Patrick Heron
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Issue Id: 0002007/G/10 Other Submissions Processed Between 30-Nov-2007 and 06-Dec-2007 Index of Submission Types
ISSUE ID: 0002007/G/10 OTHER SUBMISSIONS PROCESSED BETWEEN 30-NOV-2007 AND 06-DEC-2007 INDEX OF SUBMISSION TYPES B10 - CHANGE IN DIRECTOR OR SECRETARY B2 - CHANGE OF REGISTERED OFFICE B25 - HIGH COURT ORDER RESTORING COMPANY B4 - NOTICE OF INCREASE IN NOMINAL CAPITAL B5C - ALLOTMENT OF SHARES FOR CASH B5N - INCREASE IN ISSUED CAPITAL, ALLOTMENT OF SHARES FOR CASH -NO FEE B7 - (FORM 28)NOTICE OF CONSOLIDATION, DIVISION, CONVERSION TO STOCK, REDEMPTION OR CANCELLATION. G1AA - SR ALTERATION TO MEMORANDUM OF ARTICLES G1B4 - B4 AND A SPECIAL RESOLUTION TO INCREASE SHARE CAPITAL G1C - SR INCREASE IN NOMINAL SHARE CAPITAL G2- - OR INCREASE IN NOMINAL SHARE CAPITAL H1 - RESTORATION OF A COMPANY H1R - RESTORATION TO REGISTER OF COMPANY STRUCK OFF CRO GAZETTE, FRIDAY, 07th December 2007 3 OTHER SUBMISSIONS PROCESSED BETWEEN 30-NOV-2007 AND 06-DEC-2007 Company Company Document Date Of Company Company Document Date Of Number Name Registration Number Name Registration 1674 BRITVIC MUNSTER LIMITED B10 25/09/2007 16413 NILFISK-ADVANCE LIMITED B10 02/10/2007 2311 BRITVIC NORTHERN IRELAND LIMITED B2 07/09/2007 16907 WAVIN IRELAND LIMITED B10 12/10/2007 3446 WATERFORD NEWS & STAR LIMITED B10 28/09/2007 17113 TEMPLE PRINTING COMPANY LIMITED B5N 02/11/1999 4305 EDWARD DILLON & CO., LIMITED B2 27/11/2007 17297 SHELBOURNE GREYHOUND STADIUM LIMITED B10 06/10/2007 4305 EDWARD DILLON & CO., LIMITED B10 11/10/2007 17762 CROSSHAVEN BOAT YARD COMPANY LIMITED G1AA 19/07/2007 4305 EDWARD DILLON & CO., LIMITED B10 11/10/2007 17844 COPE FOUNDATION G1AA 21/11/2007 4305 EDWARD DILLON & CO., LIMITED B10 11/10/2007 18033 T. -
The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period. -
Auckland City Art Gallery
Frances Hodgkins 14 auckland city art gallery modern european paintings in new Zealand This exhibition brings some of the modern European paintings in New Zealand together for the first time. The exhibition is small largely because many galleries could not spare more paintings from their walls and also the conditions of certain bequests do not permit loans. Nevertheless, the standard is reasonably high. Chronologically the first modern movement represented is Impressionism and the latest is Abstract Expressionism, while the principal countries concerned are Britain and France. Two artists born in New Zealand are represented — Frances Hodgkins and Raymond Mclntyre — the former well known, the latter not so well as he should be — for both arrived in Europe before 1914 when the foundations of twentieth century painting were being laid and the earlier paintings here provide some indication of the milieu in which they moved. It is hoped that this exhibition may help to persuade the public that New Zealand is not devoid of paintings representing the serious art of this century produced in Europe. Finally we must express our sincere thanks to private owners and public galleries for their generous response to requests for loans. P.A.T. June - July nineteen sixty the catalogue NOTE: In this catalogue the dimensions of the paintings are given in inches, height before width JANKEL ADLER (1895-1949) 1 SEATED FIGURE Gouache 24} x 201 Signed ADLER '47 Bishop Suter Art Gallery, Nelson Purchased by the Trustees, 1956 KAREL APPEL (born 1921) Dutch 2 TWO HEADS (1958) Gouache 243 x 19i Signed K APPEL '58 Auckland City Art Gallery Presented by the Contemporary Art Society, 1959 JOHN BRATBY (born 1928) British 3 WINDOWS (1957) Oil on canvas 48x144 Signed BRATBY JULY 1957 Auckland City Art Gallery Presented by Auckland Gallery Associates, 1958 ANDRE DERAIN (1880-1954) French 4 LANDSCAPE Oil on canvas 21x41 J Signed A. -
Ivon Hitchens & His Lasting Influence
Ivon Hitchens & his lasting influence Ivon Hitchens & his lasting influence 29 June - 27 July 2019 An exhibition of works by Ivon Hitchens (1893-1979) and some of those he influenced 12 Northgate, Chichester West Susssex PO19 1BA +44 (0)1243 528401 / 07794 416569 [email protected] www.candidastevens.com Open Wed - Sat 10-5pm & By appointment “But see Hitchens at full pitch and his vision is like the weather, like all the damp vegetable colours of the English countryside and its sedgy places brushed mysteriously together and then realised. It is abstract painting of unmistakable accuracy.” – Unquiet Landscape (p.145 Christopher Neve) The work of British painter Ivon Hitchens (1893 – 1979) is much-loved for his highly distinctive style in which great swathes of colour sweep across the long panoramic canvases that were to define his career. He sought to express the inner harmony and rhythm of landscape, the experience, not of how things look but rather how they feel. A true pioneer of the abstracted vision of landscape, his portrayal of the English countryside surrounding his home in West Sussex would go on to form one of the key ideas of British Mod- ernism in the 20thCentury. A founding member of the Seven & Five Society, the influential group of painters and sculptors that was responsible for bringing the ideas of the European avant-garde to London in the 30s, Hitchens was progres- sive long before the evolution of his more abstracted style post-war. Early on he felt a compulsion to move away from the traditional pictorial language of art school and towards the development of a personal language. -
H a I N E S G a L L E
H A I N E S G A L L E R Y DAVID NASH BORN 1945, England Lives and works in Blaenau Ffestiniog, North Wales SELECTED SOLO EXHIBITIONS 2016 David Nash: Columns, Peaks and Torso, Galerie Lelong, Paris, France 2014 David Nash, Kukje Gallery, Seoul, South Korea David Nash: From Kew Gardens to Meijer Gardens, Frederik Meijer Gardens & Sculpture Park, Grand Rapids, MI 2013 David Nash at Kew: A Natural Gallery, Kew Royal Botanical Gardens, London, United Kingdom 2012 David Nash, Kew Gardens, Queens, NY Black & Red: Bronze & Wood, Galerie Lelong, Paris, France 2011 Red, Black, Other, Mostyn Oriel, Llandudno, United Kingdom 2010 Recent Sculptures and Colour Works, Annely Juda Fine Art, London, United Kingdom Traces, Yorkshire Sculpture Park, United Kingdom 2009 Drawings and Sculptures, Abbot Hall Art Gallery, Cumbria, United Kingdom Monumental Sculpture, Mannheim Kunsthalle, Mannheim, Germany David Nash - January’09, Galeria Alvaro Alcazar, Madrid, Spain 2008 David Nash: New Work, Haines Gallery, San Francisco, CA David Nash – Retrospective, Kunsthalle in Emden, Germany Naturformen, Atlana Sinclair Haus, Bad Homburg, Germany 2007 With the Grain: Wood Sculpture, Lewes Town Hall, East Sussex, United Kingdom With the Grain: A New Sculpture, Southover Grange Gardens, Lewes, United Kingdom David Nash, Kukje Gallery, Seoul, South Korea 2006 David Nash, Konstruktiv Tendens, Stockholm, Sweden Im Kleinen Format, Galerie Scheffel, Bad Homburg, Germany Trunks Thicken, Branches Lengthen, Roots Deepen, Gallerie Scheffel, Bad Homburg, Germany; Museum Galerie -
Patrick Heron
PRESS RELEASE 20 March 2018 PATRICK HERON Tate St Ives 19 May – 30 September 2018 Turner Contemporary, Margate 19 October 2018 – 6 January 2019 The acclaimed British artist Patrick Heron (1920–99) will be celebrated in this retrospective exhibition, the first major show of his work for twenty years. One of the most significant and innovative figures in twentieth century British art, Heron played a major role in the development of post-war abstract art. This exhibition – spanning over fifty years of work from 1943 to 1996 – provides a rare opportunity to experience the scope and ambitious scale of Heron’s painting as well as his consistent attachment to the subject of colour. In 1962 he explicitly claimed that ‘colour is both the subject and the means; the form and the content; the image and the meaning, in my painting today.’ Heron’s abstraction is a direct response to the light, colour and shape that he encountered every day. An art of pure visual sensation, his paintings are the result of his experience of looking acutely at the world and though they do not represent the garden and landscape surrounding his home and studio in Cornwall, those forms resonate in his painting in fundamental ways. The exhibition in the new top-lit gallery at Tate St Ives is the first opportunity to bring together a group of these large-scale expansive works to Cornwall, reveal the full evolution of his vibrant abstract language, unlock new insights into his art and encourage the viewer – immersed in the rich aesthetic sensibility of his colour-saturated paintings – to enjoy the simple and joyous act of looking. -
Alan Davie: Jingling Space Richard Slee: Panorama Partou Zia: Entering the Visionary Zone
Alan Davie: Jingling Space Richard Slee: Panorama Partou Zia: Entering the Visionary Zone 25 October 2003 – 25 January 2004 Tate St Ives Notes for Teachers 1 Contents Page No. Introduction 3 Gallery 1 The Pier Arts Centre Collection 5 Upper Gallery 2 Richard Slee Panorama 7 Lower Gallery 2 Alan Davie Jingling Space 9 Studio Alan Davie 12 The Apse William Blake Collection Works 14 Gallery 3 Partou Zia Entering the 16 Visionary Zone Gallery 4 Alan Davie Artists on Artists 18 Gallery 5 Alan Davie Jingling Space 20 Café /Mall Alan Davie 22 Resources available at Tate St Ives 23 Further Reading 23 Appendix I Artists Biographies 25 Appendix II Pier Arts Centre Collection 27 Extracts from labels & captions Appendix III Glossary of Art Terms 30 Appendix IV Alan Davie The Artist’s Words 31 Appendix V Suggested Activities 33 2 Introduction This winter Tate St Ives presents Jingling Space an exhibition of the work of Scottish artist Alan Davie. The exhibition highlights aspects of his work from the 1930s to the present day and includes oil paintings, gouaches, drawings and prints. The exhibition offers fresh insight particularly in his relationship to European Surrealism. Also on display, Alan Davie Artists on Artists A group of paintings selected from the Tate Collection including Max Ernst, Paul Klee, Pablo Picasso, Henri Matisse, Joan Miró and Jackson Pollock. The Pier Arts Centre Collection An exhibition of works by St Ives artists including Barbara Hepworth, Ben Nicholson, Peter Lanyon, Terry Frost and Alfred Wallis. Partou Zia Entering the Visionary Zone A group of works selected from more than 40 paintings made by Partou Zia during her six- month residency at the Porthmeor Studios. -
William Crosbie Centenary Exhibition
WILLIAM CROSBIE Centenary Exhibition WILLIAM CROSBIE (1915-1999) Centenary Exhibition 7 - 31 JANUARY 2015 16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL [email protected] www.scottish-gallery.co.uk Front cover: Music of Living - Monkey and Nude, 1988, oil on board, 71 x 91.4 cms, cat. 33 Left: Self Portrait, 1956, oil on board, 60.3 x 43.1 cms, cat. 11 2 INTRODUCTION There are many Scottish painters who have made a mark on our culture and consciousness in the last century and it is tempting to try to attach each to a school or movement. The artist has a habit of resisting any attempt at taxonomy however, wriggling free from the entomologist’s chloroform bottle and display pin, to be unruly, unpredictable and provide no favours for the art historian. Yes, we had The Glasgow Boys, a coherent group of realist painters before the beginning of the 20th Century. And then came The Scottish Colourists, our first modernists, who certainly exhibited as a group and can be understood as British post-impressionists. In the post-War years the choice seemed to be to stay in Scotland under the wing of your Art College or move to the South, like Colquhoun and MacBryde, Alan Davie, William Gear and W. Barns-Graham. Of course the complex reality denies a simple telling; for every adherent there is an opponent and many of the most powerful and individual painters of the period like James Cowie or Joan Eardley neither left nor taught in Glasgow or Edinburgh. -
Curriculum Vitae
H A I N E S G A L L E R Y DAVID NASH Born in Surrey, England, 1945 Lives and works in Blaenau Ffestiniog, North Wales, UK EDUCATION 1965 Kingston College of Art, UK 1970 Chelsea School of Art, London, UK SELECTED SOLO EXHIBITIONS 2019 David Nash: 200 Seasons, Towner Art Gallery, Eastbourne, UK David Nash: Trees, Galerie Lelong & Co., Paris, France David Nash: Sculpture through the Seasons, National Museum Cardiff, Wales 2018 Tout jaune, Galerie Simon Blais, Montreal, Canada Columns, Galerie Lelong & Co., Paris, France David Nash: Nature to Nature, Fondation Fernet-Branca, Saint-Louis, France David Nash: Wood, Metal, Pigment, Annely Judah Fine Art, London, UK First The Tree, Then The Shape, Museum Lothar Fischer, Neumarkt in der Oberpfalz, Germany 2017 With Space in Mind, Tremenheere Sculpture Gardens, Penzance, UK New Beginnings, Alan Cristea Gallery, London, UK David Nash, Galeria Simon Blais, Montreal, Canada David Nash, Galeria Alvaro Alcazar, Madrid, Spain Art Project, Krauhuegel & Art and Church, Kollegienkirche, Salzburg, Austria Tree Seasons, Plas Glyn-y-Weddw, Gwynedd, Wales 2016 David Nash: Columns, Peaks and Torso, Galerie Lelong, Paris, France 2015 With Space in Mind, Alan Cristea Gallery, London, UK Three Black Humps, Coalbrookdale Museum of Iron, Shropshire, UK King & Queen I, Keepers House The Royal Academy, London, UK 2014 David Nash Stencil Prints, Abbot’s Room, Kloster Schoenthal, Switzerland David Nash: Prints and Multiples, Galerie Lelong, Paris, France David Nash, Kukje Gallery, Seoul, South Korea David Nash: From -
Art at British Art Week Autumn
For Immediate Release 9 October 2006 Contact: Matthew Paton 020.7389.2664 [email protected] CHRISTIE’S TO OFFER A LEADING SELECTION OF 20th CENTURY ART AT BRITISH ART WEEK AUTUMN British Art Week Autumn, 15 – 23 November 2006 20th Century British Art Friday, 17 November 2006 King Street – Christie's announce the sale of 20th Century British Art on 17 November 2006, which follows on from the record-breaking auction in June 2006 which realised £12.4 million, the highest ever total for the category anywhere. The November sale will offer a impressive collection of exceptional paintings, drawings and sculptures by a variety of artists including David Bomberg, Patrick Caulfield, Dame Barbara Hepworth, Patrick Heron, L.S. Lowry, William Scott and Graham Sutherland and is expected to realise in excess of £7 million. Leading highlights of the sale include Cuenca from Mount Socorro by David Bomberg (1890-1957) (estimate: £600,000-800,000), Blue Still Life by William Scott R.A. (1913-1989) (estimate: £250,000-350,000) and Nude with books by Patrick Caulfield, R.A. illustrated above (1936-2005) (estimate: £250,000-350,000), all of whose artist records were established at Christie’s in the corresponding June auction. Cuenca from Mount Socorro by David Bomberg was painted in 1934 during one of the artist’s frequent tours of Spain. Bomberg would explore the Spanish countryside on a donkey, finding suitable vantage points from which to study and paint the mountain towns, and the present example highlights the artist’s ability to conjure relief and form with his abstract style of landscape painting. -
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. -
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Susan Hiller Solo Exhibitions 2019 Making Visible [Susan Hiller, Anna Barriball], Galeria Moises Perez de Albeniz, Madrid, Spain Re-collections [Susan Hiller, Elizabeth Price, Georgina Starr], Site Gallery, Sheffield, England Die Gedanken sind Frei, Serralves Museum, Porto, Portugal 2018 Susan Hiller: Altered States, Polygon Gallery, Vancouver, Canada Susan Hiller: Social Facts, OGR, Turin, Italy Lost and Found & The Last Silent Movie, Sami Center for Contemporary Art, Norway 2017 Susan Hiller: Paraconceptual, Lisson Gallery, New York, USA 2016 Susan Hiller: Magic Lantern, Sursock Museum, Beirut, Lebanon Susan Hiller: Lost and Found, Perez Art Museum, Miami, USA Susan Hiller: Aspects of the Self 1972-1985, MOT International, Brussels, Belgium Susan Hiller: The Last Silent Movie, Frac Franche-Comté, Besancon, France 2015 Susan Hiller, Lisson Gallery, London, England 2014 Channels, Den Frie Centre of Contemporary Art, Copenhagen, Denmark Resounding (Infrared), Summerhall, The Edinburgh Art Festival, Scotland Susan Hiller, The Model, Sligo, Ireland Channels, Samstag Foundation, The Adelaide Festival, Australia Hiller/Martin: Provisional Realities (2 person: with Daria Martin), CCA Wattis Institute for Contemporary Arts, San Francisco, USA Speaking In Tongues (3 person: with Sonia Boyce and Pavel Buchler), CCCA, Glasgow, UK Can You Hear Me? (2 person: with Shirin Neshat), Golden Thread Gallery, Belfast, Northern Ireland Sounding, The Box, Pippy Houldsworth Gallery, London, England Susan Hiller, Les Abattoirs, Festival International d'Art de Toulouse, France 2013 Channels, Matt’s Gallery, London Channels, Centre d’Art Contemporain La Synagogue de Delme, Delme, France 2012 Susan Hiller: From Here to Eternity, Kunsthalle Nürnberg, Germany Psi Girls, University Art Gallery, San Diego State University, San Diego, USA 2011 Susan Hiller, Tate Britain, London, England (ex.