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BRITISH108 Fine ArtABSTRACT 1 2 British Abstract

Norman Adams Victor Anton Frank Beanland Trevor Bell Maurice Cockrill Alan Davie Brian Fielding Keith Grant Derrick Greaves John Hoyland Kim Lim John Plumb Iain Robertson Michael Sandle Peter Sedgley Jack Smith

William Turnbull 108 FINE ART, HARROGATE, 2015 Michael Tyzack www.108fineart.com

3 Jack Smith (1928 -2011) Shimmer 3 Acrylic on canvas, 1962 48 x 48 inches (122 x 122cm) £12,000

Born in , Jack Smith was awarded a scholarship to Sheffield College of Art 1944–6, before taking up his National Service in the R.A.F, 1946–48. He resumed studies at St Martin’s School of Art 1948–50, and at the R.C.A. 1950–53 under John Minton, and . At first he worked in a neo-realist style (the so-called ‘Kitchen-Sink School’), choosing subjects from the domestic life of his own , but from 1956 he became increasingly interested in representing light and its transformatory effects on shapes seen in the open air and under water. His first one-man exhibition was held at the Beaux Arts Gallery in 1953. In 1954 he visited and Toledo, and the following year travelled to Venice. In 1956 he won first prize at the first John Moores Liverpool Exhibition. From this time onwards he began to visit Mevagissey and Zennor, on a regular basis. From 1957 he taught at Chelsea School of Art. Jack Smith exhibited at the Venice Biennale in 1956 together with Ivon Hitchens and . A retrospective exhibition of his work was held at the Whitechapel Art Gallery in 1959. He continued to exhibit regularly, showing at Marlborough Fine Art, Fischer Fine Art, the Mayor Gallery, the Grosvenor Gallery, Flowers East and others. His work is held in many public art galleries including Rugby Art Gallery, Bradford Art Gallery, The Fitzwilliam-Cambridge, The Arts Council, The , The Whitworth Art Gallery, The British Council, Birmingham Museums, National Museums Liverpool, Oldham Art Gallery.

4 5 Jack Smith (1928 -2011) 5 Thoughts Gouache on panel, 1970 6 x 6 inches (15 x 15cm) £1,200

6 Above Jack Smith (1928 -2011) Written To The Left Of Orange Gouache on Card, 1970 5 x 11 inches (13 x 27.7cm) £850

Right Jack Smith (1928 -2011) Near & Far Structure Watercolur & collage, 1984 12 x 12 inches (31 x 31cm) £1,200

7 Michael Tyzack (1933 - 2007) Untitled Acrylic on board, February 1962 48 x 48 inches (122 x 122cm) Exhibited at the Portland Gallery, 2009 £12,000

Born in Sheffield Michael Tyzack studied at the 1951 - 55. The following year he wonaFrench Government Scholarship that allowed him to travel to Paris, where his work began to show a tendency towards abstraction and the influence of Cezanne. He returned to in 1957 where his interest in music led him to pursue a career as a Jazz trumpeter, continuing to paint in his spare time. In 1965 he won first prize in the prestigious John Moores’ Liverpool Exhibition and continued to exhibit at prominent galleries and museums in England and America throughout the 1960s and 1970s. In 1971 Tyzack moved to the USA where he became Professor of Fine Arts at the College of Charleston. Solo exhibitions were held at many galleries, including City Gallery, the Richard Demarco Gallery and , His work is represented in a large number of public collections worldwide including , of Wales, Gallery of Ontario, Victoria and Albert Museum - , Indianapolis Museum of Art - USA, Walker Art Gallery - Liverpool, Arts Council of Great Britain, Arts Council of Northern Ireland, Bolton City Art Gallery, Contemporary Arts Society, Derbyshire Education Committee, Glyn Vivian Art Gallery - Swansea, Sao Paulo Museum - Brazil, University College - London, University of Stirling, Whitworth Art Gallery - Manchester, Rugby Art Gallery, - Oxford, Manchester City Art Gallery, Graves Art Gallery - Sheffield, City Art Gallery - Bradford, Abbott Hall Art Gallery - Kendal

8 9 William Turnbull (1922 -2012) No. 7 Acrylic on canvas, 1966 70 x 70 inches (178 x 178cm) Signed and titled on the reverse Exhibited ‘Beyond Appearance’, Edinburgh City Art Centre, 2007 Scottish Gallery of Modern Art label on the reverse (L.275). ‘On loan from A.McAlpine’. Price on application

Born in Dundee, Scotland, William Turnbull left school at the age of 15 to work as a labourer, before being employed painting film posters. Attending evening drawing class at Dundee Art College he was taught by landscape artist James Macintosh Patrick and illustrator Fred Mould. In 1941 Turnbull was enlisted in the RAF. After training in Canada, he served as a pilot in Canada, India and Sri Lanka. Many of his subsequent paintings reflect on his experiences as a pilot, discussed in the film interview with the artist ‘Beyond Time: William Turnbull by Alex Turnbull and Pete Stern, narrated by Jude Law’, from Abstract Critical. After the war, Turnbull studied painting at The Slade. He became disillusioned with the painting course and transferred to the sculpture department where he met and Nigel Henderson, who shared his interest in contemporary Continental modernist art. As he became increasingly disillusioned by the attitudes at The Slade, he relocated to Paris in 1948. In 1950 Turnbull had a joint exhibition with Paolozzi at the Hanover Gallery in London. In 1952, he was included in the Young Sculptors exhibition at the ICA which had become the focal point for new art in London. Turnbull, along with Paolozzi and Richard Hamilton and others, became a member of the Independent Group, a splinter group within the ICA which became an important forum for discussion and debate. The Independent Group has been cited as a progenitor of . Turnbull was also included in New Aspects Of British Sculpture, an exhibition in the British Pavilion at the 1952 Venice Biennale. In 1955, Turnbull was introduced to a young American collector Donald Blinken who introduced him to a number of the leading American artists such as and Barnett Newman with whom he established a close relationship. In 1962 he travelled to Japan, Cambodia, and to his wife Kim Lim’s native Singapore. Around this time he began teaching sculpture at the Central School of Art. In 1967 he began to work with perspex and fibreglass, materials he valued for their reflective quality and transparency. In 1973, Turnbull had a major retrospective exhibition at the Tate Gallery with subsequent exhibitions at the , the Serpentine and at Sculpture Park, as well as numerous prestigious overseas exhibitions. He later had a show at Waddington Galleries which featured previously unseen paintings and sculpture. His work is held in many prestigious international collections including The Arts Council, , Art Gallery of Ontario, British Council, Contemporary Arts Society, Dundee Museum & Art Gallery, Glasgow Museum & Art Gallery, The Government Art Collection, Hirshhorn Museum and Sculpture Garden, Smithsonian Institute, Washington D.C., Hull University Art Collection, Hunterian Art Gallery, Museum of Contemporary Art - Tehran, National Gallery of Art - Washington D.C., Scottish National Gallery of Art - Edinburgh, The Tate, The Victoria & Albert Museum.

10 11 Derrick Greaves (Born 1927) The Little Pedagogue (Self Portrait as Teacher) Acrylic and collage on canvas, 1985 56 x 56 inches (135 x 135cm) Ex James Hyman Fine Art £12,500

Born in Sheffield, Greaves was initially apprenticed for five years to a sign-writer and also attended evening classes. He won a Scholarship to the ,1948–52; and a travelling Scholarship to Italy, 1952–53; where he met Guttuso and other Italian Realists. His first one-man exhibition was held at the Beaux Arts Gallery, 1953. In 1956 his work was shown alongside fellow artists Jack Smith, Bratby and Middleditch at the Venice Biennale. He bacame associated with what was to become known as the Beaux Arts Quartet, the so-called Kitchen Sink realist painters. The member of the group he was closest to was , in collaboration with whom he painted a mural, The Four Seasons (1957), for Nuffield College, Oxford. He was the most openly political of the group, visiting Russia in 1957 with ’s ‘Looking at People’ exhibition at the Pushkin Musuem, Moscow, and was an early supporter of the Campaign for Nuclear disarmament. He was awarded The Gold Medal for Painting at Moscow Youth Festival, and in the same year a special prize in the John Moores Liverpool Exhibition. For many years he taught painting at St Martin's School of Art, and during the 1960’s at the Royal Academy. Derrick Greaves’s work is represented at the Tate Gallery, the , the Castle Museum in Norwich and Art Galleries at , Reading, Southampton, Dublin, as well as Chicago, Philadelphia, New York, Johannesburg and Adelaide.

12 13 Derrick Greaves Demanding & Reluctant Love Inscribed on the reverse “From an ongoing painting made in 1954” Acrylic on canvas, 1994/98 58 x 41 inches (147.5 x 104cm) Exhibited at The Royal Academy, 1998 £12,500

14 Derrick Greaves (Born 1927) Incident in the Garden Acrylic and collage on canvas 1986/91 47.5 x 63.5 inches (102.5 x 161.5cm) Inscribed on the reverse £12,500

15 Trevor Bell (Born 1930) Red, Black and Intensities Acrylic on canvas, 1959 Signed, bottom left Also signed and dated Dec ’59 on the reverse 36 x 48 inches (90 x 120cm) Price on application

Trevor Bell was born in Leeds. The award of a scholarship allowed him to attend Leeds College of Art from 1947 to 1952 before moving to Cornwall in 1955. At that time St Ives was the epicentre for British abstract art and the home to Patrick Heron, , , Naum Gabo, and Terry Frost. Bell received support from many of his fellow artists and in particular Nicholson. Nicholson, alongside his dealer Charles Gimpel, encouraged him to show in London and his first solo exhibition was held at Waddington Galleries in 1958. Patrick Heron wrote the introduction to the exhibition catalogue, stating that Bell was ‘the best non-figurative painter under thirty’. In 1959 Bell was awarded the Paris Biennale International Painting Prize, and an Italian Government Scholarship, and the following year was offered the Gregory Fellowship in Painting at the University of Leeds whose advisors at the time were Sir and . It was during this period that Bell developed his shaped canvases, setting his work apart from other artists of his generation. Throughout the 1960’s Bell showed work in major exhibitions in the UK and USA and during this time his work was first purchased for the Tate collection. In 1973 he presented his new paintings at the Whitechapel Gallery in London, having just taken part in a major exhibition at the Corcoran Gallery in Washington DC. Over the course of the next thirty years Bell combined painting with teaching in various locations, eventually moving to Florida State University in 1976 to become the Professor for Master Painting. In 1985 Bell was included in the London Tate Gallery’s ‘St. Ives 1939-64’ exhibition and in 1993 he was part of the inaugural show of the Tate St. Ives. Moving from Florida in 1996 he established his studios near Penzance, Cornwall and continued to exhibit in London, the USA and St. Ives. Bell had a major solo exhibition at the Tate St. Ives in 2004 and, in 2011, a further 14 works were obtained by the Tate Gallery for their permanent collection. His work is held in many international public and private collections including The Arts Council of England, British Council, British Museum, and the Victoria & Albert Museum.

16 17 Peter Sedgley (Born 1930) Target I Acrylic on card, circa 1975 20 x 20 inches (50.5 x 50.5cm) £4,500

Peter Sedgley studied architecture at Brixton Technical School during 1944-46, but pursued a career as an artist. He first exhibited at McRoberts and Tunnard Gallery and at Howard Wise Gallery, in New York. In 1966 he was a prize-winner at the Tokyo Biennale. By then he was concentrating on painting, making linear pictures, initially, and then concentric circles in bands of colour which he later airbrushed to achieve soft overlapping colours, ‘so that, without movement, you have this kinetic effect’. He was one of the artists selected by the Museum of Modern Art in New York for its 1964 Responsive Eye show; this led to his being taken up by the Curzon Street Gallery and then the Redfern. He was asked to design tiles for Pimlico station (yellow dots on a white background, vaguely Damien Hirst) and met Yoko Ono and the Beatles - who, he says, ‘were very dismissive of her work at first’. He was part of a group, also including Bruce Lacey and John Latham, who met at a place called The Middle Earth in Covent Garden and created Whscht (which was supposed to be how you spelt a whistle) to stage happenings. ‘If newspapers were blowing around Tottenham Court Road we’d come along and glue them down. The point was to provoke, to see how the public responded.’ At the end of the decade Sedgley was one of the founders (with and Peter Townsend) of Space, an organisation that leased buildings to provide studios for artists. Not long after securing a studio in their first building in St Katharine’s Dock, he was awarded a grant to work in , where he continues to live. In recent years he has been making large artworks which reflect his interest in incorporating technology and the elements: his 1997 Colorama, in the Conference Centre in Dubai, is a solar-activated mobile of glass and steel. ‘There was innovation all the time,’ he says of the Sixties. ‘That’s why the period continues to fascinate us. That, and that it’s recent enough for its history still to be up for grabs.’ 1970s Sedgley exhibited widely in Germany, where he was commissioned an audio-visual display for the Donaueschingen Music Festival, in 1972. The following year he had a retrospective at Ikon Gallery, Birmingham. Sedgley also exhibited with the Redfern Gallery and was included in The Sixties Art Scene in London, Barbican Art Gallery, 1993. Public collections include The Arts Council Collection, London, Birmingham City Art Gallery, Bristol City Art Gallery, Chase Bank, New York, Gulbenkian Foundation, Lisbon, Nagasaki Museum, Japan, Northern Ireland Arts Council, Peter Stuyvesant Collection, Schwedische Nationalsammlung, Stockholm, Tate Gallery, London, Victoria and Albert Museum, London, Walker Art Center, USA, Winnipeg Art Gallery, USA.

18 19 Peter Sedgley (Born 1930) Black Hole Coloured pencil on card, circa 1980 11.75 x 11.75 inches (30 x 30cm) £2,500

20 Peter Sedgley (Born 1930) Oranges & Lemons Coloured pencil on card, circa 1980 13.25 x 13.25 inches (33.5 x 33.5cm) £2,500

21 John Hoyland (1934 - 2011) Composition III Acrylic on paper, 1980 Signed and dated 1980, bottom right Image size 26.5 x 18.5 inches (67.3 x 47cm) £5,500

John Hoyland trained at Sheffield College of Art between 1951–56 and at the Royal Academy Schools, 1956–60. By 1954 he was painting Sheffield landscapes and abstractions from still-life subjects. At the Situation exhibitions of 1960–61 he showed some of his earliest fully abstract paintings in which he used bands of colour to explore perceptual effects such as the relationship of image to background or to create the illusion of buckling the picture-plane. In 1964 Hoyland made his first visit to New York, having been awarded a Peter Stuyvesant Foundation bursary. There he met Robert Motherwell, with whom he was to become great friends, also Mark Rothko, Barnett Newman and Kenneth Noland. Hoyland’s first solo museum show was held at the Whitechapel Art Gallery in 1967, curated by Bryan Robertson. He exhibited at the Waddington Galleries, London throughout the 1970s and 1980s. During the 1960s and 1970s, he showed his paintings in New York with the Robert Elkon Gallery and the André Emmerich Gallery. Hoyland disliked the ‘abstract’ painter label, describing himself simply as ‘a painter’. When asked why he disliked the term ‘abstraction’, he answered: ‘It’s just too abstract a word. It smacks always of geometry to me, of rational thought. There’s no geometry, there’s no rectangles in nature, no real straight lines. There’s only the circle, the one really powerful form in nature I keep getting drawn back to.’ Retrospective exhibitions of his paintings have been held at the Serpentine Gallery, the Royal Academy and Tate St Ives. In 1982 he won the John Moores Painting Prize and in 1998 the Royal Academy’s Wollaston Award. His works are held in many major public and private collections.

22 23 John Hoyland (1934 - 2011) Untitled VI Acrylic on paper, 1969 20 x 29 inches (50 x 74cm) Signed bottom right. Dated bottom left £7,000

24 25 John Hoyland (1934 - 2011) Untitled II Acrylic on paper Signed and dated ’76 bottom right 20 x 29 inches (50 x 74cm) £7,000

26 27 John Hoyland (1934 - 2011) Untitled IV Acrylic on paper, 1969 20 x 29 inches (51 x 74cm) Signed bottom right. Dated bottom left £7,000

28 29 John Hoyland (1934 - 2011) Untitled III Acrylic on paper, 1969 20 x 29 inches (51 x 74cm) Signed bottom right. Dated bottom left Provenance: Exhibited Waddington Gallery, London £7,000

30 31 Brian Fielding (1933 - 1986) A Yellow Splash Acrylic on canvas, 1979 / 80 48 x 48 inches (122 x 122cm) £12,000

Born in Sheffield Brian Fielding studied at Sheffield College of Art from 1950 - 1954, and then at The Royal College of Art, 1954 - 1957. He received an Abbey Minor Travelling Scholarship to Italy and France in 1958 and began participating in group exhibitions in 1954. In 1958 his first solo exhibition nwas held at The Hibbert Gallery, Sheffield. Other solo exhibitions were held at Rowan Gallery, London (1962, 1964), Sheffield University (1969), Consort Gallery, London (1974), St Paul's Gallery, Leeds (1980), Morley Gallery, London (1984), and other venues. A retrospective of his work was held at The Mappin Art Gallery, Sheffield in 1986. From 1969 - 1982 he taught at Ravensbourne College of Art and Design.

His paintings are held in several major UK public collections including The Tate, Sheffield Museums, Brirmingham Art Gllery, Leeds University Art Gallery, The Arts Council.

32 33 Brian Fielding (1933 - 1986) Chocolate Eggplant Dayglow and PVA on paper, 1981 30 x 25 inches (74 x 62cm) £6,000

34 A Mood for Gentle Lovers Oil on paper, 1960 16 1/2 x 21 in (41.9 x 53.3 cm) Opus OG.189

35 Brian Fielding (1933 - 1986) Vodka Boat Acrylic on paper, 1983 31 x 27 inches (77.5 x 67.5cm) £4,000

36 Flying Machine Oil on canvas (diptych) 1965 - 68 84 x 120 in (213.4 x 304.8 cm) Opus O.562

37 Brian Fielding (1933 - 1986) Title: 27.4.81 29 x 24 inches (73 x 61cm) Exhibited at Sheffield Art Gallery, 1986. No. 27 Exhibited The House of Commons, 2009 £3,500

38 Red’s Joy Oil on paper, 1958 16 1/2 x 21 in (42 x 53.5 cm)

39 Brian Fielding (1933 - 1986) Untitled VII Acrylic on paper, 1982 Signed and dated, bottom right ’82 30 x 25 inches (76.2 x 63.5cm) £3,500

40 41 Brian Fielding (1933 - 1986) Untitled VIII Oil on paper, 1960 Signed, bottom left. Dated 2.8.60 left hand margin 25 x 20 inches (63.5 x 50.8cm) £800

42 Brian Fielding (1933 - 1986) Composition VI Oil on paper, 1960 Signed bottom left. Dated 24.6.60, left hand edge 24 x 20 inches (61 x 50.8cm) £800

43 Iain Robertson (born 1955)

Born in in 1955, Iain Robertson grew up in Edinburgh before studying art at Cumbria College of Art, and later at Exeter College of Art. In 1993 he worked as Artist In Residence at Grizedale Sculpture Park before relocating to Cornwall where he now lives and works. He has exhibited widely, with numerous solo shows in the UK and Europe. His work is held in public and private collections internationally, including The City of Edinburgh, Cornwall County Council, Falmouth Art Gallery, Fitzwilliam Museum, Cambridge, Grizedale Arts, , University of Minnesota. His work was included in the ‘Art Now Cornwall’ exhibition at TATE St Ives and at the City Art Centre, Edinburgh, 2007.

Right Ajax Oil on canvas, 2004 48 x 30 inches (122 x 76cm) £4,000

Opposite page Chimes of Freedom Oil on canvas, 2009 45 x 45 inches (115 x 115 cm) £4,500

44 45 Joash Woodrow (1927 - 2006) York by Night (jw513) Oil on board, circa 1968 59.5 x 48 inches (151 x 122cm) £14,000

Born in Leeds, Joash Woodrow initially trained at Leeds at College of Art after which he served in the army as a cartographer - Egypt. Between 1950 - 1953 he studied drawing and painting at the Royal College of Art. Shortly after graduating from the RCA and following a period of illness, Joash returned to his home in Chapel Allerton, Leeds where he led an increasingly solitary life. In 2000, his lifetimes output of 774 paintings and 4,500 drawings were found at his home; Joash having been moved to sheltered accommodation following a period of prolonged poor health. The first ever exhibition of Joash Woodrow’s paintings was held in 2002 at 108 Fine Art; representing the first glimpse of the artists output between 1940 and the 1990’s. Since then solo exhibitions have been held at Leeds City Art Gallery, , the Ben Uri Art Gallery - London, Leeds Metropolitan University Art Gallery and several other University art galleries. His work is held in the collections of Leeds City Art Gallery, Manchester Art Gallery, The Ben Uri, Liverpool University, Hull University, Liverpool Metropolitan University the Pannett Art Gallery and the Leeds University Art Gallery. A highly successful exhibition was held at the Fine Art Society, London in 2009.

46 47 Left: Joash Woodrow (1927 - 2006) Yellow, Blue & Black (jw558) Oil based paint on board, circa 1970 36 x 45.5 inches (91 x 116cm) £12,000

Right: Joash Woodrow (1927 - 2006) York By Night (jw609) Oil on board, 1968. Signed 57.5 x 48.5 inches (146 x 123cm) £14,000 48 Joash Woodrow (1927 - 2006) Allotment Flowers (jw514) Oil on board, circa 1960/65 48 x 48 inches (122 x 122cm) Illustrated, Joash Woodrow ‘Monograph’ and ‘Landscape’ books Exhibited Royal College of Art, London, 2005 Price on application 49 Michael Sandle Untitled - 1962 Aluminium, lead, hide, brass, lacquer and wood 56 x 40 x 7 inches (142 x 102 x 17cm) £12,000

Born in Weymouth, Michael Sandle studied art at Douglas School of Art on the Isle of Man, and then at the Slade, and the Royal College of Art. He worked in Paris between 1959-60 before taking up a teaching post at Leicester College of Art. After several years teaching in Canada he was appointed Professor of Sculpture at in 1973, and then in 1980 he taught at the Academie der Bildenden Kunste in Karlshue. He participated in many influential group exhibitions both in the UK and abroad. His first solo exhibition was held at the Drian Gallery in 1963. Later solo shows were held in Germany and in England. A major retrospective exhibition of his work was held at the Whitechapel Gallery in 1988, which toured to Germany the following year. Mortality and war are key themes in his work and major large scale commissions include The Malta Siege Bell (Valetta Harbour), Memorial for the Victims of a Helicopter Disaster (), and the Seafarers Memorial (London). His work can be found in numerous public collections including The Tate, The and The Arts Council Collection. In the 2007 Royal Academy Summer exhibition he was awarded the Hugh Casson Drawing Prize for his controversial ‘Iraq Triptych’ portraying a naked Tony and being expelled from Downing Street.

“It is my misfortune to see art (read Life) as a conflict, as an enervating struggle against mediocrity: in the first instance my own. We do, however, live in times of stupendous, quite heroic mediocrity. It is more than depressing to see the visual arts contaminated with the ‘New Spirit’ of cynicism, or, what is even worse,through benign ‘democratic’ agencies,being turned into a meaningless pap” Michael Sandle

50 51 Michael Sandle RA Untitled Oil on canvas, 1961 25.5 x 17.5 inches (65 x 45cm) £4,500

52 53 Alan Davie (1920 - 2014) Mama Idol, No.5 Oil on canvas, 1974 48 x 60 inches (122 x 152.4cm) Price on application

Born in Grangemouth in 1920, Alan Davie studied painting at Edinburgh College of Art, 1938 - 40. After a period spent serving in the army he worked as a jazz musician, while developing his interests in writing poetry, designing and making textiles, ceramics and jewellery.

Between 1947 - 49 Alan and his wife Bili travelled through France to Italy and Spain, by which point his work was considered ground- breaking, with successful exhibitions held in Florence and Venice. During this period the collector Peggy Guggenheim became a major supporter introducing him to artists and galleries in the U.K. and in the U.S.A.

From the late 1940’s Davie increasingly freed himself from the conventions of picture making, liberated by subconscious ideas inspired by surrealism, and the value of intuition and spontaneity.

His first London exhibition was held at in 1950. In 1957 his work was shown at the Museum of Modern Art, Paris and at the Guggenheim in New York, during which time he met , Franz Kline, Willem de Kooning, Robert Motherwell and Mark Rothko.

In 1972 he was awarded C.B.E. and in 2014 he was became a Senior Royal Academician. An exhibition of his paintings was held at the Tate Gallery in 2014.

For more than 70 years Alan Davie exhibited internationally and his work is held in many of the worlds major public collections including The Arts Council of England, The British Council, Birmingham Museums & Art Gallery, The Contemporary Art Society, City Art Centre, Edinburgh, Fitzwilliam Gallery, Cambridge, Leeds City Art Gallery, Southampton City Art Gallery, Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, , Ulster Museum, Victoria and Albert Museum, Whitworth Art Gallery, Museum of Modern Art, New York, Metropolitan Museum, New York, Museum of Fine Arts, Boston, Museum of Art, San Francisco, Museum of Fine Arts, Dallas.

54 55 John Plumb (1927 - 2008) Untitled Oil on hessian, laid on board, 1966 48 x 24 inches (122 x 61cm) £9,500

John Plumb studied at Luton School of Art, the Byam Shaw School and at the Central School under , , William Turnbull and Keith Vaughan. He was represented in the AIA abstract exhibitions of 1953 and 1957, in Situation exhibitions 1960 -1961, and with Bridget Riley, William Turnball, Robyn Denny and notable others in a group exhibition, 1961. Subsequently he was included in British Painting 1974, at the Hayward Gallery, and in Art & the 60s: This Was Tomorrow, Tate Britain, 2004. He taught at various art colleges, becoming Senior Lecturer in Painting at the Central School of Art and Design, London 1969-1982. His first one-man exhibition was at Gallery One in 1957. He subsequently exhibited at Marlborough and Axiom Galleries, followed by solo exhibitions throughout the UK, including Arnolfini Gallery, Bristol.

56 57 Norman Adams (1927 - 2005) Rising To Bright Fragments Oil on canvas, 1980 / 83 81.5 x 70.5 inches (207 x 179cm) £9,500

Norman Adams studied at Harrow School of Art from 1940 to 1946 and subsequently at the Royal College of Art from 1948 - 1951. He was Head of Painting at Manchester College of Art from 1962 to 1970, visiting tutor at Leeds University from 1973 to 1976 and Professor of Painting at the University of Newcastle-upon-Tyne from 1981 to 1986. In 1986 he was elected Keeper of the Royal Academy, and upon retiring from this position after nine years, was appointed the Academy’s Professor of Painting Emeritus in 1995. His first solo exhibition was held in 1952 at Gimpel Fils, London with subsequent regular shows held at Roland, Browse and Delbanco. In 1955 Norman and his wife Anna bought a house in Horton in Ribblesdale where they spent much of the next fifty years together. In 1962 they paid their first regular visit to the west coast of Scotland, fascinated by the islands and the ever changing light. In 1953 he designed the stage set and costumes for ‘A Mirror of Witches’ produced by the Royal Ballet at Covent Garden, and again for the Sadler’s Wells production of ‘Saudades’ in 1955. Commissions played a large part in Adams’s career, his first being the painting of a mural for Broad Lane Comprehensive School, Coventry in 1954. In 1967 he was commissioned by the Oxford University Press to illustrate parts of the Old Testament. He went on to paint murals for St Anselm’s Church, Kennington, London in 1971 and to make 14 ceramic panels of the Stations of the Cross for the Roman Catholic Church at Coffee Hall in Milton Keynes in 1975. In 1994 Adams received a commission for the Fourteen Stations of the Cross, for St Mary’s Church, Mulberry Street, Manchester. These were exhibited at the Sackler Galleries, Royal Academy, prior to installation. A retrospective of the artist’s work was held at The Royal Academy in 1988. Norman Adams was elected Royal Academician in 1972 (ARA 1967) and Honorary Member of the Royal Watercolour Society in 1987. His work is held in many public collections, including Abbot Hall - Kendal, Aberdeen City Art Gallery, Carlisle City Art Gallery, Cartwright Hall - Bradford, Edinburgh Museum of Modern Art, Gulbenkian Foundation - Lisbon, Hatton Gallery, Mercer Gallery - Harrogate, Leeds City Art Gallery, Leeds University, Southampton City Art Gallery, Tate Gallery, City Art Gallery.

58 59 Frank Beanland (Born 1936) White Pylon & Grey Sea Oil on board, 1999 22 x 24 inches (56 x 61cm) £850

Born in 1936, Bridlington, Yorkshire, Frank Beanland initially attended Hull College of Art and after two years of National Service studied at the Slade School of Fine Art, London, 1959 – 1961. Beanland won a scholarship to continue his studies in Stockholm before returning to live in Cornwall. In 1962 he was invited by a fellow Slade student to join a number of other artists in Porthleven and exhibiting as the ‘Porthleven Group’. His first solo shows were held at the Drian Gallery, London. In 1964 he took up a teaching post at Swansea College of Art. It was at this time that his ‘spot paintings’ began to emerge, his focus moving from texture to light and colour. Guy Brett remarked in The Times, by ‘employing crowded, all-over compositions, Beanland gives his paintings a force more reminiscent of Jackson Pollock than Monet or Renoir’. His spot paintings were first shown at the Grabowski Gallery in 1967, and subsequently he developed a good working relationship with Arthur Tooth & Sons where he exhibited between 1969 and 1974.

60 61 Maurice Cockrill (1936 – 2013) Little Tree Oil on panel, 2000 15 x 9.5 inches (38 x 23.5cm) £850

Maurice Cockrill studied at Wrexham School of Art and the University of Reading between 1960 and 1964. He lectured at Liverpool Polytechnic from 1967 to 1980 and was a visiting lecturer at many UK art colleges including the Royal College of Art, Central School of Art and Saint Martins School of Art. In 1995 he was Artist in Residence at GOFA University of NSW, Australia, and was Visiting Tutor at the Royal Academy Schools from 1994 until 1998. Cockrill was Keeper of the Royal Academy Schools, 2005 to 2011.

Cockrill’s first solo exhibition was held in 1984 at the Edward Totah Gallery in London. He rapidly established an international reputation, with subsequent solo exhibitions being held at the Kunstmuseum, Dusseldorf in 1985 and with the Bernard Jacobson Gallery both in London and New York. A retrospective of his work was held at the Walker Art Gallery, Liverpool in 1995 and a further retrospective was held at the Royal West of England Academy in 1998. Cockrill’s work has also been included in many group exhibitions throughout Europe and in Australia and he is represented by Galerie Helmut Pabst, Frankfurt; Galerie Bugdahn und Kaimer, Dusseldorf; the Galerie Vidal-Saint Phalle, Paris and the Annandale Galleries, Sydney.

Cockrill was a Prize Winner in the John Moores Liverpool Exhibition in 1974. Subsequent awards included Arts Council of Great Britain, Flags and other Projects (prize winner), Royal Festival Hall (1977), an Arts Council of Great Britain Major Award which led to an extended visit to the United States (1977-78) and the Arts Council Works of Art in Public Spaces (1978-9). He also received a British Council Award in 1985 and was Short listed for the Jerwood Prize in 1994.

62 63 Keith Grant (Born 1930) Marinescape No.20 Signed, oil on board, circa 1952 29.5 x 42 inches (75 x 107cm) £5,500

Born in Liverpool, Keith Grant left school at the age of thirteen to work in the local Co-op. After serving his National Service in the RAF he attended art classes at the Working Men’s College, Camden, and then at Willesden Art School, before going on to study at the Royal College of Art (1955-58), gaining a silver medal for mural painting. Having encountered the work of Turner and Palmer early in his development, Grant fell under the influence of such Neo-Romantic painters as Paul Nash and Graham Sutherland. Yet, in his devotion to landscape, he has explored many places not previously painted by British artists, and in particular, remote parts of Scandanavia. Grant developed a particular enthusiasm for northern landscapes, visiting Scotland, Iceland (on at least four occasions) and – most significantly – Norway. He first visited Norway in 1957 and, feeling an immediate affinity with the land and its people, began to incorporate motifs inspired by the country into his work. Travel scholarships took him back to Norway in 1961 and 1976, and he returned there often. During part of this period, he was Head of Painting at Maidstone College of Art (1969-71). In the early 1980s, Grant accepted an invitation to French Guiana to paint the launch of the Ariane rocket, and exhibited the resulting works in the following year at the Paris International Air Show. This led to visits to Sarawak (1984), Cameroon (1986) and the Negev Desert in Israel (1988), and later to Venezuela (1992). Still compelled by the north, he worked in Arctic Greenland during 1989. At the end of the decade, Grant began to exhibit his paintings in a series of significant solo shows including Cadogan Contemporary, the Crane Kalman Gallery, the Gillian Jason Gallery and Cassian de Vere-Cole. He also showed at Roehampton Institute (1992), where he was Head of Art, and The Fitzwilliam Museum, Cambridge (1994), which entitled its retrospective ‘Fire and Ice’, so encapsulating his landscape art. Not exclusively a landscapist, Grant has produced illustrations, abstract sculpture, mosaic designs and portraits in oils, including a commission to paint HRH Prince Andrew in 1994. Other more recent projects include stained glass and mosaic decorations for Charing Cross Hospital (2000), and a portrait of the Oxford Professor of Poetry, Sir Geoffrey Hill, 2015. Grant settled in Norway in 1996, and now lives in the village of Gvarv, in Telemark. He has exhibited internationally, and continues to travel widely. His work is represented in the Government Art Collection and numerous public collections, notably the Fitzwilliam Museum (Cambridge).

64 65 Kenneth Martin (1905 - 1984) Chance & Order Screenprint. Signed and dated bottom right, ’76 38/57 bottom left 27.5 x 27.5 inches (69 x 69cm) £550

Born in Sheffield Kenneth Martin began working as a designer and studied part-time at the Sheffield School of Art 1927–29 then, at the Royal College of Art, 1929–32. He exhibited with the A.I.A. from 1934 and with the London Group from 1936, becoming a member in 1949. His first one-man exhibition was held at the Leicester Galleries in 1943 and he subsequently contributed to the ‘This is Tomorrow’ exhibition at the Whitechapel Art Gallery with John Weeks and his wife Mary Martin. An exhibiton with his wife Mary was held at the I.C.A. in 1960, followed by a retrospective exhibition at the Lords Gallery in 1962. An exhibition of his work was held at the Tate Gallery London in 1975 and at Tate St Ives in 2007.

66 67 Kim Lim (1936 - 1997) Untitled Embossed etching, circa 1975 7.5 x 5 inches (19 x 13cm) £350

Born in Singapore in 1936, Kim Lim studied at St Martin's School of Art, between 1954-56, and at the Slade, 1956-60.

Kim Lim exhibited widely after leaving art college, with her first solo exhibition at the Axiom Gallery, London in 1966. From 1980, she turned to stone-carving, whilst continuing to make prints and fill sketchbooks with drawings from nature. With her husband, the sculptor and painter William Turnbull, she made frequent journeys to China, Indonesia, Cambodia, Egypt, Malaysia and Turkey. These experiences confirmed in her a lifelong predilection for things archaic, and for the flow and rhythm of Indian and South East Asian sculpture: “I found that I always responded to things that were done in earlier civilizations that seemed to have less elaboration and more strength.”

“In the earlier phase of work, I used mainly wood. I have always been more concerned with space, rhythm and light than with volume and weight. These preoccupations were more obvious in the work of the seventies, where repeated elements were used to create a structure that would sustain a certain rhythm, where space is not emptiness but a palpable reality.”

”After a number of years I felt the need to move to a less static structure, one where I could incorporate if possible the element of change and surprise. It so happened at this time that I was asked to design a fountain. I made a few maquettes and experimented with stone, going back to my favourite method of working, carving. The pleasure of working in this material where one was not constrained by the dimensions of a tree, gave impetus to exploring different ways of working.”

68 69 Index of Artists

Norman Adams Victor Anton Frank Beanland Trevor Bell Maurice Cockrill Alan Davie Brian Fielding Keith Grant Derrick Greaves John Hoyland Kim Lim Kenneth Martin John Plumb Iain Robertson Michael Sandle Peter Sedgley Jack Smith William Turnbull Michael Tyzack Joash Woodrow

70 71 108 FINE ART, HARROGATE, 2015 108www.108fineart.com FINE ART, HARROGATE, 2015

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