Bonhams 1793 : Prints
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Painting, 1960
92 Fulham Road, London, SW3 6HR, United Kingdom - Tel: +44 (20) 7584 2200 - Web: www.godsonandcoles.co.uk Sandra Blow ( 1925 - 2006) Painting, 1960 P825 Height: 51 ¼ in (130cm) Width: 57 in (145cm) PROVENANCE Gimpel Fils £ 75000 EXHIBITION North Carolina Museum of Art, September 1964 DESCRIPTION Oil and sand on board Signed and dated verso S Blow 1960 ARTIST'S BIOGRAPHY Sandra Blow (1925 - 2006) was born in London and studied at the St Martins School of Art under Ruskin Spear from 1942 – 1946 and at the Academy in Rome from 1947-1948. In 1961 she won second prize for painting at the John Moores Liverpool exhibition and in the same year began teaching at the Royal College of Art. She has worked in a number of abstract styles, including gestural abstraction and Colour Field Painting, and she has experimented with adding various substances and or objects to the canvas. Sandra Blow considered herself an ‘academic abstract painter’, primarily concerned with such problems as balance and proportion – ‘issues that have been important since art began’. She has exhibited extensively all over the world, notably at The Institute of Contemporary Arts, The Tate Gallery, Camden Arts Centre, Gulbenkian Hall - Royal College of Art, The Hayward Gallery (London), The Royal Institute of Fine Arts (Glasgow), The Tate Gallery St Ives, The Newlyn Art Gallery (Cornwall), Galleria Origine, The Art Foundation (Rome), Palazzo Grassi (Venice), The Art Club (Chicago), Saidenburg Gallery, Albright Knox Gallery, Buffalo (New York), North Carolina Museum of Art, Raleigh (N. Carolina), The Carnegie Institute (Pittsburg), British Council Travelling Exhibitions to Canada, Australia & New Zealand and in The Stedelijk Museum (Amsterdam). -
Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1Pm Knightsbridge, London
Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1pm Knightsbridge, London Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1pm Knightsbridge Bonhams Bids Enquiries Please see page 2 for bidder Montpelier Street +44 (0) 20 7447 7448 Modern British & Irish Art information including after-sale Knightsbridge +44 (0) 20 7447 7401 fax Emma Corke collection and shipment London SW7 1HH To bid via the internet please visit +44 (0) 20 7393 3949 www.bonhams.com www.bonhams.com [email protected] Please see back of catalogue for important notice to bidders Viewings Please note that bids should be Shayn Speed submitted no later than 24 hours +44 (0) 20 7393 3909 Illustration [email protected] East Anglian Pictures only before the sale. Front cover: Lot 91 The Guildhall Back cover: Lot 216 East Anglian Pictures Guildhall Street New bidders must also provide Inside front: Lot 46 Daniel Wright Bury St Edmunds proof of identity when submitting Inside back: Lot 215 +44 (0) 1284 716195 Suffolk, IP33 1PS bids. Failure to do this may result [email protected] in your bids not being processed. Tuesday 5 November 9am to 7pm Bidding by telephone will only be Customer Services Monday to Friday 8.30am to 6pm Wednesday 6 November accepted on a lot with a lower +44 (0) 20 7447 7447 9am to 4pm estimate in excess of £400. ----------- St Michael’s Hall Sale Number: 20779 Church Street Live online bidding is Reepham available for this sale Catalogue: £12 Norfolk, NR10 4JW Please email [email protected] with “Live bidding” in the subject Tuesday 12 November line 48 hours before the auction 9am to 7pm to register for this service. -
Work Placement Handbook
Work Placement Handbook 2012 CONTENTS • Background to Falmouth Art Gallery • Falmouth Art Gallery’s Work placement Policy • Work placement Benefits • Getting the most from the placement • Guidelines General Safety Health Object Handling Supervision • Staff Lists • Forms Falmouth Art Gallery Falmouth Art gallery is a service funded by Falmouth Town Council. It is an accredited museum and complies with standards laid down for the Registration of Museums in the United Kingdom and works in partnership with: Age Concern, The Art Fund, Arts Council England, Brightwater Holidays, Combined Universities of Cornwall, Cornwall and Devon Media, Cornwall College, Cornwall Council Conservation Department, Cornwall Heritage Trust, CSV RSVP, Earls Retreat, Falmouth Arts Society, Falmouth BIDS, Falcare (formerly Mencap), Falmouth Marine School, Falmouth Stroke Club, Heritage Lottery Fund, Hine Downing Solicitors, Jason Thomas Dance Company, Kerrier Pupil Referral Unit, Kids in Museums, Langholme, Little Parc Owles Trust, Local schools, MLA (Museums, Libraries and Archives Council), MLA/V&A Purchase Grant Fund, Museums Association, National Maritime Museum Cornwall, Newquay Zoo, Penlee House Gallery & Museum, Royal Cornwall Museum, Royal Cornwall Polytechnic Society, Sully’s Picture Framing Penryn, Susie Group (victims of domestic abuse), Swamp Circus, Tate St Ives, The Tanner Trust, Truro and Penwith College, U3A, University College Falmouth, University of Exeter, Wayfarers,The West End Group – Murdoch and Trevithick Centre, The WILD Young Parents Group Falmouth Art Gallery The Origins of the Collection The first Falmouth Art Gallery was opened in Grove Place in 1894 under the Directorship of William Ayerst Ingram and Henry Scott Tuke. It featured their own work along with that of Sophie Anderson, Richard Harry Carter, Charles Davidson, Topham Davidson, Winifred Freeman and Charles Napier Hemy. -
Aspects of Modern British Art
Austin/Desmond Fine Art GILLIAN AYRES JOHN BANTING WILHELMINA BARNS-GRAHAM DAVID BLACKBURN SANDRA BLOW Aspects of DAVID BOMBERG REG BUTLER Modern ANTHONY CARO PATRICK CAULFIELD British Art PRUNELLA CLOUGH ALAN DAVIE FRANCIS DAVISON TERRY FROST NAUM GABO SAM HAILE RICHARD HAMILTON BARBARA HEPWORTH PATRICK HERON ANTHONY HILL ROGER HILTON IVON HITCHENS DAVID HOCKNEY ANISH KAPOOR PETER LANYON RICHARD LIN MARY MARTIN MARGARET MELLIS ALLAN MILNER HENRY MOORE MARLOW MOSS BEN NICHOLSON WINIFRED NICHOLSON JOHN PIPER MARY POTTER ALAN REYNOLDS BRIDGET RILEY WILLIAM SCOTT JACK SMITH HUMPHREY SPENDER BRYAN WYNTER DAVID BOMBERG (1890-1957) 1 Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 Coloured chalks Signed and dated lower right, Inscribed verso Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 by David Bomberg – Authenticated by Lillian Bomberg. 54.6 x 38.1cm Prov: The Artist’s estate Bernard Jacobson Gallery, London ‘David Bomberg once remarked when asked for a definition of painting that it is ‘A tone of day or night and the monument to a memorable hour. It is structure in textures of colour.’ His ‘monuments’, whether oil paintings, pen and wash drawings, or oil sketches on paper, have varied essentially between two kinds of structure. There is the structure built up of clearly defined, tightly bounded forms of the early geometrical-constructivist work; and there is, in contrast, the flowing, richly textured forms of his later period, so characteristic of Bomberg’s landscape painting. These distinctions seem to exist even in the palette: primary colours and heavily saturated hues in the early works, while the later paintings are more subtle, tonally conceived surfaces. -
Prints and Multiples and Prints
Wednesday 23 March 2016 23 March Wednesday Knightsbridge, London PRINTS AND MULTIPLES PRINTS AND MULTIPLES | Knightsbridge, London | Wednesday 23 March 2016 23544 PRINTS AND MULTIPLES Wednesday 23 Mar 2016 at 1pm Knightsbridge, London BONHAMS ENQUIRIES ILLUSTRATIONS IMPORTANT INFORMATION Montpelier Street Robert Jones Front cover: Lot 51 The United States Government Knightsbridge + 44 (0) 20 7393 3941 Inside front cover: Lot 176 has banned the import of ivory London SW7 1HH [email protected] Inside back cover: Lot 321 into the USA. Lots containing www.bonhams.com Back cover: Group Shot ivory are indicated by the symbol Lucy Iliff Ф printed beside the lot number VIEWING +44 (0) 20 7393 3901 in this catalogue. Sunday 20 March 2016 [email protected] NB 11am – 3pm To request condition reports With special thanks to S McLean. Monday 21 March 2016 PRESS ENQUIRIES on any of the lots in the 9am – 4.30pm [email protected] sale, please contact the Tuesdya 22 March 2016 department directly. 9am – 4.30pm CUSTOMER SERVICES Wednesday 23 March 2016 Monday to Friday 9am – 11am 8.30am – 6pm +44 (0) 20 7447 7447 BIDS +44 (0) 20 7447 7447 SALE NUMBER +44 (0) 20 7447 7401 fax 23544 To bid via the internet please visit www.bonhams.com CATALOGUE £15 New bidders must also provide proof of identity when submitting Please see page 2 for bidder bids. Failure to do this may result information including after-sale in your bids not being processed. collection and shipment. Bidding by telephone will only Please see back of catalogue Be accepted on lots with the for important notice to bidders Lower estimate of £500. -
Modern Art, Design & Studio Ceramics (579)
MODERN MADE: Modern Art, Design & Studio Ceramics (579) Thu, 14th Nov 2019, Noho Studios, London Viewing Times: Viewing at Noho Studios, 48 Great Titchfield Street, London, W1W 7QA Tues 12 November 10am - 5pm Wed 13 November 10am - 5pm Morning of the sale 10am - 12pm Lot 163 Estimate: £1500 - £2000 + Fees § BRYAN INGHAM (BRITISH 1936-1997) CUBIST HEAD Partial studio stamp (to base), plaster 21.5cm high (8.5in) Provenance: Estate of the artist. Note: FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. -
KS3-5 the Far and the Near International Art in St Ives 6 October 2012 – 13 January 2013
Teacher Resource Notes – KS3-5 The Far and the Near International Art in St Ives 6 October 2012 – 13 January 2013 These notes are designed to support KS3-5 teachers in engaging students as they explore the art work. As well as factual information they provide starting points for discussion, ideas for simple practical activities and suggestions for extended work that could stem from a gallery visit. To book a gallery visit for your group call 01736 796226 or email [email protected]. Season Overview This season Tate St Ives provides an opportunity to view St Ives art alongside British and International modernists such as Henri Matisse, Henry Moore and Jackson Pollock, as well as contemporary artists such as Yto Barrada and Nicholas Hlobo. Over fifty artists from 1900 to today, selected from Tate's global collection, are shown in a series of themed rooms. These open dialogues between the practice of St Ives artists, such as Patrick Heron, Barbara Hepworth, Trevor Bell, Sandra Blow and Alan Davie, and the historic modernist context, as well as contemporary relationships between Modernism and international art. The Heron Mall shows a sculpture by Yto Barrada, raising themes connected with a sense of place, including the aesthetic and political effects of tourism on a location. Gallery 5 considers the artist’s studio, both as a site for abstraction and as a means of framing views of the outside world. It includes paintings Patrick Heron made in his Porthmeor studio, as well as work by Pierre Bonnard and Georges Braque. Gallery 4 explores the connections between painting, Constructivism and architecture. -
Britain in the World 1860–Now
yale center for british art Britain in the World 1860–now Second-floor galleries Rebecca Salter, born 1955, British K37 1996, mixed media on canvas The work of Rebecca Salter draws on a variety of artistic styles, media, and cultural traditions. Her distinctive approach was shaped primarily by the six years she spent in Kyoto, Japan, in the early 1980s, where she studied ceramics. She returned to her native London with a commitment to two-dimensional art and a particular interest in Japanese printmaking techniques and the subtle textures and surfaces of Japanese papers. In the late 1980s, however, she also began to make regular visits to the Lake District in northern England, taking inspiration from the austere landscape and ever-shifting weather conditions. Working within a tight tonal range and rarely letting one part of the canvas speak louder than any other, Salter’s paintings are nonetheless quietly compelling: a suitable match for the architecture of Louis Kahn (designer of the Yale Center for British Art), in whose memory this painting was purchased. Friends of British Art Fund and Gift of Jules David Prown, MAH 1971, in memory of Louis I. Kahn, B2011.8 Sandra Blow, 1925–2006, British Red Circle 1960, mixed media on board Sandra Blow emerged in the 1950s as one of the most innovative figures in British abstract art. Blow built her reputation as an independent and pioneering force despite making and keeping a loose connection to the modernists at St. Ives, especially Barbara Hepworth, Ben Nicholson, and Patrick Heron. Red Circle’s vivid band of color encircling concentric black rings on a monochrome field exemplifies her bold abstraction, which nevertheless references the natural world and organic forms. -
Reverberations Modern Art in St Ives 9–26 February 2018
Reverberations Modern Art in St Ives 9–26 February 2018 22 Fore Street, St Ives, Cornwall TR26 1HE 01736 794888 [email protected] www.belgravestives.co.uk Follow us on Twitter and Instagram: @belgravestives #artstives KENNETH ARMITAGE CBE W. BARNSBGRAHAM CBE 1 2 TREVOR BELL SANDRA BLOW 3 4 ALAN DAVIE PAUL FEILER 5 6 SIR TERRY FROST PATRICK HAYMAN 7 8 BARBARA HEPWORTH DBE PATRICK HERON CBE 9 10 PATRICK HERON CBE ROGER HILTON CBE 11 12 BEN NICHOLSON OM KATE NICHOLSON 13 14 VICTOR PASMORE CH CBE JOHN WELLS 15 16 Page 1 Page 5 KENNETH ARMITAGE CBE 1916 –2002 Printed at Curwen Studios, this image relates closely to Armitage’s ALAN DAVIE 1920 –2014 Alan Davie’s work often incorporated mysterious symbols drawn Seated Group / 1960 Geometry of Fear sculpture of the 1950s, which portrayed joined Tiwi Spirit Study / 1997 from a wide range of sources, from American Indian pottery, maps, Lithograph / 40 x 58 cm (sheet) figures, often in groups, cast in bronze as single pieces. There are Gouache on paper / 46.5 x 59.5 cm ancient rock-carvings and Aboriginal art. The title of this gouache several examples in the Tate Collection, which also includes a copy from 1997 suggests a connection with the Tiwi Islands of Australia’s Unsigned proof aside from edition of 300 Signed, titled and dated of this lithograph. Northern Territories, whose Aboriginal culture created wooden Curwen Studio stamp on reverse Provenance: Private Collection carvings, often depicting birds from Tiwi mythology. Pictured with 1960s Ernest Race ‘Antelope Chair’ , Price: £1,000 designed in 1951 for the Festival of Britain: £550 Price: £4,500 Pictured with Marcel Breuer Bent Plywood ‘Isokon’ Table: £550 and ‘Vase’ in the style of Joanna Constantinides: £250 Page 2 Page 6 W. -
Teachers Resource Notes Modern Art and St Ives KS1-2
TEACHER RESOURCE NOTES KS1- 2 MODERN ART & ST IVES Patrick Heron Window for Tate St Ives 1992-1993 Yto Barrada Palm Sign 2010 This resource has been generously supported by The Wilhelmina Barns-Graham Trust ST IVES AND ITS LEGACY For more than a century, St Ives has been part of an international network of artists and artistic movements. Among its early visitors were painters, including Joseph Mallord William Turner, who were drawn to St Ives’ spectacular natural setting and the quality of the light. By the end of the nineteenth century, St Ives had become internationally renowned for its marine and landscape painting tradition. From the late 1930s, St Ives became an important centre for artists working in a broader movement known as modernism, which rejected styles of the past and instead embraced experimentation with forms, materials and techniques that better reflected modern society. Attracting a number of artists from Britain and abroad, including the sculptor Barbara Hepworth, whose former home and studio is now the Barbara Hepworth Museum, St Ives became a hub for exchange of ideas locally and internationally, and remains and thriving artist community today. THE NEW TATE ST IVES: THE FACTS The four-year building project has doubled the space for showing art, adding almost 600 square metres of galleries. It was created using concrete pouring and moulds –it was done by Welsh specialists who used to sing in chorus on site all day. The granite is from De Lank quarry in Bodmin, Cornwall. The faience tiles were made by Richard Miller, owner of Froyle Tiles and the on-screen technician of the Great British Pottery Throwdown To create this new gallery, it was necessary to dig into the hillside behind the original Tate St Ives. -
Contemporary Art Society Annual Report 1964-65
Contemporary Patron Art Society Her Majesty Queen Elizabeth the Queen Mother Tate Gallery Executive Committee Millbank Whitney Straight CBE MC DFC Chairman SW1 Anthony Lousada Vice-Chairman Peter Meyer Honorary Treasurer G L Conran Honorary Secretary Sir Colin Anderson Raymond Mortimer CBE Eardley Knollys Eric Newton CBE Sir John Rothenstein CBE Mrs Oliver Parker Dr Alistair Hunter Derek Hill Bryan Robertson OBE The Hon Michael Astor The Lord Croft 2 3 Alan Bowness Prunella Roger James Melvin Clough Cook Mrs Elizabeth Heygate The Hon John Sainsbury Dr Kenneth Marsh 5 6 Pauline Vogelpoel MBE Organising Secretary Allen Eduardo Jones Paolozzi 8 9 Victor Keith Vasarely Vaughan July 1965 most difficult exhibition we have ever attempted particularly in terms of organisation. We were greatly honoured that Her Royal Highness Princess Margaret was present at this occasion and more than seven hundred of our members > period from 23rd June, the date of our last Annual General Meeting, until today as far as and their guests. is you will know, our financial year ended on the 31 st December 1964. I would like to thank and congratulate Burton, Ahrends and Koralek, the architects who showed such imagination and lal practice we appoint two buyers each year. For the year ended December 1964 our originality in their installation of this fine exhibition, also the many people who so kindly helped us, in particular enstein and Dr Kenneth Marsh. They spent the allotted sum of £4,500 and bought thirty- the Pieter Stuyvesant Foundation whose most generous grant of £2,000 made the whole thing possible. -
Teacher Resource Notes: Ks1- 2 Modern Art & St Ives
TEACHER RESOURCE NOT ES : KS1 - 2 MODERN ART & ST IVES Opening 14 October 2017 and REBECCA WARREN ALL THAT HEAVEN ALLOWS 14 October 2017 – 7 January 2018 Patrick Heron Window for Tate St Ives 1992-1993 Yto Barrada Palm Sign 2010 This resource has been generously supported by The Barns Graham Trust ST IVES AND ITS LEGA CY For more than a century, St Ives has been part of an international network of artists and artistic movements. Among its early visitors were painters, including Joseph Mallord William Turner, who were drawn to St Ives’ spectacular natural setting and the quality of the light. By the end of the nineteenth century, St Ives had become internationally renowned for its marine and landscape painting tradition. From the late 1930s, St Ives became an important centre for artists working in a broader movement known as modernism, which rejected styles of the past and instead embraced experimentation with forms, materials and techniques that better reflected modern society. Attracting a number of artists from Britain and abroad, including the sculptor Barbara Hepworth, whose former home and studio is now the Barbara Hepworth Museum, St Ives became a hub for exchange of ideas locally and internationally, and remains and thriving artist community today. THE NEW TATE ST IVES: THE FACTS The four year building project has doubled the space for showing art, adding almost 600 square metres of galleries. It was created using concrete pouring and moulds –it was done by Welsh specialists who used to sing in chorus on site all day. The granite is from De Lank quarry in Bodmin, Cornwall.