Paul Feiler b.1918
'Untitled 64' 1964 Mixed media drawing. 31 x 38 cm �11000
Graham Sutherland 1903-1980
'Abstract Forms' 1976 Gouache on paper. 52 x 52 cm Signed and dated. Private Collector 19000
Cragie Aitchison CBE RA b.1926
'Thistle Still Life' Screenprint 35 x 25 cm Signed, numbered, and dated in pencil. From the edition of 75.
Ben Nicholson 1894-1982
'Head of a Woman' 1970 Charcoal on Paper 33 x 25 cm £18000 - Lucian Freud is now, at the age of 86, as celebrated as any artist alive today, and generally acknowledged as the world’s pre-eminent painter working directly from the observed subject, in his case principally the human, almost always naked, model. Since the mid-1980s his success, at once critical and commercial, has gone from the remarkable to the prodigious, but it was not always so. He had enjoyed some considerable notice as a young man, but over the long period from the mid-50s until well into the 70s, his then became more private and reclusive a reputation. It was not that he did not have patrons, but they were something of a coterie, which in any case suited his naturally reclusive temperament – he remains to this day the most obsessively private of celebrities. If he was more generally known then, it was rather as one of a rackety bohemian set of artists centred upon The Colony Room, a drinking club in Soho which happily still flourishes. As a painter it was for a handful of small portraits, rather in a late 15th century Flemish manner, notably a single, tiny, meticulously worked study in the Tate of his friend, Francis Bacon. Painted in the early 1950s, it was stolen from an exhibition in Berlin some years ago and has not yet been recovered.But in all this time, though critically out of fashion and showing infrequently, he was always working, and he remained as it were always an active presence among artists, if only at a remove, conspicuous in his very absence. All that began to change in the early 1970s. In 1972 he was shown by Anthony d’Offay, by no means then the power in the art world he was to become, but the real shift came with his show at the Hayward Gallery in 1974, his first retrospective, which Joanna Drew of the Arts Council put on against a background of still considerable critical scepticism. He was at least on his way back onto centre stage. Even, so it was only his international touring retrospective of 1988, which the British Council had some initial difficulty in placing (New York wasn’t interested so it went to Washington), that finally established Freud as a truly international figure.And this small drawing stands at the very start of this long transition from comparative critical neglect to eventual acceptance and international stardom. Charmingly unprepossessing as it is, scarcely more than a brief note of a cast of feature and turn of a head, it carries nevertheless clear hints of what was to come in the work at large, in the more general freedom of the statement, a simpler, more sculptural consideration of the form, and a fuller, richer touch to the mark. It is a significant moment. William Packer
Sir Terry Frost RA 1915-2003
'Laced' 1961 Gouache Watercolour and Leather - on paper and board. 55 x 40 cm Frost made a series of lithographs after this present work and the design becamethe basis for a Royal Mail commemorative stamp in 2001. Signed. 15000
Alfred Wallis 1855-1942
'Boat' 1941/2 Pencil on paper. 27.94 x 40.64 cm From the Derwent Scrapbook, given to Wallis by Ben Nicholson, with Wallis's name and address on the cover (in Nicholson's hand). Provenance: Ben Nicholson, Denis Mitchell, Private Collection. Ref Alfred Wallis by Sven Berlin p95 item 50 Penwith exhibition catalogue, 1983. 5200'
Sandra Blow RA 1925-2006
'Resounding' 2001 Acrylic on canvas 107 x 107 cm Signed and Dated verso. Part of the series'Resounding'was exhibited at Tate St Ives Sandra Blow Retrospective 2001 Provenance: The Artist's Estate 14000 VAT
Sir Howard Hodgkin b. 1932
'In a Public Garden' 1997-8 Carborundum Etching and Hand Colouring. 24 x 28 cm Signed and numbered by the artist. Edition of 70. Printed by Jack Shirreff, assisted by Andrew Smith and Claire Wait at the 107 Workshop, Wiltshire. Published by the Kunstverein Fur die Rhinelande und Westfalen, Dusseldorf, 1998. Ref. 99 3900
Sir Terry Frost RA 1915-2003
Untitled; 1967 – mixed media (oil on canvas; collage; leather lacing)William Packer describes this piece: This small painting from the mid-1960s shows Frost returning to formal ideas that had already engaged him for several years, and indeed to which he would constantly return throughout his life. But that is not to say that his development as an artist had come to an end, and that henceforth it would be just a matter of working elegant variation upon what had already been achieved. Quite the reverse: indeed it is a truism of art, with, like all truisms, more than a germ of truth to it, that all painters paint, in essence, the same painting all the time. This, exaggerated, is no more than to say that, quite unconsciously, and whatever superficial differences and changes may be apparent, many artists will work throughout within a narrow range of formal, practical and imaginative considerations. Once formed, the underlying sensibility remains the same. Of course the work continues to grow: and “plus ca change …”Here, in his use of collaged elements, Frost is employing a practice common among artists at that time, especially so within the orbit of St Ives – it was to become a staple of Sandra Blow’s work, for example, throughout her career. So indeed was the lacing, which Frost had already made great play with earlier in the decade. Such an approach will always emphasise the physical nature of the painting, as an object in the real world, even as it still creates the illusion of an internal pictorial space, within and beyond the surface plane of the canvas itself. There is no harm, after all, in an artist, wishing to have, indeed succeeding in having, the best of both worlds. And, of course, this seeking to deny painterly illusion and assert the surface, even as inevitably the illusion is confirmed, has been part of the currency modern painting ever since Picasso first stuck a piece of newspaper to the canvas. Make a mark on a plane surface, and make another, and inevitably space and light are there.Such pictorial illusion here is achieved quite as much by Frost’s gentle orchestration of tone and colour, as by the more obviously drawn forms – the quartered hemispheres that could be half-remembered abstract hints at hills, or headlands enclosing what might be a bay cut off by the narrowest of channels. Or they could perhaps be globes, which bring in other associations altogether, with that narrow cleavage, laced between. Their clarity and simplicity in both shape and colour are formal qualities he brought back from his American visit in 1960. Yet, whichever the case, these are nevertheless landscape colours, and in their subtle combination rather a change from Frost’s usual uninhibited exuberance. And there is, after all, a sense in which abstract painting is always a kind of landscape, however remotely suggestive it may be.William Packer
Alfred Wallis 1855-1942
'Bridge and Boat' 1941/2 Pencil on paper 27.94 x 40.64 cm. From the Derwent Scrapbook, given to Wallis by Ben Nicholson, with Wallis's name and address on the cover (in Nicholson's hand). Provenance: Ben Nicholson, Denis Mitchell, Henry Gilbert, Private Collection.Ref Alfred Wallis by Sven Berlin p95 item 50 Penwith exhibition catalogue, 1983.Exhibited at Penwith Gallery 1983. �5200
Breon O'Casey b.1938
'Handle Bird' 2003 Bronze 38 x 50 x 24 cm �9000
Lucian Freud b.1922
'Head of a Woman' 1970 Charcoal on Paper 33 x 25 cm £18000 - Lucian Freud is now, at the age of 86, as celebrated as any artist alive today, and generally acknowledged as the world’s pre-eminent painter working directly from the observed subject, in his case principally the human, almost always naked, model. Since the mid-1980s his success, at once critical and commercial, has gone from the remarkable to the prodigious, but it was not always so. He had enjoyed some considerable notice as a young man, but over the long period from the mid-50s until well into the 70s, his then became more private and reclusive a reputation. It was not that he did not have patrons, but they were something of a coterie, which in any case suited his naturally reclusive temperament – he remains to this day the most obsessively private of celebrities. If he was more generally known then, it was rather as one of a rackety bohemian set of artists centred upon The Colony Room, a drinking club in Soho which happily still flourishes. As a painter it was for a handful of small portraits, rather in a late 15th century Flemish manner, notably a single, tiny, meticulously worked study in the Tate of his friend, Francis Bacon. Painted in the early 1950s, it was stolen from an exhibition in Berlin some years ago and has not yet been recovered.But in all this time, though critically out of fashion and showing infrequently, he was always working, and he remained as it were always an active presence among artists, if only at a remove, conspicuous in his very absence. All that began to change in the early 1970s. In 1972 he was shown by Anthony d’Offay, by no means then the power in the art world he was to become, but the real shift came with his show at the Hayward Gallery in 1974, his first retrospective, which Joanna Drew of the Arts Council put on against a background of still considerable critical scepticism. He was at least on his way back onto centre stage. Even, so it was only his international touring retrospective of 1988, which the British Council had some initial difficulty in placing (New York wasn’t interested so it went to Washington), that finally established Freud as a truly international figure.And this small drawing stands at the very start of this long transition from comparative critical neglect to eventual acceptance and international stardom. Charmingly unprepossessing as it is, scarcely more than a brief note of a cast of feature and turn of a head, it carries nevertheless clear hints of what was to come in the work at large, in the more general freedom of the statement, a simpler, more sculptural consideration of the form, and a fuller, richer touch to the mark. It is a significant moment. William Packer
Mary Fedden RA b.1915
'Onions' 2001 Oil on Board Signed and dated �16,000
Ben Nicholson 1894-1982
'Head of a Woman' 1970 Charcoal on Paper 33 x 25 cm £18000 - Lucian Freud is now, at the age of 86, as celebrated as any artist alive today, and generally acknowledged as the world’s pre-eminent painter working directly from the observed subject, in his case principally the human, almost always naked, model. Since the mid-1980s his success, at once critical and commercial, has gone from the remarkable to the prodigious, but it was not always so. He had enjoyed some considerable notice as a young man, but over the long period from the mid-50s until well into the 70s, his then became more private and reclusive a reputation. It was not that he did not have patrons, but they were something of a coterie, which in any case suited his naturally reclusive temperament – he remains to this day the most obsessively private of celebrities. If he was more generally known then, it was rather as one of a rackety bohemian set of artists centred upon The Colony Room, a drinking club in Soho which happily still flourishes. As a painter it was for a handful of small portraits, rather in a late 15th century Flemish manner, notably a single, tiny, meticulously worked study in the Tate of his friend, Francis Bacon. Painted in the early 1950s, it was stolen from an exhibition in Berlin some years ago and has not yet been recovered.But in all this time, though critically out of fashion and showing infrequently, he was always working, and he remained as it were always an active presence among artists, if only at a remove, conspicuous in his very absence. All that began to change in the early 1970s. In 1972 he was shown by Anthony d’Offay, by no means then the power in the art world he was to become, but the real shift came with his show at the Hayward Gallery in 1974, his first retrospective, which Joanna Drew of the Arts Council put on against a background of still considerable critical scepticism. He was at least on his way back onto centre stage. Even, so it was only his international touring retrospective of 1988, which the British Council had some initial difficulty in placing (New York wasn’t interested so it went to Washington), that finally established Freud as a truly international figure.And this small drawing stands at the very start of this long transition from comparative critical neglect to eventual acceptance and international stardom. Charmingly unprepossessing as it is, scarcely more than a brief note of a cast of feature and turn of a head, it carries nevertheless clear hints of what was to come in the work at large, in the more general freedom of the statement, a simpler, more sculptural consideration of the form, and a fuller, richer touch to the mark. It is a significant moment. William Packer
Sir Terry Frost RA 1915-2003
'Red Suspended Forms' 1978 Gouache and Collage 63 x 33.5 cm Signed and Dated 8400.
Sandra Blow RA 1925-2006
'Double Triangle' Collage on Canvas 50 x 50 cm Signed Verso 8000
Sir Terry Frost RA b.1915-2003
'Crumpled, Red, Yellow, and Black 2003 Oil and Collage on Canvas 108 x 108 cm Inscribed and Signed verso 15,000
William Scott 1913-1989
'Composition Red and Black' 1960 watercolour and bodycolour 22 x 28 cm 13,500
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