Boundary Gallery | Uncategorized
1
archive,category,category-uncategorized,category-1,qode-social-login-1.0,qode-restaurant-1.0,woocommerce-no-js,ajax_fade,page_not_loaded,,select-theme-ver-4.4,wpb-js-composer js-comp-ver-5.4.7,vc_responsive

British Art Fair

British Art Fair at the Saatchi Gallery, 20 – 23 September,

Boundary Gallery will be exhibiting Carnal Beauty.

 

Carnal Beauty can be described as the beauty of the flesh. Confucius, the Chinese philosopher, said 2,500 years ago that everything has beauty but not everyone sees it. In other words, beauty lies in the eye of the beholder.

 

The ideal of beauty changed over the centuries. For example, during the Renaissance, blond hair and full figures were idealised – just think of Rubens. Victorian women were highly conscious of their bodies and used ways of creating specific volumes. In the 1920s women aimed to hide their curves whereas in the 1950s, Marilyn Monroe was the epitome of beauty.

 

Artists have always engaged in life drawing – not just in order to practice his/her skill but also to experience pleasure that emanates from creating something of beauty – the body.

 

Some of the artists will be well known but in a different context and therefore, their style will appear to be different on this subject.

 

The Carnal Beauty exhibition will consist mostly of works on paper but we shall also show for the very first time a Bomberg painting Woman in Sunlight 1931 of his wife caught at a special moment dedicated to her carnal beauty. The Epstein  Reclining Nude , Sunita, is the best watercolour  by this artist I have come across. The same can be said of Meninskys Nude from Rear. There are other heroes of the pen and ink and pencil drawings. Fred Kormis (whose sculpture are in the British museum) or William Dring and works by lesser known artists. They are united though by the excellence of their work.

 

British Art Fair
Saatchi Gallery
Duke of Yorks HQ
Kings Road
London SW3 4RY

 

The opening times for the fair are:
Thursday        20 September        11am – 9pm
Friday             21 September        11am – 7pm
Saturday         22  September       11am – 7pm
Sunday           23  September       11am – 6pm

 

We will be on the second floor at stand no: 54

 

Below is a preview of some of the works we will be taking. Come and enjoy.

 

 

David Bomberg
Woman in Sunlight, Lilian
1931
oil on board
76 x 63 cm
POA

Jacob Epstein
Sunita Reclining I
Watercolour
1928
44.5 x 58 cm
POA

 

 

Alfred Wolmark
Seated Nude
pencil & watercolour,
signed & inscribed July 3rd 1897,
G.A. Storey, APQ Cassi,
10 sittings,
75 x 54 cm
POA

Mark Gertler
Adolescence
Oil on canvas
75 x 49.7 cm
POA

Mario Dubsky
Standing Nude
pencil
signed & dated Oct ’75
43 x 35
POA

Josef Herman
Rear View of Nude
1948
inkwash
signed verso
25.2 x 17.8 cm
POA

William Dring
Standing Nude from Rear
blue colour pencil
38 x 26 cm
POA

 

Hans Feibusch
Seated Nude
pencil
28 x 36.5 cm
POA

 


Bernard Meninsky
Reclining Nude from Rear
1921
watercolour
29 x 55 cm

POA



Edmund Kapp
Nude from Rear
signed and dated 1934
charcoal
28.5 x 27 cm
POA


Miles Richmond
Reclining Model
1948
oil on canvas
60 x 75 cm
POA


Fred Kormis
Seated Model
pencil drawing

POA



Alison Harper
Apples
mixed media
signed & dated A. Harper ’91
52 x 39 cm
POA

 

Spotlight: Entertainment

Entertainment – Theatre, Ballet, Opera and the Circus

The theme of entertainment has never been far from an artist’s output because in a sense the visual artist is an entertainer.

The world of circus has been a strong attraction – colour and movement and comedy combined with tragedy in the acts of the clowns. 2018 marks the 250th annversary of the birth of British circus that started in 1768 when a cavalry officer set up an amphitheatre in London for acrobats, tightrope walkers, jugglers and horse riding tricks. Kestelman created a whole series of pastels on this subject. His clowns show the combination of sadness with joy. Another enthusiast for the circus was Chagall, who was commissioned by Vollard to paint a series of gouaches leading to 23 colour and 15 black and white lithographs on this subject.

Ballet has been a favoured theme throughout centuries because of its visual appeal and any prevailing style could be used to illustrate movements. Gertler, inspired by the Ballet Russe that toured England in 1918 for the second time, was a great enthusiast and his large -drawing “Ballet Dancers”, created at his studio in Rudall Crescent, Hampstead, shows Nijinsky and Karsavina in a performance of “Carnaval”. Also inspired by The Ballet Russe was Picasso who designed the set and costumes in 1916-17 for Erik Satie’s one-act ballet by Jean Cocteau.

Music and musicians is another category that has been popular with artists. David Michie, for example was inspired by jazz bands. The Notting Hill Carnival was enjoyed enormously by Herman who created a few watercolours celebrating it.

Theatre has been another attraction with stage and costume designs as well as the action during performances.

 

David Bomberg

David Bomberg (1890-1957), now acknowledged as one of the great 20th century British artists, was a regular visitor to the Ghetto Theatre in the East End of London and this inspired him to create some of his best drawings and inkwashes in 1919. We have three very good examples of these.


David Bomberg
Stairway 1919
Pen and Ink wash
1919
Signed and Dated
26.2 x 20.2 cm
POA

 

David Bomberg
Ghetto Theatre
1919
ink and wash
31 x 20 cms
POA

David Bomberg
Stairs 1919
Pen and Ink Wash
1919
20.5 x 26.5cm
Signed LR

POA

 

Mark Gertler

Mark Gertler (1891-1939) was very interested in ballet, especially in 1918 when the Diaghilev Ballets Russes returned to London. In the Boundary Gallery’s collection there is charcoal drawing much admired by Clive Bell who preferred it to the painting for which this was a preliminary work. It is believed that the drawing is of Nijinsky and Karsavina in the performance of “Carnaval”. It was originally bought by Roger Fry in 1918.It has been in the Boundary Gallery’s collection for over 20 years and was bought directly from a distinguished private collection.

 

Mark Gertler
Ballet Dancers
Charcoal on Paper
1918
68 x 68 cm
On reverse signed
“Mark Gertler Rudall Crescent,
Hampstead NW3”
(artist’s address)

POA

 

 

 

Josef Herman

Josef Herman’s rendition of Koko (or Coco) in 1958 is a good example of the character of a clown; sad,happy….

Later on, with the start of the Notting Hill Carnivals, Herman had a further inspiration, following his series on ballet (he did a series of works when the Kirov Ballet performed in London in 1968). The movements, the vibrancy of the Notting Hill carnival led to the creation of a number of colourful watercolours.

 

Josef Herman
KoKo the Clown
1958
inkwash
inscribed top left
25.2 x 19.5 cm
POA

 

 

 

 

Josef Herman
Coco the Clown
Pencil
inscribed bottom right
25.2 x 20 cm

POA

 

 


Josef Herman
Notting Hill Carnival
1968
Watercolour
20 x 16 cm
POA

 

 

 

 

Josef Herman
Notting Hill Carnival V
Watercolour
20 x 16 cm
POA

 

 

 

 

 

 

Josef Herman
Notting Hill Carnival IV
Watercolour
20 x 16 cm
POA

 

 

 

 

 

 

 

Josef Herman
Kirov Ballet Rehearsal
1962
pencil
17.5 x 22.5 cm
POA

 

Morris Kestelman

Morris Kestelman RA (1905-1998) was engaged by Tyrone Guthrie after the end of the Second World War to design for some of his productions, including Dr Faustus and we are fortunate to have a pastel of Mephistopheles. Kestelman’s main contribution was his output for the circus. He was commissioned to provide images of the Bertram Mill Circus in Hammersmith in 1937 for a book entitled The Circus in England. He visited every night over six months and produced a great number of sketches in pastel. Sadly, the publication of this book did not get further than the printing of the cover, due to the outbreak of the war – but the Boundary Gallery has been very fortunate in being able to exhibit almost all his pastel drawings and even published in a limited edition of lithographs (edition of 35) of four circus images, selected by Kestelman, all signed and numbered.

 


Morris Kestelman
Mephistopheles
(from Dr Faustus)
pastel
68 x 43 cm

POA

Morris Kestelman
Circus Clowns
pastel
18 x 24.5 cm
POA

Morris Kestelman
Esmeralda
pastel
16 x 16 cm
POA

Morris Kestelman
Circus in England
pastel
14 x 20 cm
POA

 

Morris Kestelman
Circus Spotlight Scene
pastel
18 x 24.5 cm
POA

Morris Kestelman
Bareback Rider Woman and Man
pastel
18 x 24.5 cm
POA

 

 

Morris Kestelman
The Circus Guitarist
pastel
8 x 12 cm
POA

Morris Kestelman
Trapeze Artists
lithograph
edition 30
22.5 x 30 cm
POA

 

 

Morris Kestelman
Busti the Clown
lithograph
edition 30
30 x 22.5 cm
POA

Morris Kestelman
Circus Clowns
lithograph
edition 30
22.5 x 30 cm
POA

Morris Kestelman RA
Bareback Rider
(edition 30)
28 x 37 cm
Colour Lithograph
POA

 

 

Morris Kestelman RA
Circus Rider
(edition 30)
28 x 37 cm
Colour Lithograph
POA

 

 

 

Nelly Vago

Nelly Vago, (1937-2006) was Hungary’s Kossuth prize (the highest prize) winning costume designer. Her career was stellar. Almost immediately after finishing her diploma, she was engaged by various theatres in her country and later became chief costume designer for the National Theatre and the Opera House in Budapest. Her costumes were used for numerous productions including Rigoletto, Il Trovatore, Madame Butterfly, Masked Ball, Barber of Seville, Tosca, Aida, Romeo and Juliet, Marriage of Figaro, Othello, The Flying Dutchman. For the theatre she designed costumes for nearly all the Shakespeare, Tcheckov, and Bernard Shaw plays performed at the National Theatre. Her fame was not confined to Hungary. She received the much revered Pirandello Prize in Italy. Agi has a good collection of some of her designs including of the operas mentioned above as well as costumes for Sinbad’s Travels and some Bernard Shaw plays.

 


Nelly Vago
Romeo and Juliet
opening scene
mixed media
34 x 48 cm
POA

 

Nelly Vago
The Tragedy of Men,
Madacs,
mixed media,
ember tragedia
43 x 61 cm
POA


Nelly Vago
Marriage of Love I,
Szerelmi Hazassag
by Bernard Shaw
costume design
26 x 35 cm
POA

 

Nelly Vago
Marriage of Love II,
Szerelmi Hazassag
by Bernard Shaw
costume design
26 x 35 cm
POA

 

Nelly Vago
Sinbad Travels I
mixed media
38 x 24 cm
POA

 

 

 

 

Nelly Vago
Sinbad Travels II
gouache
40 x 24 cm
POA

 

 

 

Nelly Vago
Lovers of the World I
Romeo & Juliet,
Adam & Eve,
Titania & Oberon,
Csongor & Tunde,
70 x 98 cms
POA

Nelly Vago
Lovers of the World II
Roxanne & Cyrano;
Abelard and Eloise,
Anthony & Cleopatra,
and a 19th century couple
1982-83
70 x 98 cms
POA

 

Nelly Vago
Lovers of the World III
Sinbad and his women,
Abelard & Eloise,
Jancsi es Juliska,
and a medieval couple
1982-83
70 x 98 cms
POA

 

Nelly Vago
The Tragedy of Man
mixed media
43 x 61 cms
POA

 

Nelly Vago
The Flying Dutchman
costume design
gouache
43 x 61 cms
POA

Nelly Vago
The Flying Dutchman II
costume design
mixed media
43 x 61 cm
POA

 

David Michie

David Michie, born in 1928 in the South of France , spent his childhood there and  moved to Scotland in 1934. After doing his National Service, he studied at Edinburgh College of Art (1949-1953). After various jobs teaching art, he became Visiting professor at the Academy of Fine Art of Belgrade and the University of California before returning to Edinburgh College of Art to teach painting during the 60s and 1970s. He became Head of the College of Schools of Drawing & Painting from 1982-1990.

He was a member of the Royal Scottish Academy, the Society of Sottish Artists and the Royal Glasgow Institute of Fine Arts. He was a fellow of the Royal Society of Arts and a founding fellow of the Institute of Contemporary Art Scotland. His works hang in the collections of the Tate, Aberdeen Art Gallery, Glasgow Museums, the City of Edinburgh Museum.

The vivacity and strong palette of his paintings reflect his childhood spent near the Mediterranean.


David Michie
Jazz Parade with Trombone Players
oil on canvas
92 x 128 cm
POA

 

 

David Michie
Jazz Parade
oil on canvas
92 x 92 cm
POA

 

Spotlight: Working Life

Josef Herman, Roadworker, lithograph

 

Work and Workers

There is a long tradition of artists drawing their inspiration from the people and landscapes in their immediate surroundings. It was Jean Francois Millet (1814-1875) who for the first time featured peasants in the fields and people at work. The subject also inspired Van Gogh’s – Potato Eaters series. The theme of work and workers is particularly relevant to artists in the Boundary Gallery collection; some of whom arrived as exiles in the UK, settled in working communities and took inspiration from the people and working environments where they lived.  Work and working people feature throughout the Boundary Gallery collection. The Working Life exhibition includes selected images by Josef Herman, Ghisha Koenig, Horace Brodzky, Morris Kestleman, Eva Frankfurther, Alfred Wolmark and Gus Cummins.

Josef Herman RA

Josef Herman (1911- 2000) was inspired by both Millet and Van Gogh . Even before leaving Poland in 1938 he sketched peasants toiling the earth in the Carpathian Mountains during his summer holidays. This theme stayed with him throughout his career. As a left wing idealist, he believed in the dignity of work. This is partly why he chose to live in the mining town of Ystradgynlais from 1944 onwards, painting and drawing miners, his heroes. He also featured fishermen in Scotland (where he lived 1940-1944), Spain and Suffolk (Lowestoft). French peasants harvesting in Burgundy – where he went every year for extended periods – was another favourite theme.


Josef Herman
Seated Miner
Oil on canvas
130 x 95 cm

POA

 

 

 

 

Josef Herman
Head of Miner
mixed media
70×40 cm
POA

 

 

 

 

 

Josef Herman
In the Pit
Inkwash
17.5 x 22.6 cm
POA

Josef Herman
Down the Mine
Inkwash
17.7 x 22.6 cm
POA

 

 

 

Josef Herman
Collecting Firewood
Inkwash
16.7 x 22.4 cm
POA

 

 

 

 

 


Josef Herman

Hanging Out the Nets
Inkwash
17.4 x 22.6
cm
POA

 

 

 

 


Josef Herman

Harvester
1963
oil on canvas
30.5×40.7 cm

POA

 

 


Josef Herman

In the Fields
Inkwash
17.1 x 22.2 cm
POA

 

 

 


Josef Herman
Planting
Burgundy
1950-1
inkwash
20 x 25 cm
POA

 

 


Josef Herman

Planting II
Inkwash
POA

 

 


Josef Herman
Fisherman Mending Net
Inkwash
20 x 25 cm

POA

 


Josef Herman

Two Women Walking Home
1951-2
inkwash
20 x 25 cm
POA

 

 

 


Josef Herman

Roadworkers III
Inkwash
20.8 x 13.9 cm
1958-59
POA

 


Josef Herman

Sorting Fish
1958
Oil on Canvas
71×91 cm
POA

 

 


Josef Herman

Standing Miner
Watercolour
25.1 x 19.2 cm
POA

 

 


Josef Herman

Three Miners
1963
oil on canvas
54×61.6 cm
POA

 

 


Josef Herman

Quarryworker
Inkwash
POA

 

 

Josef Herman
Roadworker
lithograph
AP
signed
image size 52.5 x 68cm
sheet size 57 x 80 cm
POA

 

Ghisha Koenig

Ghisha Keonig (1921-1993) also with left wing tendencies, had the same philosophy as Herman, and she chose to model in clay workers in various factories producing anything from tents, buttons, telephone exchanges, glass and machines. She would sketch for several weeks on the shop floors and create numerous drawings before deciding which were to be modelled in clay and then cast in bronze. Her reliefs and sculpture in the round can be found in the collection of the Tate as well as other museum collections.

 

 

Ghisha Koenig
Drawings
Pen
22 x 10 cm / 22 x 10 cm / 15 x 12 cm
all signed separtely
POA

Ghisha Koenig
Glass Works
Hot Shop,Workers
1983-4
POA

 

 

 

Ghisha Koenig
Glassworks I
1984
bronze 3 of 5
25.5 x 18 x 11.5 cm
POA

Ghisha Koenig
Tentmakers ’81 I
1981
bronze
4 of 5
relief
52 x 62 cm
  • Sold

 

 

 

Horace Brodzky

Horace Brodzky, born in Melbourne in 1885, moved with his family to the USA in 1904; due to the earthquake, he transferred to New York where he studied art before coming to London 2 years later. Here he enrolled at the City and Guilds Art School. He represented Britain at the Venice Biennale in 1911.

He introduced the linocut process to Britain and his portfolio of 21 linocuts was published in New York in 1920 following his stay there from 1914 on until he returned to Britain in 1923.  He lived and worked in London until his death in 1969.

Horace Brodzky
Longshoremen
1919
linocut
13.8×11 cm
POA

 

 

 

Horace Brodzky
Builders
1919
linocut
17.2×21.5 cm
POA

 

 

 

Morris Kestelman RA

Morris Kestelman (1905-1998) throughout many years was fascinated with the body language of agricultural workers and fishermen at work in the South of France in his paintings, watercolours and some of his lithographs.

Morris Kestelman RA
Fishermen Port
POA

 

 

 

 

 

 

 

Morris Kestelman RA
Lunch in the Fields
oil on canvas
56 x 72 cm
POA

 

 

 

 

 

 

 

 

 

Morris Kestelman RA
Men in Fields
POA

 

 

 

 

 

Morris Kestelman RA
Fishermen Getting Ready
late 1950s
signed
aquatint
ed.5 of 20
36 x 50 cm
POA

 

 

Eva Frankfurther

Eva Frankfurther (1930-1959) who came as a refugee from Nazi Germany in 1938, moved into a damp basement flat after finishing art school in Whitechapel and made sketches and paintings of her fellow workers at the Tate and Lyle sugar factory and residents of her area.

Eva Frankfurther
Baker
lithograph
35 x 26 cm, 39.5 x 30 cm
POA

 

 

 

Eva Frankfurther
Cloth Maker
lithograph
signed
22.5 x 33.5 cm, 26.5 x 36.5 cm
POA

 

 

 


Eva Frankfurther

No.15
pen & ink
14.2 x 10.3 cm
POA

 

 

 

 

 

 

 

 

Alfred Wolmark

Alfred Wolmark (1877 – 1961), born in Warsaw moved with his family to Britain in 1883. He studied at the Royal Academy 1895 – 1898 during which he accompanied William Rothenstein to draw characters of recent Jewish immigrants of East London.He went on to study Judaism in Poland 1905-1908. After 1911, and a visit to France, his style changed and he embarked on a career marked by bold colours and inventive and rhythmic compositions.He became a celebrated artist.

 

Alfred Wolmark
Newspaper Vendor
pen & ink
POA

 

 

 

 

 

 

Gus Cummins RA

Born in London in 1943, Cummins studied at the Sutton and Wimbledon Schools of Art and the Royal College of Art between 1958 – 1967.He has won numerous prizes including the Henry Moore prize in 1982 and the first prize in the Hunting Group in 1990 & 1999. His work is held at the Towner Museum, Eastbourne; Hasting Museum; Financial Times Collection; Contemporary Arts Society and the Royal College of Art, to mention but a few. He was elected Royal Academician in 1992.

Gus Cummins RA
St Mary – The Cupola
watercolour
133 x 100 cm
POA

Gus Cummins RA
St Mary in the Castle
watercolour
67 x 99 cm

POA