DOCSLIB.ORG

ST IVES PRINTMAKING 1949-2002 Austin/Desmond Fine Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ST IVES PRINTMAKING 1949-2002 Austin/Desmond Fine Art ST IVES PRINTMAKING 1949-2002 Austin/Desmond Fine Art St Ives Printmaking 1949-2002 PAUL FEILER TERRY FROST NAUM GABO DAVID HAUGHTON PATRICK HERON ROGER HILTON BRYAN INGHAM PETER LANYON ALEXANDER MACKENZIE DENIS MITCHELL BEN NICHOLSON JOHN WELLS BRYAN WYNTER 1. PAUL FEILER £2,000.00 B. 1918 Balcony With Beach, 1954 Lithograph Signed and dated in pencil lower right. Printed on white wove paper, from the numbered edition of 20 impressions. With margins. 30.2 x 45.5 cm 2. TERRY FROST £3,750.00 1915-2003 Untitled, Double Quay, 1952 Linocut Signed and dated lower right. Printed by the artist on wove paper. There was a proposed edition of fifty impressions printed in black only. Although early numbered copies exist, the full edition was never realised. A small number of colour variants proofs were printed. With margins. 15 x 15 cm Ref: Austin/Desmond Contemporary Books, Terry Frost: Prints 1948-1990, 1990, No.7-8 Dominic Kemp, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, 2010, No.7 Coll: Tate Gallery, recorded as Boat Shapes (printed in black and brown) P07982 3. TERRY FROST £3,000.00 1915-2003 Scammel, Banbury, 1967 Drypoint with hand colouring and collage Signed and dated lower right. Printed on heavy wove paper by the artist, Banbury. An extremely rare, and possibly unique early state. The plate was extensively reworked. No edition. 27.8 x 21.2 cm Ref: Dominic Kemp, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, 2010, No.31 4. TERRY FROST £2,600.00 1915-2003 Quadrant and Circles, 1967 Etching Signed and dated lower right. Printed by the artist at the University of Reading. On heavy wove paper. No edition, a few proofs exist. 21.2 x 27.5 cm Ref: Dominic Kemp, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, 2010, No.40 5. TERRY FROST £2,400.00 1915-2003 April, 1984 Linocut with hand colouring Signed, titled and dated lower left, signed and dated verso. Printed by the artist on wove paper, at his Newlyn studio. A hand coloured proof . Edition of 5 (printed in black only). 29.5 x 20.8 cm Ref: Dominic Kemp, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, 2010, No.83 6. TERRY FROST £2,200.00 1915-2003 Untitled, c.1983/89 Linocut with hand colouring Signed and dated lower right Printed by the artist on wove paper at his Newlyn studio, No edition. A reworking of Kemp No.81. 23 x 23 cm Ref: Dominic Kemp, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, 2010, No.81 7. TERRY FROST £1,600.00 1915-2003 At Five o'Clock in the Afternoon II, 1990 Etching Signed and dated, Edition of 30 55 x 37 cm Lit: Dominic Kemp, Terry Frost Prints: A Catalogue Raisonne, Lund Humphries, 2010, No.121 8. TERRY FROST £1,600.00 1915-2003 Lorca Portfolio: Cancion De Jinete (Rider's Song), 1989 Etching with hand colouring in red gouache Signed and dated lower right Edition of 75 + 30 Aps (10 numbered I - X) 56.5 x 38.5 cm Lit: Dominic Kemp, Terry Frost Prints: A Catalogue Raisonne, Lund Humphries, 2010, No.99 9. NAUM GABO £6,000.00 1890-1977 The Lyre Bird (Opus Four), 1950 Monotype Signed and titled in pencil, printed from an end-grain wood block on thin wove paper. With margins. 15.9 x 13.7 cm Ref: Gabo Estate WE 299 10. NAUM GABO £6,500.00 1890-1977 Opus 5 (The Constellations), 1950/51 Linocut Inscribed lower right "Gabo for Becky“, Titled lower left "O.P.5“ 30.5 x 22.9 cm Prov: Gift of the Artist Collection of Bernard & Rebecca Reis, NY, USA Collection of Barbara Poe Levee, Los Angeles, USA (by descent) Private Collection, Denver USA, (by descent) 11. DAVID HAUGHTON 1924-1991 St Just, 1960 Etching Signed in pencil lower right. Printed on wove paper. Published by the artist/St Georges Gallery Prints. Edition of 10. 30 x 50 cm Lit: Norman Levine, David Haughton’s St. Just, The Painter and Sculptor, Vol. 4 No.2, Summer 1961 12. PATRICK HERON 1920-1999 Assisi, 1953 Etching with drypoint Signed and date d in pencil; signed in the plate top left. Inscribed in pencil verso: Eric: Christmas 1953/Here is a print of my first (and, so far, only) etching. I hope you like it. It’s subject – reverse of course – is the church at Assisi with Giotto and Chimabue frescoes and in the crypt of which is the tomb od St Francis./See you in the New Year./Pat. Extremely rare. No edition. 19.2 x 27 cm 13. PATRICK HERON £1,600.00 1920-1999 Grey and Black Stripes,1958 Lithograph Unsigned proof. Printed on white wove paper by Stanley Jones at Fore St Studios, St. Published by the artist. Edition of 25. Full margins. 52.1 x 41.6 cm Exh: Tate Gallery, Artists at Curwen, 1977, Cat. 296 Lit: Pat Gilmore, Artists at Curwen, Tate Gallery Publications, 1977, Pg. 145 Coll: Tate Gallery (DP.6287) 14. PATRICK HERON £1,600.00 1920-1999 Grey and Brown Stripes, 1958 Unsigned proof. Printed on white wove paper by Stanley Jones at Fore St Studios, St. Ives. Published by the artist. Edition of 25. Full margins. 52.1 x 41.6 cm Lit: Pat Gilmore, Artists at Curwen, Tate Gallery Publications, 1977, Pg. 145 Coll: Tate Gallery (DP.6710) 15. PATRICK HERON 1920-1999 Interlocking Pink and Vermilion with Blue, 1970 Screenprint Signed and dated lower right. Printed by Chris Prater at Kelpra Studios on wove paper. Published by Waddington Galleries. Edition of 100. Full margins 59.4 x 78.7 cm Coll: Tate Gallery (P04275) 16 .PATRICK HERON £5,000.00 1920-1999 Interlocking Scarlet and Pink in Deep Green, 1970 Screenprint Signed and dated lower right. Printed by Chris Prater at Kelpra Studios on wove paper. Published by Waddington Galleries in an edition of 100. Full margins 59 x 78.5 cm Coll: Tate Gallery (P04276) 17. PATRICK HERON £6,000.00 1920-1999 Monotype VI,1994 Monotype Signed , titled and dated verso. Printed to the edge of the sheet by the artist at the Camden Arts Centre. A group of approx. 8 variations of this image were produced at a workshop during Patrick Heron: Big Paintings exhibition, Sept.- Nov. 1994. 75 x 57 cm 18. ROGER HILTON £2,200.00 1911-1975 Untitled (Nudes and Dog), 1945-49 Etching. Printed on laid paper by the artist. A very rare proof, only one other proofed copy known. With margins. 13 x 17.8 cm Prov: The Artist’s brother 19. ROGER HILTON £1,400.00 1911-1975 Put it in Your Pipe - Up You, 1974 Lithograph Initialed and dated lower right, inscribed Artist's Proof. Drawn by the artist onto a zinc lithographic plate supplied by Peter Barton who arranged the printing. On lightweight cartridge paper. Published by the artist, edition of 12. With margins. 41.5 x 32 cm Coll: Tate Gallery (P07481) 20. ROGER HILTON £1,200.00 1911-1975 Untitled (Seated nude), 1974 Lithograph Initialled and dated in the plate. Drawn by the artist onto a zinc lithographic plate supplied by Peter Barton who arranged the printing. Inscribed verso Mr Barton Tmx 20 ½ flat Gold. On lightweight cartridge paper. Published by the artist Edition of 12. With margins. 31 x 45 cm Coll: Tate Gallery (P07480) 21. BRYAN INGHAM 1936-1997 Morning, 1978/79 Etching Signed , titled and dated in pencil . Printed by the artist on cream wove paper. Edition of 75. Full margins 49 x 64 cm Lit: John Russell Taylor, Bryan Ingham: Sculpture and Related Prints & Drawings, The Book Gallery, St Ives, 1996. 22. BRYAN INGHAM £800.00 1936-1997 Stilleben Worpsvede (2), (pink and green), 1984 Etching, aquatint with hand-colouring Initialed, dated and inscribed viii/xii in pencil. Printed and published by the artist, on white wove paper. With margins. 12.5 x 7.5 cm 23. BRYAN INGHAM £800.00 1936-1997 Red and Blue Still Life, 1985 Etching ,aquatint with hand-colouring Initialed , dated and inscribed iv/xii in pencil. Printed and published by the artist, on white wove paper. With margins. 16.5 x 9 cm 24. PETER LANYON £900.00 1918-1964 Figure Study, c.1958 Etching Signed and titled in pencil by Shelia Lanyon; with the PL studio stamp lower right. From the posthumous edition of 25. On white wove paper. With margins. 17.5 x 10.7 cm 25. ALEXANDER MACKENZIE £2,000.00 1923-2002 Drawing May 14, 1956 Monotype and collage Signed and titled in ink. Constructed using four layered and/or collaged paper sheets, each with printed and drawn surfaces. Worked to the edge of the top sheet. 37 x 41.5 cm Prov: Michael Snow 26. ALEXANDER MACKENZIE £2,000.00 1923-2002 Untitled Landscape, 1958 Coloured lithograph Signed in pencil, dated '58 and numbered 27/30 in the bottom margin. From the edition of 30. Printed on white wove paper. 29.5 x 48 cm Prov: Michael Snow (an exchange of work), thence by family descent 27. ALEXANDER MACKENZIE £1,800.00 1923-2002 Hillside, 1973 Hard and soft-ground etching. Signed and dated in pencil. Printed on white wove paper at the Penwith Gallery print workshop. Edition of 50.This is plate 6 from a portfolio of fifteen images produced by members of the Penwith Society of Artists to contribute to the cost of the new Penwith gallery and museum in 1973. Full margins. 27 x 45 cm 28. ALEXANDER MACKENZIE £1,200.00 1923- 2002 Scrimshaw, 2002 Etching and aquatint Signed and dated lower right in pencil.
Load more

Recommended publications
  • Peter Lanyon's Biography
    First Crypt Group installation, 1946 Lanyon by Charles Gimpel Studio exterior, Little Park Owles c. 1955 Rosewall in progress 1960 Working on the study for the Liverpool mural 1960 On Porthchapel beach, Cornwall PETER Lanyon Peter Lanyon Zennor 1936 Oil on canvas November: Awarded second prize in John Sheila Lanyon Moores Exhibition, Liverpool for Offshore. Exterior, Attic Studio, St Ives February: Solo exhibition, Catherine Viviano Records slide lecture for British Council. February: Resigns from committee of Penwith Gallery, New York. Included in Sam Hunter’s European Painting Wartime, Middle East, 1942–3 Society. January: One of Three British Painters at and Sculpture Today, Minneapolis Institute of January: Solo exhibition, Fore Street Gallery, Passedoit Gallery, New York. Later, Motherwell throws a party for PL who Art and tour. St Ives. Construction 1941 March: Demobilised from RAF and returns Spring: ‘The Face of Penwith’ article, Cornish meets Mark Rothko and many other New At Little Park Owles late 1950s April: Travels to Provence where he visits Aix March –July: Stationed in Burg el Arab, fifty to St Ives. Review, no 4. January–April: Italian government scholarship York artists. Visiting Lecturer at Falmouth College of Art January: Solo exhibition, Catherine Viviano March–April: Visiting painter, San Antonio and paints Le Mont Ste Victoire. miles west of Alexandria. March: Exhibits in Danish, British and – spends two weeks in Rome and rents and West of England College, Bristol. Gallery, New York. Art Institute, Texas, during which time he April: Marries Sheila Browne. 6 February: Among the ‘moderns’ who March: Exhibits in London–Paris at the ICA, American Abstract Artists at Riverside studio at Anticoli Corrado in the Abruzzi June: Joins Perranporth gliding club.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Austin/Desmond Fine Art
    ST IVES PRINTMAKING 1949-2002 Austin/Desmond Fine Art St Ives Printmaking 1949-2002 PAUL FEILER TERRY FROST NAUM GABO DAVID HAUGHTON PATRICK HERON ROGER HILTON BRYAN INGHAM PETER LANYON ALEXANDER MACKENZIE DENIS MITCHELL BEN NICHOLSON JOHN WELLS BRYAN WYNTER 1. PAUL FEILER £2,000.00 B. 1918 Balcony With Beach, 1954 Lithograph Signed and dated in pencil lower right. Printed on white wove paper, from the numbered edition of 20 impressions. With margins. 30.2 x 45.5 cm 2. TERRY FROST £3,750.00 1915-2003 Untitled, Double Quay, 1952 Linocut Signed and dated lower right. Printed by the artist on wove paper. There was a proposed edition of fifty impressions printed in black only. Although early numbered copies exist, the full edition was never realised. A small number of colour variants proofs were printed. With margins. 15 x 15 cm Ref: Austin/Desmond Contemporary Books, Terry Frost: Prints 1948-1990, 1990, No.7-8 Dominic Kemp, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, 2010, No.7 Coll: Tate Gallery, recorded as Boat Shapes (printed in black and brown) P07982 3. TERRY FROST £3,000.00 1915-2003 Scammel, Banbury, 1967 Drypoint with hand colouring and collage Signed and dated lower right. Printed on heavy wove paper by the artist, Banbury. An extremely rare, and possibly unique early state. The plate was extensively reworked. No edition. 27.8 x 21.2 cm Ref: Dominic Kemp, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, 2010, No.31 4. TERRY FROST £2,600.00 1915-2003 Quadrant and Circles, 1967 Etching Signed and dated lower right.
    [Show full text]
  • Bryan Wynter a Selected Retrospective
    Bryan Wynter A Selected Retrospective Tate St Ives 15 September – 2 December 2001 Notes for Teachers - 1 - Contents Introduction Bryan Wynter: A brief biography Inspiration and Influences The Artist’s Studio St Ives in the 1940s, Gallery 1 Early Gouaches, Apse Painting and Natural Process, Gallery 4 IMOOS, Gallery 3 Late Paintings, Lower Gallery 2 Drawings, Education Studio Thomas Joshua Cooper, Gallery 5 Themes and curriculum links Further Reading Glossary Texts by Bryan Wynter Poems by W S Graham - 2 - Introduction The autumn season at Tate St Ives is devoted to landscape with a special focus on the work of Bryan Wynter (1915-75). Bryan Wynter: A Selected Retrospective has been curated by Chris Stephens and presents four key moments in Wynter’s artistic career. Early small gouaches from the 1940s, abstract paintings from the 1950s, the IMOOS constructions (Images Moving Out Onto Space) made in the 1960s, and a series of rarely seen large-scale paintings inspired by light and water made in the 1970s. At the same time, the Gallery is also exhibiting the work of American artist Thomas Joshua Cooper who presents large-scale atmospheric photographs of the Atlantic Ocean made at the edges of the land in Scotland and Cornwall. In Upper Gallery 2 visitors will be able to see a new display of ceramics focusing on the work of Bernard Leach and Shoji Hamada. The writer and ceramist Emmanuel Cooper has been invited to curate a new ‘craft showcase’ offering a reinterpretation of the Wingfield Digby Collection. Why bring your students to Bryan Wynter: A Selected Retrospective? Bryan Wynter: A Selected Retrospective is an exciting and challenging exhibition that will appeal to all ages.
    [Show full text]
  • A Short History of the Cornwall Council Schools Works of Art Collection
    A Short History of the Cornwall Council Schools Works of Art Collection Beginnings On 6th May, 1961 Cornwall County Council received an anonymous donation of £100, made up of twenty £5 notes, with a short note saying simply ‘To help Primary School Funds’. Attempts were made to trace the source of the donation through Plympton post office, from which it was sent, however these efforts failed. Various meetings of the Education Sub-Committee were held to try and decide what best to do with the money, it was felt that it should be used for something specific rather than just subsumed into general funds, and finally art was agreed upon. In September 1961 the Council’s Secretary for Education, Jim Harries, wrote to the artists John Piper, Peter Lanyon and Barbara Hepworth and Jacob Epstein’s recent widow, Lady Epstein explaining what had happened and asking if they might be able to sell something at a reasonable price, or had any other suggestions. They all replied; Piper thought that due to costs of original works buying a group of prints would be more effective, Lanyon was supportive but wanted £100 to supply two small paintings, Hepworth was also very enthusiastic and suggested a scheme of approaching a range of artists to asking them to each supply a piece at a minimal cost and finally Lady Epstein offered to sell a small bronze sculpture by her late husband for a reduced cost of £130. Finally, it was agreed that the opportunity to acquire an Epstein sculpture was too good an offer to refuse and the expenditure of the additional £30 to secure the piece was agreed in January 1962.
    [Show full text]
  • NATIONAL LIFE STORIES ARTISTS' LIVES Jack Smith Interviewed by Cathy Courtney C466/96
    NATIONAL LIFE STORIES ARTISTS’ LIVES Jack Smith Interviewed by Cathy Courtney C466/96 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/96/01-12 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Smith Title: Interviewee’s forename: Jack Sex: male Occupation: Dates: 1928 - 2011 Dates of recording : 24.11.1999; 25.07.2000; 06.03.2000; 29.05.2001 Location of interview: Interviewee’s home Name of interviewer: Cathy Courtney Type of recorder: Marantz CP430 and two lapel mics Recording format: TDK C60 Cassettes F numbers of playback cassettes: F7879-F7883; F9409-F9413; F9459-F9460 Total no.
    [Show full text]
  • NZ Cornish Association Newsletter
    President Secretary & Treasurer Val Moore Nick Bartle 53 Philpotts Road 88 Weka Street Mairehau Miramar Christchurch 8052 Wellington 6022 Ph: (03) 386 1313 Ph: (04) 388 1958 E-mail: [email protected] E-mail: [email protected] Web Site: https://sites.google.com/site/nzcornish/home N EWSLETTER L y t h e r - n o w o d h o w Cornish wrestling Nadelik lowen Cornish wrestling – or wrasslin’ – has a long Merry Christmas history that can be traced back to the Battle of Agincourt in 1415 when the Cornish fighting Christmas pasties men carried banners depicting wrestlers. I’m used to be traditional in my tastes, especially Today it is a fully recognised sport managed by when it came to pasties. There are two ways to the Cornish Wrestling Association (CWA) make a proper Cornish pasty: the right way or the affiliated to the British Wrestling Association. wrong way! Being black and white about such The motto of the CWA is “Gwary whek yu gwary things is simply being true to the Cornish flag. tek”: good play is fair play. However, I have had to soften my outlook and Cornish wrestling is mainly an outdoor summer adopt a more liberal approach. Having a sport. Bouts of 10 minutes vegetarian partner means I have had to come up 7 are held on grass in 6 metre with substitutes for the steak and kidney. I have circular rings. The object is been forced to consider marinated tofu (soy bean to score a “back” by throwing 201 curd) and I have to admit that with some your opponent from a judicious seasoning you can hardly tell it’s not standing position onto his meat.
    [Show full text]
  • JESSICA CARLISLE PAUL FEILER CV 1918 Born, Frankfurt, Germany 1933 Sent to School in Zwolle, Netherlands, and Then to Canford
    JESSICA CARLISLE PAUL FEILER CV 1918 Born, Frankfurt, Germany 1933 Sent to school in Zwolle, Netherlands, and then to Canford School, Dorset, where he completes his studies 1936-39 Studies at the Slade School of Art 1939 Interned in Canada at the outbreak of the Second World War 1941 Returns to Britain to begin career as an artist 1941-46 Art Master at the Combined Colleges of Eastbourne and Radley 1946-75 Taught at West of England College of Art - became head of painting in 1960 1953 Bought chapel at Kerris, Paul, near Penzance 1960 Made Head of Painting at the West of England College of Art (later Bristol Polytechnic) 1968 Receives an Art Council Award 1975 Takes over Bryan Winter's studio near Paul, a barn converted for the painter Stanhope Forbes in the mid-nineteenth century 1983 Retires from teaching 2013 Dies in Cornwall Solo Exhibitions 1953-1957 Redfern Gallery, London 1954 Obelisk Gallery, Washington DC 1958 Obelisk Gallery, Washington DC 1959 Redfern Gallery, London 1961 Arnolfini, Bristol 1962 Grosvenor Gallery, London 1965 Grosvenor Gallery, London Victoria Art Gallery, Bath 1966 Balliol College JCR, Oxford Clare College JCR, Cambridge 1969 Richard Demarco Gallery, Edinburgh Sheviock Gallery, Plymouth 1972 Archer Gallery, London 1975 Goodman Gallery, Johannesburg St Clements Hall, Mousehole 1977 Wills Lane Gallery, St Ives 1979 Meredith College, NC, USA Duke University, NC, USA 1981-82 Crawford Centre for the Arts, University of St Andrews and toured to: Alpirsbacher Galerie, Alpirsbach; EKG Kunst, Stuttgart; John Hansard
    [Show full text]
  • 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.
    [Show full text]
  • MODERN BRITISH and IRISH ART Wednesday 13 June 2018
    MODERN BRITISH AND IRISH ART Wednesday 13 June 2018 Lot 16 Lot 17 Lot 68 MODERN BRITISH AND IRISH ART Wednesday 13 June 2018 at 3pm 101 New Bond Street, London VIEWING BIDS ENQUIRIES CUSTOMER SERVICES Friday 8 June 12pm to 5pm +44 (0) 20 7447 7447 London Monday to Friday 8.30am to 6pm Saturday 9 June 11am to 5pm +44 (0) 20 7447 7401 fax Matthew Bradbury +44 (0) 20 7447 7447 Sunday 10 June 11am to 5pm To bid via the internet please +44 (0) 20 7468 8295 Monday 11 June 9am to 5pm visit bonhams.com [email protected] As a courtesy to intending Tuesday 12 June 9am to 5pm bidders, Bonhams will provide a Wednesday 13 June, 9am to 1pm Please note that bids should be Penny Day written indication of the physical submitted no later than 4pm +44 (0) 20 7468 8366 condition of lots in this sale if SALE NUMBER on the day prior to the sale. [email protected] a request is received up to 24 24593 New bidders must also provide hours before the auction starts. proof of identity when submitting Christopher Dawson This written indication is issued CATALOGUE bids. Failure to do this may result +44 (0) 20 7468 8296 subject to Clause 3 of the Notice £20.00 in your bid not being processed. [email protected] to Bidders. ILLUSTRATIONS Bidding by telephone will only Ingram Reid Front cover: Lot 29 be accepted on a lot with +44 (0) 20 7468 8297 Back cover: Lot 67 a lower estimate or of or in [email protected] Inside front: Lot 56 excess of £1,000 Inside back: Lot 57 James Flower Live online bidding is +44 20 7468 5862 available for this sale [email protected] Please email bids@bonhams.
    [Show full text]
  • Designer and Modernist
    DESIGNER AND MODERNIST THE IMPACT AND INFLUENCE OF LINEN DESIGN ON THE WORK OF COLIN MIDDLETON One volume DICKON HALL School of Art and Design of Ulster University Ph.D. March 2019 I confirm that the word count of this thesis is less than 100,000 words. i TABLE OF CONTENTS Acknowledgements ii Abstract iii Abbreviations iv Timeline – 1870-1945 1946-1985 Introduction 1 Chapter One – Charles Collins Middleton 45 Chapter Two, Part One – John Hewitt 79 Chapter Two, Part Two – John Hewitt (continued) 112 Chapter Three – John Middleton Murry 149 Chapter Four – Victor Waddington 180 Chapter Five – Colin Middleton 220 Conclusion 263 Bibliography 272 ii ACKNOWLEDGEMENTS I would like to thank my supervisors, Professor Karen Fleming and Dr Joseph McBrinn, for their support, advice and encouragement throughout the research and writing of this PhD thesis, as well as Dr Justin Magee and many other staff at Ulster University for their guidance and assistance at every stage. I am very grateful to Kim Mawhinney for giving me such generous access to the Colin Middleton Archive held by NMNI and also to their collection of his works, and to her colleagues at the Ulster Museum, Anne Stewart, Anna Liesching and Mary Dornan, who have been so helpful. I would also like to acknowledge the Deputy Keeper of the Records, the Public Record Office of Northern Ireland. Many other people have kindly assisted with my research in various ways and I would like to thank them and to apologise to any whom I have inadvertently left out: Nelson Bell, Terry Boyd, John Breakey, David Britton and Karen Reihill, Anne de Buck, Chris Caldwell, Professor Mike Catto, Dr Riann Coulter, David Foster, Dr Brian Kennedy, Sean Kissane, Dr Paul Larmour, David Lennon, Linda Logue, Emer Lynch, Eamonn Mallie, Charlie Minter, Shelagh Parkes, Dr Jackie Reilly, Alison Smith, Claire Walsh and Ian Whyte.
    [Show full text]