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![Robert O. Lenkiewicz [1941-2002]-
Diogenes and Belle at Prayer with Chairs:-
Project 2. Death and The Maiden. 1974
oil on can](https://cdn.globalauctionplatform.com/1420244c-4569-4c10-84f7-a44800de466c/b6836755-bbc7-482e-a189-c45b8169724a/468x382.jpg)
Lot 110
Robert O. Lenkiewicz [1941-2002]- Diogenes and Belle at Prayer with Chairs:- Project 2. Death and The Maiden. 1974 oil on canvas 196 x 214cm. * Provenance. The Lenkiewicz Foundation Collection. *Notes Exhibited. The Painter with Women (Retrospective Section), ICC Birmingham 1994; Plymouth City Museum Retrospective, 1997; Wolverhampton Art Gallery, A Retrospective, 1998; At the Edge, Hartlepool Art Gallery 2007 and Novas Gallery 2008; Plymouth City Museum and Art Gallery, 2009; Royal West of England Academy, Bristol 2011; Torre Abbey 2011; Royal William Yard, Plymouth, 2012; Spinnerei, Leipzig, and Nuremberg, Germany, 2013 (see Introduction for post-2007 exhibition details). * Notes. Begun in the autumn of 1974 after a surprise visit to Plymouth by Lenkiewicz' muse Belle Pecorini, this painting was completed too late to feature in the first showing of its Project on the theme of Death and the Maiden. Nevertheless, Lenkiewicz was able to submit it, unsuccessfully, to the Royal Academy Summer Exhibition in 1975. The work was shown at Lenkiewicz's gallery called The Fool in Clifton Street in 1974, its one room more than large enough for the seventy pictures, many of which introduced a new turn in the artist's method: 'the aesthetic note' - smaller works, usually executed in watercolour or gouache on paper on which were inscribed notes written in the artist's hand. These works, numbering almost fifty, were later bound into a large folio with many more notes and annotated sketches of memento mori in art across world cultures, including sketches he made during visits to the Victoria and Albert Museum's collection. This folio is titled Death & The Maiden Paintings: R.O. Lenkiewicz and is in the collection of The Lenkiewicz Foundation. The vagrant Diogenes, Edwin Mackenzie, featured extensively in this Project. In The Putrefaction of Diogenes he himself appeared as a memento mori - a gruesome reminder that death is inevitable - but here the motif appears in the classical form of the skull, reinforced by Lenkiewicz' favourite visual metaphor for absence and loss - the empty chair. The subject matter of the exhibition was based on Lenkiewicz's observation that: 'An intense aesthetic/personality interest in another person seems always to carry with it the inevitability of change. In this change we witness the death of love and the decay of our interest. The undermining influence of this experience hints at the contact between 'Death and the Maiden' - between 'Love and Tragedy' - between life and us.' Literature R.O. Lenkiewicz (1997). White Lane Press. p.48 Robert Lenkiewicz. Paintings & Projects (2006). White Lane Press. Plate 9. Robert Lenkiewicz. Still Lives (2011). Lenkiewicz Archive. p. 9.
Lot 336
Mary Piercy (20th Century British). Still life oil on board together with six others, unframed (7). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 338
Mary Piercy (20th Century British). Still life, oil on canvas together with three other sill lives, oils on board and a framed pastel (5). Notes Mary Piercy grew up in Hampstead, and in the late 1950s attended Hornsey College of Art. She provided illustrations for the 1959 first issue of "Ambit" literary magazine, which continues to be published today. In the 1960s she had a solo exhibition in Oxford; as a member of the Hampstead Artists' Council, she was closely involved with organising and exhibiting at the "Open-Air Art Exhibitions" in Hampstead; she also sold works in Canada at this time. Later she made props for various leading ballet companies, including the Royal Ballet Covent Garden and also for television, notably on early episodes of "Dr Who". She experimented with a range of styles in her art and was particularly influenced by Gauguin and Picasso, but her pictures always have a bold, forceful, expressive quality that is distinctively her own.
Lot 1375
STRAVINSKY IGOR: (1882-1971) Russian Composer. T.L.S., I Stravinsky, one page, oblong 8vo, Hollywood, 26th November 1968, to Elisabeth Lutyens Clark. Stravinsky reports having just returned to California and having received his correspondent´s letter, the photographs and scores which he has not had time to look at yet, further stating `We enjoyed the two months in Europe, and the change of scene was probably good for me, but I am glad to be back in California for the winter. It is just a year since I left the hospital, and I hope at long last that I can again start to compose.´ Stravinsky still tries to recover from several thrombosis suffered the precedent year and to be able to start composing again, although he would keep on with his health problems till the end of his life. Accompanied by the original envelope , postmarked. EX. £400-500 Elisabeth Lutyens Clark (1906-1983) English Composer. She found success in 1947 with a cantata setting an Arthur Rimbaud's poem.
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