David Jones (1895-1974)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FORMERLY IN THE COLLECTION OF HELEN SUTHERLAND
David Jones (1895-1974)


David Jones (1895-1974)
signed and dated 'David J 32' (lower right)
pencil and watercolour
30 x 21¾ in. (76.2 x 55.3 cm.)
Acquired directly from the artist by Helen Sutherland and by whom bequeathed to the present owners’ family.
N. Gray, The Paintings of David Jones, London, 1989, pl. 24, illustrated.
J. Miles and D. Shiel, David Jones The Maker Unmade, Bridgend, 2003, p. 153, no. 5, illustrated.
Aberystwyth, Arts Council of Great Britain, Welsh Committee, National Library of Wales, David Jones: paintings, drawings and engravings, July - August 1954, no. 44: this exhibition travelled to Cardiff, National Museum of Wales, August - September 1954; Swansea, Glynn Vivian Art Gallery, October 1954; Edinburgh, Diploma Galleries, Royal Scottish Academy, November - December 1954; and London, Tate Gallery, December 1954 - January 1955.
Edinburgh, Scottish National Gallery of Modern Art, Paintings and drawings from the private collection of Miss Helen Sutherland, March - May 1962, no. 14.
London, Arts Council of Great Britain, Helen Sutherland Collection: a pioneer collection of the 1930s, December 1970 - January 1971, no. 24: this exhibition travelled to Newcastle, Laing Art Gallery, January - February 1971; Cambridge, Kettle's Yard, February - March 1971; Cardiff, National Museum of Wales, March - April 1971; and Kendal, Abbot Hall Art Gallery, May 1971.
London, Tate Gallery, David Jones, July - September 1981, no. 96.
Bristol, Arts Council of Great Britain, City Museum and Art Gallery, David Jones: paintings, drawings, inscriptions, prints, March - April 1989, no. 31: this exhibition travelled to Leeds, City Art Gallery, April - May 1989; Cambridge, Kettle's Yard, June - July 1989; and Llandudno, Oriel Mostyn, July - August 1989.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Anne Haasjes
Anne Haasjes

Lot Essay

Helen Sutherland was an important collector, and her patronage of artists was a major contribution to contemporary art in the 1930s. She provided invaluable support to Twentieth Century artists both in financial terms with loans, gifts and purchases - which she carefully portioned out so as to avoid the dependence of traditional 'patronage' - and in personal terms. Sutherland was an heiress whose father, Sir Thomas Sutherland, had been the chairman of P & O, a member of parliament and also one of the founders of HSBC. Despite this, most of Sutherland's wealth actually came from her mother's family: her father, the quintessential Victorian, decided that she had already inherited enough by the time he died and left most of his own wealth to charity. Sutherland, who had been married near the beginning of the Twentieth Century in a relationship that was not to last, had nonetheless been introduced to a sparkling society of intelligentsia. She visited Paris, where she frequented exhibitions and began to buy pictures by Courbet, several Persian miniatures, and works by Georges Seurat and André Derain. In 1925 she was introduced to Ben and Winifred Nicholson by her friend the painter Constance Lane, and began to buy works by them and by Paul Nash and Duncan Grant. Sutherland impressed Nicholson and his wife Winifred when they first stayed with her. As Winifred recalled, 'She had a cold bath every morning, walked every day to the source of the King Water about 20 miles, lived on nothing but apples, grapes, pineapple and a little lettuce' (Winifred Nicholson, quoted in S.J. Checkland, Ben Nicholson: The Vicious Circles of his Life and Art, London, 2000, p. 63).

In 1929 Sutherland leased Rock Hall, near Alnwick, though she made frequent visits to London. Rock Hall was beautifully decorated and hung with a growing collection of art works. Many guests stayed at Rock Hall, including the poet Elisabeth Jennings and David Jones, whom Sutherland met in 1929 through a fellow art lover, Jim Ede. Jones had almost equal eminence as a poet, having published his First World War epic In Parenthesis in 1937.

While living her own independent life, first at Rock Hall and later at Cockley Moor, Sutherland had begun to immerse herself in the world of beauty. Initially she had focussed on disparate older objects including works by Courbet and Maillol, but soon came to be fascinated by living artists with whom she could have contact.

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