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细节
Ben Nicholson (1894-1982)
Three Mugs and a Bowl (Lewinson 2)
linocut, 1928, on laid paper, initialled and dated in black ink on the reverse, a rare impression (Lewinson records only eight other known impressions, four of which are in public collections), trimmed to the plate, a short tear at the lower right sheet edge, pale light- and mount-staining, remains of old tape at the sheet edges on the reverse, with occasional scattered foxing and discoloration to the reverse, otherwise generally in good condition, framed
B., S. 245 x 320mm.
This lot is accompanied by a photograph of the linocut which was sent by the present owner to the artist in 1970. It is inscribed by the artist on the reverse 'this linocut is by me' and is signed and dated Sept. 13 - 70.
Three Mugs and a Bowl (Lewinson 2)
linocut, 1928, on laid paper, initialled and dated in black ink on the reverse, a rare impression (Lewinson records only eight other known impressions, four of which are in public collections), trimmed to the plate, a short tear at the lower right sheet edge, pale light- and mount-staining, remains of old tape at the sheet edges on the reverse, with occasional scattered foxing and discoloration to the reverse, otherwise generally in good condition, framed
B., S. 245 x 320mm.
This lot is accompanied by a photograph of the linocut which was sent by the present owner to the artist in 1970. It is inscribed by the artist on the reverse 'this linocut is by me' and is signed and dated Sept. 13 - 70.
出版
Jeremy Lewinson, 'The Early Prints of Ben Nicholson', Print Quarterly, June 1985
注意事项
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更多详情
Ben Nicholson began to make relief prints in the late 1920s. Many of these early graphic works, of which 'Three Mugs and a Bowl' is one, were linocuts. Frowned upon by the art establishment as low-brow, the linocut was championed as a progressive medium by Claude Flight (see lot 55) and in the late 20s experienced something of a renaissance amongst the avant-garde.
The linocut, with its carved, linear lines and block tones, lends itself to a radical simplification of subject matter. It was ideally suited to the simple motifs of goblets, jugs and bowls which occupied Nicholson at this time. It could also accommodate his interest in texture, a characteristic of his painting in the 1920s. Using a technique advocated by Flight of inking the block and then rubbing the reverse of the paper with a wooden spoon or his hand, Nicholson was able to control the surface texture of the printing by varying the pressure applied and consequently the amount of ink picked up by the paper.
In his article 'The Early Prints of Ben Nicholson' Jeremy Lewinson suggests that Nicholson's early experiments in relief printmaking may have been an integral step towards the painted reliefs which the artist began to make in the mid-1930s.
The linocut, with its carved, linear lines and block tones, lends itself to a radical simplification of subject matter. It was ideally suited to the simple motifs of goblets, jugs and bowls which occupied Nicholson at this time. It could also accommodate his interest in texture, a characteristic of his painting in the 1920s. Using a technique advocated by Flight of inking the block and then rubbing the reverse of the paper with a wooden spoon or his hand, Nicholson was able to control the surface texture of the printing by varying the pressure applied and consequently the amount of ink picked up by the paper.
In his article 'The Early Prints of Ben Nicholson' Jeremy Lewinson suggests that Nicholson's early experiments in relief printmaking may have been an integral step towards the painted reliefs which the artist began to make in the mid-1930s.