Richard Green Gallery is presenting at TEFAF Maastricht an exhibition of paintings by Eugène Boudin (1824-1898), the shy, modest artist whose plein-air work on his beloved Normandy coastline invented a new genre of bourgeois beach scenes, and whose passion for capturing constantly-changing nature inspired the young Claude Monet (1840-1926). Also in this circle is Johan-Barthold Jongkind (1819-1891), who spent a convivial summer in 1864 painting with Boudin and Monet at the Saint-Siméon farm near Honfleur. Jules Noel (1815-1881) took up the theme of holidaymakers on the beach, while the rugged beauty of the Normandy coastline was evoked by Gustave Loiseau (1865-1935) for the Post-Impressionist generation.
The core of the exhibition is a group of nine works by Eugène Boudin. They range from Trouville, scène de plage, one of his famous ‘Crinolines’ depicting fashionable Parisians taking the sea air, painted in 1874, the year of the first Impressionist exhibition, in which Boudin took part. Le Havre, le port Saint-Jacques, 1880, shows shipping in the busy port at the mouth of the Seine where Monet grew up. Boudin weaves masts of vessels, a sky boiling with clouds and the water of the dock into a shimmering exploration of atmosphere and light.
Other paintings explore the quieter pleasure ports of Deauville and Trouville, where Boudin spent nearly every summer from 1862. In Venise, la Douane et le début du Grand Canal, 1895, he focusses his genius on the Serenissima, fracturing Canaletto’s glittering city into softer filaments of colour. Venice was a late joy, discovered with the companion of his final years, Juliette Cabaud.
Boudin famously encouraged Claude Monet to paint en plein air: as Monet acknowledged, ‘If I became a painter, it is to Eugène Boudin that I owe the fact’. Monet’s rare pastel Paysage, environs du Havre shows his brilliance in this medium, a little-known aspect of his work. Drawing rapidly in front of the motif, he varies his touch to evoke the bare branches of a tree and scudding clouds undershadowed with violet. Monet later dated the pastel 1878, but as he explains in a letter to the first owner, it was probably made in 1868, as he explored the countryside round his birthplace with the dazzling new vision that was to give birth to Impressionism.
An 1874 pair of paintings by Jules Noel, Le Tréport: enfants et leurs voiliers and Le Tréport: enfants faisant des pâtes, continues the motif of beach scenes inaugurated by Boudin, but with more of a genre element. The Quimper-Born artist delighted in portraying the Brittany and Normandy coast.
Johan-Barthold Jongkind’s Moulins et patineurs en Hollande, painted in his ‘zénith artistique’ year of 1865, distils years of plein-air observation in the company of Boudin and others with the profound inspiration of his great seventeenth-century Dutch landscapist forebears. Jongkind’s bold, instinctive touch – birds in the grey sky are evoked with a few quick dabs of the brush tip – looks forwards to Monet’s inventiveness with paint.
The soaring chalk cliffs of Normandy, its swirling blue-green water, held their magic for artists for many decades after they first inspired Boudin and Monet. Gustave Loiseau’s Falaises de Normandie, Saint-Join was painted in 1908. In its vertiginous, exhilarating delight in unpeopled nature, the work can be compared to Monet’s Pourville and Etretat paintings of 1882-3. Staccato dabs of richly impasted pigment evoke the pull of the waves and the shifting colours of the ocean, from the slate blue that describes the submerged rocks around the base of the cliffs, to the luminous yellow hues that depict translucent water with sandbanks beneath.
After TEFAF, the exhibition will be on view at:
Richard Green Gallery, 147 New Bond Street, London W1S 2TS.
Tel. +44 (0)207 493 3939.
For further information and images, please contact:
Tamara Green 33 New Bond StreetLondon W1S 2RS
+44 (0)207 499 4738
Richard Green Gallery is lending two paintings from its collection by the Post-Impressionist artists Henri Le Sidaner and Henri Martin to the fascinating exhibition Painting the Modern Garden: Monet to Matisse, which is on view at The Cleveland Museum of Art, Ohio until 3rd January 2016, before moving to the Royal Academy, London from 30th January to 17th April. Taking inspiration from Monet, who painted some of his most celebrated works in the gardens that he himself created, the exhibition focusses on painters who were also practical gardeners, their twin passions feeding off each other. Over a hundred works are on view, including paintings by Van Gogh, Cézanne and Edvard Munch, a perhaps surprising recruit to the ranks of keen gardeners.
Henri Le Sidaner’s Les pots de faïence, 1928, depicts the garden at Gerberoy, near Beauvais in Picardy, which the artist developed over forty years from 1901 until his death in 1939. Influenced by the Renaissance gardens that he had seen on a youthful painting trip to Florence, Le Sidaner created a world of calm and order, with urns, statues and cascades of roses within a terraced site in the picturesque medieval village. His garden was the inspiration for many paintings capturing its different moods. Here Le Sidaner evokes the fecundity of his private kingdom by filling almost the whole canvas with flowers and foliage. The low sun throws dappled light on the foreground wall and the ornamental faïence pots filled with geraniums. Behind them, the interweaving of leaves and flowers in the rose arbour is painted with an intensity that approaches abstraction, paralleling Monet’s late paintings of his garden at Giverny.
From 1900 Henri Martin lived at Marquayrol near Labastide-du-Vert in the Lot Valley, finding inspiration in its gentle green spring landscape and bright summers. Bassin à la sortie ouest du parc du Manoir de Marquayrol, avec l’atelier d’Henri Martin, painted around 1920, shows the round basin in the ‘secret garden’ beyond the park hedge to the west, with Martin’s studio on the sunlit hill to the left. He planted the cypress trees in homage to his studies in Italy in the 1880s. Martin’s garden, like that of his friend Henri Le Sidaner, reflected a love of Italianate garden design. The composition of this painting is built around geometries which underline Martin’s feeling that Marquayrol was a place of retreat and contemplation. The basin’s unbroken oval is echoed in the curve of the pot holding the oleander and that of the white gate. The bright green cypresses provide the delicious shade which is so valued in hot climates. Martin heightens the impact of the green in the landscape by contrast with the orange cypress bark, the orange-yellows of the sun-baked hillside and the scatter of red geranium petals. Unlike many of the Impressionists and the Fauves, Martin and Le Sidaner celebrate the magic of the light when the sun is not at its zenith.
Richard Green at the New York Art, Antique and Jewelry Show, Park Avenue Armory, 20th-24th November 2015
The breadth and depth of the collection, spanning three centuries, is reflected in the selection of works that Richard Green will be presenting at the New York Art, Antique and Jewelry Show. It showcases the gallery’s especial strengths in Dutch still life painting, eighteenth century Italian vedute, nineteenth century portraits and Impressionism, as well as paintings by John Atkinson Grimshaw and Sir Alfred Munnings, artists in whose work the Richard Green has been a market leader since the 1960s. In keeping with the stylish eclecticism of the Fair, we are also bringing a group of paintings by the Modern Masters Josef Albers, Henry Moore, Ben Nicholson and Gerhard Richter, demonstrating that great works of art hold a harmonious dialogue down the centuries.
Michele Marieschi trained as a scene painter. His Bacino di San Marco, c.1739, reflects his lively sense of Venice as a great outdoor theatre, his shimmering brushwork investing the famous buildings with an air of magic. He keeps a tension between the black lines which define details of buildings and the entwined skeins of colour which evoke the rippling light of the Lagoon playing across stone and brickwork.
A painting by the Victorian master of moonlight, John Atkinson Grimshaw, evokes the delicious romantic melancholy – still intact to this day - of Bonchurch on the Isle of Wight, a place which inspired Dickens and Tennyson as well as Grimshaw. Over sixty years, Richard Green has sold over 400 works by this fascinating artist.
Portraiture and Impressionism conjoin in Blanche et noire by Melbourne-born, Paris-trained Emanuel Phillips Fox, who was among the most sophisticated and cosmopolitan of Australian artists. The 1912 painting, a depiction of his friend and pupil Edith Anderson, inhabits the poetic borderline between the subject picture and the portrait: it is both a characterful, intimate portrayal and an evocation of mood.
Still lifes by Henri Fantin-Latour and Pierre-Auguste Renoir joyously embrace aspects of Impressionism but also stand proudly within the great European tradition of still life painting. Fantin’s Roses, 1886, were painted in his studio against a neutral background to emphasize their tranquil, poetic beauty. The sensuous freedom of Fantin’s brushwork, however, and his concern with the radiance of light and atmosphere show his debt to Impressionism.
Renoir’s Nature morte aux pommes, c.1905, reflects the exhilarating sense of release and risk-taking that he found in still life, where he could focus on colour and form, without the distraction of composition and perspective. Renoir’s brushstrokes caress the contours of the apples, conjuring them into being both as solid objects and as expressions of colour and light. The folds of the white tablecloth are woven with skeins of coloured shadow, as Renoir reworks in a contemporary idiom the serene simplicity of Chardin. This stunning still life comes from the collection of Renoir’s great-nephew, the fashion designer Antoine Terrasse.
Richard Green’s association with Sir Alfred Munnings goes back to the artist’s lifetime, when his father, James Green, held a major exhibition of Munnings’s work at his Bond Street Galleries in 1956. In six decades, Richard Green Gallery has handled over 500 paintings by Munnings, seeing enthusiastic demand for his work grow in Britain, Canada and America, which Munnings himself took by storm in 1924.
Paintings on our Stand showcase Munnings’s twin passions: the horse and the English landscape. September afternoon, c.1939, depicts golden autumn light on his beloved East Anglian river Stour, a few hundred yards from his home in Dedham. Its air of timeless reverie belies the fact that the painting was made on the eve of the Second World War. Munnings was an aficionado of the Turf who found the peripheral activities of horseracing – saddling, unsaddling, the parade ring, the Start – as compelling as the thunder of hooves down the course. Saddling, part of a series made at Epsom racecourse around 1930, demonstrates his dashing use of colour, superb understanding of the anatomy of the horse, and witty eye for the humans who served this Sport of Kings.
Yew Court, Scalby
The immediate impact of this painting is the effect of the moonlight flooding the whole surface of the board. The painting seems to have a clear frozen stillness where nothing moves and no sound is heard. As usual Grimshaw likes to include figures as a focus of interest, but also picks out the lit windows and the painted white gate and door.
The house belonged to a family friend of the Grimshaws' as the picture is one of several paintings of the property at Scalby, just a few miles from the artist's seaside home of Castle-by-the-Sea at Scarborough.
Dockside scenes were a staple of the artist's later years, especially views of Liverpool and Glasgow. Here the artist shows a foggy night along the quayside with buildings disappearing into the enveloping gloom.
Grimshaw delights in showing the brightly lit shops with their gaslight pouring onto the wet pavement and road. The area seems strangely busy for such a location with animated figure groups dotted about and a gentleman out for the evening perhaps looking for some further company.
This much larger painting has quite a different atmosphere to the other dockside picture. Its cool purplish sky and hidden moon create a surface with a grey-green sheen wholly unique to Grimshaw. Here the colours from the lights and brazier reflect on the wet surfaces. The dockside buildings lightly sketched in again in the artist's own style. Such was the popularity of the port scenes that they represent the most numerous in Grimshaw's output ending up in various parts of the world.
Bonchurch, Isle of Wight
This work is another brilliant example of a painting by Grimshaw where he fills the surface with light, here the moon fully in view. The glowing street light seems almost superfluous as Grimshaw delights in showing his skill where the road is seen as a myriad of sparkling ruts and puddles and where the walls are covered in intricate patches of shadow and lichens. The moonlight also just catches the surface of the lake with a subtle touch of reflected light.
Such was the popularity of this scene that again there are several versions by the artist.
This is one of Grimshaw's most simple and appealing paintings. As an admirer of the poems of Tennyson, Shelley and Longfellow such a subject as this would have appealed to the artist's inner feelings.
This wistful, lonely setting by the lake in Roundhay Park, Leeds was another favourite of Grimshaw's in the 1870s. The estate on the northern edge of the town had only just been bought by the council and opened as a public park, its main feature being Waterloo lake originally created by soldiers returning from the Napoleonic wars.
The painting takes the form of a vignette where the figures and lake are framed by the outline curve of the tree branches and the old fence. Everything is subsumed into the misty moonlit evening focusing on the lovers wrapped up in each other, lost in their own world.
Here technique and skill simplifies all detail and leaves us with a perfect composition in miniature.
The old master who plays the long game
17 June 2015 Written by Anna Brady
ATG speaks to Richard Green as he reflects on six decades as a dealer, his firm’s debut at ‘Masterpiece’ this month and how his sons have broadened his taste in art
Richard Green cannot imagine that anyone would want to read about him. About his gallery's paintings, yes. But certainly not about him.
While some dealers court publicity and a platform on which to talk about themselves, the head of the eponymous Mayfair art gallery is notoriously reticent about speaking to the press and guards his privacy fiercely.
Green sets out firmly to me that he wants this interview to be about the paintings and not about him, because it is the paintings that people are interested in rather than personal details.
A true art world enigma with 64 years in the trade behind him, here is a man who wields formidable power upon the London and international market yet is often unseen, preferring to eschew hectic social events and fairs.
We meet at one of the Green family's two Bond Street galleries, two of the handful of art galleries left on the street now dominated by monolithic fashion brands, and I don't mind admitting, for this interview, I'm a little nervous. He doesn't suffer fools.
Passing the Green Test
He also won't suffer second rate paintings. Possessed of astounding knowledge coupled with a hard head for business, Green is known for his rigorous research. Auction house specialists and fellow dealers speak of the critical intensity with which he views any work he is considering buying.
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The Richard Green Gallery will host an exhibition of paintings from the age of the Glasgow Boys to the Scottish Colourists, at 33 New Bond Street, featuring J D Fergusson, Samuel Peploe, Francis Cadell and Leslie Hunter, as well as pre-war paintings from the Glasgow Boys, featuring works by Sir John Lavery, and extraordinary pieces by lesser known artists such as Harrington Mann, Robert Burns and Sir Herbert James Gunn. A highlight of the show, which was recently discovered in a French attic, is the recovered masterpiece, Poise (1916) by J D Fergusson.
Inspired by Fauvism and the work of Matisse in the 1910s, the Scottish Colourists did not exhibit together until 1924 when they were labeled ‘Les Peintres de L’Ecosse Moderne’. They sought to rework the strong and vibrant colours of contemporary Parisian art, and whilst they were considered more conservative than their French counterparts, they developed a distinctive Scottish style depicting the fashionable interiors, landscapes and models of Edinburgh. Together with the Glasgow School, and Stanley Cursiter, who also features in the exhibition, the Scottish Colourists were internationally recognized during their lifetimes and acknowledged for introducing Post-Impressionist painting to Scotland.
The Glasgow School of artists, otherwise known as The Glasgow Boys was a group of predominantly Scottish artists who, in the years prior to World War I, were part of the great artistic evolution in Scotland. They formed a ‘new’ modern style of painting that swept across Europe and America, inspired by travelling and study. The Glasgow Boys produced some of their most notable works between 1890 and 1910, fusing different cultural experiences with an exploration of painting techniques. Harrington Mann’s Italian peasant girl is an example of this cultural fusion, most probably encouraged by time he spent in Italy as a result of a travelling scholarship he was awarded whist studying at the Slade School of Art. Harrington Mann was a great friend of Sir John Lavery and even painted a portrait of his child; Lavery also mentions the artist in his writing on portraiture.
Image: J. D. Fergusson, 'Poise', signed, inscribed and dated, oil on canvas, 76.2 x 71cm. Copyright, Richard Green Gallery, London
17th century Dutch masterpieces by Caspar Netscher (c1639 – 1684) and Jacob van Ruisdael (1628/29 – 1682), a classic Neo-Impressionist painting by Camille Pissarro (1830 – 1903), and a sculpture by Edgar Degas (1834 - 1917) will be among the star attractions on Richard Green’s stand at the European Fine Art Fair (TEFAF) in Maastricht this year from March 13th – 22nd.
As the fair is the world’s leading venue for Old Master paintings, the gallery has carefully selected works that measure up to the fair’s reputation.
Caspar Netscher’s 'A young woman feeding a parrot' is unquestionably one of the artist’s masterpieces, comparable in its fijnschilder technique to the work of his contemporary, Gerrit Dou. Signed and dated 1666, it is a rare genre piece by an artist who later became extremely sought after for portrait painting. In it, a young woman, dressed in the height of fashion, feeds an African Grey parrot, a popular, exotic but expensive pet bought back from the rainforests of Africa by Dutch traders.
The painting also has a fascinating provenance, not without some drama attached. In the early 18th century it was in the collection of Johan Wilhelm II, the Elector Palatine, and belonged to the Alte Pinakothek museum in Munich from the 1830s to 1936. In 1939 it was lent to the Musee Royaux des Beaux-Arts, Brussels, but seized by the German occupying forces. 1944 when it was hanging in the Jeu de Paume in Paris, it was claimed by Reichsmarshall Hermann Goering and taken to his bunker on the outskirts of Berlin. In 1952 it was given to the Von der Heydt Museum, Wuppertal, and was restituted to the heirs of the pre-war owners in 2014.
Jacob van Ruisdael’s 'Dunes by the sea', painted in 1648 when he was barely twenty, shows the mastery of atmosphere and emotional engagement with landscape that was to have a huge influence on Ruisdael’s contemporaries and on artists of the Romantic generation, including John Constable. The work, inspired by the Zuider Zee, south of Amsterdam, is unusual in Ruisdael’s oeuvre in depicting a shoreline.
In the late 19th and early 20th century the painting was owned by Ernst August, Crown Prince of Hanover and 3rd Duke of Cumberland. In 2005 it was included in the major touring exhibition, ‘Jacob van Ruisdael: Master of Landscape’ that went from the Los Angeles County Museum of Art to the Philadelphia Museum of Art, and then to the Royal Academy, London.
In addition, the gallery will exhibit a number of exceptional works by Impressionist and Modern masters.
Painted in 1896, Camille Pissarro’s ‘Petite bonne flamande dite ‘La Rosa’, is a fine example of the artist’s Neo-Impressionist technique that incorporated a Pointillism in a softer way than Seurat. Here he uses the Pointillist style to explore the effects of light. In the composition, in which the Flemish maidservant, Rosa, sits by an open door in the gentle winter light, the viewer senses a resonance with the interiors of Pieter de Hooch and other 17th century Dutch masters.
As with so many Impressionist masterpieces, this painting was first shown at the Galerie Durand-Ruel in Paris where the art critic Thiébault-Sisson praised it as ‘a superbly honest piece’. The painting was most recently owned by Dr Mortimer Sackler, the philanthropist for the sciences and the arts, whose name is associated with the Sackler Wing at the Metropolitan Museum of Art, New York.
Edgar Degas’ bronze, ‘Cheval au gallop sur le pied droit’ is the largest of fifteen wax and mixed media models of horses that were cast in limited editions at the request of Degas’ heirs after his death in 1917. The original wax and cork model, which was in the collection of Mr and Mrs Paul Mellon, is now in the National Gallery of Art, Washington. The rendition of the horse is based on a photograph by Eadweard Muybridge published in 1887 which analysed the horse’s gait. Although he had ‘a fairly good understanding of the animal’s anatomy…I was completely ignorant’ wrote Degas ‘of the mechanisms of its movements’ until Muybridge’s work.
Green at TEFAF Maastricht 2015, stand 302, 13 – 22 March 2015, Maastricht, Netherlands, www.tefaf.com
Caspar Netscher (c.1639 - 1684), 'A Young woman feeding a parrot', signed and dated lower left, oil on panel, 46 x 37 in. Copyright, Richard Green Gallery, London.
Currently showcasing at the Richard Green Gallery, 33 New Bond Street, is a collection of ten works by celebrated Scottish painter, Alan Davie (1920-2014). The exhibition titled, 'Alan Davie: Music, Magic and Mythology' examines his rich and complex oil paintings from 1954 to 1976 and will be on display until the end of March 2015.
The subtitle of the exhibition, ‘Music, Magic and Mythology’, refers to both Davie’s joys and passions, influences and practices that recur in his paintings throughout his career. Painting highlights, clearly expressing these predominant trends, include: ‘Jumpin’ at the Woodside’ (1965), ‘Transformation of A.D. No. 4’ (1970),‘Goddess of the Green’ (1954), respectively.
Several of Davie’s paintings refer to his love of jazz music and modern jazz titles. After having had a promising career as a saxophonist in a jazz group in the 1940s, the exploration of rhythm, colour and freedom of form in Davie’s improvised style can be compared to the manner in which a jazz musician might take and develop a theme instrumentally. Painting, ‘Jumpin’ at the Woodside’ (1970) directly references the title of a jazz song with the same name, written in 1938 by the American jazz pianist, William ‘Count’ Basie.
In later works, such as, ‘Sorcerer’s Wall No. 3’ (1970), the artist invokes the magical element, which can also been seen in ‘Transformation of A.D. No. 4’ (1970) and Fairy Tree No. 8 (1971), both of which were included in the exhibition, ‘Magic and Strong Medicine’ at the Walker Art Gallery, Liverpool in 1973. An interest in primitivism, myth and magical symbolism in the 1960s saw recurring symbols from diverse world cultures in his paintings hereafter, representing a synthesis of fictional narrative mythologies. Examples include his seminal work ‘Goddess of the Green’ (1954), and ‘Dancer Myth No.3’ (1976).
Alan Davie, ‘Parrot’s Love Song, No. 8,
signed, dated Mar 70, oil on canvas,
121.9 x 152.4 cm
The Richard Green Gallery is delighted to present Ken Howard’s tenth exhibition at 147, New Bond Street. Ranging from small studies ‘en plein air’ to large studio canvases, LONDON PARIS NEW YORK will include over sixty paintings of these three cities.
In each one, regardless of the subject, it is the light which remains central to Howard’s paintings: he captures a subject at a specific time, painting at six in the morning and then again in the early evening before sunset. As the light changes continuously throughout the day, the dynamic of each painting changes too and Howard says, “Seeing a subject [at different times of the day] is like seeing a new subject every time... Windsor and Newton don’t make light in a tube… you have to make it.”
London is Ken Howard’s home: it is familiar and, between trips to New York and Paris, he continues to find its range of weather and lights both stimulating and challenging. Above all, Howard most enjoys painting London in the rain and says “I find rain wonderful.”
Paris, home to Claude Monet, Alfred Sisley and Camille Pissarro, is where he is closest to his artistic roots and inspiration. It is Howard’s favourite city, but even though he has painted there many times before, only now does he feel he sees the city in his own terms, able to communicate the passion of the capital in his own ‘language.’
Howard’s latest trip to New York was his third, and on previous occasions he had not found the inspiration to paint. This time it was quite the opposite; the scale of the city made a great impression on him and he says, “…[in New York] the buildings are bigger, the cars are bigger… even the people seem bigger.” Howard painted New York in the spring when he found the light most beautiful.
“A painting is finished when it starts to give back to me the sensation that made me want to start it,” says Howard. “[It] starts and ends with light.”An ambition he has is to make his viewer ‘squint’ in front of his paintings – at the illusion, sensation and creation of light, just as we might if we stop for a moment to look at these views of London, New York or Paris.
This exhibition will be open at 147, New Bond Street between 14th and 31st January 2015. For further enquires please contact the gallery at email@example.com
Details from, ‘Rain effect, City of London’; ‘Pont des Invalides’ and ‘Square in Manhattan’ Copyright, Richard Green Gallery, London
This week, the Richard Green Gallery launches a selling exhibition at 33, New Bond Street, of paintings by Mary Fedden, entitled, ‘Summer in Winter’. Comprised of 18 works and spanning four decades, this exhibition explores a range of subjects including, still lifes and landscapes between 1965 and 2007. The show opens on Wednesday, 26th of November and will run until Tuesday, 23rd December 2014.
Mary Fedden was born in Bristol in 1915 and studied at the Slade School of Fine Art from 1932-1936. She found her own style early on, initially influenced by French and Russian modernists, including Henri Matisse and Pablo Picasso and the Russian theatre designer Valdimir Polunin, who introduced a sense of drama to her work through colour and composition that would leave a lasting impression on her.
In1951, Fedden married artist Julian Trevelyan and they devoted much of the 1950s to creating art and travelling the world together. By the start of the 1960s, Fedden’s paintings took on the style for which she is best known, using pure, vibrant colours for subjects of still lifes and views of Italy and North Africa. Her work exudes carefree joy and a love of simplicity in the everyday objects that surrounded her; she carefully choreographed still life arrangements, altered perspectives in favour of flattened forms that offered decorative appeal, and chose specific colour palettes for each new painting.
From the late 50s to the mid 60s, Fedden was a tutor at the Royal College of Art where she taught David Hockney and Allen Jones. She continued to work from the studio in Hammersmith that she shared with her husband well into her nineties. Her work was touched by a unique naïveté, was playful and imaginative, and she will remain one of Britain’s best-loved artists.
Mary Fedden (1915-2012), ‘Pink Lily’, signed
and dated 1991, oil on board: 41.6 x 32.1cm