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Albums containing "collection" |
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Items containing "collection" |
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From Album: Brooker William
Still Life 1978
KEYWORDS: Available
20
Still Life with Dried Flowers
1978
oil on canvas
24 x 20 in / 61 x 50.7 cm
signed & dated lower right
also signed, titled & dated verso
Provenance
Thomas Agnew & Sons Ltd, London
Morgan Grenfell collection, London
Exhibited
Thomas Agnew & Sons Ltd, London, William Brooker: Recent
Paintings, 23 October – 9 November 1979, no.1
William Brooker: Paintings 1950 -1983, Polytechnic Gallery,
Newcastle-upon-Tyne, 20 May – 19 June 1987, travelling to
Thomas Agnew & Sons Ltd, London, 23 June – 17 July 1983, no. 49
Matching descriptions: 20
Still Life with Dried Flowers
1978
oil on canvas
24 x 20 in / 61 x 50.7 cm
signed & dated lower right
also signed, titled & dated verso
Provenance
Thomas Agnew & Sons Ltd, London
Morgan Grenfell collection, London
Exhibited
Thomas Agnew & Sons Ltd, London, William Brooker: Recent
Paintings, 23 October – 9 November 1979, no.1
William Brooker: Paintings 1950 -1983, Polytechnic Gallery,
Newcastle-upon-Tyne, 20 May – 19 June 1987, travelling to
Thomas Agnew & Sons Ltd, London, 23 June – 17 July 1983, no. 49
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From Album: Nicholson Winifred
WINIFRED NICHOLSON
1893-1981
KEYWORDS: Available
WINIFRED NICHOLSON
1893-1981
Four Pots of Flowers and Two Dolls c. 1925
Oil on canvas
56 x 76 cm
Provenance:
Helen Sutherland
Private collection, Oxfordshire.
Exhibited:
Crane Kalman Gallery, London
Matching descriptions: Four Pots of Flowers and Two Dolls c. 1925
Oil on canvas
56 x 76 cm
Provenance:
Helen Sutherland
Private collection, Oxfordshire.
Exhibited:
Crane Kalman Gallery, London
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From Album: Sickert Walter Richard
WALTER RICHARD SICKERT, A.R.A
1860-1942
KEYWORDS: Available
WALTER RICHARD SICKERT, A.R.A
1860-1942
Santa Maria della Salute c.1901
Signed lower right
Oil on panel
10 x 8 ins / 25.4 x 20.3 cm
Provenance:
Dr. Robert Emmons;
Edward Le Bas;
Raymond Mortimer
Exhibited:
Leicester Galleries, London, June 1929, no. 49;
Agnews, London, Paintings & Drawings by Sickert
from the collection of Robert Emmons, 1947, no. 64;
Royal Academy, London, A Painter’s collection, 1963, no. 142;
Fine Art Society, London, Sickert Loan Exhibition, May – June 1973,
no.38, touring to Edinburgh, June 1973.
Literature:
A. Bertram, Sickert, London & New York, 1955, pl. 13;
W. Baron, Sickert, London, 1973, pp. 63 & 326
Matching descriptions: Santa Maria della Salute c.1901
Signed lower right
Oil on panel
10 x 8 ins / 25.4 x 20.3 cm
Provenance:
Dr. Robert Emmons;
Edward Le Bas;
Raymond Mortimer
Exhibited:
Leicester Galleries, London, June 1929, no. 49;
Agnews, London, Paintings & Drawings by Sickert
from the collection of Robert Emmons, 1947, no. 64;
Royal Academy, London, A Painter’s collection, 1963, no. 142;
Fine Art Society, London, Sickert Loan Exhibition, May – June 1973,
no.38, touring to Edinburgh, June 1973.
Literature:
A. Bertram, Sickert, London & New York, 1955, pl. 13;
W. Baron, Sickert, London, 1973, pp. 63 & 326
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From Album: Wells John
Matching descriptions: 3. Collage 1941
Pencil, watercolour & paper collage on card
Signed, studio stamped & dated verso
121/2 x 151/2 ins 31.5 x 39 cms
Wells visited Ben Nicholson and Barbara Hepworth at Carbis Bay
near St Ives in the spring of 1940 where he was introduced to Naum
Gabo. He was deeply impressed by Gabo’s constructivist ideas and
immediately fashioned a three dimensional response that Gabo
later described to Nicholson as ‘the perfect first effort in spatial
construction’. The present example is an important example of
Wells exploring tension and balance in space through the use of a
series of collaged geometric shapes interconnected within a linear
structure and with the central area of radiating lines.
The coloured concentric circles in each shape were created
with a small brass turntable, a device used by Wells’ father to make
microscope slides, and feature in Wells’ sole surviving relief
construction of the period in the Tate collection.
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From Album: Wells John
Matching descriptions: 4. Boat c.1942
Gouache & collage on paper
mounted on board
73/4 x 117/8 ins 19.5 x 30 cms
Wells visited Ben Nicholson and Barbara Hepworth at Carbis Bay
near St Ives in the spring of 1940 where he was introduced to Naum
Gabo. He was deeply impressed by Gabo’s constructivist ideas and
immediately fashioned a three dimensional response that Gabo
later described to Nicholson as ‘the perfect first effort in spatial
construction’. The present example is an important example of
Wells exploring tension and balance in space through the use of a
series of collaged geometric shapes interconnected within a linear
structure and with the central area of radiating lines.
The coloured concentric circles in each shape were created
with a small brass turntable, a device used by Wells’ father to make
microscope slides, and feature in Wells’ sole surviving relief
construction of the period in the Tate collection.
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From Album: Wells John
Matching descriptions: 6. Untitled c.1944
Gouache & pencil on paper
7 1/8 x 9 1/2 ins 18 x 24 cms
During his visits to Carbis Bay Wells used to undertake long coastal
walks with Naum Gabo, during which Gabo collected pebbles or
bones and talked of their affinity with the constructive process.
Gabo’s sojourn in Cornwall appears to have confirmed a new
tendency to allow these natural sources into his work, perhaps
brought on by the state of the war and the means to which science
was being put in it. Wells responded to this romantically inspired
modernism through his own interest in natural phenomena and by
developing his own formal vocabulary to include a triangular ellipse
or pebble form. By presenting multiple aspects of a similar form
within the same picture and by drawing interior radiating lines to
define space, these works reference the contemporary crystal
drawings of Barbara Hepworth, an example of which Wells owned.
The use of areas of strong primary colour to indicate an interior
space in Variationsalso recalls the jewel like intensity of colour
used by Hepworth in her S culpture with Colour Deep Blue & Red,
1940 in the Tate collection.
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From Album: Hitchens, Ivon 1893-1979
Statue in Courtyard
KEYWORDS: Available
Statue in Courtyard circa 1959 Oil on canvas 33 x 60 in : 84 x 152 cm
A sculpted female torso in a studio interior was the subject of a painting shown
at Hitchens’ first solo exhibition in 1925. Fifty years later the presence of a statue in a landscape painting, lending it an extra dimension and mystery, still appealed to the artist (eg. A Sibylline Courtyard 1974 in the Courtauld Institute collection).
There is certainly an extra dimension of mystery in the present painting, since
the statue depicted in it is in fact based on a living model, while the river and buildings in the left half seem to be drawn from the imagination.
Laying aside the probably unanswerable question of sources, let us accept the painting for what it is: a complex and powerful composition which, somewhat against the odds, imposes itself on the imagination.
Both halves of the picture provide a welcome reminder of the too easily overlooked element of drawing in Hitchens’ work. On the left we get a rare glimpse of the detailed structure, or armature, that underlies the sweeping brushstrokes and patches of colour in most of his works; on the right an
example of his fluent and vital figure drawing, which can be seen in the many
ink or charcoal studies he made in preparation for his large mural paintings
in the 1950s and early ‘60s.
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From Album: Wells, John
Matching descriptions: 7. Variations 1944
Pen, ink, pencil & tempera on board
Signed, numbered 73 / 3 & inscribed verso
7 x 10 ins 17.75 x 25.5 cms
Exhibited: Plymouth City Art Gallery, Mackenzie, Mitchell, Wells,1975, no. 40
Newlyn Orion Gallery, Penzance, 1975, no. 1
During his visits to Carbis Bay Wells used to undertake long coastal
walks with Naum Gabo, during which Gabo collected pebbles or
bones and talked of their affinity with the constructive process.
Gabo’s sojourn in Cornwall appears to have confirmed a new
tendency to allow these natural sources into his work, perhaps
brought on by the state of the war and the means to which science
was being put in it. Wells responded to this romantically inspired
modernism through his own interest in natural phenomena and by
developing his own formal vocabulary to include a triangular ellipse
or pebble form. By presenting multiple aspects of a similar form
within the same picture and by drawing interior radiating lines to
define space, these works reference the contemporary crystal
drawings of Barbara Hepworth, an example of which Wells owned.
The use of areas of strong primary colour to indicate an interior
space in Variationsalso recalls the jewel like intensity of colour
used by Hepworth in her S culpture with Colour Deep Blue & Red,
1940 in the Tate collection.
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From Album: Wells, John
Matching descriptions: 17
Village 1948
Oil & pencil on canvas laid on board
Signed, dated, numbered 87/ 17, studio stamped & inscribed verso
11 x 15 1/4 ins 27.5 x 38.5 cms
Wells worked as an assistant to Barbara Hepworth from 1949-51,
notably on her series of monumental figurative sculptures of the
period including Cosdon Head, 1949 in the Birmingham City Art
Gallery collection These works combined Hepworth’s interest in
pure abstraction with her figure drawings of the preceding few years.
Many of her works involved two figures presented together, either
the same figure for different viewpoints or entwined in some way.
Wells at this time developed an interest in incorporating heads and
figures within landscape forms as symbolic of man’s interaction with
nature. This rare linear study is also related to a series of etchings
made at this time.
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From Album: Wells, John
Matching descriptions: 18
Figures 1950
Pen, ink & watercolour on paper
Studio stamp & figure drawing verso
7 x 7 ins 18 x 18 cms
Wells worked as an assistant to Barbara Hepworth from 1949-51,
notably on her series of monumental figurative sculptures of the
period including Cosdon Head, 1949 in the Birmingham City Art
Gallery collection These works combined Hepworth’s interest in
pure abstraction with her figure drawings of the preceding few years.
Many of her works involved two figures presented together, either
the same figure for different viewpoints or entwined in some way.
Wells at this time developed an interest in incorporating heads and
figures within landscape forms as symbolic of man’s interaction with
nature. This rare linear study is also related to a series of etchings
made at this time.
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From Album: Wells, John
Matching descriptions: 19
Untitled c.1951
Oil on canvas laid on board
Signed, numbered 90/ 16, studio stamped & inscribed verso
20 x 16 ins 51 x 40.5 cms
This work is drawn from a key series of paintings in which Wells
explored cliff faces and flight forms. The most famous of which
Aspiring Forms1950 in the Tate collection, is the first in the series
of upright compositions inspired by the graceful flight of birds
which he observed during his long cliff top walks. The enlarged
scale and the softened geometry evident in this work reveal a
renewed confidence and ambition at this time. The heavily scraped
back paint surface and pale washes of muted colour add to this
strong evocation of atmospheric movement. The vertical thrust of
the angular forms lends the composition an anthropomorphic
aspect with the suggestion of a figure standing to the left.
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From Album: Heron, Patrick 1920-1999
Greenhouse: Black Plant with Yellow Wall 1955
KEYWORDS: Sold
PATRICK HERON
1920-1999
Greenhouse: Black Plant with Yellow Wall 1955
Signed & dated lower left
Oil on canvas
36 x 18 ins
91.4 x 45.7 cm
Provenance:
Private collection, London
Browse & Darby, London
Waddington Galleries, London
Matching descriptions: Signed & dated lower left
Oil on canvas
36 x 18 ins
91.4 x 45.7 cm
Provenance:
Private collection, London
Browse & Darby, London
Waddington Galleries, London
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From Album: Piper , John CH LS 1903-1992
John Piper 1903-1992
KEYWORDS: sold
John Piper 1903 - 92
Portland 1953
Signed
Signed, dated and inscribed verso
Oil on canvas
Size 20 x 24 inches
Provenance
Emscote Lawn collection
Matching descriptions: Portland 1953
Signed
Signed, dated and inscribed verso
Oil on canvas
20 x 24 inches
Provenance:
Emscote Lawn collection
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From Album: Nicholson, Ben 1894-1982
Ben Nicholson 1894-1982
KEYWORDS: sold
Ben Nicholson 1894-1982
Nudes c. 1934
Double-sided drawing
Pencil and yellow wash
Size: 13 1/4 x 19 3/4 inches
Provenance
Artist¹s Estate
Private collection England
Matching descriptions: Nudes c. 1934
Double-sided drawing
Pencil and yellow wash
13 1/4 x 19 3/4 ins
Provenance:
Artist¹s Estate
Private collection England
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