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William Coldstream Cover: No WILLIAM COLDSTREAM Cover: No. 20. Westminster, VI, 1977-78 oil on canvas WILLIAM COLDSTREAM (1908 – 1987) A Loan Exhibition 23 March – 2 May 2018 Monday - Friday 10 - 5.30 Saturday 11 - 2.00 Closed Easter Weekend Browse & Darby 19 Cork Street . London W1S 3LP Tel: 020 7734 7984 Fax: 020 7851 6650 e-mail: [email protected] www.browseanddarby.co.uk “Bill Coldstream’s life and self were such that when he painted out of them he painted for all of us, indeed for more than what he typified, the English at their very best.” Ted Honderich Grote Professor Emeritus Philosophy of Mind and Logic University College London illiam Coldstream was a complex, secretive, and eccentric painter, often at odds with his publicly Wcharming and witty personality. His studio life was intensely private. Here he scrutinised and painted commanding portraits such as Walter Brandt and Lord Glenconner, and still-lifes like his three Orange Tree studies. Coldstream’s landscape pictures, in keeping with the rest of his works, were executed in a confined world, articulated from a secluded room, which often provided a high view-point. Later examples of these pieces were prospects of London – The Chimney, Westminster Baths V and Westminster VI. Even his last studio, in the remote attic at 20 Church Row, Hampstead, was set high above the London skyline. He depicted nude studio models and portrait subjects with an uncompromising impersonal vision, as evidenced in Seated Nude and The Earl Jowitt. It did not matter to Coldstream if a portrait appeared unfinished to him or to a disappointed sitter, as Clark had mentioned to Anthony Eden when advising on his portrait commission for Christ Church, Oxford: “I mention the painter’s characteristics because I think half the battle for a successful portrait is the friendly relations between painter and sitter” * Coldstream’s family were Scottish scientists, lawyers, and medical practitioners. However, his father, Dr. George Coldstream (as did Dr Jake Rake separately), gave his son the present on 12 August 1946 of a remarkable book called Art and Scientific Thought, by Martin Johnson, a volume now forgotten by art historians. This gift fundamentally changed Coldstream’s perception of painting and of himself as an artist. Johnson talks of communication and measurement in modern physical science, fantasy art (abstract art) and metaphysics. He discusses Leonardo da Vinci and his scientific, empirical mind, and the communication of careful measurement which resulted in carefully observed anatomical drawings - without “experience there can be no certainty and, perhaps, it is only our judgment which deceives, not experience”. Johnson talks of the physical world as an assemblage of an empirical, periodic pattern of tests and calculations that can be used by the artist and scientist alike. Coldstream repeatedly measured and recalibrated, with ruler and plumb line. As A.J. Ayer said of Coldstream, “you are the only logical positivist I know”. Observation was the touchstone of Coldstream’s practice, which enabled him to reconstruct visual experience by measuring the nature of our being through painting. Coldstream’s accent of pictorial realism shifted as time progressed. In the 1920s, as a Slade art student, he engaged with different modes of expression, as in Street Musicians and Landscape, Ruckmans, whilst in the 1930s Coldstream’s pictorial language developed in delicate, ultra-thin lines, as in Enid Canning and James B. Colquhoun. It was in this period that he discovered Walter Richard Sickert and toyed with abstraction. In 1934, he joined the G.P.O. Film Unit, where he remained until 1937, when he was able to return to painting through the patronage of Kenneth Clark. He then faced the challenges of debates around Realism and Surrealism, and co-founded the Euston Road School, which was committed to scrutinising realism. To this end, Coldstream travelled with Graham Bell to Bolton, where they painted factories and urban scenes. Throughout the 1940s Coldstream travelled and painted as a War Artist in North Africa and Italy, and in blitzed post-war London. By the 1950s he was engaged with the logic of picture-making and painting nudes through Adrian Stokes’s encouragement. By this point, Coldstream had been made a Professor at the Slade, a position that focused his mind on the nature of observational practice. It was the world of Blunt, Wittkower, Gombrich, A.J. Ayer, Wollheim, and Honderich, all of whom were grappling with the illusion, psychology and philosophy of art. For Coldstream this meant the exploration of picture-making in terms of measurement, calculation, time, space, mapping, and perspective. Yet, paradoxically and typically, Coldstream would be sceptical about any assertions concerning his pictures. Having been significantly involved in most major British cultural institutions since the war, Coldstream was made a CBE in 1952, and a Knight Bachelor four years later. His ‘Coldstream Reports’, in 1960 and 1970, fundamentally changed art education. However the theories that underpinned his own artistic practice preoccupied Coldstream throughout the 1960s, 70s and 80s, although in the last decade his canvases took on another dimension of solidity, leaving less traces of his drawing, and becoming far tighter and more condensed, as can be seen in Orange Tree II or Reclining Nude II. Peter T J Rumley Kenneth Clark to Anthony Eden 8 May 1960. Permission to quote courtesy of Jane Clark, Saltwood Castle Archive We are extremely grateful to the private collectors and institutions who have generously loaned their paintings to the exhibition. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 1. Street Musicians, 1926 oil on canvas inscribed ‘1926 Nov.’ in black, and ‘Coldstream’, in blue paint on reverse of canvas. 20 x 24 inches Provenance Private Collection, UK. 2. Landscape, Ruckmans, 1928 oil on canvas inscribed ‘Coldstream’, bottom left. ‘20’, bottom right, which refers to Slade Sketch Club number 14 x 18 inches Provenance Mrs Naomi Durrell; Sotheby’s, London, 4 March 1987, Lot 293 as Houses through Trees at Ruckmans, Sussex; Private Collection, UK. 3. Mrs. Enid Canning, 1938 oil on canvas 36 x 28 inches Provenance Hanford School, Dorset. 4. James B. Colqhoun, c. 1939 oil on canvas 35 1/2 x 27 1/2 inches Provenance Margaret Colquhoun; Enid Canning; Sarah Canning; Duke’s of Dorchester auction, Lot 441; private treaty sale, September 2015; Private Collection, UK. 5. Shenington Church, 1942 oil on canvas 12 x 10 inches Provenance Dr. John Rake; Private Collection, UK. 6. Landscape with Two Pyramids, I, 1944 oil on canvas inscribed ‘7 6/10, 3 1/2 + 3/10’, in pencil, bottom right. 6 3/4 x 9 3/4 inches Provenance Private Collection, UK. 7. Ponte Vecchio, Florence, 1945 oil on canvas 27 1/2 x 35 inches Provenance Rev. and Mrs C.B. Canning; Sarah Canning; Sotheby’s sale, 20th Century British Art, 11 December 2006, Lot 55, 2007, Offer Waterman & Co., Modern British Art catalogue, pp. 6–7, illustrated, colour, p. 7; Private Collection, UK. 8. Jamaican Airman, 1945 oil on canvas inscribed on reverse – ‘A/C I REID W Coldstream’ on canvas. Two name labels on frame. 19 x 15 inches Provenance Mrs Valla Buxton; Private Collection, UK. 9. The Earl Jowitt, 1945-51 oil on canvas 40 x 30 inches Provenance Middle Temple, The Earl Jowitt; Countess Jowitt; Private Collection, UK. 10. St Trophime, Arles, II, 1947 oil on cardboard inscribed ‘St. Trophime, Arles, early morning view from Room 28, Hotel Du Forum, William Coldstream July 1947’, on the reverse in pencil. Also, ‘William Coldstream’, in black ink, centre left. 8 x 13 inches Provenance Jennifer Hart; Private Collection, UK. 11. Quatorze Juillet, Arles, IV, 1947 oil on board inscribed ‘Coldstream’, bottom left. On reverse: ‘Arles, QUATORZE JUILLET, ARLES.1947. From room 28 Hotel du Forum, ARLES. BY WILLIAM COLDSTREAM. PROPERTY OF MICHAEL DIACK, 95 MARLBOROUGH MANSIONS LONDON NW6’, in ink on paper and stuck to the board with sellotape; in pencil, ‘133/8 x 8’. 13 x 8 inches Provenance Michael Diack; Anthony d’Offay; Private Collection, UK. 12. Mrs. Middleton’s House from Oriel Cottage, Shenington, 1961 oil on paper cloth 20 x 18 inches Provenance Private Collection, UK. 13. Seated Nude [Monica Hoyer], 1959-60 oil on canvas 42 x 28 inches Provenance Adrian Stokes; Ann Stokes; Private Collection, UK. 14. Lord Glenconner, 1961-2 oil on canvas 44 x 33 inches Provenance Northern Assurance Company; Private Collection, UK. 15. Walter Brandt, 1962-3 oil on canvas 36 x 24 inches Provenance Walter Brandt; Peter Brandt; Sotheby’s sale, 20th Century British Art, 8 October 2008, Lot 32, Private Collection, USA. 16. The Houses of Parliament from The Festival Hall, 1972-3 oil on canvas 23 3/4 x 35 3/4 inches Provenance Private Collection, UK. 17. Still Life with Daisies, 1974 oil on canvas 29 x 30 inches Provenance Anthony d’Offay; Ann Stokes; Private Collection, UK. 18. Garden in Falmouth, 1977 oil on canvas 18 x 13 3/4 inches Provenance Anthony d’Offay; Private Collection, UK. 19. Girl With Plants [Anna Bennett, I], 1975-6 oil on canvas 20 x 24 inches Provenance Anthony d’Offay; Private Collection, UK. 20. Reclining Nude, II [Catherine Kessler], 1977-8 oil on canvas 20 x 24 inches Provenance Anthony d’Offay; Private Collection, UK. 21. Westminster, VI, 1977-78 oil on canvas 29 4/5 x 24 4/5 inches Provenance Anthony d’Offay; HSBC Holdings plc. 22. Falmouth, 1978 oil on canvas 12 x 16 inches Provenance Anthony d’Offay; Private Collection; Christie’s sale, Postwar & Contemporary British Painting & Watercolours, 8 March 1991, Lot 117, Private Collection, UK.
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