Little Bracken, 1951
Peter LANYON
35.5 x 15 cm
Signed; also signed, inscribed and dated verso
Provenance
A gift from the artist to Jeremy Le Grice, and by descent.
Literature
A. CAYSEY. Peter Lanyon: His Painting, Henley-on-Thames, 1971, p. 46, no. 32.
T. TREVES. Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, London, 2018, p. 232, no. 275, ill.
Exhibited
1951, St Ives, Bookshop of G.R. Downing, Peter Lanyon: Exhibition of Paintings from Penwith, no. 7.
1951, London, Gimpel Fils, British Abstract Art, no. 40.
1952, London, Gimpel Fils, Peter Lanyon: Oils and Gouaches, no. 19.
1952, Oxford, Black Hall, Seven British Contemporary Artists, no. 8.
ADDITIONAL NOTES
Little Bracken consists of two pieces of board stuck together. The larger board is painted green and acts as a surround for the smaller board.
The latter was prepared with gesso and painted with thin green and grey paint. The main forms and lines were drawn with pencil.
Lanyon wrote to Peter Gimpel to complain when the work was included in ‘British Abstract Art’ (2 August 1951; Gimpel Fils Archive) because he did not consider it an abstract painting.
Although the width dimension given by Causey is larger that that recorded in Catalogue Raisonné, there is no evidence that the board has been cut down.
Paintings
Little Bracken, 1951
35.5 x 15 cm
Signed; also signed, inscribed and dated verso
Provenance
A gift from the artist to Jeremy Le Grice, and by descent.
Literature
A. CAYSEY. Peter Lanyon: His Painting, Henley-on-Thames, 1971, p. 46, no. 32.
T. TREVES. Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, London, 2018, p. 232, no. 275, ill.
Exhibited
1951, St Ives, Bookshop of G.R. Downing, Peter Lanyon: Exhibition of Paintings from Penwith, no. 7.
1951, London, Gimpel Fils, British Abstract Art, no. 40.
1952, London, Gimpel Fils, Peter Lanyon: Oils and Gouaches, no. 19.
1952, Oxford, Black Hall, Seven British Contemporary Artists, no. 8.
ADDITIONAL NOTES
Little Bracken consists of two pieces of board stuck together. The larger board is painted green and acts as a surround for the smaller board.
The latter was prepared with gesso and painted with thin green and grey paint. The main forms and lines were drawn with pencil.
Lanyon wrote to Peter Gimpel to complain when the work was included in ‘British Abstract Art’ (2 August 1951; Gimpel Fils Archive) because he did not consider it an abstract painting.
Although the width dimension given by Causey is larger that that recorded in Catalogue Raisonné, there is no evidence that the board has been cut down.