Somerset and Wood Fine Art Ltd
Bradford on Avon, GB
Details
- Dimensions
- 16.93ʺW × 20.87ʺH
- Styles
- Modern
- Art Subjects
- Still Life
- Period
- 1930s
- Item Type
- Vintage, Antique or Pre-owned
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- Condition
- Good Condition, Unknown, Some Imperfections
- Color
- Blue
- Condition Notes
- Good — This vintage item remains fully functional, but it shows sign of age through scuffs, dings, faded finishes, minimal … moreGood — This vintage item remains fully functional, but it shows sign of age through scuffs, dings, faded finishes, minimal upholstery defects, or visible repairs. less
- Description
- An original 1930 watercolour painting, gordon mitchell forsyth ri arca, a dutch interior.painted in 1930 by the distinguished ceramics designer … more An original 1930 watercolour painting, gordon mitchell forsyth ri arca, a dutch interior.painted in 1930 by the distinguished ceramics designer and potter gordon mitchell forsyth ri arca (1879–1952), this watercolour boasts a subject and colour palette that would sit admirably in any contemporary interior that draws on the painterly eclecticism of the bloomsbury group. But this painting also has a fascinating story to tell, about the history of art, craft and manufacturing in the uk, and the role that the objects depicted within the painting play in this history.the pivotal role that gordon forsyth played in british ceramic design has inspired some to call him 'the magus of the mid-twentieth century pottery industry'. Born in fraserburgh, he studied at gray's school of art in aberdeen, followed by the royal college of art. He moved to stoke-on-trent in 1903 and became art director at the tileworks of minton hollins & co. Three years later he moved to the same position at pilkington’s tile and pottery company near manchester. He returned here after serving in the first world war. Following this he took up teaching, including at stoke and burslem schools of art, and was tutor to a number of notable students including clarice cliff, susie cooper and charlotte rhead.forsyth's defining and innovative artistic vision was one that sought to close the gulf between studio craft and commercial manufacturing. He was the leading theorist in the ceramics industry in the 1920s; like roger fry and the omega workshops, he advocated a new form of pottery, declaring in 1921 that only by art could the pottery industry gain 'fresh ground and find new fields to conquer'. His 1925 essay on industry pre-figured the ideas in herbert read's seminal 'art and industry' of 1934. Forsyth advocated high artistic ideals as the route to innovate industrial practice: 'art is not only a reflection of current thought, but vital art is usually just ahead of its time and an indication of future developments. It is a kind of intellectual measure whereby we can assess the quality of any civilisation'.gordon forsyth was also an innovator in art education, developing burslem school of art as a direct training ground for moving into the design studios of the pottery industry. In 1936 quentin bell (son of vanessa and clive bell) went to stoke on trent to learn about pottery and was influenced there by forsyth.in the present work (forsyth was also a painter and stained glass artist), he brings together various pictorial elements in a way that meditates on the nature of art itself. Painted at veere in the netherlands, it immediately evokes the domestic interiors of the dutch golden age. Poised and still, the constructed scene recalls the artful interiors of vermeer—an artist who used self-conscious staging in a way akin to modernism—in the strategically placed chair, and the art deco tablecloth that echoes the pattern formed by dutch leaded windows. Forsyth of course also includes his crowning glory, the radiant lustre pots, and the blue and white delftware—a reverent nod to vermeer's hometown.in watercolour and gouache. On watercolour paper laid down on board.presented in an unusual antique painted cartapesta (papier mâché) and wood frame. The frame has a 'british fine art society 342 & 350 king street, hammersmith, w6' label (only visible if backing board is removed). The frame appears to have been historically repurposed, as there is evidence of a previous title label in landscape format. A paper liner and board backing (with sadlers ltd picture frame makers, 29 pall mall, hanley label) have been added to the frame, likely when it was repurposed.image size: 37.5 x 26.5cm. Frame size: 53.5 x 43.5cm.all artworks come with a certificate of authenticity. Signed: signed lower left. Inscribed: inscribed lower left. Dated: dated lower left. Height: 53.5cm (21.1″) width: 43.5cm (17.1″) condition: in excellent, bright condition in the image. Small pinholes to the four corners of the paper, where the artist has pinned the sheet. The frame has some minor cracks and wear to the fragile papier mâché material, which do not detract from the overall appearance. Some minor foxing and age toning to the frame liner. Please see photos for detail. Presented: framed. less
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