BEN NICHOLSON, O.M. (1894-1982)
BEN NICHOLSON, O.M. (1894-1982)
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BEN NICHOLSON, O.M. (1894-1982)

Oct 8-53 (Kerrowe)

細節
BEN NICHOLSON, O.M. (1894-1982)
Oct 8-53 (Kerrowe)
signed, inscribed and dated 'Oct 8-53 (Kerrowe)/Ben Nicholson' (on the reverse), inscribed again 'property of/Michel Seuphor/Paris' (on the reverse)
oil and pencil on carved board, relief
11 5/8 x 16 7/8 in. (29.5 x 42.8 cm.)
Painted in 1953.
來源
Acquired directly from the artist by Michel Seuphor, Paris.
with James Kirkman, London, from whom purchased by Gallery Kasahara, Osaka, in the 1970s.
Private collection, Osaka.
Anonymous sale; Sotheby's, London, 17 November 2015, lot 21, where purchased by the present owner.
出版
Spirale, April 1954, pl. 30.
Aujourd'hui: Art et Architecture, No. 1, January - February 1955, p. 10.
H. Read (intro.), Ben Nicholson: Work Since 1947, Vol. 2, London, 1956, n.p., no. 103, illustrated.
展覽
Venice, British Council, XXVII Biennale, 1954, no. 51.
Amsterdam, British Council, Stedelijk Museum, Ben Nicholson, November - December 1954, no. 59: this exhibition travelled to Paris, Musée National d'Art Moderne, January - February 1955; Brussels, Palais des Beaux-Arts, March 1955; and Zürich, Kunsthaus, April - May 1955.
London, Tate Gallery, Ben Nicholson: A Retrospective Exhibition, June - July 1955, no. 61.
Saint-Étienne, Musée d'Art et d'Industrie, Art Abstrait: les premières générations (1910–1939), April - May 1957, no. 165.
注意事項
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. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

榮譽呈獻

Pippa Jacomb
Pippa Jacomb Director, Head of Day Sale

拍品專文

In 1953 Nicholson returned to the medium of the painted relief after an interval of six years. Oct 8-53 (Kerrowe) is ordered with simplicity and serenity, reinforced by the pale tones of the work. There is a delicacy in the fine line of the circle, and the balance of the other shapes at the centre of the relief creates a sense of equilibrium.

Peter Khoroche writes, ‘In these later reliefs we see Nicholson constantly exploring and developing the potentialities of colour and texture just as much as form. It as if all the subtle gradations of colour, tone and texture that he registered while drawing landscape and architecture were stored away, later to find expression in his carved surfaces where colour is not simply brushed onto the surface of the board but is made to seem indivisible from it. These formal and technical developments go hand in hand with Nicholson’s expanding range of motifs and with his desire to make his work as inclusive a response to life as possible’ (exhibition catalogue, Ben Nicholson ‘chasing out something alive’ drawings and painted reliefs 1950-75, Cambridge, Kettle’s Yard, 2002, p. 26).

The 1950s was the most important decade for the recognition and reputation of Ben Nicholson as Britain’s leading modernist and abstract painter. He won the prestigious Carnegie Prize (Carnegie Museum of Art, Pittsburgh) in 1952. In 1954 he was chosen, together with Francis Bacon and Lucian Freud, to represent Britain at the 27th Venice Biennale. In 1955 a retrospective exhibition of his work was shown at the Tate Gallery in London. In 1956 he won the first Guggenheim International painting prize, and in 1957 the International prize for painting at the São Paulo Art Biennial.

Oct 8-53 (Kerrowe) was acquired directly from Nicholson by Fernand Berckelaers (1901-1999), whose pseudonym Michel Seuphor was an anagram of Orpheus. He was a Belgian painter, who moved in Dutch, Belgian and French avant-garde circles. He associated with Theo van Doesberg and Piet Mondrian, and founded the abstract artist's group Cercle et Carré which included Wassily Kandinsky and Le Corbusier. Seuphor wrote and edited three books, A Dictionary of Abstract Painting (1958), Abstract Painting: 50 Years of Accomplishment (1964) and The Sculpture of this Century (1960).

We are very grateful to Rachel Smith and Lee Beard for their assistance in cataloguing this lot.

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