Sworders
Lot 13
▴ Alan Davie RA (1920-2014)'Bird Cage No.1', 1956signed 'Alan Davie' inscribed with title and 'OPUS 0.165', and dated verso, oil on board122 x 152.5cmProvenance: with Gimpel Fils, London, November 2007;Exhibited: Graves Gallery, Sheffield, 'Alan Davie', June - August 1965, no.11;Literature: A Bowness, 'Alan Davie', Lund Humphries, London, 1967, pl. 127.In the 1950s, Alan Davie was influenced by earlier artists and movements, such as Paul Klee and abstracted Surrealism. The present lot shows a semi-surrealist approach through his use of composition, form and colour, but with his own technique of combining richly textured paint and rubbing back.More significant perhaps is the impact of the Abstract Expressionists upon the young painter. He had visited the Venice Biennale on a scholarship in 1949 and, in viewing the travelling Peggy Guggenheim exhibition, he was one of the first British artists of his generation to be exposed to Abstract Expressionism. Like Pollock, Davie would create his works by laying them on the floor. Although his brushwork in 'Bird Cage 1' is a little more controlled and the composition more representational than others, the scale and bold handling of the paint is reminiscent of the New York school.It was through Peggy Guggenheim that Davie was introduced to Charles and Peter Gimpel, which began a relationship with dealers Gimpel Fils that lasted over sixty years. Following this partnership in 1950, the artist’s reputation rose steadily and in 1956, the year of this work’s creation, he had his first New York exhibition with works purchased by MOMA. Closer to home, the Contemporary Art Society and Tate Gallery also bought pieces and in 1958, aged only thirty-eight, retrospectives were held at both Wakefield City Art Gallery and the Whitechapel Gallery, London. By the 1960s, Davie had gained the reputation as a major player in the art world and with 'Bird Cage 1' we get to see the talents of this unique artist at a pivotal point in his career. Condition ReportPresents well, no apparent major condition issues. Some light surface dirt. A few tiny old spots of paint loss visible on very close inspection. Nail heads visible to edges of board, these may have been retouched as well as the extreme edges of the board, likely due to old frame abrasians. UV light does show some fluorescence elsewhere but appears to be artists paint rather than later retouching.
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