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Newlyn (Alan Cristea catalogue 16)
Details
Ben Nicholson (1894-1942)
Newlyn (Alan Cristea catalogue 16)
drypoint, 1948, on watermarked paper, signed in pencil, dated and numbered 4/8, mount staining in the margins, faint foxing, laid onto card, grubby ink mark upper left and lower right margins, framed
P. 150 x 184 mm., S. 195 x 274 mm.
Newlyn (Alan Cristea catalogue 16)
drypoint, 1948, on watermarked paper, signed in pencil, dated and numbered 4/8, mount staining in the margins, faint foxing, laid onto card, grubby ink mark upper left and lower right margins, framed
P. 150 x 184 mm., S. 195 x 274 mm.
Further details
This delicate view of the charming fishing village of Newlyn in Cornwall forms part of a small collection of printed works Ben Nicholson executed in the West Country during the 1930's and 1940's. Nicholson fled London for the safety of Cornwall with his wife, the artist Barbara Hepworth and children at the out break of war in 1939.
Nicholson and Hepworth became part of a small, emerging and later influential colony of Cornish artists, which included among others William Scott (we have two Cornish views by Scott in this sale lots 166-167).
Nicholson had until this point been heavily influenced by abstraction and the French artist Piet Mondrian. In Cornwall he struck up a friendship with the primitive artist and fisherman Alfred Wallis, and his flat simplistic style can be seen in this composition. Nicholson returned to the abstract after World War II, but remained influenced by the architectural landscape, seen here as somewhat experimental, but which was to become more refined in his later work.
Nicholson and Hepworth became part of a small, emerging and later influential colony of Cornish artists, which included among others William Scott (we have two Cornish views by Scott in this sale lots 166-167).
Nicholson had until this point been heavily influenced by abstraction and the French artist Piet Mondrian. In Cornwall he struck up a friendship with the primitive artist and fisherman Alfred Wallis, and his flat simplistic style can be seen in this composition. Nicholson returned to the abstract after World War II, but remained influenced by the architectural landscape, seen here as somewhat experimental, but which was to become more refined in his later work.
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