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Lot 108
Maritime.- Navigation.- Michelot (Henri) Le portulan de la Mer Mediterranee, ou le vray guide des pilotes costiers, title in red and black and with woodcut printer's device, folding engraved plate bound in previous work, spotted, lightly browned throughout, Amsterdam, Pierre Mortier, 1709 bound after Alard (Carel) L'Art de Batir les Vaisseaux et d'en perfectionner la Construction, 2 vol., 22 engraved plates and illustrations in text of ship-building (some plates folding or double-page), 88 (of 90) engraved plates of flags, lacking title of vol.1, and vol.2 additional title and 6 ff. of table at end (often lacking), some spotting or mostly light foxing, lightly browned, Amsterdam, D.Mortier, 1719-1718, contemporary calf, rebacked, preserving original richly gilt backstrip in compartments, rubbed, 4to sold not subject to return.
Lot 22
Browne (Thomas) Pseudodoxia Epidemica..., second edition, woodcut head-pieces and initials, title spotted, some browning, cropped, modern half calf, [Keynes 74; Wing B5160], folio, by A. Miller, for Edw. Dod and Nath. Ekins, 1650.⁂ The first edition to include the entertaining "Table Alphabeticall" by the Rev. Whitefoot.
Lot 48
Food and Drink.- Poole (Watkin, editor) The Female's Best Friend; or, the Young Woman's Guide to Virtue, Economy, and Happiness, containing a Complete Modern System of Cookery, engraved frontispiece, additional pictorial title and 12 plates of meat cuts and table plans, a little foxed and stained, modern half calf, old gilt-stamped roan book-label "H.Brook 1833" mounted on front pastedown, [Cagle 936; Oxford p.160], 8vo, Manchester, 1826.
Lot 62
Cruikshank (George).- Angelo (Henry) Angelo's Pic Nic; or, Table Talk, first edition, hand-coloured etched frontispiece and title vignette by George Cruikshank, with 2 blank leaves bound in amongst preliminaries, title soiled and browned, bookplate of B.Williams Ball, contemporary half green calf, spine gilt with red roan label, slightly rubbed, [Cohn 31], 8vo, 1834.
Lot 69
England.- Grosley (Pierre Jean) A Tour to London; or, New Observations on England, and its Inhabitants, translated by Thomas Nugent, 2 vol., first English edition, advertisement leaf at end of vol.1, browned, some soiling, Z5 in vol.1 torn and repaired, ex-library copy with a few small ink stamps to title and preliminaries but none to text, modern half, 8vo, for Lockyer Davis, 1772. ⁂ A Frenchman's observations of England and the English having spent a year living in London. It reputedly includes the first mention of the sandwich in print: "A minister of state passed four and twenty hours at a public gaming-table, so absorpt in play, that, during the whole time, he had no subsistence but a bit of beef, between two slices of toasted bread, which he eat without ever quitting the game. This new dish grew highly in vogue, during my residence in London; it was called by the name of the minister, who invented it." vol.1 p.149.
Lot 74
London.- Reports relating to the Entertainment of Her Majesty the Queen, in the Guildhall of the City of London, on Lord Mayor's Day, 1837, title in red & black, 3 engraved plates of tickets and carriage passes (the latter with 2 to a page, one hand-tinted yellow, one blue), large folding plate of table plan printed in brown and black, engraved plate of coins on india paper and mounted, folding letterpress key to table plan, with duplicates of the 2 hand-tinted plates of tickets towards end, illustrations of tickets, menus etc. printed in black and red or green, original cloth, worn and faded, spine torn and defective, folio, 1838.⁂ Fascinating record of Queen Victoria's first Lord Mayor's Banquet.
Lot 205
Screenprinted linen (Dimensions: 30cm x 41.5cm (11.75in x 16.5in), unframed)(30cm x 41.5cm (11.75in x 16.5in), unframed)Footnote: Literature: see Andrew Lambirth, Roger Hilton: The Figured Language of Thought , Thames and Hudson, 2007, pp102, for an illustrated example. Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 140
Original paper label, hand-coloured transfer print on wood, on black metal pedestal base (Dimensions: 77.5cm high, 115cm diameter (30.5in high, 45.25in diameter))(77.5cm high, 115cm diameter (30.5in high, 45.25in diameter))Condition report: The table appears sound. Some very minor losses to the table edge. Wears and marks particularly to the base consistent with age and use. It is difficult to assess whether the table top colour has faded slightly or if this was the original tone. Subject to the above the table appears in good condition.
Lot 220
Initialled in pencil (lower right), pencil, gouache and watercolour (Dimensions: Each 31.5cm x 45.5cm (12.37in x 17.87in) and a corresponding print for a table mat, initialled in pencil, 33cm x 47cm (13in x 18.5in) (5))(Each 31.5cm x 45.5cm (12.37in x 17.87in) and a corresponding print for a table mat, initialled in pencil, 33cm x 47cm (13in x 18.5in) (5))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 213
Signed, dated and inscribed in pencil (in the margin), print and gouache (Dimensions: 30.5cm x 45.5cm (12in x 18in))(30.5cm x 45.5cm (12in x 18in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 207
Screenprinted linen (Dimensions: Each 30cm x 42cm (11.75in x 16.5in), unframed (2))(Each 30cm x 42cm (11.75in x 16.5in), unframed (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 208
Screenprinted linen (Dimensions: 31cm x 42cm (12.25in x 16.5in))(31cm x 42cm (12.25in x 16.5in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 215
Screenprinted linen (Dimensions: 29cm x 43cm (11.5in x 17in) and a corresponding print, 34cm x 46cm (13.5in x 18.25in) (2))(29cm x 43cm (11.5in x 17in) and a corresponding print, 34cm x 46cm (13.5in x 18.25in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 218
Signed 'BELL,' collage (Dimensions: Each 28.5cm x 43cm (11.25in x 17in) (2))(Each 28.5cm x 43cm (11.25in x 17in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 93
Teak with reversible marquetry top (Dimensions: 43cm high, 50cm diameter (17in high, 19.75in diameter))(43cm high, 50cm diameter (17in high, 19.75in diameter))Condition report: Light wear and marks consistent with use and age, and odd old scuff to edge of top. Very small indent/chip two inches from the edge on the concave side of the top. Subject to the above the table appears in good condition.
Lot 210
Signed with initials, paper collage 31.5cm x 45.5cm ( 12.25in x 18in ), together with three screenprinted linens of the corresponding design in differing colourways, 30cm x 42cm ( 12in x 16.5in ), 32.5cm x 46cm ( 12.75in x 18.25in ), 32cm x 46.5cm ( 12.5in x 18.25in ), the three linens unframed (4) (Dimensions: .)(.)Footnote: Literature: Geoffrey Rayner et al., Textile Design: Artists' Textiles 1940-1976 , Antique Collectors' Club Ltd., 2014, p.93 for an example of the table linen in the grey colourway. Note: During Tate Britain’s major retrospective Barbara Hepworth: Sculpture for a Modern World in 2015, they used this textile design as inspiration, and a basis, for their first ever garden installation. Positioned at the front of Tate Britain, overlooking the Thames, it reflected the simplicity and bold lines of this significant design. Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 206
Signed and dated in pencil (lower right), pencil and watercolour (Dimensions: 32cm x 46cm (12.5in x 18in) and a corresponding table linen, 31cm x 46cm (12.25in x 18.12in) (2))(32cm x 46cm (12.5in x 18in) and a corresponding table linen, 31cm x 46cm (12.25in x 18.12in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 223
Watercolour and gouache (Dimensions: 32cm x 45.5cm (12.5in x 18in), and a corresponding table linen in a differing colourway, 30cm x 43cm (11.75in x 16.75in) (2))(32cm x 45.5cm (12.5in x 18in), and a corresponding table linen in a differing colourway, 30cm x 43cm (11.75in x 16.75in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 201
One with fish design and four abstract, gouache (Dimensions: Various sizes, the largest 31cm x 39.5cm (12.25in x 15.5in) (5))(Various sizes, the largest 31cm x 39.5cm (12.25in x 15.5in) (5))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 203
Screenprinted linen (Dimensions: 33cm x 47cm (13in x 18.5in) and two further table linen designs, screenprints, one with pencil additions, 33.5cm x 47.5cm (13.25in x 18.75in) and 33.5cm x 44.5cm (13.25in x 17.5in) (3))(33cm x 47cm (13in x 18.5in) and two further table linen designs, screenprints, one with pencil additions, 33.5cm x 47.5cm (13.25in x 18.75in) and 33.5cm x 44.5cm (13.25in x 17.5in) (3))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 221
Signed 'BELL' (lower left), gouache and collage, together with a correponding table linen and print (Dimensions: The gouache 29.5cm x 44.5cm (11.58in x 17.5in) (3))(The gouache 29.5cm x 44.5cm (11.58in x 17.5in) (3))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 217
Signed (lower right), pencil and gouache (Dimensions: 34cm x 45cm (13.5in x 17.75in))(34cm x 45cm (13.5in x 17.75in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 211
Initialled (lower right), pencil, gouache and watercolour (Dimensions: 33cm x 47cm (13in x 18.5in) and its corresponding table linen, 30cm x 45cm (11.75in x 17.75in) (2))(33cm x 47cm (13in x 18.5in) and its corresponding table linen, 30cm x 45cm (11.75in x 17.75in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 216
Screenprinted linen (Dimensions: 30.5cm x 42.5cm (12in x 16.75in), with a corresponding print, unframed 33cm x 45cm (13in x 17.75in) (2))(30.5cm x 42.5cm (12in x 16.75in), with a corresponding print, unframed 33cm x 45cm (13in x 17.75in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 241
First edition, comprising coffee pot, five cups and four saucers, printed manufacturer's marks including facsimile signature (Dimensions: The teapot 17.5cm high (6.87in high))(The teapot 17.5cm high (6.87in high))Footnote: The set was produced as part of an adventurous project devised by Thomas Acland Fennetmore, sales manager of the china manufacturers E. Brain & Co. Ltd., who traded under the name Foley China. It involved the commissioning of a large number of designs for tableware from a range of contemporary artists, each of whom were paid £10 per design plus royalties. The results of the project were displayed alongside many of the original design drawings in the exhibition ‘Modern Art for the Table,’ which opened at Harrods on 22 October 1934 and was subsequently shown at other venues.Condition report: The teapot has two hairline cracks and a few minor chips to the bottom foot rim. Three cups with hairlines. One saucer restuck (glued). Odd light surface marks to saucers. Colours appear good and not to have faded.
Lot 202
Including fish, bird and abstract designs, screenprinted linen, unframed (Dimensions: Various size, the largest 33cm x 45.5cm (13in x 17.8in) (5))(Various size, the largest 33cm x 45.5cm (13in x 17.8in) (5))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 209
Screenprinted linen (Dimensions: 30cm x 46cm (11.75in x 18in), unframed)(30cm x 46cm (11.75in x 18in), unframed)Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 224
By Barbara Hepworth, Denis Mitchell, Forrester, Dorfman, Roger Hilton, Snow, screenprinted linen (Dimensions: Various sizes, the largest 33cm x 47.5cm (13in x 18.75in), unframed (6))(Various sizes, the largest 33cm x 47.5cm (13in x 18.75in), unframed (6))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 214
Signed, dated and inscribed in pencil (in the margin), pencil and gouache (Dimensions: 32.5cm x 45.5cm (12.75in x 18in), together with two corresponding prints, each 33cm x 47cm ( 13.25in x 18.5in) (3))(32.5cm x 45.5cm (12.75in x 18in), together with two corresponding prints, each 33cm x 47cm ( 13.25in x 18.5in) (3))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 222
Gouache (Dimensions: 31cm x 39.5cm (12.25in x 15.5in), with two corresponding table linens and a screenprint, each approximately 28.5cm x 36.5cm (11.25in x 14.25in) (4))(31cm x 39.5cm (12.25in x 15.5in), with two corresponding table linens and a screenprint, each approximately 28.5cm x 36.5cm (11.25in x 14.25in) (4))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 204
Screenprinted linen (Dimensions: 30cm x 43cm (11.75in x 17in), together with a corresponding linen in black and white, 28cm x 35.5cm (11in x 14in) (2))(30cm x 43cm (11.75in x 17in), together with a corresponding linen in black and white, 28cm x 35.5cm (11in x 14in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 89
Model 41, teak and leather, partial paper label (to underside of leather seat) (Dimensions: 37cm high, 48cm wide (14.5in high, 18.9in wide))(37cm high, 48cm wide (14.5in high, 18.9in wide))Condition report: Overall the stool/table appears structually sound. Some marks and wear to the leather and wood in places consistent with age and use. Subject to the above it appears in good condition.
Lot 219
Signed in pen (lower right), collage (Dimensions: 31cm x 42cm (12.25in x 16.5in))(31cm x 42cm (12.25in x 16.5in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 200
Including lobster, chicken and flower designs, gouache (Dimensions: Various sizes, the largest 31.5cm x 40cm (12.35in x 15.75in) (5))(Various sizes, the largest 31.5cm x 40cm (12.35in x 15.75in) (5))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 212
Screenprint (Dimensions: 33cm x 45.5cm (13in x 18in))(33cm x 45.5cm (13in x 18in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.
Lot 1020
A pair of French late 19th/early 20th century table oil lamps, with reeded and fluted decoration (incomplete) (2)Report by GHThe taller lamp with the glass reservoir doesn't have any other fittings than what you can see. Slightly leaning to the right, suggesting it has possibly been dropped at one point. Some splits to metalwork on the edge of the octagonal section near the top. Otherwise various knocks and dents.The other lamp also has damage around the octagonal piece near the top which is completely split. Otherwise general wear and tear, knocks etc
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