Jenna Burlingham Gallery Paintings

Drawing (Green with Three Tongues), Pastel on CutOut Paper by Richard Smith, 1970 Additional information: Medium: Pastel on Cut-out Paper with Staples 99 x 143 cm 39 x 56 1/4 in Signed and dated Smith was a key figure in the British development of Pop Art. By 1970 when this work was executed, Smith was primarily concerned with the examination of the two-dimensional nature of painting and was experimenting in both his oils and his works on paper with extending the paint surface out into a three-dimensional space. In this work we see the added extensions in collage (the ‘three tongues’) to the normal rectangular format. The large scale is testament to the influence of advertising in Smith's late 60s and early 70s works. This work was made in the same year that Richard Smith represented Great Britain at the XXXV Venice Biennale, with a solo show in the British Pavilion. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. It was a hugely defining period in Smith's career, including the creation of his sculpture-cum-paintings 'Waterfall', 'Triangular' (both in the collection of Tate, London) and Sphinx Series (British Council), before he began developments towards his Kite Series in 1971. Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...

Barcos Rabelos, Oporto, Portugal, Laid on Board by Hans Tisdall, 1936 Additional information: Medium: Oil on Canvas, Laid on Board 43 x 51 cm 16 7/8 x 20 1/8 in Signed using natal n...

Woman in Interior (Washing by the Fireplace) by Philip Wilson Steer, 1895 Circa Additional information: Medium: Oil on Canvas-board 30.5 x 20.3 cm 12 x 8 in Numbered '#156' verso; w...

Untitled, Oil on Canvas by Douglas Swan, 1963 Circa Additional information: Medium: Oil on Canvas 60 x 25 1/2 in 152.4 x 64.8 cm Signed and inscribed ve...

BenJonson, Acrylic on Canvas by Michael Tyzack, 1965 Additional information: Medium: Acrylic on Canvas 183 x 183 cm 72 1/8 x 72 1/8 in Signed, dated an...

Village Garden, Oil on Canvas by Philip Sutton, 1956 Additional information: Medium: Oil on Canvas 71 x 86.5 cm 28 x 34 1/8 in Signed, dated and titled verso Philip Sutton i...

Feeling That Way, Oil on Canvas by Frank Avray Wilson, 1961 Additional information: Medium: Oil on Canvas 101.6 x 76.2 cm 40 x 30 in Signed, dated and titled verso Provenance gifte...

Interior with Young Girl, Oil on Canvas by Ernest Herbert Whydale Additional information: Medium: Oil on Canvas 40.6 x 35.6 cm 16 x 14 in Signed

Guns on Cardiff Dock, Oil on Canvas by Nan Youngman, 1960 Additional information: Medium: Oil on Canvas 45.7 x 66 cm 18 x 26 in Signed and dated Nan ...

Glamorgan Shore, Oil on Canvas by Nan Youngman, 1962 Additional information: Medium: Oil on Canvas 50.8 x 76.2 cm 20 x 30 in Signed and dated Nan You...

Olive, Mallorca, Chalk Pastel Painting by David Nash, 1995 Additional information: Medium: Chalk pastel 11 x 15 cm 4 3/8 x 5 7/8 in Signed, titled and dated

Spots I, Acrylic on Paper Painting by Breon O'Casey 1928-2011, 2000 Additional information: Medium: Acrylic on paper 9 7/8 x 12 7/8 1 1 Born in London 1928, Breon O’Casey was the s...

Deux Personnages, Ink Painting by Wolfgang Paalen 1936 Additional information: Medium: Ink 24 x 16.5 cm 9 1/2 x 6 1/2 in Signed, dated and titled; further signed, and inscribed vers...

Huts, Oil on Board Painting by Mary Newcomb 1922-2008, 1964 Additional information: Medium: Oil on board 59 x 90 cm 23 1/4 x 35 3/8 in Signed and dated ...

Linear Development in Two Movements, Oil & Pencil on Incised Board Painting 1972 Additional information: Medium: Oil and pencil on incised board 16 x 16 in (31 x 31 in including fra...

Kirby Hall, Northamptonshire, Gouache with Ink and Wash Painting, 1940-42 circa Additional information: Medium: Gouache with ink and wash 15.2 x 18.5 cm 6 x 7 1/4 in As part of an eight-page pamphlet for The Colour of English Country Houses in 1944, Piper included a lovely auto-lithograph of Kirby Hall in Northamptonshire. This work was most likely sketched on the occasion of his visit to the Hall at this time and is of a slightly different angle. It is a working version of the cover of C Aspinall-Oglander's 'Admiral’s Widow’, 1942 (Hogarth Press). The print is cat. no.51.\\\ Piper gives a lovely description of this Elizabethan country house in the introduction to the pamphlet as follows: ‘A yellow stone house of the seventeenth century, in rolling green hunting-country. It gleams in the sun, forms a warm eye-catcher in dull weather and glimmers whitely in moonlight. It is another ruin, partly roofless, and has recently taken over by the Office of Works to be preserved as a show-place.’ (John Piper). Here, Piper, painting at night in the light of the moon, depicts the north front from the inner courtyard, capturing the brilliance of the moonlit night as it dances over the ruins making it in Piper’s own words ‘glimmer whitely’ whilst the dramatic shadows darken the archways and windows. John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen Holding...

Projets(?) de Tableaux, Ink Painting by Wolfgang Paalen, 1936 Additional information: Medium: Ink 22 x 16 cm 8 5/8 x 6 1/4 in Signed, dated and titled; inscribed '5/ top / line bloc...

Harbour Scene, Cornwall, Black and Grey, Gouache Painting, 1953-1955 Additional information: Medium: Gouache 22 x 26.5 cm 8 5/8 x 10 3/8 in Tadeusz Piotr (Peter) Potworowski was a ...

Small Mound, Chalk Pastel Painting by David Nash, 1992 Additional information: Medium: Chalk pastel 15 x 11 cm 5 7/8 x 4 3/8 in Signed and dated

Cheltenham (Fantasia/Panorama), Pen and Ink Painting by John Piper, 1939 circa Additional information: Medium: Pen and ink 19 x 26.5 cm 7 1/2 x 10 3/8 in Inscribed extensively The upper image closely resembles a 1940 painting, Cheltenham Fantasia, which was sold to a Mr Anderson at the Leicester Galleries in March of that year. The lower image is a study for Piper's 1940 Curwen Press auto-lithograph 'Cheltenham', produced while he was also working on illustrations for the Shell and BP Shilling Guide to Gloucestershire (1939; not used in the project). Betjeman, then head of the project, also used the image to illustrate his article "Book Illustration Can Colour a Whole Town or City" in 'Signature' in 1940. The Cheltenham design is covered and reproduced in Hugh Fowler-Wright's book on Piper. John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen Holding...

Untitled (Blues and Browns), Oil on Board Painting by Wendy Pasmore, 1961 Additional information: Medium: Oil on board 12 3/4 x 17 3/4 in 32.5 x 45 cm Signed, dated and inscribed ve...

Line on Turquoise, No.25 - July, Oil on Canvas Painting by Paul Huxley B. 1938, 19632 Additional information: Medium: Oil on canvas 127 x 127 cm 50 x 50 i...

Painting, Oil on Canvas Board by Arthur Jackson 1911-2003, 1937 Additional information: Medium: Oil on canvas board 49 x 70 cm 19 1/4 x 27 1/2 in Signed, titled, dated and inscribed...

Foot of Pistyll Rhaeadr, Ink and Wash Painting by John Piper, circa 1939-1941 Additional information: Medium: Ink and wash 12.5 x 17.7 cm 4 7/8 x 7 in Titled under the mount John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen Holding...

Exposed Painting, Paynes Grey/Cobalt, Oil on Canvas Painting by Callum Innes B. 1962 Additional information: Medium: Oil on canvas 175 x 165 cm 68 7/8 x 65 in Signed, dated and insc...

Still life with Chair, Oil on Canvas Painting by John Hubbard 1931-2017, 1958 Additional information: Medium: Oil on canvas 38 x 36 in 96.5 x 91.4 cm Signed and dated "John E Hubbar...

Bajazet Encag'd, Oil on Canvas Painting by Jack Knox 1936-2015, circa 1965 Additional information: Medium: Oil on canvas 122 x 153 cm 48 1/8 x 60 1/4 in Signed; with title and Artist's address verso Provenance Acquired from the below by a private collector Exhibitions Royal Scottish Academy, 1965, cat. no.219 Jack Knox was a Scottish painter and teacher. Born in Kirkintilloch, East Dunbartonshire in 1936, Knox studied at Glasgow School of Art 1953-57, with teachers such William Armour and David Donaldson, before spending a year at the Paris atelier of the French painter André L'hote. Combining what he took from this experience with the impact of seeing the first show of American Abstract Expressionists in Europe in 1959, he began a diverse career which saw constantly changing styles, from gestural abstraction to still lifes and portraits. In 1965 he was appointed lecturer at Duncan of Jordanstone College of Art where he worked alongside fellow artists such as Alberto Morrocco...

Study for Twin Arches, Gozo, Oil on Paper Painting by Philip Jones 1933-2008, 1992 Additional information: Medium: Oil on paper 35.6 x 41.9 cm 14 x 16 1/2 in Signed, dated and title...

Transcend, Oil on Canvas Painting by Albert Irvin B. 1922, 1973 Additional information: Medium: Oil on canvas 177 x 202.9 cm 69 3/4 x 79 7/8 in Signed, titled and dated on the reverse Provenance Sale, Christie's South Kensington, where acquired by the present owner Albert Irvin was an English painter born in 1922. As a student he painted in an Impressionist style, but during the 1950s his style turned towards Realism, after he was heavily influences by the Kitchen Sink painters (Walter Richard Sickert, Jack Smith, Edward Middleditch...

Vase Fragment Banjul, Oil on Board Painting by Philip Jones 1933-2008, 2004 Additional information: Medium: Oil on board 15 x 19 in 38.1 x 48.3 cm Signed and dated Philip Jones was...

Only Under a Dark Sky, Oil on Canvas Painting by Tess Jaray B. 1937, 2003 Additional information: Medium: Oil on canvas 115.5 x 111.5 cm 45 1/2 x 43 7/8 in Signed; further signed an...

Gozo, Oil Painting by Philip Jones 1933-2008, 2006 Additional information: Medium: Oil 30.5 x 30.5 cm 12 x 12 in Signed, dated and titled; also signed, dated and titled verso Phili...

Swimming Pool, Oil on Board Painting by Philip Jones 1933-2008, 1992 Additional information: Medium: Oil on board 7 1/2 x 12 1/2 in 19.1 x 31.8 cm Signed and dated verso Philip Jon...

Provencal Landscape, Oil on Canvas Painting by Henry Inlander 1925-1983, 1971 Additional information: Medium: Oil on canvas 35 x 29 in 88.8 x 73.5 cm T...

Breckland Chapel, Oil on Board Painting by Philip Jones 1933-2008, 1988 Additional information: Medium: Oil on board 47 7/8 x 47 7/8 in 121.5 x 121.5 cm Signed; further signed, date...

Vanessa Bell VII, Oil on Canvas Painting by Mark Lancaster 1938-2021, 1980 Additional information: Medium: Oil on canvas 91.5 x 61 cm 36 x 24 in Signed and dated Mark Lancaster was...

Phenomena High Octave, Acrylic on Canvas Painting by Paul Jenkins 1923-2012, 1979 Additional information: Medium: Acrylic on canvas 89 x 134.5 cm 35 x 53 in Signed; further signed, ...

Figures Talking, Oil on Paper Painting by Philip Jones 1933-2008, 1973 Additional information: Medium: Oil on paper 55.9 x 76.2 cm 22 x 30 in Signed, dated and titled Philip Jones ...

Golfers in the Rain I (The Fourteenth Hole), Oil on Canvas Painting, 1956 circa Additional information: Medium: Oil on canvas 50.8 x 63.5 cm 20 x 25 in A similar composition, Trees...

Painting, November, Oil on Board Painting by Robert Sadler, 1957 Additional information: Medium: Oil on board 48 x 61 in 121.9 x 154.9 cm Signed; titled on support bars (William) Robert Sadler produced abstract works in varying sizes with a spare poise and strong use of colour. The son of a noted racehorse trainer, Sadler was born at Falmouth House (now demolished) at the northern edge of Newmarket, Suffolk. By the age of fourteen he was drawing and painting aeroplanes, horses, houses and landscapes. After studying at Eastbourne College and Sidney Sussex College, Cambridge, where he read Mechanical Engineering, in 1930 he joined the Royal Air Force as a pilot. In 1942, whilst posted to the Air Ministry as Director of Plans, he attended art school in London and spent the following year in Turkey on special duties where he lectured at the Turkish Air Staff College and painted and rode race horses. At the end of the war he returned to the UK and took up the post of Station Commander at RAF Binbrook in Lincolnshire. In 1947 he moved to Denmark as Air Attache to the British Embassy in Copenhagen where he attended art school and two years later, whilst Vice-President of the RAF Officers' Selection Board, set-up a studio in Stockbridge whilst attending art school in Winchester. In 1953 he moved to the USA to take up the post as representative on the NATO Joint Chiefs of Staff Intelligence Committee during which period he attended the Corcoran School of Art in Washington DC where he first encountered the work of the American Abstract Expressionists. Returning to the UK in 1955 he moved back to Newmarket, having retired from the RAF 'to devote the rest of my life to painting.' He attended Heatherley's School of Fine Art in London, Cambridge Technical College and became a member of the Winchester Art Society and the Cambridge Society of Painters & Sculptors. His first one-man show was at Swaffham Prior, Cambridge and from then until 1963 he lived and painted in a largely abstract expressionist style influenced by the Ecole de Paris Tachisme of Poliakoff and de Stael and by the contemporary British work of Peter Lanyon, William Scott, Bryan Wynter...

Bergamasque (Mini), Abstract Painting by Alan Reynolds, 1972 Additional information: Medium: Emulsion on cut-out board on wood, with relief; in the Arti...

Still life, Oil on Board Painting by Bryan Pearce, 1987 Additional information: Medium: Oil on board 61 x 50.8 cm 24 x 20 in Signed and dated verso Born...

Ascending Blue, Oil on Board, Relief Painting by Alan Reynolds, 1971 Additional information: Medium: Oil on board, relief 101.6 x 121.9 cm 40 x 48 in Si...

A Rough Sea, Aldeburgh, Oil on Canvas Painting by Mary Potter, 1958 circa Additional information: Medium: Oil on canvas 61 x 50.8 cm 24 x 20 in Signed verso This view is of the shi...

Flower Piece, Oil on Board Painting by Anne Estelle Rice Additional information: Medium: Oil on board 50.8 x 40.6 cm 20 x 16 in

Wagons in the Field, Poland, Watercolour and Charcoal Painting, 1958 Additional information: Medium: Watercolour and charcoal 20.6 x 32.3 cm 8 1/8 x 12 3/4 in Tadeusz Piotr (Peter)...

Christmas Card (Dark Grey with Four Painted Cut Outs) Painting by Breon O'casey Additional information: Medium: Gouache and collage 10.2 x 14.2 cm 4 x 5 5/8 in Born in London 1928, Breon O’Casey was the son of the actor Eileen Reynolds and the playwright Sean O'Casey. In 1937 the family moved to Totnes where Breon O'Casey thrived at Dartington Hall School. Dartington was founded by Leonard and Dorothy Elmhirst, who had a vision of a Utopian community which combined the working of the land with the life of the spirit through the arts. The emphasis the school placed on physical activities and skills, considering them equally important to academic skills, was crucial to him. At Dartington O’Casey learnt “to think with my hands as well as my head.” After National Service he attended the Anglo-French Art Centre in St John’s Wood...

Untitled Abstract, Oil on Board Painting by John Plumb, 1956/57 Additional information: Medium: Oil on board 81.3 x 121.9 cm 32 x 48 in

Gate, Corsham Court (Blue Sky), Gouache Painting by Peter Potworowski, 1953/55 Additional information: Medium: Gouache 23.5 x 33 cm 9 1/4 x 13 in Tadeusz Piotr (Peter) Potworowski ...

Reflections II (Light Through Leaves), Oil on Canvas Painting, 1965-69 circa Additional information: Medium: Oil on canvas 16 1/8 x 20 in 41 x 51 cm Living in the grounds of the Re...

Alms Houses, Oil on Canvas Painting by Mary Potter, 1966 Additional information: Medium: Oil on canvas 33 x 66 cm 13 x 26 in Mary Potter was a painter of still lifes and landscapes...

Structures, Group II (Y), Pencil on Card Painting by Alan Reynolds, 1983 Additional information: Medium: Construction, primer, emulsion and pencil on ca...

Still Life, Flowers and Bowl, Gouache Painting by Peter Potworowski, 1950s Additional information: Medium: Gouache 33.3 x 23.6 cm 13 1/8 x 9 1/4 in Tadeusz Piotr (Peter) Potworowsk...

Pale Grey and Pink (White Sun), Oil on Canvas Painting by Mary Potter Additional information: Medium: Oil on canvas 40 x 29 7/8 in 101.5 x 76 cm Titled on stretcher Mary Potter was...

Still Life on a Table, Gouache Painting by Peter Potworowski, 1954 Additional information: Medium: Gouache 23.6 x 33.3 cm 9 1/4 x 13 1/8 in Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative painter who lived and exhibited in Paris, Poland, Sweden and England. Potworowski was born in Warsaw in 1898. After serving in the First World War, Potworowski enrolled at the Warsaw University of Technology to study architecture, though his studies were halted by the Bolshevik campaign. After the end of the Polish-Soviet War in 1921, Potworowski returned to Warsaw and began to study art at the school of Konrad Krzyżanowski. By the following year, he had taken a place at the Academy of Fine Arts in Krakow, where he studied under Józef Pankiewicz. It was Pankiewicz who incorporated Potworowski into the Paris Commute, or Kapists, a group of Polish artists who travelled to the French capital in 1924. During his seven years in Paris he became personally acquainted with Pablo Picasso, Pierre Bonnard, Jean Cocteau, Constantin Brancusi and attended for a short time Fernand Léger's studio. It was through this job that he met his first wife Magdalena Mańkowska, a student of anthropology in Paris. After marrying in France, and visiting Britain in 1928, the couple returned to Poland in 1930, where their first son John was born. In 1931, Warsaw was the locale of the first Kapists exhibition, entitled New Generation, which took place at the Artist's Club, Hotel Polonia, and the Institute of Art Propaganda. Here, Potworowski received a prize for his painting Three Women in the Interior. The following year, he held his first solo exhibition at the Makowski Salon in Poznań. This success was sustained through 1937 when the artist received a silver medal at the International Exhibition of Art and Technology in Paris, as well as the award from the Minister of Foreign Affairs. After this strong development, Potworowski had a travelling solo exhibition arranged, held in 1938 at the Institute of Propaganda of Art in Warsaw and then in Lviv. Following the invasion of Poland in 1939, Potworowski escaped to Sweden via Lithuania. It was from here that the artist, with his wife and two young children, made his way to Britain, arriving in 1943. After serving in Scotland, Potworowski settled in London, and in January 1946, an exhibition of 33 of his works was held at the Redfern Gallery. This was followed by regular exhibitions with the Redfern, Gimpel Fils (1948 onwards) and The London Group, to which he was elected a member in 1949. He was also the president of the Association of Polish Artists and published regularly in the monthly magazine "Nowa Polska". Potworowski's teaching career included eight years as Professor of Painting at the Bath Academy of Art, Corsham (1949-57), where he had considerable European influence, specifically on abstraction, and was acknowledged by contemporaries including Peter Lanyon, Bryan Wynter...

Composition in Taupe, Oil on Board Painting by Mary Potter, 1979 Additional information: Medium: Oil on board 122 x 152.5 cm 48 x 60 in Signed, titled and dated Mary Potter was a p...

Ascending, Oil on Board, Relief Painting by Alan Reynolds, 1970 Additional information: Medium: Oil on board, relief 9 7/8 x 11 3/8 in 25 x 29 cm Signed...

Corsham Court (Garden Structure) Gouache Painting by Peter Potworowski 1952-1957 Additional information: Medium: Gouache 22.5 x 16.5 cm 8 7/8 x 6 1/2 in Tadeusz Piotr (Peter) Potwo...

Still Life, Red & Yellow Flowers, Gouache Painting by Peter Potworowski, c 1955 Additional information: Medium: Gouache 23.6 x 33.3 cm 9 1/4 x 13 1/8 in Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative painter who lived and exhibited in Paris, Poland, Sweden and England. Potworowski was born in Warsaw in 1898. After serving in the First World War, Potworowski enrolled at the Warsaw University of Technology to study architecture, though his studies were halted by the Bolshevik campaign. After the end of the Polish-Soviet War in 1921, Potworowski returned to Warsaw and began to study art at the school of Konrad Krzyżanowski. By the following year, he had taken a place at the Academy of Fine Arts in Krakow, where he studied under Józef Pankiewicz. It was Pankiewicz who incorporated Potworowski into the Paris Commute, or Kapists, a group of Polish artists who travelled to the French capital in 1924. During his seven years in Paris he became personally acquainted with Pablo Picasso, Pierre Bonnard, Jean Cocteau, Constantin Brancusi and attended for a short time Fernand Léger's studio. It was through this job that he met his first wife Magdalena Mańkowska, a student of anthropology in Paris. After marrying in France, and visiting Britain in 1928, the couple returned to Poland in 1930, where their first son John was born. In 1931, Warsaw was the locale of the first Kapists exhibition, entitled New Generation, which took place at the Artist's Club, Hotel Polonia, and the Institute of Art Propaganda. Here, Potworowski received a prize for his painting Three Women in the Interior. The following year, he held his first solo exhibition at the Makowski Salon in Poznań. This success was sustained through 1937 when the artist received a silver medal at the International Exhibition of Art and Technology in Paris, as well as the award from the Minister of Foreign Affairs. After this strong development, Potworowski had a travelling solo exhibition arranged, held in 1938 at the Institute of Propaganda of Art in Warsaw and then in Lviv. Following the invasion of Poland in 1939, Potworowski escaped to Sweden via Lithuania. It was from here that the artist, with his wife and two young children, made his way to Britain, arriving in 1943. After serving in Scotland, Potworowski settled in London, and in January 1946, an exhibition of 33 of his works was held at the Redfern Gallery. This was followed by regular exhibitions with the Redfern, Gimpel Fils (1948 onwards) and The London Group, to which he was elected a member in 1949. He was also the president of the Association of Polish Artists and published regularly in the monthly magazine "Nowa Polska". Potworowski's teaching career included eight years as Professor of Painting at the Bath Academy of Art, Corsham (1949-57), where he had considerable European influence, specifically on abstraction, and was acknowledged by contemporaries including Peter Lanyon, Bryan Wynter...

House Through Trees, Oil on Canvas Painting by Mary Potter, 1950s circa Additional information: Medium: Oil on canvas 30 x 41 cm 11 3/4 x 16 1/8 in Signed and titled on the canvas o...