St Ives & Modern British Art 2024 by Belgrave St Ives

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

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.

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.

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

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.

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

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.

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

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’.

SVEN BERLIN Warrior’s Head / 1980 SVEN BERLIN with

Coastal

1965

Oil on board / 18 x 30 cm

Signed and dated on reverse

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

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

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).

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.

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

JOHN COPNALL 1928–2007 Black Dunes / 1957

Oil on board / 65 x 75 cm

Signed and dated

Also signed, titled and dated on reverse

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.

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

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.

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

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

Oil on paper / 45 x 60 cm

Artist’s name, title and date on label on reverse

Provenance: Contemporary Art Society Market, London

ANTHONY FRY Morocco Landscape / 1988

Oil on canvas

Signed and titled on reverse

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

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

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

PAUL FEILER 1918–2013

1911–2000

Untitled (Fishermen)

Watercolour and ink on paper

17.5 x 21.5 cm

Signed on reverse

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

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

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

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.

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

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

Red and Black

Mixed media / 56 x 57 cm

Signed

Also signed, titled and dated ‘circa 60/62’ on reverse

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.

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.

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.

Untitled / 1960

Oil on canvas / 63.5 x 76 cm

Signed and dated ‘Aug ‘60’ on reverse

Provenance: Private Collection

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

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.

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

Winchester Red I / 1967

Screenprint / 57 x 89.5 cm

Signed, titled and dated

Edition 45/49

Provenance: Former property of IBM (A38)

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.

JOHN HITCHENS b. 1940

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

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

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.

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

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

Island / 1978

Oil on board / 34 x 45 cm

Signed and dated

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

Sea Spray / c1960s

Oil on board / 41.5 x 71.5 cm

Signed and titled on reverse

Provenance: Peter Hyde Fine Art, 1968

MARGO MAECKELBERGHE

MARGO MAECKELBERGHE

Off Shore Gold

Gouache / 24 x 34 cm

Signed

Also signed and titled on reverse

Mixed media on paper / 49 x 67 cm

Signed

Provenance: Private Collection / Beaux Arts, Bath

JOHN PIPER 1903–1992 Garden

Etching on wove paper / 27.5 x 44.5 cm

Signed, titled and dated Artist’s proof

ALEXANDER MACKENZIE 1932–2014 Merrivale / 1973

Bosjigga / 1955

Linocut / 8 x 11 cm

Signed, titled and dated

ALEXANDER MACKENZIE

Untitled (Harbour)

Conté on paper / 25 x 32 cm

Signed

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

BRYAN PEARCE

BRYAN PEARCE

Busy Lizzie and Island View / 1999

Screenprint / 43 x 55 cm

Signed and dated

Edition 13/75

Bowl of Fruit on a

Patterned Tablecloth / 1981

Screenprint / 40 x 50 cm

Signed and dated

Edition 50/75

BRYAN PEARCE

Signed with monogram and dated Edition 72/90

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.

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

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)

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.

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.

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

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

Pencil and watercolour on paper / 33 x 33 cm

Signed, titled and dated

Provenance: The Artist’s Studio

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

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.

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.

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

KEITH VAUGHAN 1912–1977

The Walled Garden / 1951

Lithograph / 39 x 49.5 cm

Signed and dated

Artist’s proof

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

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

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

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

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.

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.

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.

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.

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

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