Christie's /Mar 23, 2011
€2,922.95 - €4,092.13
Artworks in Arcadja80
Some works of Mark GertlerExtracted between 80 works in the catalog of Arcadja
Auction: Christie's -Nov 20, 2014 - LondonLot number: 115
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Lot Description Mark Gertler (1891-1939) The Sonata signed 'Mark Gertler' (on the reverse) oil on canvas 28¾ x 36¾ in. (73 x 93.4 cm.) Painted in 1934. There is a street scene by the same hand on the reverse. Mark Gertler (1891-1939) The Sonata signed 'Mark Gertler' (on the reverse) oil on canvas 28¾ x 36¾ in. (73 x 93.4 cm.) Painted in 1934. There is a street scene by the same hand on the reverse. Provenance Acquired by D. Macmillan at the 1934 exhibition. Leslie Diamond. Anonymous sale; Sotheby's, London, 15 May 1985, lot 112. Anonymous sale; Christie's, London, 11 November 1988, lot 330. with MacConnal Mason, London. Pre-Lot Text THE PROPERTY OF A LADY Literature The Times, 9 October 1934. J. Woodeson, Mark Gertler; Biography of a painter, 1891-1939, London, 1972, p. 388. Exhibition catalogue, Mark Gertler - the early and the late years, London, Ben Uri Art Gallery, 1982, pp. 15, 25, no. 50, illustrated. Exhibited London, Leicester Galleries, Mark Gertler, October 1934, no. 102. London, Ben Uri Art Gallery, Exhibition of Paintings and Drawings by Mark Gertler 1892 - 1939, November - December 1944, no. 63, as 'Nude'. London, Ben Uri Art Gallery, Mark Gertler - the early and the late years, March - May 1982, no. 50. View Lot Notes >
Auction: Christie's -Dec 13, 2012 - LondonLot number: 186
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Mark Gertler (1891-1939) Nude signed 'Mark Gertler' (upper right) oil on canvas 24 x 20 in. (61 x 50.7 cm.) Painted in 1918. I confirm that I have read this Important Notice and agree to its terms. possibly London, Mansard Gallery, London Group: Eighth Exhibition, May - June 1918, no. 3. London, British Institute for Adult Education, no. 6, catalogue not traced. This painting almost certainly dates to the early part of 1918: the paint handling and distinctive pink and yellow palette of the flesh tones of the face are echoed in a further, more complex nude with still life study from the same year, Figure Study (Northampton Museums and Art Gallery). This young nude also echoes the raised arms pose of the Northampton nude and his ballet studies of the same year. The treatment and paint-handling, very much under the influence of Cézanne, are also similar to the multi-coloured, multi-faceted handling found in the Garsington landscapes of this period (such as The Pond, 1917, Government Art Collection). Moreover, the strong blue background echoes a dominant use of blue in other figure studies from 1918: three of his four known boxing studies from 1918 also prominently feature a similar blue. Gertler's correspondence suggests that he had found a young model of 11 years of age in January 1918 and hoped to make a painting of her. He began in February and the work was probably completed by April 1918. It was possibly then shown in The London Group's May 1918 show as no. 3, 'Nude'. We are very grateful to Sarah MacDougall, who is compiling a Mark Gertler catalogue raisonné for Yale, for preparing this catalogue entry.
Auction: Bonhams -May 30, 2012 - LondonLot number: 47
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Mark Gertler (British, 1891-1939) Cabbage and Rhubarb (Savoy Green) signed and dated 'Mark Gertler/29' (upper left) oil on canvas 63.5 x 75.5 cm. (25 x 29 3/4 in.) PROVENANCE: Dr Markovicz, by whom purchased at the 1930 exhibition Luke Gertler Private Collection, U.K. Sale; Bonhams, London, 1 July 2009, lot 12, where purchased by the present owner EXHIBITED: London, London Group, New Burlington Galleries, October-November 1929, no.66 as The Savoy Green (£75) London, The Leicester Galleries, Paintings by Mark Gertler , November 1930, no.16, as Savoy Green London, Connaught Brown, A Modern British View , November-December 1985, no.7 LITERATURE: ''K'', Jewish Chronicle , 18 October 1929 ''K'', Jewish Chronicle 21 November 1930 T. W. Earp, The Studio , Vol. 100, November 1930, p.352-7 (colour illustration) John Woodeson, Mark Gertler , London, 1972, p.382 Jonathan Roberts, Cabbages and Kings: The Origins of Fruit and Vegetables , Collins, London, 2001 (ill.) A love of still life runs throughout Gertler's career, and while each decade announced a change in style and handling, all shared the same quality of focused and distinct concentration on his subjects. This still life of cabbage and rhubarb, employing a predominantly pink and green palette with undertones of blue applied throughout in patches of colour, is typical of Gertler's still life work in the late twenties and anticipates his commissioned paintings of fruit and vegetables for the Empire Marketing Board Collection Victoria & Albert Museum, London) in 1931. In this version, a darker palette is preferred to the more heightened colouring of the related study, Cabbage and Rhubarb, a study for Savoy Green , also painted in 1929, but the composition and handling are consistent in both works. The artist's ability to focus upon his still life objects with such particular concentration gives them a magnified intensity, which is humorously alluded to in V.S. Pritchett's affectionate short story The Skeleton , where a puzzled manservant ponders over his master's collection of Flitestone (Gertler) still lifes of huge fruits, enormous flowers and gigantic vegetation. Gertler showed the work twice, firstly at the London Group's autumn show in 1929, under the title The Savoy Green , where "K" of the Jewish Chronicle greeted it as (with the exception of Sickert's Entente Anglo-Russe) 'perhaps the most impressive' painting in the exhibition. 'Behind the heroic vegetable' he noted, 'is a bundle of pink rhubarb reflections from which appear in all the greens. Renoir's palette has been employed, and lost none of its interest.' The splendour of Gertler's palette was particularly noted by the critics of his 1930 exhibition at the Leicester Galleries, where he showed this work for a second time. This time "K" called the general effect 'Venetian in its richness and postiveness', but observing that in Gertler's 'most important and finished pictures a very definite range of colours is chosen', he called 'the manner in which these colours are used...largely influenced by Renoir, the colours of the projection of one thing being that of the recession of another...This is especially noticeable in...Savoy Green'. T. W. Earp in The Studio also likened Gertler's use of colour to that of Renoir, identifying a 'sense of fullness and content which is to be found so notably in the final phase of Renoir's achievement...The forms are full and majestic, the hues are brilliant and mellow, while there [is] a dignity and logic in the composition.' Gertler's admiration for Renoir had been augmented by his first trip to Paris as a mature painter in 1920. At the start of the decade this admiration was expressed in a series of sumptuous nudes and though by 1924 he had seemingly rejected this stimulus, by the end of the decade in a letter to Dora Carrington, as well as in his vibrant, intensely painted still lifes, he was again acknowledging Renoir's influence and magnificence. Dr. Markovicz, who bought the painting from the Leicester Galleries in 1930, was the owner of at least four further Gertler paintings, mostly dating from 1930-32. We are grateful to Sarah MacDougall for compiling this catalogue entry.
Auction: Christie's -Mar 23, 2011 - LondonLot number: 6
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Mark Gertler (1891-1939) Reclining Nude signed 'M. Gertler' (upper right) crayon 11¾ x 18¾ in. (29.9 x 47.6 cm.) Painted circa 1927. with Spurr, Bradford, where purchased in March 1935. Lot Notes The present work appears to be a preparatory drawing for the1928 oil known as 'Reclining Nude' in the Ulster Museum, Belfast.The most significant difference being that the model's eyes areopen in the drawing and closed in the final oil, butcompositionally and stylistically they are very similar, and thesoft, crayon drawing is very typical of Gertler's work in thisdecade. We are very grateful to Luke Gertler and Sarah MacDougall for theirassistance in cataloguing the present work. Sarah MacDougall is currently working on a Mark Gertler catalogueraisonné. Anyone with information or images for the book cancontact the author c/o Christie's, South Kensington, 85 OldBrompton Road, SW7 3LD.
Auction: Bonhams -Nov 17, 2010 - LondonLot number: 24
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Various Properties Mark Gertler (British, 1891-1939) Portrait of Sir Julian Huxley oil on canvas 57 x 51 cm. (22 1/2 x 20 in.) PROVENANCE: Sir Julian Huxley Thence by descent EXHIBITED: With Hans Gallery, London Sir Julian Huxley (1887 - 1975), was an English evolutionarybiologist and humanist. He became best known for his popularisationof science through books and being not only the first director ofUNESCO, but also a founding member of the World WildlifeFund. Huxley came from a distinguished family. His father was writer andeditor Leonard Huxley, and his paternal grandfather was biologistT. H. Huxley, famous as a colleague and supporter of CharlesDarwin. It was his brother, the equally distinguished and famousauthor and poet Aldous Huxley, who was to introduce Julian to theBloomsbury set. During the First World War and as an undergraduateat Oxford, the young Aldous had spent much of his time atGarsington Manor, home of Lady Ottoline Morrell, working as a farmlabourer. It was here he met several key Bloomsbury figuresincluding Bertrand Russell, Roger Fry and Clive Bell. He introducedhis brother Julian to this world and his friend Mark Gertler whowas also a frequent visitor to Garsington. Julian and his wife bothbecame friends of Gertler and sometimes went for tea in his studioin London.