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Presentation: Framed
Oil on board, 7 x 18 ins. (17.8 X 47 cms.)
Provenance: the artist's estate
Between 1956 and 1965, as Curator of the Newlyn Art gallery, Canney was acquainted with most of the artists working at the time in Cornwall. Many counted amongst his closest friends; of these Scott, Lanyon and Hilton exerted the greatest influence on him during this period.
The evolving geometry seen in this untitled painting is indicative of the increasingly rigorous style which so characterised Canney's later paintings.
Send image Biography Enquire£1,000
Presentation: Framed
Gouache on paper
2 3/8 x 4 5/16 in. (6 x 11 cm).
Provenance: Madeline Canney, 2005
Framed in a gilded shadow box with broad bevelled slip and non reflective museum glass.
Michael Canney was associated with the Newlyn and St. Ives schools, both as student and teacher, and in 1956 was appointed curator of the Newlyn Orion Gallery. His circle of friends included Scott, Nicholson, Vaughan, Hilton and Lanyon.
From the mid 1950s Canney's style began to change under the prevailing influence of Abstract Expressionism. His semi figurative - at times Cubist - style gave way to works of pure abstraction.
In 1958 he met the painter Mark Rothko:'A man of great presence and charm, he was very generous about my work and spent some time looking at it. This was very encouraging as I regarded Rothko as the most important painter on the international scene at the time' - Michael Canney, 1958 (quoted in Michael Canney, Belgave Gallery catalogue, 1990, p. 6).
Send image Biography Enquire£3,000
Presentation: Framed
Signed and dated and titled on the reverse
Black ink and gesso with scratching out
9 1/2 x 3 3/4 in. (24 x 9.5 cm).
Provenance: Madeline Canney, 2005
Framed in a silvered shadow box with broad bevelled slip, non reflective museum glass.
Casole d'Elsa is a comune (municipality) in the Province of Siena in the Italian region Tuscany, located about 50 km southwest of Florence and about 25 km west of Siena.
Send image Biography Enquire£1,800
Presentation: Framed
Gouache, thinned oil and pen and ink
4 3/4 x 4 5/16 in. (12 x 11 cm).
Provenance: Madeline Canney
Framed in a gilded shadow box with broad bevelled slip, non reflective museum glass.
Michael Canney was associated with the Newlyn and St. Ives schools, both as student and teacher, and in 1956 was appointed curator of the Newlyn Orion Gallery. His circle of friends included Scott, Nicholson, Vaughan, Hilton and Lanyon.
From the mid 1950s Canney's style began to change under the prevailing influence of Abstract Expressionism. His semi figurative - at times Cubist - style gave way to works of pure abstraction.
In 1958 he met the painter Mark Rothko:'A man of great presence and charm, he was very generous about my work and spent some time looking at it. This was very encouraging as I regarded Rothko as the most important painter on the international scene at the time' - Michael Canney, 1958 (quoted in Michael Canney, Belgave Gallery catalogue, 1990, p. 6).
Send image Biography Enquire£7,000
Presentation: Framed
oil on board
Signed and dated on backboard
9 1/2 in. x 16 1/2 in. (24 x 42 cm.)
Provenance: Madeline Canney, no 440
Framed in a white gessoed shadow box with matching broad bevelled slip, non reflective museum glass
From the mid 1950s Canney's style began to change under the prevailing influence of Abstract Expressionism. His semi figurative - at times Cubist - style gave way to works of pure abstraction.
In 1958 he met the painter Mark Rothko:'A man of great presence and charm, he was very generous about my work and spent some time looking at it. This was very encouraging as I regarded Rothko as the most important painter on the international scene at the time' - Michael Canney, 1958 (quoted in Michael Canney, Belgave Gallery catalogue, 1990, p. 6).
Send image Biography Enquire£5,000
Presentation: Framed
Oil on canvas
18 1/2 x 15 3/8 in; (47 x 39 cm.)
Provenance: Madeline Canney
Framed in a white gessoed shadow box with matching broad bevelled slip, non reflective museum glass
Michael Canney was associated with the Newlyn and St. Ives schools, both as student and teacher, and in 1956 was appointed curator of the Newlyn Orion Gallery. His circle of friends included Scott, Nicholson, Vaughan, Hilton and Lanyon.
From the mid 1950s Canney's style began to change under the prevailing influence of Abstract Expressionism. His semi figurative - at times Cubist - style gave way to works of pure abstraction.
In 1958 he met the painter Mark Rothko:'A man of great presence and charm, he was very generous about my work and spent some time looking at it. This was very encouraging as I regarded Rothko as the most important painter on the international scene at the time' - Michael Canney, 1958 (quoted in Michael Canney, Belgave Gallery catalogue, 1990, p. 6).
Send image Biography Enquire£3,900
Presentation: Framed
Signed and titled on the reverse; alkyd on panel, 4¾ × 9¼ in. (12 × 23.5 cm.)
Provenance: Madeline Canney (no. 147)
Framed in a white gessoed shadow box with matching broad bevelled slip, non reflective museum glass
Canney was one of the first painters to explore the possibilities of the medium alkyd, an oil paint that dries rapidly and allows colours to be overlaid without the edges ‘bleeding’ into one another. From the early 1980s onwards the medium had a profound effect on his work, and resulted in his most distinctive period as a painter. A painting that is closely related to Choppy, titled Rigging, was included in Robert Miller, Michael Canney: Oils, Alkyds and Reliefs, exh. cat.,The Fine Art Society, London, 2007 (no. 37).
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Presentation: Framed
Signed, titled and dated on the reverse; oil on panel, 4¾ × 14 in. (12 × 35.5 cm.)
Provenance: Madeline Canney (no. 125)
Framed in a white gessoed shadow box with matching broad bevelled slip, non reflective museum glass
During the eight-year period that elapsed between Canney starting and finishing this picture, his work underwent a considerable, if subtle, stylistic change: the final stage in his journey from the abstract expressionism of the 1950s to the saturated and considered geometric work, mostly in alkyd, of the 1980s. In 1984 he moved from Cornwall to Italy, setting up his studio in a medieval hill-top village near Sienna.
We are grateful to Christoper Gange and Robert Miller for assistance.
Send image Biography Enquire£8,000
Presentation: Framed
Signed , titled and dated on the reverse
Alkyd on panel 16 x 10 ins; (40.5 x 25.5 cm)
Provenance: Madeline Canney
Canney was one of the first painters to explore the possibilities of the medium alkyd, an oil paint that dries rapidly and allows colours to be overlaid without the edges ‘bleeding’ into one another. From the early 1980s onwards the medium had a profound effect on his work, and resulted in his most distinctive period as a painter.
Send image Biography Enquire£3,700
Presentation: Framed
Signed, dated and titled on the reverse
14 x 26 ins; (35.6 x 66 cm)
Provenance: Madeline Canney
Canney's earliest reliefs date to the 1960's and were born out of a Cubist-inspired interest in fragmented space. From the 1980's Canney increasingly worked in flat plains of colour, progressing eventually to pure fields of shallow uncoloured gesso. The depth of this relief and strength of the colour fields echos the hard lines of his Alkyd paintings of the mid 80's.
Send image Biography Enquire£1,200
Presentation: Framed
Pen and ink on brown laid paper
4 x 9 1/16 in. (10 x 23 cm).
Provenance: Madeline Canney, 2005
In a gilded shadow box frame with gesso mount.
Casole d'Elsa is a medieval hill-top village of 3000 inhabitants in the Province of Siena, in Tuscany, located about 50 km southwest of Florence. Canney lived at Casole d'Elsa between 1984 and 1993, in a 14th century Palazzo. The village and its immediate situation was the inspiration for many of his pictures of the period.
Send image Biography Enquire£800
Presentation: Framed
Pen and ink on brown laid paper
2 3/8 x 7 7/8 in. (6 x 20 cm).
Provenance: Madeline Canney
In a gilded shadow box frame with gesso mount.
Casole d'Elsa is a medieval hill-top village of 3000 inhabitants in the Province of Siena, in Tuscany, located about 50 km southwest of Florence. Canney lived at Casole d'Elsa between 1984 and 1993, in a 14th century Palazzo. The village and its immediate situation was the inspiration for many of his pictures of the period.
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Presentation: Framed
Alkyd on panel
4 /12 x 11 in.; (11.4 x 28 cm)
Provenance: Madeline Canney (124)
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Presentation: Framed
oil over pencil on paper
3 1/8 x 3 3/8 in. (8 x 8.5 cm.)
Provenance: Madeline Canney
In a modern square section box frame, with gilded flat knull and acid free mount, floated
Michael Canney was associated with the Newlyn and St. Ives schools, both as student and teacher, and in 1956 was appointed curator of the Newlyn Orion Gallery. His circle of friends included Scott, Nicholson, Vaughan, Hilton and Lanyon.
From the mid 1950s Canney's style began to change under the prevailing influence of Abstract Expressionism. His semi figurative - at times Cubist - style gave way to works of pure abstraction.
In 1958 he met the painter Mark Rothko:'A man of great presence and charm, he was very generous about my work and spent some time looking at it. This was very encouraging as I regarded Rothko as the most important painter on the international scene at the time' - Michael Canney, 1958 (quoted in Michael Canney, Belgave Gallery catalogue, 1990, p. 6).
Send image Biography Enquire£2,400
Presentation: Framed
oil on board
12 1/2 x 12; (31.8 x 30.5 cm.)
Provenance: Madeleine Canney, studio reference 156
In a white gesso shadow box frame with museum glass
Michael Canney was associated with the Newlyn and St. Ives schools, both as student and teacher, and in 1956 was appointed curator of the Newlyn Orion Gallery. His circle of friends included Scott, Nicholson, Vaughan, Hilton and Lanyon.
From the mid 1950s Canney's style began to change under the prevailing influence of Abstract Expressionism. His semi figurative - at times Cubist - style gave way to works of pure abstraction.
In 1958 he met the painter Mark Rothko:'A man of great presence and charm, he was very generous about my work and spent some time looking at it. This was very encouraging as I regarded Rothko as the most important painter on the international scene at the time' - Michael Canney, 1958 (quoted in Michael Canney, Belgave Gallery catalogue, 1990, p. 6).
Send image Biography Enquire£8,000
Presentation: Framed
Signed and titled on the reverse
Alkyd
14 x 14 ins. (35. x 35 cm.)
Provenance: Madeline Canney, 2005
In a white gesso shadow box frame with museum glass.
Sytems with circles and variations on squares - and occasionally stripes - were Canney's signature pieces of the 1980's - arguably his most productive decade.
'For a number of years now my work has been broadly related to the Constructivist tradition. However since 1979 it has relied upon a simple principle, in which the work constructs itself from itself .. The majority of the paintings and reliefs pay homage to the square, a format selected initially in the interests of its non-associative properties, its mathematical simplicity, and its formal neutrality. Division of the square format is by fifths, quarters, thirds, halves and so on, all of them proportions that are easily appreciated by the eye .. The imposition of these limits comes as a reaction against an earlier hedonistic period of improvisatory abstraction.' Michael Canney, Newlyn Art Gallery catalogue, 1983, pp. 4-7.
Send image Biography Enquire£5,600
Presentation: Framed
Signed and titled on the reverse
Alkyd on panel
12 x 12 in.; (30.5 x 30.5 cm.)
Provenance: Madeline Canney, 2005
'For a number of years now my work has been broadly related to the Constructivist tradition. However since 1979 it has relied upon a simple principle, in which the work constructs itself from itself .. The majority of the paintings and reliefs pay homage to the square, a format selected initially in the interests of its non-associative properties, its mathematical simplicity, and its formal neutrality. Division of the square format is by fifths, quarters, thirds, halves and so on, all of them proportions that are easily appreciated by the eye .. The imposition of these limits comes as a reaction against an earlier hedonistic period of improvisatory abstraction.' Michael Canney, Newlyn Art Gallery catalogue, 1983, pp. 4-7.
Send image Biography Enquire£3,250
Presentation: Framed
Alkyd on panel 4 1/2 x 11 in; (11.5 x 28 cm.)
Provenance: Madeline Canney, studio ref 124
In a white shadow box frame with museum glass
Michael Canney was associated with the Newlyn and St. Ives schools, both as student and teacher, and in 1956 was appointed curator of the Newlyn Orion Gallery. His circle of friends included Scott, Nicholson, Vaughan, Hilton and Lanyon all of whom influenced him at various points in his career. From the 1970's onwards he increasingly found his own distinctive voice, especially with his daring colour combinations.
'For a number of years now my work has been broadly related to the Constructivist tradition. However since 1979 it has relied upon a simple principle, in which the work constructs itself from itself .. The majority of the paintings and reliefs pay homage to the square, a format selected initially in the interests of its non-associative properties, its mathematical simplicity, and its formal neutrality. Division of the square format is by fifths, quarters, thirds, halves and so on, all of them proportions that are easily appreciated by the eye .. The imposition of these limits comes as a reaction against an earlier hedonistic period of improvisatory abstraction.' Michael Canney, Newlyn Art Gallery catalogue, 1983, pp. 4-7.
Send image Biography Enquire£8,000
Presentation: Framed
Oil on panel 12 x 16 in.
Provenance: The Artists Studio, inventory no. 483
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Presentation: Framed
Titled on a label to the reverse, oil on canvas, 9¾ x 7¼ ins. (24.7 x 18.4 cms.)
Provenance: acquired directly from the artist, 1989, at Colle di Val d'Elsa, Italy (accession no. 390); private collection since 1989
Stylistically, this work relates closely to the Neo-Cubist reliefs which Canney produced in a series during the mid 50's.
Michael Canney was associated with the Newlyn and St. Ives schools, both as student and teacher, and in 1956 was appointed curator of the Newlyn Orion Gallery. His circle of friends included Scott, Nicholson, Vaughan, Hilton and Lanyon. Since Canney's death he has become the subject of increasing critical attention and acclaim.
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Presentation: Framed
Oil on board, 12 X 14Q ins. (30 X 36.8 cms.)
Provenance: the artist's estate; private collection.
From the late 1950s Canney's style began to change under the prevailing influence of Abstract Expressionism. His semi figurative style gave way to works of pure abstraction. In 1958 he met the painter Mark Rothko:'A man of great presence and charm, he was very generous about my work and spent some time looking at it. This was very encouraging as I regarded Rothko as the most important painter on the international scene at the time' - Michael Canney, 1958 (quoted in Michael Canney, Belgave Gallery catalogue, 1990, p. 6).
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Presentation: Framed
Signed and dated on the reverse, stock no. 683
Oil on board, 10E X 10E ins. (27.3 X 27.3 cms.)
Provenance: acquired directly from the artist's estate
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Presentation: Framed
Signed and dated on the reverse, stock no. 671
Oil on panel, 11Q X 11Q ins. (29.2 X 29.2 cms.)
Provenance: the artist's estate
'For a number of years now my work has been broadly related to the Constructivist tradition. However since 1979 it has relied upon a simple principle, in which the work constructs itself from itself .. The majority of the paintings and reliefs pay homage to the square, a format selected initially in the interests of its non-associative properties, its mathematical simplicity, and its formal neutrality. Division of the square format is by fifths, quarters, thirds, halves and so on, all of them proportions that are easily appreciated by the eye .. The imposition of these limits comes as a reaction against an earlier hedonistic period of improvisatory abstraction.' Michael Canney, Newlyn Art Gallery catalogue, 1983, pp. 4-7.
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Presentation: Framed
Oil on board
16 1/2 x 13 ins. (42 x 33 cm.)
Provenance: Madeline Canney
Framed in a white gessoed shadow box with matching broad bevelled slip, non reflective museum glass
Canney was one of the first painters to explore the possibilities of the medium alkyd, an oil paint that dries rapidly and allows colours to be overlaid without the edges ‘bleeding’ into one another. From the early 1980s onwards the medium had a profound effect on his work, and resulted in his most distinctive period as a painter.
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Presentation: Framed
Signed and dated on verso; oil on panel, 12¼ × 15 in. (31 × 38.1 cm.)
Provenance: Madeline Canney (no. 163)
Canney lived much of his life in Cornwall, and it is natural that nautical themes pervade his work.
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Presentation: Framed
Alkyd on panel
Signed and dated on verso
10 x 7 in. (25.5 x 17.7 cm.)
Provenance: Madeleine Canney
Exhibited: Michael Canney: Oils, Alkyds and Reliefs, exh. cat.,The Fine Art Society, London, 2007 (ex catalogue).
Framed in a white gessoed shadow box with matching broad bevelled slip, non reflective museum glass
Variations on squares - and occasionally stripes and systems with circles - were Canney's signature pieces of the 1980's: arguably his most productive decade.
During this decade Canney began to exploit the possibilities of alkyd, an oil paint that dries rapidly and allows colours to be overlaid without the edges ‘bleeding’ into one another. His pioneering use of this medium, combined with a daring sense of colour, resulted in some of his most distinctive work.
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Presentation: Mounted
etching
6 x 8 1/4 in. (15 x 21 cm).
Provenance: Madeleine Canney
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Presentation: Framed
Oil on canvas
18 5/16 x 13 3/4 in. (46.5 x 35 cm).
Provenance: Madeline Canney
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Presentation: Framed
Signed on the reverse
Alkyd on panel
24 ins square; (61 cm square)
Provenance: Madeline Canney
Canney was one of the first painters to explore the possibilities of the medium alkyd, an oil paint that dries rapidly and allows colours to be overlaid without the edges ‘bleeding’ into one another. From the early 1980s onwards the medium had a profound effect on his work, and resulted in his most distinctive period as a painter.
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Presentation: Unmounted
Alkyd on panel. Signed and titled on the reverse
12 x 12 inches. 30.5 x 30.5 cm
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Presentation: Unmounted
Alkyd on panel. Signed and titled on the reverse
19.75 x 19.34 inches. 48 x 48 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated '85 on the reverse
11.25 x 11.25 inches. 27 x 27 cm
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Presentation: Unmounted
Alkyd on panel. Signed and titled on the reverse
24 x 24 inches. 61 x 61 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated '87 on the reverse
11.5 x 11.5 inches. 29.2 x 29.2 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated '91 on the reverse
14 x 14 inches. 35.5 x 35.5 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated '82 on the reverse
24 x 24 inches. 61 x 61 cm
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Presentation: Unmounted
Alkyd on panel. Signed and titled on the reverse
24 x 24 inches. 61 x 61 cm
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Presentation: Unmounted
Alkyd on panel. Painted verso
24 x 24 inches. 61 x 61 cm
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Presentation: Unmounted
Alkyd on panel. Signed and titled on the reverse
14 x 14 inches. 36 x 36 cm
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Presentation: Unmounted
Oil on canvas. Signed and titled on the reverse
36 x 36 inches. 92 x 92 cm
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Presentation: Unmounted
Oil on canvas. Signed,titled and dated '78 on the reverse
36 x 36 inches. 92 x 92 cm
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Presentation: Unmounted
Alkyd on panel. Signed,titled and dated '81 on the reverse
14 x 14 inches. 35.5 x 35.5 cm
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Presentation: Unmounted
Alkyd on panel. Signed,titled and dated '82 on the reverse
14 x 14 inches. 35.5 x 35.5 cm
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Presentation: Unmounted
Relief. Signed,titled and dated '82 on the reverse
14 x 14 inches. 35.5 x 35.5 cm
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Presentation: Unmounted
Alkyd on panel. Signed and titled on the reverse
12 x 12 inches. 30.5 x 30.5 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated '81 on the reverse
24 x 24 inches. 61 x 61 cm
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Presentation: Unmounted
Relief. Signed and titled on the reverse
20 x 20 inches. 51 x 51 cm
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Presentation: Unmounted
Oil on canvas. Signed and titled on the reverse
20 x 16 inches. 51 x 40.5 cm
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Presentation: Unmounted
Alkyd on panel. Signed and dated 1981 on the reverse
24 x 24 inches. 61 x 61 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated '90 on the reverse
13 x 7.75 inches. 33 x 19.7 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated '91 on the reverse
16 x 10 inches. 40.6 x 25.4 cm
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Presentation: Unmounted
Alkyd on panel. Signed and dated on the reverse
14 x 14 inches. 35 x 35 cm
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Presentation: Unmounted
Alkyd on board. Signed and titled on the reverse
4.5 x 9.5 inches. 12 x 24 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated '93 on the reverse
9.75 x 9.75 inches. 24.7 x 24.7 cm
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Presentation: Unmounted
Alkyd and collage on panel. Signed, titled and dated '85 on the reverse
7.5 x 7.5 inches. 19 x 19 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated '91 on the reverse
8.75 x 6.75 inches. 22.2 x 17 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated '93 on the reverse
10 x 10 inches. 25.4 x 25.4 cm
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Presentation: Unmounted
Alkyd on panel. Signed, titled and dated 1993 on the reverse
10 x 10 inches. 25.4 x 25.4 cm
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Presentation: Framed
Oil on board
3 x 15 in.
Provenance: The Artist's Estate
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