery, London; Imperial War Museum, London; Royal Scottish Academy, Edinburgh; Berkeley University Art Museum, California; Hong Kong Museum of Art, Hong Kong; and Gallerie D’arte Moderna, Rome to name a few.
Theodoros STAMOS (1922-1997)
Theodoros Stamos was a Greek-American artist who was part of the original group of Abstract Expressionist painters (the so-called ‘Irascibles’) in New York in the 40’s and 50’s, which included, artists Arshile Gorky, Lee Krasner, William de Kooning, Jackson Pollock, and Mark Rothko.
At only twenty years old, Stamos had his first solo show at the Wakefield Gallery, organised by artist, dealer and future gallerist Betty Parsons (1943). This marked the start of an almost 15 year professional relationship, with Stamos showing his work through Parsons’ gallery up until 1957.
Stamos is best known for his large-scale gestural abstractions. Inviting the viewer to quiet contemplation, his paintings feature natural forms and biomorphic abstractions that express a communion with nature. Inspired by experiences in nature, and concerned with what he called the ‘ancestral world’, he travelled extensively: throughout the United States to New Mexico, California and the northwest and then to Europe.
During the forties Stamos exhibited at several major museums; most notably showing almost every year from 1945-67 at the Whitney Museum, and at the Museum of Modern Art in 1948, the latter of which had acquired one of his paintings in 1946. The MOMA also included his work in a landmark exhibition The New American Painting in 1958 which introduced Abstract Expressionism to European audiences through a tour of eight countries. Stamos continued to exhibit frequently throughout his career including at several exhibitions at The Guggenheim Museum, The Carnegie Institute and the Metropolitan Museum of Art. Amongst other public collections, Stamos’ work became part of the Washington Gallery of Modern Art permanent collection in 1966, and since 1967 his work has been part of Empire State Plaza’s art collection.
Saul STEINBERG (1914-1999)
Born in Romania, Steinberg studied architecture in Milan before moving to America in 1941.
Influenced by Dada, Surrealism, Cubism and Pop art, Steinberg’s varied output reflects the defiant humour, curiosity and modernist attitude of an artist trying to make sense of a chaotic postwar period. Widely celebrated for his contributions to The New Yorker, Steinberg’s art became an exploration of language and social and political systems. He became part of New York’s avant-garde art circles and earned much critical praise for his sharp-witted experiments with drawing, photography, collage and sculpture.
Steinberg’s work is held in permanent collections internationally including The Museum of Modern Art, New York; Whitney Museum of American Art, New York; National Gallery of Art, Washington, D.C; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Art Institute of Chicago; The Baltimore Museum of Art; and Centre Pompidou, Paris.
Théophile Alexandre STEINLEN (1859-1923)
Théophile Alexandre Steinlen was born in 1859 in Switzerland and grew up in an artistic family before moving to Paris in 1881.
Engraver, sculptor, printmaker, draughtsman and painter, Steinlen became known for his posters and illustrations for ‘Le Chat Noir’, a Paris club known as the first modern cabaret in the 1880s and 1890s. He also produced hundreds of illustrations from 18831920, often political in nature, along with lithographs and posters. Exhibitions of his paintings were held first in the late 1890s at The Salon des Indépendants and then later at La Bodinière Gallery.
Steinlen’s works are included in several public collections including the Hermitage Museum in St. Petersburg; the National Gallery of Art in Washington; and The Metropolitan Museum of Art, New York.
Hiroshi SUGITO (b. 1970)
Hiroshi Sugito was born in 1970 in Nagano, Japan. He studied at the Aichi Prefectural University of Arts under the artist Yoshitomo Nara. Sugito and Nara participated in the seminal show Yoshitomo Nara & Hiroshi Sugito: Over the Rainbow (Munich, Pinakothek der Moderne and Dusseldorf, K21 Kunstsammlung NordrheinWestfalen 2004-2005).
Sugito’s work explores themes found in traditional Nihonga paintings, a Japanese style of painting that involves the use of ground pigments made of natural materials; such as minerals, shells and coral applied to handmade paper. Sugito’s delicate and finely painted works are subtle and combine influences of Eastern and Western painting: Zen meets Pop.
Sugito is currently Associate Professor of the Department of Painting, Faculty of Fine Arts, Tokyo University of the Arts.
William TURNBULL (1922-2012)
Turnbull was born in Dundee and at fifteen took up art classes in the evenings at Dundee University, later enrolling at the Slade School of Art. Throughout his career Turnbull pursued both painting and sculpture. For his sculptures, Turnbull predominately used bronze and wood, however worked with other materials such as steel, perspex and fibreglass. His long standing interest in non western cultures and their histories led to travel in Japan, Singapore and Cambodia in 1962. Religious sites in these countries inspired Turnbull and powerful, simplified forms with a focus on balance and equilibrium became defining features of his sculptural work.
Turnbull exhibited both in solo and group shows including exhibitions at the Whitechapel Gallery, Institute of Contemporary Arts, Tate Britain, Royal Academy of Arts, London, Stedelijk Museum, Amsterdam and Musée Rodin, Paris. Turnbull had retrospectives at Tate Britain, 1973, the Serpentine, 1995 and at Yorkshire Sculpture Parks, Wakefield, 2003. Turnbull’s work is also part of many public collections, including the Tate Collection, UK, Arts Council Collection, Hayward Gallery, London, Contemporary Art Society, London, Museum of Contemporary Art, Tehran, Scottish National Gallery of Modern Art, Edinburgh, Glasgow Museum and Art Gallery, Glasgow, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution and Washington D.C., USA, and the National Gallery of Art, Washington D.C., USA.
