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Click here to subscribeVIVIENNE WILLIAMS mixed media - still life of roses in a red bowl, entitled verso on Martin Tinney Gallery label 'Roses', dated 2011, signed, 25 x 25cms Provenance: private collection, consigned via our Cardiff office Presentation & Condition: no problems, framed and glazedPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
KEITH ANDREW watercolour - still-life, entitled verso on Attic Gallery Swansea label 'Daisy Jar', signed, 53 x 36cms Provenance: from the collection of the late Rev John O Wilstead B.D FRSA, thence by descent, please see Lot 221 Presentation & Condition: no problems, framed and glazedPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
IOLA SPAFFORD oil on board - still-life, entitled verso 'Barley', signed, 48 x 39cms Provenance: from the collection of the late Rev John O Wilstead B.D FRSA, thence by descent, please see Lot 379 Presentation & Condition: original framing, may benefit from light cleanPlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
DAVID BARNES oil on board - still-life of tulips in a blue jar, signed with initials, 29 x 24cms Provenance: private collection consigned via our Cardiff office Presentation & Condition: no problems, typical black wide framePlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
* Pemberton (Muriel Alice, 1909-1993). Flower Still Life, gouache & pastel on wove, signed lower right, few short repaired closed tears to edges (hidden under window mount), 72 x 59.4 cm, modern white frame, glazed (87 x 70.5 cm)Qty: (1)NOTESMuriel Pemberton and the fashion & textile designer Zandra Rhodes were acquaintances and both alumni of the Royal College of Art. Muriel was awarded the first ever diploma in fashion from the RCA and immediately became the first Head of Faculty of Fashion and Design at St Martins School of Art. She taught Zandra Rhodes and Bruce Oldfield amongst other well known designers at St Martins where she held a unique position. She later moved to Hastings where she worked avidly in retirement. Muriel (like Zandra Rhodes) was famous for her use of bright colours, particularly cobalt blue which was also much used by Zandra.
A large collection on 20th and 21st century of prints and works on paper to include watercolour and still life by Catriona Stewart, a print of the New Palace at Westminster, alimited edition print of Neil Simone, three limited prints, a large Contemporary still life on canvas and a print of the heritage buildings of the city of Leeds, various sizes, a bracing oil on canvas by A.Veccio (qty)
HENRY JOSEPH MOULE (1825-1904) 'Fordington St. George, Dorchester' river view with figures to the foreground and St Peter's Church looming over houses to the distance, watercolour, 14.5cm x 19cm (unframed but mounted); together with another similar view 'At Cokers Frome' looking towards Dorchester with the tower of St Peter's Church and the spire of All Saints Church visible through tree branches, watercolour, 15.5cm x 13.75cm (2)Henry Joseph Moule was an English watercolour artist, and friend of Thomas Hardy. He was born at Gillingham, Dorset on 25 September 1825, the eldest of eight sons of Henry Moule, and educated at Corpus Christi College, Cambridge, gaining a B.A. in 1848 and M.A. in 1853. He then spent some years as a private tutor, secretary and librarian, to the family of Lord Wriothesley Russell (son of John Russell, 6th Duke of Bedford) and then the Earl Fitzwilliam at Wentworth Woodhouse. He spent the years 1862-1877 in Scotland, and then (after a brief sojourn in Ireland) returned to Dorset (where he had grown up). In 1883 he was appointed the first curator of the Dorset County Museum, a post he held until his death on 13 March 1904; he left several thousand paintings to the museum.He was a close friend of Thomas Hardy for fifty years, their first meeting being shortly before 1854. He was 15 years older than Thomas Hardy, and it seems likely that they met when Henry returned from University to his Father's vicarage at Fordington and Hardy was still quite young. There can be no doubt they were close friends as he encouraged Hardy's development from an impressionable age, was a regular visitor to the Hardy household, and in later life taught Thomas how to paint. At this time the Moule family were also friendly with the Reverend William Barnes, the Dorset poet and philologist who also acted as a mentor to Thomas Hardy.
HENRY JOSEPH MOULE (1825-1904) "Bottom o Town, Dorchester' street scene with figures, looking up Dorchester High Street, watercolour, 15cm x 13cm; together with the companion study 'Fordington Hill, Dorchester', watercolour, 15cm x 13cm (2)Henry Joseph Moule was an English watercolour artist, and friend of Thomas Hardy. He was born at Gillingham, Dorset on 25 September 1825, the eldest of eight sons of Henry Moule, and educated at Corpus Christi College, Cambridge, gaining a B.A. in 1848 and M.A. in 1853. He then spent some years as a private tutor, secretary and librarian, to the family of Lord Wriothesley Russell (son of John Russell, 6th Duke of Bedford) and then the Earl Fitzwilliam at Wentworth Woodhouse. He spent the years 1862-1877 in Scotland, and then (after a brief sojourn in Ireland) returned to Dorset (where he had grown up). In 1883 he was appointed the first curator of the Dorset County Museum, a post he held until his death on 13 March 1904; he left several thousand paintings to the museum.He was a close friend of Thomas Hardy for fifty years, their first meeting being shortly before 1854. He was 15 years older than Thomas Hardy, and it seems likely that they met when Henry returned from University to his Father's vicarage at Fordington and Hardy was still quite young. There can be no doubt they were close friends as he encouraged Hardy's development from an impressionable age, was a regular visitor to the Hardy household, and in later life taught Thomas how to paint. At this time the Moule family were also friendly with the Reverend William Barnes, the Dorset poet and philologist who also acted as a mentor to Thomas Hardy.
Vinyl - Six Van Der Graaf vinyl LP's to include Vital (Charisma Records CVLD 101), Still Life (Charisma Records CAS 1116), H to He Who Am The Only One (Charisma Records CAS 1027), 68-71 (Charisma Records CS2), Pawn Hearts (Charisma Records 6321 125), Reflection (Fontana Records 9286 002), vinyl and sleeve condition overall VG.
Garlick BARNES (1891-1987)Still Life - Mushrooms Oil on boardSigned 30 x 39cmGarlick Barnes 1891-1987Garlick Barnes moved to St Ives at the outbreak of WWII. Living previously in London and Kent, she had raised her twin sons John & William (born in 1920) before she could dedicate herself to art, she then studied in Canterbury and in 1936 had become a pupil of Walter Sickert in Thanet, exhibiting with him in Margate. After moving to Cornwall, she became an active and popular member of the artists community in St Ives and exhibited regularly, was a member of the NSA and served on the Hanging Committee. Her work included portraiture but her love of gardening and flowers featured predominantly in her work as did the back streets of St Ives and the Cornish countryside. The Salt Gallery St Ives held a retrospective of her work in 1984 by which time she was in her 90s. William (Bill) Barnes 1920 -2019William and his twin brother John began filmmaking as teenagers, committing to film the lives of the coastal, rural and Gypsy communities in Cornwall and Kent that had so interested them from an early age. In 1939, they studied film with Edward Carrick in Soho who was film director for Ealing Studios and The Crown Film Unit, (later GPO films). During the Second World War they both served in the Navy and afterwards joined their mother in St Ives where they exhibited their amazing collection of artefacts which formed the Barnes Museum of Cinematography. In the late 1980s the collection was sold to the Museo Nazionale del Cinema in Turin, with some British material going to Hove Museum. Bill was a leading authority on many aspects of the optical media that preceded cinema and in particular of the early years of cinema itself. In 1997 John and William were awarded the Jean Mitry prize by the Pordenone Silent Film Festival in Italy for their distinguished contribution to silent cinema and in 2006 both brothers received an honorary doctorate from the University of Stirling.
Lilian BLAND (1878-1971) (Aviator)Sennen SeascapeWatercolour/gouache28x43cmNews article to versoProvenance:Gifted to the vendor's father who was a close friend of Bland.Lilian Bland (1878-1971)In 1910, when Amelia Erhart was still only twelve years old, the pioneering Anglo-Irish aviator, photographer, journalist, jockey and motor enthusiast Lilian Bland made the first flight in her bi-plane the 'Mayfly,' aptly and ironically named by Bland because "It may fly, it may not..." This was all the more remarkable because Bland had also designed and built the plane herself, the first woman in the world to do so. Strangely, she is barely mentioned in the annals of aviation history and she remains virtually unknown to the wider public.Born in Kent in 1878, between 1900 and 1906 (after the death of her mother) Bland moved with her father to the family home in Carnmoney in Northern Ireland to live with her aunt. Bland scandalised her neighbours, she smoked, wore trousers, was an excellent and knowledgable horsewoman, hunted hare and fox, fished, practiced jujitsu, was a crack shot and never had any interest in the Edwardian pursuits of a society lady—they had empty lives full of empty talk, she once said. She was the first woman to be granted a jockey's licence in Ireland and applied repeatedly to ride in the Grand National, but was refused on account of her sex. It is interesting to note that it was 1977 before women were finally allowed to compete in the National and 2021 before there was a female winner, which gives a sense of just how far ahead of her time Bland was.Already a successful sports journalist and press photographer for various London newspapers, her enthusiasm for flight was inspired by Blériot's achievements and her studies of birds, and in 1909 she set to work designing and building her own plane. A page dedicated to Bland at the Women’s Museum of Ireland describes the meticulous process by which she worked on building the Mayfly. She initially created it as a glider, testing its weight capacity and drawing on her knowledge of avian biology to design the wings. Eventually, by 1910 the Mayfly was capable of flying to a height of 30 feet and traveling for a quarter of a mile. Her father was considerably alarmed by these antics and persuaded her to give up flying in return for a motor car. It was a successful bribe. Delighted by her new Model T Ford, bought in Dublin, Bland convinced the delivery driver to let her drive it home and of course she was a natural. Constantly breaking boundaries, she went on to set up Belfast’s first Ford dealership. She never returned to flying, but next married her cousin Charles Loftus Bland in 1911, settling in Canada where they hacked a home out of the wilderness. They had two children, Patricia and Jackie. Tragically, Patricia died an agonising death from a tetanus infection when just 16. Jackie, a commercial fisherman, drowned in a boating accident off Vancouver Island in 1962. The Bland's marriage did not survive the grief of Patricia's death and Lilian returned to England in 1935, living first in Kent then retiring to Sennen in Cornwall in 1955, where by her own account she devoted the rest of her life to gambling, painting and gardening. In a 1966 interview with Penzance reporter Frank Ruhrmund, she described her solitary life looking out to sea from her home in Maria's Lane in Sennen: "I love it. I keep busy, I have my plants, I paint and I gamble. Very occasionally I watch television at a neighbour’s house, but only the horse racing – I back five horses a day, with success, I may add and, great fun!”She died in 1971 aged 92, and is buried in Sennen. Condition report: This work has not been examined out of the frame. There are some foxing spots and we have taken images showing the type of spotting.
Lilian BLAND (1878-1971) (Aviator)Hydrangeas Oil on board Signed Artist's label to verso31.5 x 44cmProvenance:Gifted to the vendor's father who was a close friend of Bland.Lilian Bland (1878-1971)In 1910, when Amelia Erhart was still only twelve years old, the pioneering Anglo-Irish aviator, photographer, journalist, jockey and motor enthusiast Lilian Bland made the first flight in her bi-plane the 'Mayfly,' aptly and ironically named by Bland because "It may fly, it may not..." This was all the more remarkable because Bland had also designed and built the plane herself, the first woman in the world to do so. Strangely, she is barely mentioned in the annals of aviation history and she remains virtually unknown to the wider public.Born in Kent in 1878, between 1900 and 1906 (after the death of her mother) Bland moved with her father to the family home in Carnmoney in Northern Ireland to live with her aunt. Bland scandalised her neighbours, she smoked, wore trousers, was an excellent and knowledgable horsewoman, hunted hare and fox, fished, practiced jujitsu, was a crack shot and never had any interest in the Edwardian pursuits of a society lady—they had empty lives full of empty talk, she once said. She was the first woman to be granted a jockey's licence in Ireland and applied repeatedly to ride in the Grand National, but was refused on account of her sex. It is interesting to note that it was 1977 before women were finally allowed to compete in the National and 2021 before there was a female winner, which gives a sense of just how far ahead of her time Bland was.Already a successful sports journalist and press photographer for various London newspapers, her enthusiasm for flight was inspired by Blériot's achievements and her studies of birds, and in 1909 she set to work designing and building her own plane. A page dedicated to Bland at the Women’s Museum of Ireland describes the meticulous process by which she worked on building the Mayfly. She initially created it as a glider, testing its weight capacity and drawing on her knowledge of avian biology to design the wings. Eventually, by 1910 the Mayfly was capable of flying to a height of 30 feet and traveling for a quarter of a mile. Her father was considerably alarmed by these antics and persuaded her to give up flying in return for a motor car. It was a successful bribe. Delighted by her new Model T Ford, bought in Dublin, Bland convinced the delivery driver to let her drive it home and of course she was a natural. Constantly breaking boundaries, she went on to set up Belfast’s first Ford dealership. She never returned to flying, but next married her cousin Charles Loftus Bland in 1911, settling in Canada where they hacked a home out of the wilderness. They had two children, Patricia and Jackie. Tragically, Patricia died an agonising death from a tetanus infection when just 16. Jackie, a commercial fisherman, drowned in a boating accident off Vancouver Island in 1962. The Bland's marriage did not survive the grief of Patricia's death and Lilian returned to England in 1935, living first in Kent then retiring to Sennen in Cornwall in 1955, where by her own account she devoted the rest of her life to gambling, painting and gardening. In a 1966 interview with Penzance reporter Frank Ruhrmund, she described her solitary life looking out to sea from her home in Maria's Lane in Sennen: "I love it. I keep busy, I have my plants, I paint and I gamble. Very occasionally I watch television at a neighbour’s house, but only the horse racing – I back five horses a day, with success, I may add and, great fun!”She died in 1971 aged 92, and is buried in Sennen. Condition report: There are areas of this painting where there has been pronounced paint shrinkage. We have tried to illustrate this with detailed images.
Lilian BLAND (1878-1971) (Aviator)Tropical Fish Oil on board Signed Inscribed to verso 26 x 29cmTogether with a tropical fish watercolour by the same handInitialledInscribed to verso 36 x 25.5cmProvenance:Gifted to the vendor's father who was a close friend of Bland.Lilian Bland (1878-1971)In 1910, when Amelia Erhart was still only twelve years old, the pioneering Anglo-Irish aviator, photographer, journalist, jockey and motor enthusiast Lilian Bland made the first flight in her bi-plane the 'Mayfly,' aptly and ironically named by Bland because "It may fly, it may not..." This was all the more remarkable because Bland had also designed and built the plane herself, the first woman in the world to do so. Strangely, she is barely mentioned in the annals of aviation history and she remains virtually unknown to the wider public.Born in Kent in 1878, between 1900 and 1906 (after the death of her mother) Bland moved with her father to the family home in Carnmoney in Northern Ireland to live with her aunt. Bland scandalised her neighbours, she smoked, wore trousers, was an excellent and knowledgable horsewoman, hunted hare and fox, fished, practiced jujitsu, was a crack shot and never had any interest in the Edwardian pursuits of a society lady—they had empty lives full of empty talk, she once said. She was the first woman to be granted a jockey's licence in Ireland and applied repeatedly to ride in the Grand National, but was refused on account of her sex. It is interesting to note that it was 1977 before women were finally allowed to compete in the National and 2021 before there was a female winner, which gives a sense of just how far ahead of her time Bland was.Already a successful sports journalist and press photographer for various London newspapers, her enthusiasm for flight was inspired by Blériot's achievements and her studies of birds, and in 1909 she set to work designing and building her own plane. A page dedicated to Bland at the Women’s Museum of Ireland describes the meticulous process by which she worked on building the Mayfly. She initially created it as a glider, testing its weight capacity and drawing on her knowledge of avian biology to design the wings. Eventually, by 1910 the Mayfly was capable of flying to a height of 30 feet and traveling for a quarter of a mile. Her father was considerably alarmed by these antics and persuaded her to give up flying in return for a motor car. It was a successful bribe. Delighted by her new Model T Ford, bought in Dublin, Bland convinced the delivery driver to let her drive it home and of course she was a natural. Constantly breaking boundaries, she went on to set up Belfast’s first Ford dealership. She never returned to flying, but next married her cousin Charles Loftus Bland in 1911, settling in Canada where they hacked a home out of the wilderness. They had two children, Patricia and Jackie. Tragically, Patricia died an agonising death from a tetanus infection when just 16. Jackie, a commercial fisherman, drowned in a boating accident off Vancouver Island in 1962. The Bland's marriage did not survive the grief of Patricia's death and Lilian returned to England in 1935, living first in Kent then retiring to Sennen in Cornwall in 1955, where by her own account she devoted the rest of her life to gambling, painting and gardening. In a 1966 interview with Penzance reporter Frank Ruhrmund, she described her solitary life looking out to sea from her home in Maria's Lane in Sennen: "I love it. I keep busy, I have my plants, I paint and I gamble. Very occasionally I watch television at a neighbour’s house, but only the horse racing – I back five horses a day, with success, I may add and, great fun!”She died in 1971 aged 92, and is buried in Sennen.
Garlick BARNES (1891-1987)Still Life - Vegetables Oil on canvas Signed 41 x 51cmGarlick Barnes 1891-1987Garlick Barnes moved to St Ives at the outbreak of WWII. Living previously in London and Kent, she had raised her twin sons John & William (born in 1920) before she could dedicate herself to art, she then studied in Canterbury and in 1936 had become a pupil of Walter Sickert in Thanet, exhibiting with him in Margate. After moving to Cornwall, she became an active and popular member of the artists community in St Ives and exhibited regularly, was a member of the NSA and served on the Hanging Committee. Her work included portraiture but her love of gardening and flowers featured predominantly in her work as did the back streets of St Ives and the Cornish countryside. The Salt Gallery St Ives held a retrospective of her work in 1984 by which time she was in her 90s. William (Bill) Barnes 1920 -2019William and his twin brother John began filmmaking as teenagers, committing to film the lives of the coastal, rural and Gypsy communities in Cornwall and Kent that had so interested them from an early age. In 1939, they studied film with Edward Carrick in Soho who was film director for Ealing Studios and The Crown Film Unit, (later GPO films). During the Second World War they both served in the Navy and afterwards joined their mother in St Ives where they exhibited their amazing collection of artefacts which formed the Barnes Museum of Cinematography. In the late 1980s the collection was sold to the Museo Nazionale del Cinema in Turin, with some British material going to Hove Museum. Bill was a leading authority on many aspects of the optical media that preceded cinema and in particular of the early years of cinema itself. In 1997 John and William were awarded the Jean Mitry prize by the Pordenone Silent Film Festival in Italy for their distinguished contribution to silent cinema and in 2006 both brothers received an honorary doctorate from the University of Stirling.Condition report: This unframed oil is in original condition, it may benefit from a light clean but doesn't really need it.
Samuel John Lamorna BIRCH (1869-1955) Still Life Oil on board Signed and dated 195437 x 32cmCondition report: This along with several other lots in the sale comes from the estate of the last in the line of the Peak family. Long established picture framers of this town. The siblings can remember being told of Stanhope Forbes visiting the Causeway head shop.
Garlick BARNES (1891-1987)Still Life - Bottles and a LemonOil on board Signed 41 x 36cmGarlick Barnes 1891-1987Garlick Barnes moved to St Ives at the outbreak of WWII. Living previously in London and Kent, she had raised her twin sons John & William (born in 1920) before she could dedicate herself to art, she then studied in Canterbury and in 1936 had become a pupil of Walter Sickert in Thanet, exhibiting with him in Margate. After moving to Cornwall, she became an active and popular member of the artists community in St Ives and exhibited regularly, was a member of the NSA and served on the Hanging Committee. Her work included portraiture but her love of gardening and flowers featured predominantly in her work as did the back streets of St Ives and the Cornish countryside. The Salt Gallery St Ives held a retrospective of her work in 1984 by which time she was in her 90s. William (Bill) Barnes 1920 -2019William and his twin brother John began filmmaking as teenagers, committing to film the lives of the coastal, rural and Gypsy communities in Cornwall and Kent that had so interested them from an early age. In 1939, they studied film with Edward Carrick in Soho who was film director for Ealing Studios and The Crown Film Unit, (later GPO films). During the Second World War they both served in the Navy and afterwards joined their mother in St Ives where they exhibited their amazing collection of artefacts which formed the Barnes Museum of Cinematography. In the late 1980s the collection was sold to the Museo Nazionale del Cinema in Turin, with some British material going to Hove Museum. Bill was a leading authority on many aspects of the optical media that preceded cinema and in particular of the early years of cinema itself. In 1997 John and William were awarded the Jean Mitry prize by the Pordenone Silent Film Festival in Italy for their distinguished contribution to silent cinema and in 2006 both brothers received an honorary doctorate from the University of Stirling.Condition report: This work on panel has no condition issues, but it is hard to judge given the technique of quickly painting with diluted paint.A clean and varnish is probably required
Terry WHYBROW (1932-2020)Painting 23.5, St Ives Mixed media Signed, inscribed and dated '83 to verso 36 x 36cmTerry 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.
Terry WHYBROW (1932-2020)Untitled 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.
Terry WHYBROW (1932-2020)If Winter Comes, ReliefMixed media Signed, Inscriptions to verso including the date 198256x56cmTerry 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.
Terry WHYBROW (1932-2020)The Carracks, ReliefMixed media Signed, and to verso inscriptions with the date 198156x56cmTerry 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.
Terry WHYBROW (1932-2020)Night-Fall ReliefMixed media Signed and inscribed 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.Terry 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.Condition report: This is in almost mint condition
Terry WHYBROW (1932-2020)No3 ReliefMixed media Signed and inscribed 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.
Terry WHYBROW (1932-2020)Standing Stones, ReliefMixed media Signed and inscribed 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.Terry 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.
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.
Terry WHYBROW (1932-2020)Crow Black, ReliefMixed media Signed, further signed inscribed and dated '82 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.
Terry WHYBROW (1932-2020)Jug, ReliefMixed media Signed, further signed inscribed and dated '82 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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