Patrick Heron January 1973 19 Framed Print & Original Signed Letter

Patrick_Heron_January_1973_19_Framed_Print_Original_Signed_Letter_01_alb Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron January 1973 19 Framed Print & Original Signed Letter

Patrick Heron January 1973 19 Framed Print & Original Signed Letter
Patrick Heron – January 1973: 19. Original screenprint, 1973, colours, signed and dated by the artist in the plate. Finished with a thick card mount, and ash wood frame. Print 19 x 26cm. Frame 36.5 x 42.5cm. There is no catalogue raisonee for works by Patrick Heron and no publishing assisting with a better description of this piece. Nevertheless another edition of this work is in the collection of the Tate Gallery which was presented to them by Rose and Chris Prater through the Institute of Contemptary Prints in 1975. Their collection reference is PO4291. With a signed handwritten letter to’Charlie and Sandy’ two art collectors. Heron thanks them for bringing their’charming and distinguished friends’ to Zennor and talks about his recent work, a catalogue and a show at Newlyn of’Suzanne. 2 sides of a foolscap sheet of notepaper with his printed’Eagle’s Nest’ address. About 300 words, slight edgewear else very good. Patrick Heron CBE (30 January 1920 20 March 1999) was a British abstract and figurative artist, critic, writer, and polemicist, who lived in Zennor, Cornwall. Heron was recognised as one of the leading painters of his generation. Influenced by Cézanne, Matisse, Braque and Bonnard, Heron made a significant contribution to the dissemination of modernist ideas of painting through his critical writing and primarily his art. Heron’s artworks are most noted for his exploration and use of colour and light. He is known for both his early figurative work and non-figurative works, which over the years looked to explore further the idea of making all areas of the painting of equal importance. His work was exhibited widely throughout his career and while he wrote regularly early in his career, notably for New Statesman and Arts New York, this continued periodically in later years. Born 30 January 1920 at Headingley, Leeds in Yorkshire, Heron was the eldest child of Thomas Milner Heron and Eulalie Mabel (née Davies). The family moved to Cornwall when Heron was five and brother Michael (1921), where Tom joined Alec Walker at Cryséde to manage and expand the business from artist-designed wood-block prints on silk to include garment-making and retail. The whole family, now four children (Joanna 1926 and Anthony 1928 born in Cornwall), moved again in 1929 to Welwyn Garden City where Tom established Cresta Silks. Notable designers including Edward McKnight Kauffer and Wells Coates, Paul Nash and Cedric Morris worked with Cresta, and Heron also created fabric designs for the firm from his teenage years. At school, Heron met his future wife, Delia, daughter of Celia and Richard Reiss, a director of the company which founded Welwyn Garden City. Registered as a conscientious objector in World War II, Heron worked as an agricultural labourer in Cambridgeshire before he was signed off for ill health. During this time, he met many leading artists of the St Ives School, including Barbara Hepworth and Ben Nicholson. He spent the rest of his life here, until he died at home in March 1999. Heron first saw the paintings of Paul Cézanne at an exhibition at the National Gallery in 1933, an influence which continued throughout his career. Having seen The Red Studio by Matisse (one of his other significant influences) at the Redfern Gallery in 1943, Heron completed The Piano, which he considered to be his first mature work. His first solo exhibition was held in 1947 at the Redfern Gallery, London. That same year, Heron began a series of portraits of TS Eliot, one of which was acquired by the National Portrait Gallery in 1966. In 2013 this highly abstracted portrait was the centre of an exhibition at the gallery, displayed for the first time alongside a selection of Heron’s original studies from life and memory from which it was produced. Heron’s permanent move to Eagle’s Nest in 1956 coincided with his commitment to non-figurative painting and resulted in a very productive period of his work. Its roots can be seen in the Space in Colour exhibition held at Hanover Gallery, London in 1953 where the works of Heron and nine of his British contemporaries were displayed, which he both curated and wrote the catalogue for. His Tachiste paintings made reference to the garden at Eagle’s Nest, such as Azalea Garden, in the Tate collection. His’Stripe’ paintings, described by Alan Bowness as being’suffused with light and colour and full of a positive life-enhancing quality so free and so refreshing’ emphasised this move towards the principles of colour. Writing in 1968, Bowness went on to describe how he could’think of few more disconcerting paintings in the last twenty years than Heron’s stripe paintings of 1957′. Heron described how the’vertical touch’ of the Tachiste paintings were pushed to the ultimate conclusion, as the lines “became longer and longer, until on one painting in early 1956 they became so long that the strokes touched top and bottom”. From 1958 onwards, Heron was represented by Waddington Galleries. When Ben Nicholson moved to Switzerland in 1958, Heron took over his studio at Porthmeor Studios, overlooking the beach at Porthmeor, St Ives, and began to take advantage of the larger space to paint at a bigger scale first soft-edged and then the self-described “wobbly hard-edge painting”, such as Cadmium with Violet, Scarlet, Emerald, Lemon and Venetian: 1969 in the Tate. The shock of Delia’s unexpected death in 1979 meant Heron did little painting for some time. When he did return to the canvas, he turned to the garden at Eagle’s Nest. Just as it had shown a route to abstraction when Heron first moved there in the 1950s, through it he found a way to reinvigorate his creative approach: rather than rapidly drawing large shapes in pen across the canvas which would then be filled in with a fine Japanese watercolour brush as he had through most of the 1970s, Heron used a large brush, mixed different colours together, and painted from the arm rather than the wrist, allowing the works to develop through the act of painting. This burst of creativity, resulting in paintings such as 28 January: 1983 (Mimosa), formed Heron’s Barbican exhibition of 1985. In 1989 Heron was invited to be artist-in-residence at the museum of New South Wales in Sydney, and this resulted in another highly prolific period of his work. Drawing inspiration from his daily walk to his studio through the city’s Botanic Gardens located by the harbour, Heron produced six large paintings and 46 gouaches in sixteen weeks. These works are reactions to real visual experiences, yet are not direct representations; instead the line and colour encapsulate “specific visual realities without ever depicting them”. These intense periods of activity characterised Heron’s later career, made obvious through his exhibitions at the Barbican, and another at Camden Arts Centre in 1994. Taking advantage of the space of the centre, Heron created a series of paintings of grand proportions at 6 feet 6 inches (2.0 m) and ranging from 11 to 17 feet (3.35 to 5.18 m) long, they were conceived with Camden Arts Centre’s galleries in mind. These paintings formed the exhibition entitled’Big Paintings’ that went on to tour Britain. The year before, Heron designed a coloured glass window for the new Tate St Ives with his son-in-law Julian Feary, which opened in 1993. Heron was commissioned to paint a portrait of author AS Byatt (1997), and the following year Tate Gallery, London staged a major retrospective of his work in 1998. This was the most comprehensive exhibition of Heron’s work and brought together items from the different decades and periods of his working life. Selected by David Sylvester, the works were displayed so that the last gallery with his late paintings adjoined the first gallery with his earliest works, making explicit how the elements on which Heron’s career was founded were already in place. Nicholas Serota, former director of the Tate Gallery, who was a friend as well as patron, described Heron as “one of the most influential figures in post-war British art”. Once the exhibition closed, at the Tate Gallery, London, Heron embarked on a series of 100 gouache paintings, each no bigger than A4. He stopped at 43rd, the number it took to cover the carpet in his sitting room at Eagle’s Nest. Please look at my other items including rare modern and contemporary art and design pieces. The item “Patrick Heron January 1973 19 Framed Print & Original Signed Letter” is in sale since Tuesday, March 16, 2021. This item is in the category “Art\Art Prints”. The seller is “ashbinx74″ and is located in Bruton. This item can be shipped worldwide.
  • Size: Small (up to 12in.)
  • Artist: Patrick Heron
  • Colour: Multi-Colour
  • Style: Abstract
  • Listed By: Dealer or Reseller
  • Medium: Lithograph
  • Date of Creation: Modern (1900-79)
  • Features: Framed
  • Subject: Abstract
  • Originality: Limited Edition Print
  • Print Surface: Paper

Patrick Heron January 1973 19 Framed Print & Original Signed Letter