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Lot 249
initialled in pencil (lower right), pencil, oil and collage on board22cm x 29cm (8.6in x 11.3in)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.’
Lot 120
signed and dated (lower right), oil on canvas61cm x 51cm (24in x 20in)Provenance:Ernest, Brown & Phillips, The Leicester Galleries, London.Footnote: Ivon Hitchens was born into an artistic family and studied at St John’s Wood School of Art and the Royal Academy in London where Clausen and Sargent were among his teachers. Along with contemporaries Ben Nicholson, John Piper and Barbara Hepworth, he joined the Seven and Five Society and the London Group in the 1920s, both of which declared a firm position away from the artistic mainstream of the time. Hitchens had a quiet demeanour but maintained close contact with his contemporaries, holidaying with the Nicholsons, Barbara Hepworth and John Skeaping and exhibiting with Victor Pasmore and Ceri Richards. He did, however, prefer the peaceful surrounds of East Sussex to the hustle and bustle of London. Marrying Mary Cranford Coates in 1935, the war forced him to leave London in 1939 and he bought a caravan and six acres of woodland at Lavington Common near Petworth, East Sussex, whilst keeping his Hampstead studio. The following year a bomb damaged that and the Hitchens family moved permanently to Lavington Common, retaining the caravan which later on in his life served as guest living quarters. It was in the mid to late 1930 that Hitchens departed from his experiments with reductive abstraction to evolve his own personal style of abstract figuration.In art historical terms, the biggest influence felt in Hitchens’ work is that of Cézanne. Not only did he find Cézanne’s approach to deconstructing the motif helpful to his own work but in the same way that Cézanne was able to paint his own artistic vision of Provence, Hitchens dedicated much of his career to depicting his beloved East Sussex. His approach to painting is enormously indebted, as with many twentieth-century artists, to Cézanne’s insistence on conveying the underlying structure of his subject matter. The viewer is always aware of the backbone of his composition and how all components fit together.The vast majority of the Hitchens’ large output is painted on canvases of three specific sizes. In narrow long ‘Cinematoscope’ shape, Hitchens was dedicated to painting the Sussex landscape but he did depart from that to depict the nude and some impressive still lifes, the present canvas being a splendid example. In a conversation with T G Rosenthal, he stated: "I love flowers for painting. One can read into a good flower picture the same problems that one faces with a landscape, near and far, meaning and movements of shapes and brush strokes. You keep playing with the object." The flowers appear to have been posed in the artist’s home in East Sussex.Hitchens’ painting style can be described as highly selective, with economical brushstrokes, long sweeping lines of paint and a delicate balance between light and shade, substance and void. He describes his approach to painting volume and space as such: "I am really only interested in the structure of the three-dimensional canvas – the visual structure...It’s really converting the current distance of reality, near and far and half-way, into two dimensions so that only as your eye travels around the passage, the two dimensional passage, dark to light and light to dark, warm to cool, cool to warm or broad up to narrow – as it travels along those things – so it suddenly subconsciously finds that it’s doing something in depth as well."In a conscious effort to distract the viewer from immediately and instinctively seeking a recognisable figurative pattern, a conventional three dimensional object, Hitchens paints in a way which first demands that we explore the two dimensional canvas: the juxtaposition of cool and warm shades, light and dark tones, a variety of edges, textures and organic lines. Then and only then do we identify the flowers bowing their heads towards the viewer, perhaps the blue sky seen through a window on the left. It is not three-dimensional shading that conveys the presence of the flowers in conventional perspective but rather the layering of fields of colour one on top of each other that implies recession into space. The compositional elements in this flower piece take on a general structural role, and Hitchens, not unlike Cézanne, blurs the lines between still life and landscape. Thus the area on the left becomes a general sign for the sky whereas the dark linear shape on the right could be a wall by a country lane or a fence.Unlike that of some of his contemporaries, Hitchens’ work did not undergo dramatic shifts in style or subject matter so that after he synthesised his approach by around the early to mid 1930s his works can be difficult to place precisely within a chronology.
Lot 372
digital painting on anodized aluminium163cm x 122cm (64in x 48in)Provenance:Simchowitz Gallery, Los Angeles;Private Collection, London.Footnote: “When you put something on the Internet, it’s mine.” (Petra Cortright)Petra Cortright has been called ‘the Monet of the 21st century’ and is considered one of the foremost artists of the ‘Post Internet’ and ‘Net Art’ movements, known for her digitally created art works across multiple mediums including You Tube videos, digital paintings as well as projections on metallic and archival surfaces. Her work questions new technology and its effects on contemporary aesthetics, society and culture. Lifted from Google Images and Pinterest, Cortright creates her paintings by manipulating these images on photoshop and reintegrating them into ‘digital’ paint, morphed and layering them on top of one another, which are then presented as still-life paintings as with Boylinks.
Lot 251
signed 'Bryan' (lower left), inscribed and dated in pencil (to reverse), collage on card and board10cm x 19cm (4in x 7.5in)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.’
Lot 252
titled, dated and with Estate studio stamp (to reverse), collage on board11cm x 10.5cm (4.25in x 4.1in)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.’
Lot 253
bronze13.5cm high, 8.5cm wide (5.25in high, 3.3in wide)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.’
Lot 250
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.’
Lot 15
FREDERICK CUMING R.A., N.E.A.C.(b. 1930) oil on board - Still life of Tulips in a vase, 29 x 28cms Provenance: Private collection (South Wales) Comments: excellent, framed ready to hang Please note that this lot may be subject to Droit de Suite at 4% of the hammer price (Please see terms / enquire)
Lot 42
signed and inscribed 'Grey, Black, White' (to reverse), oil on board, with painting of a nude to reverse of canvas60cm x 22cm (23.6in x 8.5in)Exhibited: Royal West of England Academy, Bristol, St Ives: Movements in Art and Life, 14 March to 19 September 2020.Footnote: Literature: Published with title 'Walk Along the Quay, 1948 (first edition)' Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, p. 30;Published with title 'Walk Along the Quay (black, white and grey), 1948) Lewis, David ed. (2000), The Incomplete Circle: Eric Atkinson, art and education, Scolar Press, London, p.44. Terry Frost arrived in Cornwall in 1946, staying in a caravan at Cabris Bay and then a house on Quay Street, St. Ives, before returning to London and the Camberwell School of Arts and Crafts in 1947. He re-visited Cornwall over the next few summers before settling in St Ives in 1950. Barbara Hepworth gave him a job as her assistant at this point, alongside fellow artists Denis Mitchell and John Wells, offering him a steady income and structured working week. It was around this period that Frost began his series of paintings of the quayside. David Lewis, art historian and Barns-Graham’s husband, commented:These “paintings were definitely beginnings for Frost. Boat shapes, masts, riggings, water, sky, rippling, all became free compositional elements of mass, lie, colour, texture and movement rocking to and fro ... because the boats are never still, never static, and so you’ve got this terrific sort of up and down motion, this leaning over that.” When Ben Nicholson first saw works from this series, he exclaimed ‘you’ve got on to something that can last you for the rest of your life’ and it remains true that these shapes were to recur in Frost’s work throughout his career, even as his choice of colour grew bolder and compositions more abstract.Grey, Black and White feels completely abstract at first glance but with further consideration, the overlapping elements emerge to reveal a quayside scene. Frost remains preoccupied with form and texture, restricting his colour palette to focus on depth and volume. The resulting composition is quintessentially mid-century and St. Ives, as well as a microcosm of Frost’s wider artistic considerations of the period.
Lot 1016
A box containing approx. 15 rolled prints of still life paintings by Barbara Shaw, a number of rolled drawings (mostly life studies and portraits) by Lionel Ellis and three framed photographs of still life paintings. Lionel Ellis ARCA (1903-1988) was an important twentieth-century painter, illustrator, engraver and teacher who specialised in portraits, as well as equestrian and floral subjects. He taught at Wimbledon School of Art between 1937 and 1968 and lived in Headley, Surrey. The pictures offered here were formerly in the collection of his partner, fellow artist Barbara Shaw. His work is held at the V&A Museum, the British Museum and provincial museums.Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more informationPROVENANCE from the estate of the artist to the late Barbara Shaw thence to this auction. She was also an artist and the works in this sale are mostly by Lionel Ellis some signed and some not. Where unsigned the auctioneers have attributed them where appropriate but cannot guaranteed those attributions although they believe them to be correct. The proceeds of the sale will go to Ms Shaw's chosen charity
Lot 1077
Jane Tippett (b.1949), four limited edition lithographs printed at the Curwen Studios, to include Lambeth Palace, signed and numbered 52/250, image size 19 x 23.5cm, a still life of flowers a glass dome and flower pots, signed in pencil to lower margin, image size 17 x 16cm, a still life of flowers in a pot, signed and numbered 20/195 in pencil to lower margin, image size 12.5 x 10cm, and another still life of flowers on a kitchen table, signed and numbered 18/195 in pencil to lower margin, image size 12.5 x 10cm (4)Provenance: Curwen Gallery
Lot 418
Douglas Swan (American 1930-2000) Abstracted Still Lifesigned and dated 69 to the reverseoil on canvas43 x 92.5cmFootnote: Born to Scottish parents in Connecticut in 1930, Douglas Swan spent the early years of his childhood in the United States, before moving with his family to Carnoustie on the east coast of Scotland in 1936. Upon the completion of his National Service, Swan studied at the Dundee College of Art between 1943 and 1953 and before accepting a residency at Patrick Allan Fraser's Hospitalfield House, Arbroath, where he worked under the tutelage of Ian Fleming. 1954 would prove to be a seismic year in Swan’s career, after he began exhibiting at the Royal Scottish Academy and was subsequently awarded the RSA scholarship to study in London. It was in London that Swan met the painter, William Scott. The pair would go on to form a lifelong friendship and were known to pain alongside one another on their trips to Cornwall and Somerset. In 1958, together with influential artists from the St Ives scene, including Heron, Lanyon, and Bell, Swan was awarded the British Council scholarship to study in Milan. Suffused with naïve charm and rendered in a sensitively and skilfully tempered palette of brackens, flints, aquas, and terracottas, the works offered in this sale are characteristic of Swan’s broader portfolio.Condition report: Surface has an overall layer of dirt throughout, with staining and discolouration of varnish particularly evident around the purple border on the right hand side and on the purple flower pot. The white areas of paint show some yellowing. There are some very fine cracks to the paint layer around the purple border. The surface is mostly glossy, though there are some matte areas which presumably have not been varnished. See additional images.
Lot 417
§ Colin Ruffell (British 1939-) Kitchen still lifesigned 'Ruffell' (lower right)oil on board44 x 55cmCondition report: Oil on board. The paint layers have been thickly applied with a palette knife and wide brush. Overall the paint layers are in a good, stable condition. The painting is varnished; where the varnish has pooled in the texture of the brushwork it has become darker and yellowed. The varnish is flaking off in areas in the lower half of the painting, revealing the bright white of the paint below. There is some mould and spotting which has developed on the surface. The wooden frame has been painted off-white and has a grubby appearance.
Lot 114
Minou STEINER (1940-2008)Still Life - PansiesOil/mixed media on boardSigned38 x 56cmTogether with Blue Primroses - Still LifeOil/mixed media on paperSigned28 x 38cm Condition report: Each is in good condition, the work on paper has minor peripheral damage and each is in need of a light clean
Lot 32
Terry WHYBROW (1932-2020)Park Bench, ReliefMixed media Signed to verso 56x56cmTerry Whybrow 1932 - 2020Terry was born in St Pancras, London where he trained and worked as a furniture designer for many years before moving to Cornwall in 1980 with his wife the art historian and novelist Marion. He then took up painting full-time and was heavily influenced by the St Ives abstract movement of the mid-twentieth century. His work travelled through figuration, abstraction and back; he felt that when living in London his 'paintings were hard-edged abstractions of urban life,' but since coming to Cornwall 'all previous ideas and influences were overshadowed by the strength and textures of Cornwall'. Terry was widely exhibited and he found commercial success as the shapes and forms of his early work gradually developed into the fruit and bowls of the meticulous still-lives for which he became well known. His paintings are held in private collections around the globe, and in Cornwall. Falmouth Art Gallery also holds his work in their public collection.
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