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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
28 x 24 in. (71 x 61 cm)
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To be included in a
forthcoming exhibition
Presentation: Framed
Watercolour over pencil
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forthcoming exhibition
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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forthcoming exhibition
Presentation: Mounted
Pen & ink and wash.
8 7/8 x 11 3/4 in. (22.5 x 29.8 cm.)
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forthcoming exhibition
Presentation: Unframed
Oil on canvas
9 x 7 ins.
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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
Pencil
5 1/4 x 22 in. (13.5 x 56 cm)Provenance: the Artist's Estate
In a flat section pitch pine frame with black inner and outer mouldings.
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.
