Mark Barrow Fine Art Winter Collection

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By clicking on the catalogue cover image above, you will be able to view and purchase works by some of Britain's finest, most revered artists. Our current collection includes works by Ben Nicholson, Terry Frost, John Bratby, Keith Vaughan, Bryan Wynter, Graham Sutherland, John Piper, Bernard Meadows, Michael Ayrton, John Craxton, Alan Davie, John Minton, Alexander Mackenzie, C R W Nevinson, Alan Reynolds, and Elisabeth Frink. We are also proud to offer important works from the estates of Roy Turner Durrant, John Copnall and Patrick Venton, as well as notable pieces by Bryan Kneale, John Farnham, Anthony Curtis. To arrange a viewing please do not hesitate to contact



2. Cover imageBEN NICHOLSON (1894-1982)Pegtop (Feb 1963)DETAIL 3. MARK BARROW FINE ARTSpecialising in Modern British Art+44 (0)20 8286 1853+ 44 (0)7790 802146 4. ARTISTS Michael AYRTON24 John BRATBY 8 Anthony CURTIS6, 16John COPNALL 10John CRAXTON 3Alan DAVIE 14Roy Turner DURRANT 2, 19, 22, 27 John FARNHAM9, 13 Elisabeth FRINK 5, 23Terry FROST1Bryan KNEALE 17 Alexander MACKENZIE 15Bernard MEADOWS28 John MINTON 11, 20Christopher Richard Wynne NEVINSON 18Ben NICHOLSON7 John PIPER31 Alan REYNOLDS 29 Graham SUTHERLAND 4, 21 Keith VAUGHAN 25 Patrick VENTON12, 26Bryan WYNTER 30 5. PaintingsPrintsSculptureSeptember 2012 6. 1TERRY FROST (1915-2003)Composition (1956)Oil on paper30" x 22" (760mm x 560mm)Signed and dated lower rightExhibited: Terry Frost, Works on Paper, 25 Years 1947-72,Austin/Desmond, London (cat. no. 28 ill. pg 6)Provenance: Private Collection, UK "Seeing is a matter of looking and feeling, for things do not look exactly like you think they do. To look with preconceivednotions of visual experience is to destroy the possibility ofcreating again that experience in paint. If you know before you look, then you cannot see for knowing."Sir Terry Frost, RA Published in Nine Abstract Artists (1954)8 7. 9 8. 2 ROY TURNER DURRANT (1925-98) Walberswickshire (1957) Oil on board 32" x 47" (810mm x 1220mm) Signed and dated lower left (Signed, dated and inscribed verso) My Art Is Me Exhibited: Modern British Artists, London, 2006 My art is me or nothing is my art;And rob the circle over me of more than crooked hand Provenance: Private Collection, London (purchased fromOr bludged thigh sizes under me before I reach the corethe above)Or nothing left beyond but scrapes it dry and leaves a frond, A nothing of a me or never startTo make or cry the sullen room below; My art is me or nothing is my art.I would not cry if all the skin were black,The tarry hide exposed under the preying birds, Or never left it down without a belt of art;My sin is me or nothing is my soul. If I cry once at worlds of word inside, If I am worth a jot (and damn the psalters on the shelf), My art is me or nothing is my art.I am the justice of the signs that turvy in my cage, I am my art or nothing I have left is worth a jot. Roy Turner Durrant Mark Barrow Fine Art represents the artists estate Published in A Rag Book of Love (1960)10 9. 11 10. 3 JOHN CRAXTON (1922-2009) Portrait of a Tunisian (1971) Ink and gouache on board 13" x 9" (330mm x 240mm) Signed and dated lower right Exhibited: Christopher Hull Gallery, London Provenance: Private Collection, Ireland"I can work best in an atmosphere where life is considered more important than art - where life is itself an Art. Then I find its possible to feel a real person - real people, real elements,real windows - real sun above all. In a life of reality my imagination really works."John Craxton12 11. 13 12. 4 GRAHAM SUTHERLAND (1903-80) Landscape with Vines (1949) Ink, gouache and pastel on paper 6" x 6" (165mm x 165mm) Signed upper right This work is accompanied by an inscribed photograph authenticating the painting, signed by Kathleen Sutherland"I believe that a new vision must be grafted on reality - that themysteriously intangible must be made immediate and tangible, and vice versa. My forms are based on the principles oforganic growth (with which I have always been preoccupied). Ifind these organic forms best for my purpose. They give me a sense of the shock of surprise which direct evocation couldnot do. I am trying to return these forms, after drastic rearrangement and formal modification, to a field of greatervisual response - to throw them back, as it were, into the original cradle of impact." Graham Sutherland, OM14 13. 15 14. 5 ELISABETH FRINK (1930-93) Falling Cat (1955) Pencil, ink and wash on paper 30" x 18" (760mm x 455mm) Signed and dated lower right in red After the Second World War, a new generation of Britishsculptors emerged, including Lynn Chadwick, Reg Butler, Provenance: Private Collection, USA (purchased in 1956Eduardo Paolozzi, William Turnbull, Bernard Meadows andas a wedding gift, thence by descent) Elisabeth Frink. These young artists, mainly still in theirthirties, sought to reflect something of the horror of war andthe age of the atom bomb. Many used the imagery of animals,insects and birds to depict the torments and trauma of thehuman condition in war, and it was Herbert Read, in his essayfor the Venice Biennale catalogue, that first coined the phrase The Geometry of Fear, which would succinctly sum up the feelings and images of a post-war generation. "These new images belong to the iconography of despair, or of defiance here are images of flight, of ragged claws scuttling across the floors of silent seas, of excoriated flesh,frustrated sex, the geometry of fear Their art is close to the nerves, nervous, wiry. these British sculptors have given sculpture what it never had before our time - a linear, cursivequality.Herbert Read Published in New Aspects of British Sculpture (1952)16 15. 17 16. 6 ANTHONY CURTIS (b.1928) Spring Painting (1957/60) Oil on masonite 50" x 24" (1220mm x 620mm) Signed and dated lower right (Signed, dated and inscibed verso) Exhibited: Reading Exhibition, 1961 Provenance: Direct from the artist "I regard our reality as ultimately a mystery. Our philosophies,religions, arts and sciences represent the seeker in us and Ifeel that beauty is the aspect common to them all." Anthony Curtis is represented by Mark Barrow Fine Art Anthony Curtis18 17. 19 18. 7 BEN NICHOLSON (1894-1982) Pegtop (Feb 1963) Pencil, gouache and black crayon on paper 12" x 8" (304mm x 216mm) (Signed, dated and inscibed verso) Presented in the artists original frame Exhibited: Andre Emmerich Gallery, New York Provenance: Private Collection, UKThink of the [paintings], not as pictures but as objects -objects possessing a certain kind of life, objects absorbingand giving back life. If you start hanging a few abstractNicholsons in a room you will soon find how powerful this lifeis. They become parts of the space you live in. The "identitiy between canvas and idea" has become absolute: [Nicholsons] painting[s] cross the conventional boundary between art and life.Sir Kenneth Clark Published in Penguin Modern Painters20 19. 21 20. 8 JOHN BRATBY (1928-92) Self Portrait with Cat (1955) Oil on masonite 44" x 48" (1120mm x 1220mm) Signed upper right Exhibited: John Bratby, Beaux Arts Gallery,Dec 1956-Jan1957 (cat. No. 16)1955/56 was a very important period in Bratbys career: his work was included in the International Exhibition of Modern Art at the Carnegie Institute, Pittsburgh; he won the Daily Express Young Artists Exhibition; had two solo shows at Helen Lassores celebrated Beaux Arts Gallery; represented Great Britain for the first time at the Venice Biennale; and was jointwinner, along with Ben Nicholson, of the Peggy GuggenheimNational Award for painting. The Tate also acquired their first Bratby, Still Life with Chip Frier, in 1956. Self Portrait with Cat is one in a series of major self portraits, completed in the evenings whilst lecturing at Carlisle Schoolof Art (1955-56). Bratby has depicted himself at the easel literally in the act of painting, surrounded by what has becomehis celebrated trademark iconography, i.e. kitchen sinkdetritus - empty bottles, matchboxes, rags and discarded objets dart - capturing perfectly the clutter and mood of urban domestic life in post-war fifties Britain.22 21. 23 22. 9 JOHN FARNHAM (b.1942) Composition with Arms (1975) Bronze on Slate Base (ed. 1/7) 22" high (560mm high) Inscribed, numbered and dated underneath Provenance: Direct from the artist Growing up next door to Henry Moore in Perry Green, MuchHadham, it would have been surprising had the impressionable and inquisitive young Farnham not beeninterested in all the comings and goings of Moores garden. Many years later, and after a lengthy apprenticeship thatincluded all aspects of sculpture, from building armatures andmaking enlargements, to patinating every size of bronze cast,Farnham became Moores personal assitant in 1960, working with the artist until his death in 1986.24 23. 25 24. 10 JOHN COPNALL (1928-2007) Vertical Structure: Red & Yellow (1961) Oil on canvas 36" x 24" (915mm x 610mm) Signed and dated upper left (Signed, dated and inscribed verso) Exhibited: John Copnall: Landscape Forms, Modern British Artists, London, 2004 Provenance: Private Collection, London"I want to make painting with a powerful impact from a distance and which draws you right into itself; will show youmore right up close, and later, when you are away, it will staywith you and make you want to come back to discover more. I am tired of the over intellectualization of art. I am tired of public exhibition of personal neuroses. I am dubious about thespirital content attributed to abstract art, often by the artist.Abstract art needs no justification. Abstract art simply is." Mark Barrow Fine Art represents the artists estateJohn Copnall26 25. 27 26. 11 JOHN MINTON (1917-57) Study of a Boy (c.1954) Ink and wash on paper 8" x 11" (210mm x 280mm) Provenance: Private Collection, UK "No one mirrors his age clearer than the artist... for itssomething to do with having real love for the subject, having a real anxiety it will escape: not just tolerating it as a possiblesubject, but loving it. A man who paints puts his heart on thewall, and in the painting is the mans life: he makes thesubject his own, a love of certain things, people, moods, atmosphere, shapes, forms, landscapes."John MintonPublished in Dance Till the Stars Come Down, by Frances Spalding (1991)28 27. 29 28. 12 PATRICK VENTON (1925-87) Studio Objects (with Pots) (1953) Oil on canvas 12" x 14" (305mm x 355mm) Exhibited: Patrick Venton - A Point of Departure, Modern British Artists, 2007 Provenance: The artists estate [Ventons] early 1