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Presentation: Framed
Signed with initials and dated; oil on canvas, 24 X 14 ins. (61 X 35.6 cms)
Provenance: the artist's estate
Exhibited: Harris, Preston; Canterbury Museum & Art Gallery; FAS 2000 (109)
Mahoney's unbridled enthusiasm for plants was shared with Edward Bawden, Geoffrey Rhoades, John Nash and Evelyn Dunbar, with whom he swapped cuttings by post. Auriculas - deeply unfashionable at the time - were one of his particular passions. He loved the sumptuous colour combinations and formal arrangement of the leaves and petals.
Biography
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Presentation: Framed
Black Prince pencil and watercolour, 18Q X 11E ins. (47 X 29.8 cms.)
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Presentation: Framed
Titled on a label to the reverse
Oil on board
14 1/4 x 21 3/8 ins (36x54.5cms)
Provenance: The Artist's daughter
In its original Alfred Stiles and Sons, Ltd frame, black and gold D-section frame.
Although Mahoney worked independently from mainstream movements, he remained interested in, and open-minded about the contemporary scene. He was especially interested in Surrealism, elements of which are reflected in this painting.
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Presentation: Framed
Oil on canvas
22 1/2 x 13 1/3 in.
In an bollection moulding painted Italiante frame with ornamental gilding
Biography
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Presentation: Framed
Oil on canvas
28 x 24 in. (71 x 61 cm)
Biography
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Presentation: Framed
Signed and inscribed on a label to the reverse
Oil on paper
Arched top, 17 3/4 x 11 3/4 in. (45 x 30 cm)
Provenance: The Artist's Estate
Exh: The Whitworth Art Gallery, 1957; Preston, Canterbury, London, Charles Mahoney, The Fine Art Society, (cat 81)
In a shaped gilded oak frame.
Mahoney was commissioned to produce a mural scheme for the Lady Chapel at Campion Hall in 1941. The scheme was to be made up primarily of three large panels: the Nativity and Adoration of the Shepherds, the Coronation of the Virgin, and Our Lady of Mercy. In detail and composition the paintings owe much to early Italian example. The most notable case is Our Lady of Mercy (Autumn), clearly inspired by Piero della Francesca's altarpiece at Borgo San Sepolcro. Electing to paint directly onto canvas fixed to the walls and by daylight hours only, the project inevitably became drawn out and Mahoney could only work in situ during the Easter and summer vacations when he was not teaching. The project continued into the following decade and coincided with a serious decline in the artist's physical health. In spite of these problems, Sir John Rothenstein, who chose to reproduce one of the murals as a plate in British Art since 1900 (1962, pl.60), was moved to describe the scheme as as second ...only to that by Stanley Spencer at Burghclereť.
Above: The Lady Chapel at Campion Hall
A full account of the circumstances of the commission and some of the problems involved can be found in Sir John Rothenstein's Tribute to Mahoney in the catalogue of the Memorial Exhibition held at the Ashmolean Museum in 1975.
Biography
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Presentation: Framed
oil on canvas
9 1/2 x 9 3/4 in. (24 x 25 cm)
In a flat section gilded oak frame with pegged lap-joints
In 1922, on the strength of a Royal Exhibition in drawing, Mahoney enrolled at the Royal College of Art, where he spent four productive years under the
guidance of the College Principal and Professor of Painting,William Rothenstein. Contemporaries at the college with whom he formed life-long friendships included Edward Bawden, Barnett Freedman, Percy Horton and Gerald Ososki. This composition is typical of the biblical inspired narratives that Mahoney, and his contemporaries, produced during this period at the RCA.
Biography
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Presentation: Framed
oil on canvas
9 1/2 x 9 3/4 in. (24 x 25 cm)
In a flat section gilded oak frame with pegged lap-joints
In 1922, on the strength of a Royal Exhibition in drawing, Mahoney enrolled at the Royal College of Art, where he spent four productive years under the
guidance of the College Principal and Professor of Painting,William Rothenstein. Contemporaries at the college with whom he formed life-long friendships included Edward Bawden, Barnett Freedman, Percy Horton and Gerald Ososki. This composition is typical of the biblical inspired narratives that Mahoney, and his contemporaries, produced during this period at the RCA.
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Presentation: Framed
Oil on paper
16 x 13 in. (40.5 x 33 cm)
Provenance: The Artists Estate
Literature: Herburt Furst, Standards of Criticism, Apollo, XXXVI, 1942, p. 15
In a fine gilded oak wedge shaped frame
This is a colourr study for the Tate Gallery painting of the same title, which Mahoney exhibited at the NEAC in 1936( 199).
Adam and Eve in the Garden of Eden exhibited 1936, oil on canvas 91 x 76 cm, presented by the Contemporary Art Society 1942, Tate (N05323).
Adam and Eve are shown exploring the Garden of Eden before their fall. They are seen through a brick window at the right of which a pair of hands, belonging to some unseen person inside the building, arranges a branch of leaves in a glass on the sill. In the final painting Adam and Eve hold hands instead of standing apart and some of the objects on the window sill are different: two pears in place of the insects shown in the drawing, more flowers in the vase at the left and a less elegant glass at the right. As no record appears to survive of Mahoney's precise intentions in ‘Adam and Eve’, one can only guess at the identity of the mysterious hands. Are they meant to be God's? Or did the artist, a keen botanist, imagine Eden as his own garden and do the hands stand for his own? Throughout his life Mahoney turned to flowers and gardens for much of his subject matter; about the time ‘Adam and Eve’ was painted he was even preparing, with Evelyn Dunbar, an illustrated book on the subject, Gardeners' Choice, which appeared in 1937. That the hands may be human rather than divine is also suggested by the inclusion of similar motifs in non-Biblical pictures, for example ‘Three Boxes with Flowers’ (Coll. John Ward), in which mysterious fingers edge their way into the design. Mahoney painted and drew the Adam and Eve subject on later occasions. An oil ‘Sketch for Adam and Eve’ exhibited at the NEAC in 1959 (77) and still with Mrs Mahoney is a different composition, as presumably is the drawing ‘Garden of Eden, Version II’ shown there in 1965 (409). In the latter year Mahoney exhibited at the RA two pen and wash drawings entitled ‘Adam and Eve (version II)’ and ‘Study for Adam and Eve (version II)’ (nos. 1239 and 1265 respectively). Another pen and wash drawing shown at the RA that year, ‘Adam and Eve (version I)’ (1266) is presumably related to T02091.
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Presentation: Unmounted
Oil on paper, image size 9 x 11 in. (23 x 28 cm.)
Some scuffs - in need of restoration.
In 1922, on the strength of a Royal Exhibition in drawing, Mahoney enrolled at the Royal College of Art, where he spent four productive years under the
guidance of the College Principal and Professor of Painting,William Rothenstein. Contemporaries at the college with whom he formed life-long friendships included Edward Bawden, Barnett Freedman, Percy Horton and Gerald Ososki.
This colour study is typical of the lyical compositions Mahoney produced during his RCA period.
Biography
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Presentation: Unmounted
Oil on paper, 9 x 11 in. (23 x 28 cm.)
Provenance: The artist's estate
In 1922, on the strength of a Royal Exhibition in drawing, Mahoney enrolled at the Royal College of Art, where he spent four productive years under the
guidance of the College Principal and Professor of Painting,William Rothenstein. Contemporaries at the college with whom he formed life-long friendships included Edward Bawden, Barnett Freedman, Percy Horton and Gerald Ososki.
This colour study is typical of the lyical compositions Mahoney produced during his RCA period.
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Presentation: Mounted
Gouache over pencil
13 3/4 x 20 in. (35 x 51 cm).
In a hand coloured acid free cream mount.
This design is likely to date to the period when Mahoney was working on his illustrations for Gardener’s Choice, a collaboration between Mahoney and Evelyn Dunbar, published by Routledge at the end of 1937.
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Presentation: Framed
Signed and dated
Pen and ink over pencil, squared in red chalk, 15˝ × 19Ľ in. (39.5 × 49 cm.)
Literature: Paul Liss, Charles Mahoney, exh. cat.,The Fine Art Society, London 2000, p. 47In 1922, on the strength of a Royal Exhibition in drawing, Mahoney enrolled at the Royal College of Art, where he spent four productive years under the
We are grateful to Elizabeth Bulkeley for assistance.
guidance of the College Principal and Professor of Painting,William Rothenstein. Contemporaries at the college with whom he formed life-long friendships included Edward Bawden, Barnett Freedman, Percy Horton and Gerald Ososki. The influence of Samuel Palmer, whom Mahoney greatly admired, is much in evidence in this drawing.
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Presentation: Framed
Oil over pencil on board, prepared with a pink gesso ground, 15 × 12 in. (38 × 30.5 cm.)
Provenance: acquired directly from the artist’s daughter (ref. no. N21a III)
Literature: Martin Postle, The Art of the Garden, exh. cat.,Tate Britain, 2004, p. 118
Mahoney’s unbridled enthusiasm for plants was shared with Edward Bawden, Evelyn Dunbar, Geoffrey Rhoades and John Nash, all of whom swapped cuttings with each other by post. The artist’s daughter recalls that he ‘particularly liked to grow and paint tall, statuesque plants;Annual Sunflowers excelled in this respect. In addition they had handsome heads, with great twisted necks resembling a Celtic torque’ (Elizabeth Bulkeley, email to Paul Liss, 2 February 2007).
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Presentation: Mounted
Watercolour and pencil, squared in pen and ink
19 x 14 ins (48.2x35.5cms)
Acquired in 1937, Oak Cottage, in Wrotham, Kent, was very much Mahoney’s spiritual as well as actual home. It was also a home for his mother, Bessie, after she left Anerley in 1937. Charles lived at Oak Cottage from 1937-40, during which period he renovated it, and again from 1945 until his death in 1968. Once the garden that he planted had matured, he seldom worked anywhere else. For Mahoney, Oak Cottage had something of the quality with which Stanley Spencer imbued his childhood home, Fernlea; in both cases the frequent pictorial references to elements of the architecture and garden gives the location an almost mystical quality. The kitchen here is as it was when Mahoney moved to Oak Cottage. The figure in at the sink is the artist’s mother. Mahoney produced at least one version of this design as a finished painting (private collection):
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Presentation: Framed
Oil on prepared board
13 3/4 x 12 1/4 in. (35 x 31 cm.)
Mahoney was particularly fond of the giant sunflower, Helianthus annuus, capable of outgrowing a man within a season. He made many colour and black and white studies of this species, capturing the convoluted energy of their rough stems and massive heads, and the ragged angles of their great leaves.
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Presentation: Mounted
Watercolour and pencil on paper, 20 X 30 ins. (50.8 X 76.2 cms.)
Provenance: the artist's estate
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Presentation: Unmounted
Pencil and watercolour, 18 x 11 ins. (47 X 29.8 cms.)
'Beneath the south wall of his studio my father made wigwams of canes to support multicoloured gourds and deep blue Morning Glory trumpets. He grew many kinds of Polygonum. Some, like P. cuspidatum, were statuesque giants, others [such as cat. 106] were delicate and lacy. He appreciated flowers such as tulips and Opium Poppies for their slender upright form with a burst of bloom at the top, as they popped up between bushier plants throughout the garden. Lilies likewise shot through the foliage of other plants and exploded in exquisite flowers. Auriculas were a particular passion. He loved the primly formal arrangement which complemented the sumptuous colour combinations.' Elizabeth Bulkeley, the artist's daughter, letter to Paul Liss 15th March 2005.
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Presentation: Mounted
Watercolour and pencil
9 7/8 x 7 1/8 in. (25 x 18 cm).
Provenance: The Artist's Estate
In a double sided acid free cream mount with washed lines
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Presentation: Mounted
Pen and ink over pencil
7 1/2 x 9 1/2 in. (19 x 24 cm).
Proveannce: The Artist's Esate
In an acid free cream mount with washed lines
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Presentation: Mounted
Pen and ink, inscribed with colour notes
7 1/2 x 10ins. (19x25.2cms)
The large picture hanging above the mantelpiece shows a design by Mahoney for the back cloth of the Merchant of Venice, one of a number of theatre designs produced at the end of his Royal College of Art Period (c.1930).
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Presentation: Mounted
Pen and ink and pencil
12 1/4 x 9 1/2 in. (31 x 24 cm.)
In a hand coloured acid free cream mount.
This design is likely to date to the period when Mahoney was working on his illustrations for Gardener’s Choice, a collaboration between Mahoney and Evelyn Dunbar, published by Routledge at the end of 1937.
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Presentation: Mounted
Watercolor over ink on butt colored paper
36,5 x 25 cm
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Presentation: Mounted
Watercolor over ink on butt colored paper
41 x 28,5 cm
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Presentation: Mounted
Ink and watercolor over pencil
44 x 29 cm
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Presentation: Mounted
Ink on butt colored paper
38,5 x 24 cm
Biography
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Presentation: Mounted
Variously signed, inscribed with title and dated
Pen and wash over pencil; 17 × 11 in. (43 × 23 cm)
Provenance:Artist’s estate.
Literature: Paul Liss, Charles Mahoney, London 1999, p. 54.
Gas masks were issued to all children as a precaution against attack by gas bombs, and gas-mask drill (‘remove mask from box, put mask on face, check mask fits correctly, breathe normally’) was a daily feature of school life in the SecondWorldWar .The masks came in cardboard boxes with a strap for carrying them on the shoulder . Children were instructed to keep their masks with them at all times.
In 1940, the Royal College of Art was evacuated to Ambleside in the Lake District, with Mahoney and Percy Horton among the male staff.
Biography
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Presentation: Unmounted
Variously signed, inscribed with title and dated
Pen and wash over pencil; 17 × 11 in. (43 × 23 cm)
Provenance:Artist’s estate.
Literature: Paul Liss, Charles Mahoney, London 1999, p. 54.
Gas masks were issued to all children as a precaution against attack by gas bombs, and gas-mask drill (‘remove mask from box, put mask on face, check mask fits correctly, breathe normally’) was a daily feature of school life in the SecondWorldWar .The masks came in cardboard boxes with a strap for carrying them on the shoulder . Children were instructed to keep their masks with them at all times.
In 1940, the Royal College of Art was evacuated to Ambleside in the Lake District, with Mahoney and Percy Horton among the male staff.
Biography
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Presentation: Unmounted
Variously signed, inscribed with title and dated
Pen and wash over pencil; 17 × 11 in. (43 × 23 cm)
Provenance:Artist’s estate.
Literature: Paul Liss, Charles Mahoney, London 1999, p. 54.
Gas masks were issued to all children as a precaution against attack by gas bombs, and gas-mask drill (‘remove mask from box, put mask on face, check mask fits correctly, breathe normally’) was a daily feature of school life in the SecondWorldWar .The masks came in cardboard boxes with a strap for carrying them on the shoulder . Children were instructed to keep their masks with them at all times.
In 1940, the Royal College of Art was evacuated to Ambleside in the Lake District, with Mahoney and Percy Horton among the male staff.
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Presentation: Passe-partout
Brown, black, yellow and green chalk on paper,
42 x 16cm (49 x 23cm framed)
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Presentation: Mounted
Pen and ink and wash, squared in pencil
7 7/8 x 11 7/8 in. (20 x 30 cm.)
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Presentation: Unmounted
Watercolour over pencil with touches of oil
18 1/2 x 11 3/4 ins (47 x 30cms)
In late 1940 the Royal College of Art was evacuated to Ambleside in the Lake District; Mahoney and Percy Horton were among the male staff. The students were housed in two hotels, men at The Queens and women at The Salutation; Mahoney was resident master in charge at the men’s hostel. Whilst at Ambleside, Mahoney became engaged to Dorothy Bishop, a calligraphy tutor from the Design School of the Royal College of Art. They were married in September 1941. For a fuller account of this period see biographical essay, pp and The Artist as Evacuee, The Royal College of Art in the Lake District, 1940-45, Dove Cottage and the Wordsworth Museum, Grasmere 1987. In spite of requisitioning two hotels, conditions for the Royal College of Art students were cramped. The majority of space was required for accommodation leaving precious little room for the studios which were mostly set up in lower rooms and suffered from lack of light.
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Presentation: Unmounted
Dated June 1940,
Watercolour,
13 x 18 1/2 in. (33 x 67 cm.)
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Presentation: Mounted
Pen & ink and wash
25.5 x 30.5 cm
Joy and Sorrow was the subject of one of the murals Mahoney completed at Brockley School between 1932 and 1936
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Presentation: Mounted
Charcoal on blue paper
40,5 x 29,5 cm
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Presentation: Mounted
Signed and dated
Watercolour on paper, squarred in pencil
38 x 28,5 cm
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Presentation: Passe-partout
Black and white chalk and couloured pencil on paper, squared.
35.5 x 29.5cm (42.5 x 36.5 cm framed)
Throughout the 1950's Mahoney produced a series of paintings of successive Christmas trees decorated by his daughter and wife. The small scale of the trees reflected the size of Oak Cottage, the artist's home.
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Presentation: Mounted
Chaorcal on tracing paper, squarred in red
46 x 19 cm
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Presentation: Mounted
Chaorcal on tracing paper, squarred in blue
39,5 x 23 cm
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Presentation: Unmounted
Pencil on tracing paper
11 7/8 x 9 7/8 in. (30 x 25 cm.), image size
Extensive creases and fold marks - need pressing
Mahoney was asked to contribute to the Festival of Britain after an initial shortlist of 145 artists was narrowed down to 60. Percy Jowett and John Rothenstein, members of the selection panel, undoubtedly would have recommended him. The exhibition was entitled Sixty paintings for ’51. Works submitted were to be a minimum of 45 x 60 in. The oldest artist asked was W G Gillies (73 at the time), the youngest Lucian Freud (29). Other artists selected included John Armstrong, Edward Burra, Ivon Hitchens, L S Lowry, John Minton, William Scott, Keith Vaughan, Carel Weight and Rodrigo Moynihan ; Barnett Freedman and Edward Bawden, both also invited, declined.
Mahoney’s contribution was entitled The Garden. Figurative works accounted for approximately half of the contributions submitted and many, like Mahoney’s, were firmly rooted in the British tradition of landscape painting. A full account of the exhibition is given in 25 from 51, 25 Paintings from the Festival of Britain 1951, Sheffield City Art Galleries, 1978
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Presentation: Unmounted
Pencil with white highlights, squared in red
15 3/4 x 7 1/2 in. (40 x 19 cm.)
some creases and colour stains.
Mahoney was asked to contribute to the Festival of Britain after an initial shortlist of 145 artists was narrowed down to 60. Percy Jowett and John Rothenstein, members of the selection panel, undoubtedly would have recommended him. The exhibition was entitled Sixty paintings for ’51. Works submitted were to be a minimum of 45 x 60 in. The oldest artist asked was W G Gillies (73 at the time), the youngest Lucian Freud (29). Other artists selected included John Armstrong, Edward Burra, Ivon Hitchens, L S Lowry, John Minton, William Scott, Keith Vaughan, Carel Weight and Rodrigo Moynihan ; Barnett Freedman and Edward Bawden, both also invited, declined.
Mahoney’s contribution was entitled The Garden. Figurative works accounted for approximately half of the contributions submitted and many, like Mahoney’s, were firmly rooted in the British tradition of landscape painting. A full account of the exhibition is given in 25 from 51, 25 Paintings from the Festival of Britain 1951, Sheffield City Art Galleries, 1978
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Presentation: Framed
Inscribed Rich jewels
Pen and brown ink over pencil
18 1/2 x 25 1/2 in. (47 x 65 cm)
The scheme to decorate Morley College was funded by Lord Duveen and followed on from his commission for Rex Whistler to decorate the Refreshment Room of the Tate Gallery (at a cost of Ł 1,200). Six painters, all former students at the RCA, were invited to submit designs. Those chosen were Mahoney, Bawden and Ravilious. Mahoney's contribution, The pleasures of Life, was the central feature on the wall at the back of the stage used for orchestral concerts, dramatic performances and folk dancing.
In the foreground were seven Muses: (left to right) Dancing, Plastic Art, Music, Philosophy, Drama, Poetry and Prose. Country Dances, Outdoor Pastimes and Apple Picking were presented in the spaces above.
The scheme was completed in situ during an 18 months period and was worked in oil paint mixed with wax, on canvas, fixed to the wall. The building was destroyed by a bomb during the Second World War and none of the work of the three artists survived.
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Presentation: Unmounted
Chalk and pastel on paper, squared in red
71 x 49 ins. (180.3 x 124.5 cm)
Mahoney was asked to contribute to the Festival of Britain after an initial shortlist of 145 artists was narrowed down to 60. Percy Jowett and John Rothenstein, members of the selection panel, undoubtedly would have recommended him. The exhibition was entitled Sixty paintings for ’51. Works submitted were to be a minimum of 45 x 60 in. The oldest artist asked was W G Gillies (73 at the time), the youngest Lucian Freud (29). Other artists selected included John Armstrong, Edward Burra, Ivon Hitchens, L S Lowry, John Minton, William Scott, Keith Vaughan, Carel Weight and Rodrigo Moynihan ; Barnett Freedman and Edward Bawden, both also invited, declined.
Mahoney’s contribution was entitled The Garden. Figurative works accounted for approximately half of the contributions submitted and many, like Mahoney’s, were firmly rooted in the British tradition of landscape painting. A full account of the exhibition is given in 25 from 51, 25 Paintings from the Festival of Britain 1951, Sheffield City Art Galleries, 1978
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Presentation: Passe-partout
Pencil on paper, 7 3/4 x 6 3/4 in. (19.5 x 17cm.)
(10 1/2 x 9 1/2 in. (26.5 x 24cm.) framed)
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Presentation: Passe-partout
Pen and ink on paper, 2 1/8 x 2 5/8 in. (5.3 x 6.8cm.)
(5 1/4 x 6 in. (13.5 x 15cm.) framed)
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Presentation: Passe-partout
Black ink and wash on paper, 8 1/16 x 3 3/4 in. (20.5 x 9.5 cm.)
(11 7/16 x 7 in. (29 x 18 cm.) framed)
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Presentation: Passe-partout
Pen and ink on paper, 7 3/8 x 7 1/2 in. (18.7 x 19cm.)
(10 1/4 x 10 1/4 in. (26 x 26cm.) framed)
This is likely to be a rough sketch for one of the illustrations to Gardeners's Choice.
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Presentation: Passe-partout
Pencil and pen and ink on paper, 7 1/2 x 6 in. (19 x 15cm.)
(10 1/4 x 8 3/4 in. (26 x 22cm.) framed)
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Presentation: Passe-partout
Pencil and pen on paper, 4 1/8 x 5 1/2 in. (10.5 x 14cm.)
(6 7/8 x 8 1/4 in. (17.5 x 21cm.) framed)
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Presentation: Passe-partout
Watercolour and ink on paper, 8 5/8 x 8 5/8 in. (22 x 22cm.)
(12 1/4 x 12 1/4 in. (31 x 31cm.) framed)
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Presentation: Passe-partout
Ink on paper, 13 3/4 x 5 1/4 in. (35 x 13.5cm.)
(16 1/2 x 8 in. (42 x 20.5cm.) framed)
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Presentation: Passe-partout
Pen and watercolour on paper, 5 3/4 x 6 3/4 in. (14.5 x 17cm.)
(8 1/2 x 9 5/8 in (21.5 x 24.5cm.) framed)
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Presentation: Passe-partout
Ink on paper, 8 1/2 x 7 in. (21.5 x 18cm.)
(11 5/8 x 10 1/4 in. (29.5 x 26cm.) framed)
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Presentation: Passe-partout
Black chalk and wash on paper, 8 7/8 x 5 1/2 in. (22.5 x 14cm.)
(11 5/8 x 8 1/4 in. (29.5 x 21cm.) framed)
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Presentation: Passe-partout
Ink on paper, 6 7/8 x 6 1/4 in. (17.5 x 16cm.)
(9 1/2 x 8 7/8 in. (24 x 22.5cm.) framed)
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Presentation: Passe-partout
Black and white chalk, ink and wash, 12 3/8 in. (31.5 x 16cm.)
(11 1/4 x 9 in. (38.5 x 23cm.) framed)
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Presentation: Passe-partout
Pencil on paper, 6 7/8 x 8 1/2 in. (17.5 x 21.5cm.)
(10 x 11 5/8 in. (25.5 x 29.5cm.) framed)
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Presentation: Passe-partout
Pastel on paper, 10 5/8 x 4 in. (27 x 20cm.)
13 3/8 x 10 5/8 in. (34 x 27cm.) framed.
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Presentation: Passe-partout
Black and white chalk on paper, 9 x 9 1/2 in. (23 x 24cm.)
(12 x 12 1/4 in. (30 x 31cm.) framed)
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Presentation: Passe-partout
Ink and blue watercolour on paper, 4 1/4 x 6 1/2 in. (11 x 16.5cm.)
(7 x 9 1/4 in. (18 x 23.5cm.) framed)
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Presentation: Passe-partout
Black and white chalk and some pastel on paper,
9 3/4 x 7 3/4 in. (25 x 19.5cm.) (13 3/8 x 11 1/4 in. (34 x 28.5cm.) framed)
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Presentation: Passe-partout
Pencil on paper, 11 1/2 x 4 1/2 in. (29 x 11.5cm.)
(14 1/8 x 7 1/4 in. (36 x 18.5cm.) framed)
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Presentation: Passe-partout
Bistre ink and wash on paper, 7 x 6 1/2 in. (18 x 16.5cm.)
(10 1/4 x 9 5/8 in. (26 x 24.5cm.) framed)
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Presentation: Passe-partout
Ink on paper, 12 x 8 5/8 in. (30.3 x 22cm.)
(14 5/8 x 11 1/2 in. (37.3 x 29cm.) framed)
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Presentation: Passe-partout
Black and white chalk and pencil on paper, 9 1/4 x 10 in. (23.5 x 25.5cm.)
(12 3/4 x 13 1/2 in. (32.5 x 34.5cm.) framed)
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Presentation: Mounted
Pen and ink
6 1/2 x 7 in. (16.5 x 18 cm.)
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Presentation: Mounted
Pen and ink
9 7/8 x 7 in. (25 x 18 cm.)
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Presentation: Mounted
Watercolour over pen and ink
9 7/8 x 7 in. (25 x 18 cm.)
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Presentation: Mounted
Inscribed with title
Pen and ink
26 x 19 cm.
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Presentation: Mounted
Black prince pencil
12 1/2 x 9 1/2 in. (32 x 24 cm.)
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Presentation: Passe-partout
Pen and ink, 5 x 4cm (15 x 14cm framed)
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Presentation: Passe-partout
Pen and watercolour on paper, 22.8 x 22.5cm (32 x 31.5cm framed)
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Presentation: Passe-partout
Ink on paper, 36 x 25cm (45 x 34cm framed)
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Presentation: Passe-partout
Watercolour and pen on light blue paper, 37 x 31.5cm (46 x 41cm framed)
Biography
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Pen and ink on tracing paper, squared 22.8 x 46.3cm (31 x 54.5cm framed)
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Presentation: Mounted
Pen & ink and wash.
8 7/8 x 11 3/4 in. (22.5 x 29.8 cm.)
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Presentation: Mounted
Pencil
13.5 x 56 cm.
Mahoney was commissioned to produce a mural scheme for the Lady Chapel at Campion Hall in 1941. The scheme was to be made up primarily of three large panels: the Nativity and Adoration of the Shepherds, the Coronation of the Virgin, and Our Lady of Mercy. In detail and composition the paintings owe much to early Italian example. The most notable case is Our Lady of Mercy (Autumn), clearly inspired by Piero della Francesca's altarpiece at Borgo San Sepolcro. Electing to paint directly onto canvas fixed to the walls and by daylight hours only, the project inevitably became drawn out and Mahoney could only work in situ during the Easter and summer vacations when he was not teaching. The project continued into the following decade and coincided with a serious decline in the artist's physical health. In spite of these problems, Sir John Rothenstein, who chose to reproduce one of the murals as a plate in British Art since 1900 (1962, pl.60), was moved to describe the scheme as as second ...only to that by Stanley Spencer at Burghclere.
Pencil
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Enquire about this picture£450
Presentation: Mounted
Pencil
13.5 x 56 cm.
Mahoney was commissioned to produce a mural scheme for the Lady Chapel at Campion Hall in 1941. The scheme was to be made up primarily of three large panels: the Nativity and Adoration of the Shepherds, the Coronation of the Virgin, and Our Lady of Mercy. In detail and composition the paintings owe much to early Italian example. The most notable case is Our Lady of Mercy (Autumn), clearly inspired by Piero della Francesca's altarpiece at Borgo San Sepolcro. Electing to paint directly onto canvas fixed to the walls and by daylight hours only, the project inevitably became drawn out and Mahoney could only work in situ during the Easter and summer vacations when he was not teaching. The project continued into the following decade and coincided with a serious decline in the artist's physical health. In spite of these problems, Sir John Rothenstein, who chose to reproduce one of the murals as a plate in British Art since 1900 (1962, pl.60), was moved to describe the scheme as as second ...only to that by Stanley Spencer at Burghclere.
Pencil
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Enquire about this picture£400
Presentation: Mounted
Pencil
13.5 x 56 cm.
Mahoney was commissioned to produce a mural scheme for the Lady Chapel at Campion Hall in 1941. The scheme was to be made up primarily of three large panels: the Nativity and Adoration of the Shepherds, the Coronation of the Virgin, and Our Lady of Mercy. In detail and composition the paintings owe much to early Italian example. The most notable case is Our Lady of Mercy (Autumn), clearly inspired by Piero della Francesca's altarpiece at Borgo San Sepolcro. Electing to paint directly onto canvas fixed to the walls and by daylight hours only, the project inevitably became drawn out and Mahoney could only work in situ during the Easter and summer vacations when he was not teaching. The project continued into the following decade and coincided with a serious decline in the artist's physical health. In spite of these problems, Sir John Rothenstein, who chose to reproduce one of the murals as a plate in British Art since 1900 (1962, pl.60), was moved to describe the scheme as as second ...only to that by Stanley Spencer at Burghclere.
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Pencil on paper, 9.5 x 17.5cm (16.5 x 24.5cm framed)
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Presentation: Passe-partout
Pencil and watercolour, 22.5 x 26.5cm (32 x 35.5cm framed)
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Presentation: Mounted
Pen & ink & wash over green paper.
13 1/8 x 11 1/2 in. (33.4 x 29.3 cm.)
The Artist and his Muse was a theme that Mahoney worked on consistently during the 1950. The design's that he producing during this period are extremely poetic in their narrative and their landscape settings.
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Presentation: Mounted
Wash and pen & ink.
4 1/4 x 17 1/4 in. (11 x 44 cm.)
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Presentation: Mounted
Wash over pen & ink.
9 1/4 x 13 in. (23.5 x 33 cm.)
The Artist and his Muse was a theme that Mahoney worked on consistently during the 1950. The design's that he producing during this periodare extremely poetic in their narrative and their landscape settings.
Biography
Enquire about this picture£320
Presentation: Mounted
Ink & wash over pencil, squared
12 1/4 x 10 in. (31.3 x 25.5 cm.)
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Presentation: Mounted
Signed with initials.
Charcoal and white pastel.
11 3/16 x 15 7/16 in. (28.3 x 39.3 cm.)
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Presentation: Mounted
Inscribed with colour notes.
16 x 10 3/4 in. (41 x 27.5 cm.)
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Presentation: Mounted
Pen and wash over pencil, squared; 17 × 11 in. (43 × 23 cm)
Provenance:Artist’s estate.
Literature: Paul Liss, Charles Mahoney, London 1999, p. 54.
Gas masks were issued to all children as a precaution against attack by gas bombs, and gas-mask drill (‘remove mask from box, put mask on face, check mask fits correctly, breathe normally’) was a daily feature of school life in the SecondWorldWar .The masks came in cardboard boxes with a strap for carrying them on the shoulder . Children were instructed to keep their masks with them at all times.
In 1940, the Royal College of Art was evacuated to Ambleside in the Lake District, with Mahoney and Percy Horton among the male staff.
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Presentation: Passe-partout
Pencil and oil on paper, each 15 x 13.5
(24 x 36.5 cm overall)
Charles Mahoney was commissioned to paint a mural for the Holy Redeemer Church in Chelsea in 1932 - the subject was Thomas More with the Tower of London in the background.
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Presentation: Framed
Pen and ink on buff paper
11cm diameter
In a fine gilded oak frame with peg joints
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Reserved
Presentation: Mounted
Oil on paper over charcoal,
15 x 12 in. (38 x 30.5cm)
Throughout the 1950's Mahoney produced a series of paintings of successive Christmas trees decorated by his daughter and wife. The small scale of the trees reflected the size of Oak Cottage, the artist's home.
Exhibited: Harris Museum and Art Gallery, January 2000, Royal Museum and Art Gallery, Canterbury, March 2000, The Fine Art Society, London, April 2000.
Literature: Charles Mahoney, Paul Liss/The Fine Art Society, 1999, (p.60)
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Enquire about this pictureReserved
Presentation: Mounted
Signed with initials
Pen and ink wash
43.5 x 25.5 cm
Provenance: Dorothy Mahoney; Judy Egerton
Exhibited: Charles Mahoney Memorial, at Michael Parkin Fine Art., Oct. 1975
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To be included in a
forthcoming exhibition
Presentation: Framed
12 x 29 1/2 ins. (20.5 x 75 cm)
Oil on paper
Provenance: The Artist's Estate
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Presentation: Framed
oil on canvas board
Provenance: Barnett Freedman; thence by descent.
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Presentation: Framed
Charcoal on tracing paper squared in red
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Presentation: Framed
Oil and watercolour over pencil, on paper
Arched top
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Presentation: Framed
Watercolour over pencil
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Presentation: Framed
Thinned oil over pencil
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Presentation: Framed
Oil on paper
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Presentation: Framed
Oil on paper,
10 3/4 x 9 in. (27.3 x 23 cm.)
In a pegged lap jointed gilded oak frame
This work dates to Mahoney's period at the Royal College of Art
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Presentation: Framed
oil on paper
7 1/2 x 30 in. (19 x 76.2 cm.)
In a gilded lap joint oak frame with pegs to the corners
Mahoney was commissioned to produce a mural scheme for the Lady Chapel at Campion Hall in 1941. The scheme was to be made up primarily of three large panels: the Nativity and Adoration of the Shepherds, the Coronation of the Virgin, and Our Lady of Mercy. In detail and composition the paintings owe much to early Italian example.
Electing to paint directly onto canvas fixed to the walls and by daylight hours only, the project inevitably became drawn out and Mahoney could only work in situ during the Easter and summer vacations when he was not teaching. The project continued into the following decade and coincided with a serious decline in the artist's physical health. In spite of these problems, Sir John Rothenstein, who chose to reproduce one of the murals as a plate in British Art since 1900 (1962, pl.60), was moved to describe the scheme as as second ...only to that by Stanley Spencer at Burghclereť.
This is a study for the final composition of the wall panel above the altar. It is amongst the most evocative of Mahoney's designs and is full of the compositional devices that characterise his best work.
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Presentation: Unmounted
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Presentation: Unframed
Oil on paper
47 x 39 cm.
Throughout the 1950's Mahoney produced a series of paintings of successive Christmas trees decorated by his daughter and wife. The small scale of the trees reflected the size of Oak Cottage, the artist's home.
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Presentation: Framed
Oil on canvas 72 x 48 in. (182.9 x 121.9 cm) Exhibited: 60 paintings for ‘51, Arts Council, 1951-52 (34); 25 from 51, 25 Paintings from the Festival of Britain 1951, Sheffield City Art Galleries, 1978 (15) Charles Mahoney, The Fine Art Society, 2000, (91) Mahoney was asked to contribute to the Festival of Britain after an initial shortlist of 145 artists was narrowed down to 60. Percy Jowett and John Rothenstein, members of the selection panel, undoubtedly would have recommended him. The exhibition was entitled Sixty paintings for ’51. Works submitted were to be a minimum of 45 x 60 in. The oldest artist asked was W G Gillies (73 at the time), the youngest Lucian Freud (29). Other artists selected included John Armstrong, Edward Burra, Ivon Hitchens, L S Lowry, John Minton, William Scott, Keith Vaughan, Carel Weight and Rodrigo Moynihan (who produced his celebrated portrait group, see ill. ..). Barnett Freedman and Edward Bawden, both also invited, declined. Mahoney’s contribution was entitled The Garden. Figurative works accounted for approximately half of the contributions submitted and many, like Mahoney’s, were firmly rooted in the British tradition of landscape painting. A full account of the exhibition is given in 25 from 51, 25 Paintings from the Festival of Britain 1951, Sheffield City Art Galleries, 1978
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Presentation: Unframed
Oil on canvas
9 x 7 ins.
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Presentation: Unmounted
Oil on Windsor and Newton canvas board
12 x 14 in.
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Presentation: Framed
Oil on Rowney canvas board
10 x 14 in.
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Presentation: Framed
Oil on panel
11 x 15
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Presentation: Framed
Oil on board, 11 x 14ľ ins. (28 x 37.5 cms.)
Provenance: the artist's estate
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Presentation: Framed
nscribed on the reverse by the artist Peter Greenham, 'Scene at Wrotham'.
12˝ x 16 ins. (31.8 x 4.8 cms.)
Provenance: given by Dorothy Mahoney to the artist Peter Greenham in 1969; Jane Dowling, Peter Greenham's wife
These two panels, of near-identical size, are from a series of views that Mahoney did from his house, Oak Cottage, Wrotham, and its immediate surroundings. The garden at Oak Cottage was a constant inspiration for Mahoney. He lived there from 1937-40, during which period he renovated it, and again from 1945 until his death in 1968. Once the garden that he planted had matured, he seldom worked anywhere else.
His daughter noted that these paintings were a 'celebration of the beauty that lies in ordinary back gardens, and the place that we occupy in the natural world. Humans and plants blend together, the figures always subordinate to the surrounding plants.'
Jane Dowling, who was taught by Mahoney, recalls that 'months before starting a work, the artist would prepare his panel with a white oil ground (coverine being his favourite choice). He would start as Cezanne did, in thin paint almost like watercolour, a little egg-white slowly being introduced. The white ground only became coloured gradually, some white areas remaining untouched till almost the end. The range between light and dark was quite close. Enormous subtleties were striven for in the relationship between these muted colours. At the end of the day, the work was carefully scraped down ready for a fresh start the next day. Scraping was done with a sharp tip of a palette knife until the values became mysterious and subtle.'
These panels can be compared to Outhouses, circa 1940, in the collection of the Tate Gallery (accession number NO5227). We are grateful to Elizabeth Bulkeley and Jane Dowling for their help in cataloguing these entries.
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Presentation: Framed
Oil and pencil on paper, 18 x 14 ins. (45.7 x 35.6 cms.)
Mahoney was particularly fond of the giant sunflower, Helianthus annuus, capable of outgrowing a man within a season. He made many colour and black and white studies of this species, capturing the convoluted energy of their rough stems and massive heads, and the ragged angles of their great leaves.
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Presentation: Framed
Oil on canvas, 18 X 14 ins. (45.7 X 35.5 cms.)
Provenance: the artist's estate
'His friends recall that he even referred with a shade of disapproval to "beauty".' (John Rothenstein, Charles Mahoney: A tribute on the occasion of a memorial exhibition, London 1975, p. 9.)
Mahoney had initially purchased Oak Cottage with his brother as a home for their widowed mother and himself; this shows the kitchen as it was circa 1937. After the Second World War, when Mahoney returned from evacuation bringing his wife and daughter to settle at Oak Cottage, the kitchen was altered by enlarging the window and introducing a deeper sink (hot water did not arrive until the 1970s).
We are grateful to Elizabeth Bulkeley for her assistance.
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Presentation: Framed
Inscribed with title on label to reverse
Oil on paper, 20 X 30 ins. (50.8 X 76.2 cms.)
Provenance: the artist's estate
The label on the reverse suggests that this oil sketch was a proposal for a mural. Elizabeth Bulkeley, the artist's daughter, remarks, 'This painting is similar to others in which a scene is framed by a window and seen through the eyes of a child (e.g. the Tate's painting of Adam and Eve). The small girl, who looks much as I did at that time, observes a world of Fairy Tales. All were favourite stories that my father loved to read to me; Beauty and the Beast, the Witch beside her gingerbread house from Hansel and Gretel, Jack with the fallen Giant wreathed in the Beanstalk, and the Tale of the Very Fat Man, the Very Tall Thin Man, and the Very Short Man.'
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Presentation: Framed
Watercolour over Black Prince pencil, 18Q X 11E ins. (47 X 29.8 cms.)
Provenance: The artist's estate
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Presentation: Framed
Watercolour over Black Prince pencil, 18Q X 11E ins. (47 X 29.8 cms.)
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Presentation: Framed
Watercolour over Black Prince pencil, 18Q X 11E ins. (47 X 29.8 cms.)
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Presentation: Framed
Watercolour over Black Prince pencil, 18 11 ins. (47 X 29.8 cms.)
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Presentation: Framed
Watercolour and pencil, 18 x 11 ins. (47 X 29.8 cms.)
In a gilded flat section frame with square outer knull, glazed
Beneath the south wall of his studio my father made wigwams of canes to support multicoloured gourds and deep blue Morning Glory trumpets. He grew many kinds of Polygonum. Some, like P. cuspidatum, were statuesque giants, others, were delicate and lacy. He appreciated flowers such as tulips and Opium Poppies for their slender upright form with a burst of bloom at the top, as they popped up between bushier plants throughout the garden. Lilies likewise shot through the foliage of other plants and exploded in exquisite flowers. Auriculas were a particular passion. He loved the primly formal arrangement which complemented the sumptuous colour combinations.
Elizabeth Bulkeley, letter to Paul Liss 15th March 2005
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Presentation: Framed
Oil on paper, 11 3/4 x 3 ins. (30 x 75 cms.)
Provenance: the artist's estate
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Presentation: Framed
Pencil and pen and ink
6 1/4 x 6 7/8 in. (15.8 x 19.7 cm.)
In a black wedge section frame with distressed gold knull and silver inner slip
Mahoney took great pleasure in children's stories, which he loved to read to his daughter Elizabeth. These stories often formed the subject of pen and ink sketches and sometime more elaborate oil paintings.
Provenance: Elizabeth Bulkeley, the artist's daughter
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Presentation: Unmounted
Oil on board ,
11 x 14 13/4ins. (28x37.5cm.)
Provenance: The artist's daughter
photograph of beach huts, Veryan, Cornwall.
In 1959, Mahoney went to Veryan in Cornwall, an excursion supported by the Artists' General Benevolent Institution.
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Presentation: Unmounted
Black chalk with highlights in white, squared in white and red
16 x 13 in. (40.5 x 33 cm.)
This is a squared-up study for the Tate Gallery painting of the same title, which Mahoney exhibited at the NEAC in 1936( 199).
Adam and Eve in the Garden of Eden exhibited 1936, oil on canvas 91 x 76 cm, presented by the Contemporary Art Society 1942, Tate (N05323).
A similar study is in the collection of the Tate:
Study for `Adam and Eve' circa 1936, pencil, pen and ink and wash on paper support: 403 x 270 mm on paper, presented by the artist's widow 1976 (T02091)
The Garden of Eden is here reinstated as a horticultural fantasy, defined by its relationship with an unseen domestic interior. Mahoney's image of perfection glimpsed from a window was created in the mid-1930s, when the idea of the garden was actually an accomplice of suburbanisation. (From the Tate display caption May 2003) Adam and Eve are shown exploring the Garden of Eden before their fall. They are seen through a brick window at the right of which a pair of hands, belonging to some unseen person inside the building, arranges a branch of leaves in a glass on the sill. In the final painting Adam and Eve hold hands instead of standing apart and some of the objects on the window sill are different: two pears in place of the insects shown in the drawing, more flowers in the vase at the left and a less elegant glass at the right. As no record appears to survive of Mahoney's precise intentions in ‘Adam and Eve’, one can only guess at the identity of the mysterious hands. Are they meant to be God's? Or did the artist, a keen botanist, imagine Eden as his own garden and do the hands stand for his own? Throughout his life Mahoney turned to flowers and gardens for much of his subject matter; about the time ‘Adam and Eve’ was painted he was even preparing, with Evelyn Dunbar, an illustrated book on the subject, Gardeners' Choice, which appeared in 1937. That the hands may be human rather than divine is also suggested by the inclusion of similar motifs in non-Biblical pictures, for example ‘Three Boxes with Flowers’ (Coll. John Ward), in which mysterious fingers edge their way into the design. Mahoney painted and drew the Adam and Eve subject on later occasions. An oil ‘Sketch for Adam and Eve’ exhibited at the NEAC in 1959 (77) and still with Mrs Mahoney is a different composition, as presumably is the drawing ‘Garden of Eden, Version II’ shown there in 1965 (409). In the latter year Mahoney exhibited at the RA two pen and wash drawings entitled ‘Adam and Eve (version II)’ and ‘Study for Adam and Eve (version II)’ (nos. 1239 and 1265 respectively). Another pen and wash drawing shown at the RA that year, ‘Adam and Eve (version I)’ (1266) is presumably related to T02091. On the reverse of T02091 there are an ink drawing of a tree, and ink sketches of crowns (one on a female head), with suggestions of ornamented designs (the latter perhaps for costume relating to the crowns). Published in: The Tate Gallery 1976-8: Illustrated Catalogue of Acquisitions, London 1979
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Presentation: Unmounted
Watercolour over ink
Inscribed April 40
11 3/8 x 17 1/4 in. (29 x 43.8 cm.)
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Presentation: Framed
Wash,
13 3/4 x 6 1/4 in. (35 x 16 cm.)
Mahoney was commissioned to produce a mural scheme for the Lady Chapel at Campion Hall in 1941. The scheme was to be made up primarily of three large panels: the Nativity and Adoration of the Shepherds, the Coronation of the Virgin, and Our Lady of Mercy. In detail and composition the paintings owe much to early Italian example. The most notable case is Our Lady of Mercy (Autumn), clearly inspired by Piero della Francesca's altarpiece at Borgo San Sepolcro. Electing to paint directly onto canvas fixed to the walls and by daylight hours only, the project inevitably became drawn out – Mahoney could only work in situ during the Easter and summer vacations when he was not teaching. The project continued into the following decade and coincided with a serious decline in the artist’s physical health. In spite of these problems, Sir John Rothenstein, who chose to reproduce one of the murals as a plate in British Art since 1900 (1962, pl.60), was moved to describe the scheme as “second ….. only to that by Stanley Spencer at Burghclere”. A full account of the circumstances of the commission and some of the problems involved can be found in Sir John Rothenstein’s Tribute to Mahoney in the catalogue of the Memorial Exhibition held at the Ashmolean Museum in 1975.
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Presentation: Unmounted
Pen and ink over pencil
9 1/2 x 7 1/2 in. (24 x 19 cm).
Proveannce: The Artist's Esate
In an acid free cream mount with washed lines
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Presentation: Unmounted
Pen & ink and wash
11 7/8 x 9 7/8 in. (30 x 25 cm).
Provenance: The Artist's Esate
In an acid free cream mount with washed lines
This image is characterisic of the sketches Mahoney often included in letters sent to other artists. Mahoney’s unbridled enthusiasm for plants, and growing them in allotments, was shared with Edward Bawden, Evelyn Dunbar, Geoffrey Rhoades and John Nash, all of whom swapped cuttings with each other by post.
The artist’s daughter recalls that he ‘particularly liked to grow and paint tall, statuesque plants;Annual Sunflowers excelled in this respect. In addition they had handsome heads, with great twisted necks resembling a Celtic torque’ (Elizabeth Bulkeley, email to Paul Liss, 2 February 2007).
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Presentation: Passe-partout
Black and white chalk on paper,
43 x 24cm (52 x 33cm framed)
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Brown ink on paper, 5 x 4 1/8 in. (12.5 x 10.5cm.)
(7 3/4 x 6 7/8 in. (19.5 x 17.5cm.) framed)
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Presentation: Passe-partout
Pencil and wash on paper, 8 x 9 7/8 in. (20 x 25cm.)
(11 1/2 x 9 1/2 in. (29 x 34cm.) framed)
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Presentation: Passe-partout
Ink on paper, 1 5/8 x 2 in. (4 x 5.2cm.)
(4 3/4 x 5 1/4 in. (12 x 13.2cm.) framed)
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Presentation: Mounted
Signed with initials
Brown wash over pen & ink.
8 5/8 x 11 3/4 in. (22 x 29.8 cm.)
The Artist and his Muse was a theme that Mahoney worked on consistently during the 1950. The design's that he producing during this periodare extremely poetic in their narrative and their landscape settings.
Thumbnail panels:
