oil on board90cm x 122cm (35.5in x 48in)Footnote: Born in Gera, Germany in 1925, Karl Weschke’s childhood was one of hardship. He found his first sense of belonging with the Hitler Youth and soon after joined the Luftwaffe at the age of 17, which ultimately led to him being taken to the UK as a prisoner of war in 1945. Four years later, Weschke enrolled at Saint Martin’s School of Art in London, and despite only lasting one term, he solidified his connection to the country and put him on course for his future with the St Ives School.While living in London, Weschke met artist Bryan Wynter who encouraged a move to Cornwall in 1955, where Weschke remained for fifty years. From this date, he truly became a painter. Inspired by the natural beauty of the local landscape, he blended this with a hostile painterly application reminiscent of his complex upbringing. This duality became a frequent theme of his work in the 1960s and 1970s, such as in his 1974 painting The Wave, which is both tranquil and quiet, yet dark and brutal with existentialist sensibilities. His work demonstrates the complexity of artists working in St Ives during this period, and how they turned to the landscape in an attempt to understand the changing world around them.
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oil, crayon and pencil27.5cm x 42.5cm (10.75in x 16.75in)Footnote: Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist.His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure.Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’
Tom Courtenay signed 10x8 black and white promo photo Courtenay played Arthur Hamp, during the First World War in 1917 in the film of King and Country, a 1964 British war film directed by Joseph Losey. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Susan Hampshire signed 10x8 black and white photograph Hampshire is an English actress known for her many television and film roles [1] A three-time Emmy Award winner, she won for The Forsyte Saga in 1970, The First Churchills in 1971, and for Vanity Fair in 1973 Her other television credits include The Pallisers (1974), The Grand (1997-98) and Monarch of the Glen (2000-2005). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Autographed JOE McBRIDE 16 x 12 photo - B/W, depicting the Celtic striker scoring his side's fourth goal in a 5-0 victory over Dundee in a First Division encounter at Celtic Park in 1966, signed in blue marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Autographed STAN BOWLES 16 x 12 photo - Colz, depicting a superb image showing Bowles raising his arms aloft in celebration after scoring the winning goal for Queens Park Rangers in a First Division encounter against Burnley at Loftus Road in 1975, signed in black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Autographed FRANK McLINTOCK 16 x 12 Limited Edition - Colorized, depicting the Arsenal captain posing with the FA Cup and the First Division trophy during a photo-shoot following the Gunners memorable 1970/71 season, limited to just 75 editions, it has been signed to the lower border in fine black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Autographed RON YEATS 16 x 12 Limited Edition - Col, depicting the Liverpool captain posing with the First Division trophy during a photo-shoot at Anfield following the Merseysiders memorable 1965/66 season, limited to just 75 editions, it has been signed to the lower border in fine black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Autographed BERT TRAUTMANN 16 x 12 Limited Edition - B/W, depicting the Manchester City goalkeeper diving at the feet of Arsenal's Alan Skirton, watched by teammate Dave Ewing, during a First Division encounter at Highbury in 1961, limited to just 75 editions, it has been signed (by Trautmann only) to the lower border in fine black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Autographed BOBBY BROWN 16 x 12 Limited Edition - B/W, depicting the Rangers goalkeeper making a comfortable save at Tynecastle during a First Division encounter against Heart of Midlothian in 1952, limited to just 75 editions, it has been signed to the lower border in fine black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Autographed BOBBY SMITH 16 x 12 Limited Edition - B/W, depicting the Tottenham centre-forward scoring the winning goal against Man United during a First Division encounter at White Hart Lane in 1960, limited to just 75 editions, it has been signed to the lower border in fine black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Noel Edmonds signed 6x4 colour Mr Blobby photo English television presenter, radio DJ, writer, producer, and businessman Edmonds first became known as a disc jockey on Radio Luxembourg before moving to BBC Radio 1 in the UK He has presented various radio shows and light-entertainment television programmes across 50 years, originally working for the BBC, later Sky UK and Channel 4 His television work includes Top of the Pops (1972-1978), Multi-Coloured Swap Shop (1976-1982), Top Gear (1979-1980), The Late, Late Breakfast Show (1982-1986), Telly Addicts (1985-1998), The Noel Edmonds Saturday Roadshow (1988-1990), Noel's House Party (1991-2000), and Deal or No Deal (2005-2016). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Golf, Jon Rahm signed and mounted colour presentation photograph, approx 12x16 Rahm was the number one golfer in the World Amateur Golf Ranking for a record 60 weeks and later became world number 1 in the Official World Golf Ranking, first achieving that rank after winning the Memorial Tournament in July 2020. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Commander William King DSO, DSC, RN The Sticks and the Stars A WW2 First Edition Hardback book, showing signs of age Dedicated with a personal inscription Signed by Commander William King on October 25th, 1974 192 pages All autographs come with a Certificate of Authenticity We combine postage on multiple winning lots and can ship worldwide UK postage from £4 99, EU from £6 99, Rest of World from £8 99. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Ray Alan signed and dedicated white 4x5 white page, inscribed To Claire love from Alan (18 September 1930 - 24 May 2010) was an English ventriloquist and television entertainer from the 1950s until the 1980s He was associated primarily with the dummies Lord Charles and Ali Kat and later with the puppets Tich and Quackers Lord Charles was the first ventriloquist's dummy to have his own personal microphone. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Russ Abbot signed 6x3 white page Abbot is an English musician, comedian and actor Born in Chester, he first came to public notice during the 1970s as the singer and drummer with British comedy showband the Black Abbots, later forging a prominent solo career as a television comedian with his own weekly show on British television. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Elspet Gray signed and dedicated 4x5 white page inscribed Claire Good Luck Gray was a Scottish actress, who first became known for her partnership with her husband, Brian Rix, and later was cast in many television roles in the 1970s and 1980s She played Lady Collingford in the television series Catweazle and Mrs Palmer in the television series Solo, alongside Felicity Kendal. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Linda Purl signed 10x8 black and white photo American actress and singer, known for her roles as Ashley (Fonzie's girlfriend) on Happy Days, Sheila Munroe in the 1982 horror film Visiting Hours, Pam Beesly's mother Helene in The Office, and Ben Matlock's daughter Charlene Matlock for the first season of the television series Matlock. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Ben Cohen signed 22x16 Rugby Great Series Big Blue Tube colour print Australia 14 England 25 Melbourne 21 June 2003 Ben Cohen scores a sensational try during England's historic victory over the Wallabies their first on Australian soil AP/500. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Norman Hunter signed 20x13 black and white print Norman Bite Yer Legs Hunter leaps for joy as Allan Clarke scores the goal that secured Leeds first FA Cup victory Wembley 1972 Leeds United 1 Arsenal 0. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Charlie George signed 16x12 black and white print Arsenal 1971 The Winner Arsenal Charlie George famously celebrates by lying flat on his back after scoring the winning goal in the 1971 F A Cup Final v Liverpool to complete Arsenal's first double. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Bobby Kerr signed 16x12 Sunderland 1973 FA Cup black and white print Captain Bobby Kerr holds aloft the FA Cup after victory over Leeds United in the 1973 FA Cup Final A goal from Ian Potterfield and a memorable double save from Keeper Jim Montgomery helped the Roker men to their first FA Cup triumph since 1937. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Frank McLintock signed Arsenal 1971 Proud Captain 16x12 colour print Arsenal's Captain Frank McLintock celebrates on the shoulders of teammates after defeating Liverpool in the 1971 FA Cup final, which completed Arsenals first double. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Multi-Signed FDC "Lest We Forget" The Loss of Life in The Revenge Attack, some Two Months Later, On HMS Illustrious by German Stuka Dive Bombers Off Malta in January 1941, Thus Heralding the First Appearance of The Luftwaffe in The Mediterranean Signed by Lt Cdr WJones DSM, S/L The Rev S G Coulson MBE, Surgeon Lt T Tibbot-Davies RNVR, t WWH Clisby RNVR, Cdr G RM Going DSO OBE, Cdr S G Orr DSC AFC and Lt Cdr J W Neale DSC DFC Series Six No 41c. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Alfred Price Handsigned First Edition Book Titled 'The Hardest Day - 18th August 1940' hardback book about Battle of Britain 223 pages. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Howard J Sandall We Wage War by Night An Operation and Photographic History of NO 622 Squadron RAF Bomber Command A WW2 First Edition Hardback Book Spine and Dust Jacket in good condition Published by Bushwood Books of Surrey Multi Signed by RAF Bomber Command Pilots: John Cox, Bill Harold, Bernie Dyes, C Chandler, E Taylor, Ron Higgins, E Fields and the Author Howard J Sandall 304 pages. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
WW2 MULTI SIGNED by Dambuster Pilots, First Edition Hardback book by Steve Bond titled 'Bomber Command' Signed on title page by Colin Cole, Basil Fish, John Langston, Joe Cook, and two others Overall Condition is fantastic 128 pages. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
WW2 K A Merrick Handsigned First Edition Book Titled 'Flights of the Forgotten' Signed and Dated 1989 on first page Dedicated Spine and dust jacket in near mint condition 343 pages. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
WW2 John Grehan and Martin Mace Bomber Harris Sir Arthur Harris Despatch on War Operations 1942-1945 a WW2 First Edition Hardback book Spine and dust jacket in very good condition Printed by Pen and Sword Aviation of Yorkshire Multi-Signed by Bomber Pilots of WW2: - Geoff Packham, Dave Fellows, Benny Goodman, Geo Dunn, John Langston, Colin Cole, Frank Tilley, John Bell, G Johnson, Frank Bell and few others 414 pages. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
WW2 Alan Randall Handsigned First Edition Book Titled 'There and back' A WW2 hardback book Signed by the author on the title page 145 pages Overall Condition is good. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
WW2 MULTI-SIGNED JD Earnshaw and MR Crame First Edition book titled 'The RAF WW2 logbooks of Wing Commander R P Beaumont' Signed by Beaumont, Lawrence 'Pinkie' Start DFC and Bar, Both Authors, Sir Joe Atkinson DFC KCB, David Ince DFC and two others 305 pages Spine and dust jacket in superb condition Published by Tallh Ho! of Suffolk, Printed by Biddles Ltd of Norfolk. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
WW2 MULTI-SIGNED Peter Jacobs book Titled 'Stay the Distance- The Life and Times of Marshal of The Royal Air Force, Sir Michael Beetham' A WW2 First Edition Hardback book Dust jacket and spine in mint condition Limited Edition Bookplates 6/20, Multi Signed by Former RAF Marshal's: - Sir William F Dickson GCB KBE DSO AFC, The Lord Cameron KT GCB CBE DSO DFC AE, Sir Michael Beetham GCB CBE DFC AFC and Sir Dennis F Spotswood GCB CBE DSO DFC 284 pages Published by Pen and Sword Aviation of Yorkshire. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
WW2 Kenneth G Wynn Handsigned Battle of Britain Book Titled 'Men of The Battle of Britain' First Edition Hardback book Signed on the inside with a Dedication note, with date September 8th, 1991 Foreword from Elizabeth R, The Queen Mother 470 pages Published by Gliddon Books of Norfolk Printed and Bound in GB by Biddles Ltd Spine and Dust jacket showing early signs of age. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Elisha Cuthbert signed 10x8 colour photo Canadian actress and model As a child actress, she made her first televised appearance as an extra in the Canadian horror-themed series for children Are You Afraid of the Dark? and co-hosted Popular Mechanics for Kids. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Brian Lara signed 10x8 colour photo Trinidadian former international cricketer widely acknowledged as one of the greatest batsmen of all time e topped the Test batting rankings on several occasions and holds several cricketing records, including the record for the highest individual score in first-class cricket, with 501 not out for Warwickshire against Durham at Edgbaston in 1994,[6] which is the only quintuple-hundred in first-class cricket history. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
David Gray signed 7x5 black and white photo British singer-songwriter He released his first album in 1993 and received worldwide attention after the release of White Ladder six years later. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
William Cave: 'Primitive Christianity: or, The Religion of the ancient Christians in the first ages of the Gospel', Richard Chiswell, 1675, 2nd edition, added engraved title page, 3 parts in 1, 352,389pp + [6]pp index, initial imprimatur leaf at front, old half calf worn, plus Martial: 'Epigrams', Lugdunum Batavorum, Ex Officina Hackiana, 1670, [24],794pp + index, contemporary calf, plus 4 others 19th/early 20th Century volumes (6)
![Philately - Four A4 binders of First Day Covers. [4]](https://cdn.globalauctionplatform.com/fea3bfe2-973c-4063-b76f-adc001063bd5/1ae5c846-3efb-4aa6-9e4d-adc20115ece8/468x382.jpg)
![Two cast iron, mechanical money banks, largest approximately 21 cm (h). [2]Note: Mechanical cast iron banks were first manufa](https://cdn.globalauctionplatform.com/fea3bfe2-973c-4063-b76f-adc001063bd5/366fb05f-82c7-427e-b542-adc201152e75/468x382.jpg)
Two cast iron, mechanical money banks, largest approximately 21 cm (h). [2]Note: Mechanical cast iron banks were first manufactured in the late 1800's during the industrial revolution. The 'Jolly Banks' or money boxes were a popular item during this period and are also associated with Black Memorabilia. These items are listed on the basis that they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.
signed, numbered and dated 'ADAMS OO/ 1980' (to base), bronze9cm high, 7cm wide (3.5in high, 2.75in iwde)Footnote: Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 680. Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
pencil and oil on board7.5cm x 30.1cm (3in x 11.9in)Provenance:In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin.This Wallis was given to Wilhelmina Barns-Graham by Sven Berlin for research she did on the Wallis family, presumably for his book on Wallis. Exhibited: 1950: Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 56;1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 26;1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July;1968, Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 16;1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 6. Footnote: Published References: Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat no. 56The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat no 16. The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.
signed and dated in pencil (upper left), inscribed and titled (to reverse), pencil and gesso on board45cm x 34.5cm (17.75in x 13.6in)Provenance: In Barns-Graham's notes about her collection she states she owns one drawing by Barbara Hepworth given to her as a wedding present. Exhibited: Hazlitt Holland-Hibbert, London, Barbara Hepworth Drawings from the 1940s, 12 October-18 November 2005;Royal West of England Academy, Bristol, St Ives: Movements in Art and Life, 14 March to 19 September 2020.Footnote: When Barns-Graham arrived in Cornwall, less than a year after Hepworth and Nicholson, she was already very well aware of the central figures of British Modernism she was about to meet in person. Having attended the lectures given in Edinburgh by Herbert Read, as Watson Gordon Professor in Fine Arts, she had become acquainted with the key apologist of the Movement. When they met again in Little Park Owles this no doubt helped her quick acceptance by the group. Willie’s first meeting, just days after her arrival, with Barbara Hepworth made a lasting impression on the young artist. She noted in particular Hepworth’s physical appearance, the delicacy of her features and her quick, neat movements. As the years passed she and Hepworth had a friendship based partly on the fact of their shared experience of being woman artists in a man’s world. In the small Cornish artists’ enclave both women could be resented by their fellow male artists. By sheer strength of personality, determination and growing reputation, Hepworth succeeded better at overcoming the prejudice and pit falls. Willie was not so adept. But when each woman found themselves living alone, they were glad of each other’s presence in the town. Hepworth’s drawing Figure and Mirror, of 1948 was gifted to Barns-Graham on the occasion of her marriage to David Lewis in 1949. He had arrived in St Ives as a young author and aspiring poet who, having added a quickly achieved and not inconsequential knowledge of contemporary art, became a part of the artistic communities of St Ives and Carbis Bay. Among a succession of practical roles, he acted for a time as Hepworth’s secretary.Figure and Mirror was not the only Hepworth Willie acquired. Around 1949 she purchased from her friend Mary Buchanan, Sculpture with Colour (Deep Blue and Red) 1940. Some ten years later, at a time of personal turmoil and loss, she sold it to a dealer, from whom Hepworth herself reacquired it. Upon Hepworth's death, it was bequeathed to the Tate. Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.
steel wire painted grey on black base23.5cm high (including base), 13cm wide (9.25in high, 5.1in wide)Footnote: Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 296. Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
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