Reverberations Modern Art in St Ives 9–26 February 2018
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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. BARNSGRAHAM CBE 1912 –2004 Wilhemina Barns-Graham’s work of the 1950s was dominated PAUL FEILER 1918 –2013 Paul Feiler’s painting was for many years lyrical, with harmonious Untitled (Rock Forms) / 1952 by abstract compositions generated with the aid of geometrical Ambit VIII VI ‘82 / 1982 tones and shapes that, for all their abstraction, were based on his Oil on canvas / 40 x 76 cm formulae and derived from forms and phenomena found in the Oil on canvas laid on panel experience of the natural world. In his final decades, however, he natural environment. Among her preferred sources were seaside 91.5 x 91.5 cm developed a more geometric idiom, creating paintings that were Signed and dated rocks. This painting is closely connected to the painting Rock framed to look like portals, as if opening into a hidden, shrine-like Provenance: Signed, titled and dated on reverse Theme (St. Just) 1953 currently showing at Tate St Ives. space remote from everyday reality. This large canvas is a fine The Wilhelmina Barns-Graham Trust Provenance: Private Collection example of his work of this later period. Pictured with Late 17t h/Early 18th Century Oak Bench: NFS Price: £35,000 and Sotis Filippedes ‘Rippled Bowl’ : £350 Price: £35,000 Pictured with ‘Large Turquoise Bowl’ by Usch Spettigue: £100 Page 3 Page 7 TREVOR BELL 1930 –2017 Trevor Bell made his first shaped canvas in 1962 and continued to SIR TERRY FROST 1915 –2003 Frost was best known for his geometric abstractions. Overlapping Redder / 2003 experiment with the form of his paintings right up until his death Untitled / 1970 half circles, rectangles, and squares of bright colours, the artist’s Acrylic on canvas / 61 x 61 cm in 2017. Less dramatic in shape than many of his earlier experiments, Acrylic on canvas / 101.5 x 76 cm work conveyed his enthusiasm for perceptual phenomena. This this painting from 2005 retains the sculptural feel of much of his painting from 1970 employs familiar shape motifs but perhaps with Signed, titled and dated on reverse Signed and dated on reverse work, bringing the architecture of the space around the painting a less familiar and slightly subtler palette than some of his more Provenance: Private Collection Provenance: The Artist’s Family into play, and also demonstrating the daring use of colour for which recognisable primary works. Exhibited: ‘Trevor Bell’, New Millennium his work was often noted. Price: £26,000 Gallery, 2003 (illustrated in catalogue) Pictured with Marcel Breuer Bent Plywood ‘Isokon’ Table: £550 Pictured with a Pierre Paulin ‘Tulip Chair’ and ‘Moonstone Football Vase’ designed for Wedgewood Price: £4,000 designed in 1965 for Artifort: £500 by Keith Murray c.1935: £550 Page 8 Page 4 PATRICK HAYMAN 1915 –1988 Bringing together some of Hayman's repeatedly explored, distinctive SANDRA BLOW 1925 –2006 Sandra Blow, along with Terry Frost, was one of finest collage artists Winter Landscape with Dragon / 1986 poetic, witty and poignant motifs (figures, lone trees, boats, the Untitled / 2003 this country has ever produced. Her abstract works of this period Oil on canvas / 41 x 51 cm sea, dragons, etc.), this painting from near the end of the artist's Hessian, paper and acrylic combine her later passion for colour with the earlier lessons of Art life exemplifies the way that subjects from history, myth, religion, Signed; signed, titled collage / 91 x 91 cm Informel, which she inherited from her time with the Italian artist literature and the everyday were drawn into and transformed by and dated on reverse Alberto Burri in the late 1940s. This large work on paper combines the idiosyncratic world of his imagination. Signed and dated Provenance: The Artist’s Estate hessian and paper collage elements with acrylic paint. Provenance: Private Collection, Private Collection Pictured with Oak Arts & Crafts Book Rack: £300 acquired directly from the artist Pictured with Troika Pottery ‘Urn Vase’ Exhibited: ‘Patrick Hayman’, decorated by Louise Jinks c.1980s: £295 Blond Fine Art, 1986, Price: £9,000 No.63 Literature: ‘Patrick Hayman –Visionary Artist’, Mel Gooding, 2005, illus p.88 Price: £5,000 17 18 Page 9 Page 13 BARBARA HEPWORTH DBE 1903 –1975 One of Hepworth's first forays into lithography, Three Forms BEN NICHOLSON OM 1894 –1982 Ben Nicholson agreed to collaborate on drawing this composition Three Forms Assembling / 1969 Assembling was printed by Stanley Jones at Curwen Press in 1968 Abstract Composition 1935/36 / 1973 when Stanley Jones, the director of the Curwen Lithography Studio, Lithograph / 65 x 50 cm (sheet) and published as part of the Europäische Graphik VI portfolio Lithograph / 66.5 x 80 cm (sheet) was working to produce a portfolio of lithographs to be sold in by Galerie Wolfgang Ketterer in cooperation with the publisher support of the Penwith Society of Arts in St Ives. Many artists, Signed / Edition 30/65 From the ‘Penwith Portfolio’, 1973 Felix H. Man, Munich 1969. The portfolio also contained works such as Hepworth, Lanyon and Piper, who had been central to the Signed in pencil on reverse Price: £4,500 by Rudolf Belling, Max Bill, Reg Butler, Eduardo Chillida, Marino development of the ‘St. Ives’ school of painting in early 20th century Marini, Henry Moore, Fritz Wotruba and Ossip Zadkine. Edition 67/90 British art, agreed to contribute works to help raise money for the Provenance: Private Collection Society. Nicholson had not drawn a lithograph since the earliest Pictured with 1960s Ernest Race ‘Antelope Chair’ , part of his career, but working with Stanley Jones, and using the designed in 1951 for the Festival of Britain: £550 Price: £5,950 maquette of a 1935 composition, he created this great example of early British pure abstract art. Page 10 / cover image Pictured with Marcel Breuer Bent Plywood ‘Isokon’ Table: £550 PATRICK HERON CBE 1920 –1999 Patrick Heron was one of many leading British artists who took and ‘Moonstone Football Vase’ designed for Wedgewood Untitled (Plate 15 from part in the revival of printmaking and the rise of screenprinting in by Keith Murray c.1935: £550 January Suite ) / 1973 the 1960s. This was inspired by the example of American artists such Screenprint / 58 x 81 cm (sheet) as Andy Warhol, and stimulated by the partnership of British printers Page 14 such as Chris Prater – in whose Kelpra Studio this screenprint was Printed by Kelpra Studio, published KATE NICHOLSON b.1929 Kate Nicholson is the daughter of Ben and Winifred Nicholson. made. Heron's screenprints, like his oil paintings, rely on the use Haystack in Cumbrian Fields A precociously talented painter, this early figurative landscape by Waddington Graphics, London of flat, vivid colour and sensuously manipulated forms. In this Oil on canvas / 99 x 91 cm was probably painted whilst still a teenager in the late 1940s. Signed and dated / Edition 44/72 Untitled Plate 15 from his January Suite , Heron uses a characteristic The dramatically composed painting is dominated by a billowing, abstract language of balanced, interlinking shapes in which colour Signed and titled on Price: £5,750 wrapped haystack behind which lies a stone circle under a appears to float in space. artist’s label on reverse threatening sky in the Cumbrian Hills, possibly close to the Provenance: The Artist’s Studio Pictured with Late 17t h/Early 18th Century Oak Bench: NFS artist's childhood home near Brampton. Price: £5,250 Pictured with Late 17t h/Early 18th Century Oak Bench: NFS Page 11 and ‘Large Jug’ by Richard Phethean: £280 PATRICK HERON Patrick Heron produced one of his first known editioned lithographs Page 15 Blue and Black Stripes / 1958 Red Garden under the supervision of Henry Cliffe at Corsham VICTOR PASMORE CH CBE 1908 –1998 In the 1940s, Pasmore was converted to abstract art through the Lithograph / 59 x 43 cm College of Art, Bath, in 1956. Blue and Black Stripes (along with Points of Contact No.27 / 1974 influence of the artist Paul Klee and by contemporary theories Grey and Black Stripes , Grey and Brown Stripes and Red and Yellow Signed and dated / Edition 25/25 Screenprint / 67.5 x 60 cm about the harmonious balances achieved through the positioning Image ) was one of a series of lithographs made in 1958 at Curwen Provenance: Private Collection of lines and shapes in space.