NORTH COTSWOLD
A SECOND LOOK Fine Contemporar y Paintings including new works by Richard Thorn SWAc Spring 2019
FRED SCHLEY (b. 1957)
Hampstead Bushes Oil on canvas, 90 x 130 cm / 35½ x 51¼ in
Fred Schley is an extraordinarily versatile artist, on the one hand capable of hugely spacious, majestic views of the Western Isles (see pages 16-19) and on the other, his remarkably complex, faithful and transporting studies of trees such as the example illustrated below, as well as Trees at St Luke’s, London illustrated 20 & 21. In
Hampstead Bushes Oil on canvas, 90 x 130 cm / 35½ x 51¼ in
Front Cover: Mary Anne Aytoun-Ellis Flooded Coronal (detail) Mixed media, 145 x 111 cm / 57 x 44 in
addition, Fred is a noted portrait painter whose work has featured at the National Portrait Gallery, London. Hampstead Bushes is a most engaging, luminous and contemplative work that will add distinction to either a relatively traditional or modern, minimalist interior.
NORTH COTSWOLD
A SECOND LOOK
Fi n e C o n temp o ra r y Pa i n ti n gs i n cl ud i n g n ew wo rks by R i ch a rd T h o r n S WA c 16th March - 20th April 2019 Open 10.00am - 5.00pm Monday to Saturday
A n In tro d uctio n to th e C a ta l o gue I am pleased to say that we had a successful and enjoyable year running the gallery in 2018 but even in the best times, we do not sell all the paintings or sculptures that we offer the first time they are offered. Looking at the gallery from an outside perspective, exhibitions come and go and once they are over they quickly recede into the past. We lead busy lives and there is always something new to catch our attention. The reasoning behind the collation of this catalogue is to present first-class contemporary paintings that have not sold on the first occassion that they have been offered. Additionally, this catalogue does include exhibits that we have not shown before, as well as a group of new paintings by the Devon watercolourist Richard Thorn SWAc. It should be noted that it will not be possible to hang all the paintings illustrated in the catalogue at one time, although it is likely that virtually all of the works illustrated large in this catalogue will be hanging at the outset of the exhibition. Those paintings that are shown with thumb-nail style illustrations at the foot of
the page are less likely to be hanging at the start of the show, but larger images of these works will be easy to find on our website www.johndaviesgallery.com. Such examples will be available to be viewed in the gallery at relatively short notice. All the paintings will be available at the time of purchase. This collection is of a very high standard and naturally I cannot single out individual works for comment in this introduction. I am proud to be able to offer such a broad selection of extremely fine paintings by eight of our contrasting artists including the popular postimpressionist Matthew Alexander, the extraordinarily talented James Corbett, the hugely gifted and inspired Mary Anne Aytoun-Ellis, the refined and exacting Alexandra Klimas, the wonderful, exciting colourist works of David Prentice, the remarkable and highly individual Fred Schley, the gloriously verdant works on paper by Richard Thorn and the monumental, sculptural painting of Huw Williams. John Davies, March 2019
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The Plough Watercolour & inks, 55 x 48 cm / 21¼ x 19 in
January Moon, Teign Estuary Watercolour & inks, 45 x 47 cm / 17¾ x 18½ in
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R I C H A R D T H O R N S WA c (b. 1952)
Richard is an immensely versatile and accomplished watercolourist. Using the term ‘watercolourist’ perhaps needs a certain amount of explanation or qualification nowadays, because a number of different paints and inks have been introduced over recent years that make a pure ‘watercolour’, in the traditional sense, something of a specialist’s pursuit. To be clear, I use the term watercolourist in a reasonably general sense to include all paintings that are created on paper with paint that uses water as the ‘vehicle’ and has in its make up an appreciable amount of translucency. That said, I would find it difficult to categorise a work on paper painted mainly in gouache and, consequently mostly opaque, as a watercolour, but I feel we are getting into semantics to be too definitive nowadays. For those who are reading this and wondering exactly what I am talking about, I should say that a classic, ‘pure’
watercolour, in the 19th Century sense, is a work on paper executed only in translucent water-born pigment relying only on the white or off-white of the paper for the supply of light in the completed work. In Richard we have an artist at the top of his game using a wide range of water-born materials including pure watercolour, acrylic (used translucently and opaquely), ink (acrylic and otherwise), acrylic gouache and pure gouache. In addition, like other artists working on paper, he will hack into the picture surface to achieve the sparkle of reflection on water. He has become a quite brilliant artist. A superb draughtsman, he is also an extremely fluent painter and there are some amazing examples spread over the following pages. His snow-scenes are technically breathtaking.
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Winter Oasis Watercolour & body colour, 45 x 54 cm / 17¾ x 21¼ in
The River Bend Mixed media, 40 x 67 cm / 15½ x 26¼ in
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After the Floods Watercolour, 46 x 68.5 cm / 18 x 27 in
River Passage (the Dart) Mixed media, 29 x 71 cm / 11½ x 28 in
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May in the Woods Watercolour, 50 x 66 cm / 19¾ x 26 in
Haldon Pines Mixed media, 21 x 22 cm / 8¼ x 8¾ in
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Dart Light Gouache, 50 x 55 cm / 19¾ x 21¾ in
The Morning Light Mixed media, 33 x 43 cm / 13 x 17 in
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Lena’s Land Mixed media, 46 x 60 cm / 18 x 23½ in
Journey through Time Gouache, 35 x 48 cm / 13¾ x 19 in
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Fox Tracks Watercolour, 46 x 58.5 cm / 18 x 23 in
Digging out the Greenhouse Watercolour inks, 38 x 48 cm / 15 x 19Âź in
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Far Away Lands Watercolour inks, 36 x 37 cm / 14¼ x 14½ in
Ancient Walls Gouache, 26 x 35 cm / 10¼ x 13¾ in
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The Old Gods Watercolour inks, 53 x 56cm / 20ž x 22 in
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MATTHEW ALEXANDER (b. 1953)
Matthew is an extremely established and professional post-impressionist painter who regularly exhibits in London and as far afield as Dallas in the USA. Having been born and raised in Kent, Matthew has a particular affinity to the low-horizon landscapes of the east of England, especially coastal regions such as the Thames Estuary, the inlets of the Essex coast and the Norfolk Broads. In addition, he enjoys painting locations in the Lake District as well as Scotland and Ireland. France and Venice are also a strong draw. Over the years he has developed a sharp eye for depicting the variabilities of the English weather and
Stormy Light, St. Benet’s Abbey, Norfolk Oil, 25 x 35 cm / 10 x 14 in
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consequently his paintings display great observation of light and shade. Over these four pages we have eight paintings that show just that, two of them being particularly strong and sizeable examples, Approaching Storm, Pegwell (26in x 36in) and on page 15, View Across Sheppey to the Thames (36in x 48in). Both paintings feature lovely deft touches of paint depicting items such as distant washing out to dry, or gulls and sails caught in sunlight; both of these examples also have the size for Matthew to convey impressive atmospheric perspective. In addition, the accompanying six paintings also possess similar qualities on a smaller scale.
A Passing Shower, Norfolk Broads Oil, 23 x 30.5 cm / 9 x 12 in
Approaching Storm, Pegwell Oil, 66 x 92 cm / 26 x 36 in
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Silver Light at Oare Creek Oil, 30.5 x 41 cm / 12 x 16 in
Cloud Shadows on the Marsh Oil, 30.5 x 41 cm / 12 x 16 in
February Sun, Pin Mill Oil, 20 x 41 cm / 8 x 16 in
The Track through the Marsh Oil, 20 x 41cm / 8 x 16 in
View across the Sheppey to the Thames Oil on canvas, 91.5 x 122 cm / 36 x 48 in
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FRED SCHLEY (b. 1957)
Fred Schley has had a life-long love affair with the Western Isles of Scotland and has become well known for his depictions of their mountains, lochs and general terrain, sharply focussed in crystal clear light. Three examples of such paintings appear overleaf on pages 18 & 19, but here on these pages we have three images of contrasting island locations in the most subtle half-light. The Storr from the West Coast is a truly evocative, even haunting painting, full of majesty and serenity. It depicts the mountain known as The Storr on the Isle of Skye viewed from near Loch Torridon on the Scottish mainland in very brooding weather. The Old Man of Storr is the most clearly visible pinnacle of the two seen to the lower left of the main rock face.
The Storr from the West Coast Oil on canvas, 40 x 50 cm / 15¾ x 19¾ in
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Illustrated opposite, Loch Na Keal, Mull is another study of supreme subtlety in the handling of light. Mull is about sixty miles south of Skye with Loch Na Keal on the west coast of the island. What an exquisite depiction of weak, lemony sunlight trying to break through over the misty isle and loch. Dutchman’s Cap is the long-established English name for Bac-Mòr, an island located near the most southern spread of the Treshnish Isles on the eastern side of Mull. Here Fred depicts the island with the utmost sensitivity, creating a beautiful, quiet, tonal study.
Loch Na Keall Oil on canvas, 35 x 50 cm / 13¾ x 19¾ in
Dutchman’s Cap Oil on canvas, 35 x 50 cm / 13¾ x 19¾ in
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Suilven from Polly Oil on canvas, 70 x 100 cm / 27½ x 39¼ in
Cuillin Peaks, Skye Oil on canvas, 45 x 70 cm / 17¾ x 27½ in
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From Elgol, Skye, illustrated below is, without doubt, one of Fred’s finest paintings of Skye depicted in his ‘high-resolution’ technique. A dramatic composition exquisitely painted producing a result of extraordinary clarity. Illustrated opposite are two further impressive landscapes displaying a similar palette. Suilven from Stac Polly (Pollaidh) is a wonderfully open and spacious composition depicting one of the best known
and most climbed mountains in Scotland. It lies in west Sutherland, within the Inverpolly National Nature Reserve, loosely, at a similar latitude to Stornaway, Isle of Lewis. Cuillin Peaks, Skye is another high clarity study of Skye in the same southern region of the island as the view From Elgol, Skye. Similarly, we have the sharp depiction of rock and snow in clear sunlight against a beautifully graded cloudless sky.
From Elgol, Skye Oil on canvas, 100 x 120 cm / 39½ x 47¼ in
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Trees at St Luke’s, London Oil on canvas, 120 x 160 cm / 47¼ x 63in
This is a remarkably uplifting and therapeutic painting which will make a major contribution to any environment to which it is introduced. The trees depicted here are in the grounds of St Luke’s, Old Street, in the Borough of Islington which is a Nicholas Hawksmoor / John James Anglican church opened in 1727. Now it is known as LSO St Luke’s, a music centre for the London Symphony Orchestra, and home to the LSO’s community and education programme, LSO Discovery.
Trees at St Luke's, London Oil on canvas, 120 x 160 cm / 47¼ x 63 in
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M A RY A N N E AY T O U N - E L L I S (b. 1966)
All of Mary Anne’s paintings speak of things beyond the visual and perhaps it is down to the individual to find their own way into her work. What is beyond doubt is that she is a very special artist who possesses an exquisite technique, a big vision and the ability to touch the soul. The intensity and delicacy of her drawing is breathtaking. In addition to the two works illustrated on these two pages, her painting Boy is illustrated on the back cover of this catalogue.
Two Trees Mixed media, 112 x 89 cm / 44 x 35 in
We also have available signed copies of Springlines, a most engaging soft-back book (Little Toller Books) that emerged from a collaboration between Mary Anne and the poet Clare Best, chronicling a walk through the South Downs. In addition to illustrations of Mary Anne’s paintings and Clare Best’s words, it features wonderful reproductions of works by Cotman, Cristall, Muller and Turner, as well as contributions from other writers. 95 pages, £20.00
Flooded Coronal Mixed media, 145 x 89 cm / 57 x 44 in
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D AV I D P R E N T I C E 1936 – 2014
Native Air (Elgar’s Welsh Tune) (1995) Oil on canvas, 91.5 x 81.2 cm / 36 x 32 in Signed lower left; also signed & inscribed with title verso
This glorious example of David’s work is a recent acquisition and dates from the year before our first exhibition of his work at Stow-on-the-Wold in 1996. David had retired from full time teaching art and settled with Dinah on the Malvern Hills in 1990. At that time, he was painting some wonderful examples depicting the Malvern Hills that had suggestions of the abstract but were still reasonably representational. This painting, Native Air (Elgar’s Welsh Tune) has a wonderfully vibrant palette and the canvas is of a very attractive size and proportion. David frequently used Elgarian titles for his compositions as well as the prefix
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Air. Edward Elgar lived for much of his life on the Malvern Hills. It is thought that what Elgar referred to as his ‘Welsh Tune’ was probably jotted down in a notebook when he and his wife were on a holiday in Cardiganshire and heard a choir singing a folk tune in the distance. Elgar had intended to write a Welsh Overture, but this never came to pass and, instead, he used the Welsh Tune theme, which he felt was Welsh in idiom, in his Introduction and Allegro. This example of David’s work echoes much of the vitality of one of Elgar’s most triumphant and muchloved pieces.
Native Air (Elgar’s Welsh Tune) (1995) Oil on canvas, 91.5 x 81.2 cm / 36 x 32 in
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West Flank (2006) (illustrated opposite) Oil on canvas, 147 x 147 cm / 58 x 58 in, signed lower right & signed & titled verso
West Flank (illustrated opposite) is one of four paintings remaining from a dramatic series of strongly abstracted paintings from 2006 that use the Malvern Hills for their compositional starting point. This group of paintings all feature strong vertical gestures which carried over into some of the paintings featured on pages 28 & 29. The other three are illustrated as thumbnails below and can be viewed as larger images on our website www.johndaviesgallery.com The title Spring Hill appears to be an invention of David’s for there is no Malvern Hill of this name; the Malvern Hills do feature a number of springs however, and perhaps David used this title to refer to one of the hills featuring a spring or springs, or simply because the name inspired him. There isn’t a Beacon Hill either, as in his title Sticks, Winter Beacon although there is
both a Worcestershire Beacon and a Herefordshire Beacon (British Camp), so he may be referring to either of these in the winter season. We can only assume that with West Flank he is loosely referring to and using a section of the west profile of the hills facing Ledbury and Herefordshire as the starting point or the back drop of the painting of this title. Sticks is a reference that the artist used for the strong, straight marks he frequently used in his early purely abstract paintings in the ‘60’s, ‘70’s and ‘80’s, as well as to the smaller, softer, thick and buttery gestures in his paintings of later decades. Within this group however, the ‘sticks’ almost completely dominate the compositions, playing a crucial role in the structure of the paintings as they did in his early grid canvases and completely abstract works.
Please refer to our website www.johndaviesgallery.com for larger images of the paintings featured in the thumbnail images.
The Sticks (2006) Oil on canvas 135 x 135 cm / 53 x 53 in
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Spring Hill Flat (2006) Oil on canvas 135 x 135 cm / 53 x 53 in
Sticks, Winter Beacon (2005) Oil on canvas 135 x 132 cm / 53 x 52 in
West Flank (2006) Oil on canvas, 147 x 147 cm / 58 x 58 in
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On Summer Hill (2007) (illustrated opposite) Oil on canvas, 135 x 129 cm / 53 x 51 in
This luminous but strong semi-abstract composition (illustrated opposite) dating from 2007 is one of the last Malvern subjects in this style available from David’s studio and the only example this size. Closely related to this painting within the same body of work is the wonderfully spacious and authoritative A Trick of the Light measuring 58in x 58in, illustrated below. To obtain a larger image of any of the thumbnail images please refer to our website. In addition to these two paintings is Malvern Amplitude, a lively work featuring a broad impression of the Malvern ridge that measures 50in x 52in. Also available is a partner to this, the same size, with similar
characteristics, which is not illustrated in this catalogue but available for viewing on the website, titled Malvern Lacuna. Also featured below is the earlier, warm and dramatic 58in x 58in canvas Evendine (2004), quite an abstract work derived from a Malvern’s location. Evendine Spring, a source of particularly soft and delicate water, is located at Brand Green in the ‘V’ between the Junction of Jubilee Drive and Evendine Lane. As with all David’s more abstract works they are not to be viewed for their topographical accuracy, but in this instance he will have used the geographical characteristics of this location as a staring point for this composition.
Please refer to our website www.johndaviesgallery.com for larger images of the paintings featured in the thumbnail images.
A Trick of the Light (2008) Oil on canvas 147 x 147 cm / 58 x 58 in
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Malvern Amplitude (2011) Oil on canvas 127 x 132 cm / 50 x 52 in
Malvern Hills, Evendine (2004) Oil on canvas 147 x 147.cm / 58 x 58 in
On Summer Hill (2007) Oil on canvas, 135 x 129.5 cm / 53 x 51 ins
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HUW WILLIAMS (b. 1968)
Stallion ž (with movement) Oil on canvas, 183 x 183 cm / 72 x 72in
A monumentally powerful and decorative large canvas by the specialist equestrian artist Huw Williams. In recent years Huw has been commissioned by or has work hanging in the homes of the King of Bahrain and
Ms Chitrangda Singh (Bollywood), The China Horse Club, Shanghai, as well as being included in the corporate collections of Ivanhoe Mining, the Audeh Group, The Royal Bank of Scotland, the Prudential and Lloyds Bank.
Stallion ž (with movement) Oil on canvas 183 x 183 cm / 72 x 72 in
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Stallion ž (with movement) (detail)
Sheep 85 x 109 x 53 cm / 33½ h x 43 l x 21 w in
Sheep (detail)
JAMES CORBETT (b. 1962)
James Corbett (Brisbane, Australia) has a unique ability to invest life and character into his fabrications. They bring joy to all those who encounter them, combining a delightful blend of wit, charm, imagination, sophisticated ingenuity and technical expertise. They add a most
original flavour to any domestic environment and raise a good deal of curiosity amongst visitors to one’s home. Most of James’s animal subjects are life size. The coat of the Sheep is made up of some 2,000 spark used plugs.
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“Stanley” (detail)
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“Stanley” 76 x 76 x 69 cm/ 30 h x 30 l x 27 w in
“Sweetie” 102 x 107 x 41 cm / 40 h x 42 l x 16 w in
“Sweetie” (detail)
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ALEXANDRA KLIMAS (b. 1970)
Alexandra’s animal subjects are painted to the highest standard and set in either their natural habitat, mostly meadows, as illustrated on these two pages, or depicted against an abstract background as featured over the page.
Fenny & Foejke the Cows II Oil on canvas, 80 x 60 cm / 31½ x 23½in
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Before painting her animals, Alexandra carefully studies them at close quarters in their out-of-door locations. She attributes her love of her subjects to the time she spent when a child on her grandparents’ farm in the Netherlands.
Cows in a Landscape Oil on canvas, 40 x 80 cm / 15¾ x 31½ in
Jessie the Cow Oil on canvas, 50 x 60 cm / 19¾ x 23½ in
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Lora the Cow Oil on canvas, 80 x 23 cm / 31½ x 23½ in
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Saskia the Cow Oil on canvas, 60 x 80 cm / 23½ x 31½ in
Back Cover: Mary Anne Aytoun-Ellis Boy Mixed media, 25.5 x 51 cm / 10 x 20 ins
NORTH COTSWOLD
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