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Mary Martin

(1907 -  1969 )
MARTIN Mary Perspex Group On White (d)

Christie's
Nov 20, 2018
Find artworks, auction results, sale prices and pictures of Mary Martin at auctions worldwide.
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Variants on Artist's name :

Mary Martin

 

Along with Mary Martin, our clients also searched for the following authors:
Robert Polhill Bevan, Duncan Grant, Stanley William Hayter, Henry Moore, John Wells, Adrian Heath, Bryan Wynter
Artworks in Arcadja
28

Some works of Mary Martin

Extracted between 28 works in the catalog of Arcadja
Mary Martin - Perspex Group On White (d)

Mary Martin - Perspex Group On White (d)

Original 1969
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Gross Price
Lot number: 139
Other WORKS AT AUCTION
Description:
Mary Martin (1907-1969) Perspex Group on White (D) signed and dated 'Mary Martin '69' (on the reverse) Perspex relief on wood 24 x 24 x 10½ in. (61 x 61 x 26.6 cm.) Constructed in 1969. Provenance Estate of Mary Martin. with Annely Juda Fine Art, London. with Austin Desmond Fine Art, London, where purchased by the present owner.
Mary Martin - Collage

Mary Martin - Collage

Original 1957
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Gross Price
Lot number: 53
Other WORKS AT AUCTION
Description:
Mary Martin COLLAGE 1907-1969 signed, titled, dated 1957and inscribedon the backboard collage and gouache on board 22 by 18cm.; 8¾ by 7¼in. Provenance Acquired by the present owner in the early 1980s Private Collection, U.K. Literature Michael Compton (intro.), Mary Martin, exh. cat., Tate, London, 1984, illustrated within the Artist's studio in 1957, p.8.
Mary Martin - Perspex Group On Blue (e)

Mary Martin - Perspex Group On Blue (e)

Original 1969
Estimate:

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Gross Price
Lot number: 44
Other WORKS AT AUCTION
Description:
LOT 44
- MARY MARTIN
1907 - 1969
PERSPEX GROUP ON BLUE (E)
20,000—30,000 GBP
measurements
61 by 61 by 11cm.; 24 by 24 by 4½in.
Description
signed and dated '69 on the reverse
perspex on wood
PROVENANCE
The Estate of the ArtistAnnely Juda Fine Art, London, where acquired by the present ownerin May 2005
EXHIBITED
British Council Exhibition, 1st Nuremberg Biennale ofConstructive Art, April - October 1969, details untraced;London, Tate Gallery, Mary Martin, 3rd October - 25th November1984, cat. no.52, lent by the Estate of the Artist.
LITERATURE AND REFERENCES
Alastair Grieve, Constructed Abstract Art in England After theSecond World War: A Neglected Avant-Garde, Yale University Press,New Haven and London, 2005, illustrated pl.207, p.160.
CATALOGUE NOTE
'The constructions such as I seek to make are based onimplications of movement and infinity by positive and negativemeans'.Mary Martin, statement in Structure , Amsterdam, 1962. Mary Martin followed her first abstract painting in 1950 withher first experiment in three-dimensional abstraction when she madeColumbarium (Estate of the Artist) in 1951, the same yearthat her husband Kenneth Martin had made his first mobilesculpture. He described the inspiration for their move toabstraction that year, 'I spent a day at the East End home of Nigel Henderson...Eduardo Paolozzi was there and we went to his studio nearby. Toldme about killed plaster - gave me some aluminium and said "Make amobile Kenneth." Told Mary all about this. Mary made Columbarium ina baking tin as instructed, and never looked back.' (Kenneth Martinquoted in Alistair Grieve, op.cit., p.91). Throughout the 1950s and into the 1960s Mary Martin produced acoherent body of works that used proportional and mathematicalsystems, such as the Fibonacci series, as their underlying basis.She utilised industrially produced materials such as perspex,plaster, Formica and stainless steel and began to incorporatebright colour from the mid 1950s. The 'Perspex Group' series, towhich the present work belongs, produced in the last year of herlife, relies most heavily on the concept of the machine-madeelement.
Mary Martin - Columbarium

Mary Martin - Columbarium

Original 1951
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Gross Price
Lot number: 79
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Description:
MARY MARTIN (1907 - 1969) - COLUMBARIUM - PROPERTY FROM THE COLLECTION OF THE LATE JOHN MILNES-SMITH
Mis: 33 by 33cm., 13 by 13in.
signed, numbered 1/6 and dated 51 on the reverse bronze with a gold patina on a wooden base

PROVENANCE
Drian Gallery, London, whence acquired by John Milnes-Smith in January 1961 for £50

EXHIBITED
London Group Exhibition, November 1951 (the original plaster exhibited); London, Drian Galleries, Construction: England: 1950-1960, January - February 1961, no.57 (this cast); Oxford, Museum of Modern Art, Mary Martin/Kenneth Martin, May 1970, no.1, original plaster illustrated in the catalogue, and touring to Eastbourne, Exeter, Leeds,Wolverhampton, Manchester, Sheffield, Hull, Norwich, Edinburgh, Cardiff and Bristol; London, Tate Gallery, Mary Martin, October - November 1984, no.1, original plaster illustrated in the catalogue; London, Annely Juda Fine Art, Kenneth & Mary Martin, September - October 1987, no.4, illustrated in the catalogue (another cast); London, Austin/Desmond Fine Art, A Selection of Post-war British Abstract Art, 1988, no.49 illustrated in the catalogue (as 'Placque').

REFERENCES
Alastair Grieve, Constructed Art in England After the Second World War: A Neglected Avant-Garde, Yale University Press, New Haven & London 2005, pp.59,91,93-94 & 151, no.96, illustrated (the original plaster illustrated).

CATALOGUE NOTE
Like her husband, Mary Martin's work began to move towards abstraction in around 1949, and her earliest abstract paintings show her pursuing the geometrically based composition themes that were current within the group. Columbarium was her first relief, and was created by carving into a slab of plaster that had been cast, and as such is unique as all the later reliefs were constructed. It is based around a system of rotating squares and rectangles using Hambidge's theories of root rectangles, and by incorporating slanting surfaces into the recessions. The overall effect is one of a pleasing complexity that looks forward to the relief work she would produce throughout her career.
Although this piece is numbered 1/6 on the reverse by the artist, in the 1984 Tate exhibition catalogue the edition is listed as numbering 4 casts. However subject study has confirmed the edition size to be 6.
To be sold with a copy of the Drian Galleries catalogue, the original handlist with prices, the receipt and a letter from the gallery confirming that this cast is the one exhibited in the show listed above and a copy of the 1984 Tate Gallery Catalogue.
Mary Martin - Diagonal On Black

Mary Martin - Diagonal On Black

Original 1963
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Gross Price
Lot number: 157
Other WORKS AT AUCTION
Description:
signed and dated
63
on the reverse

stainless steel and black-painted wood on black formica on wooden support

EXHIBITED

London, Molton & Lords Gallery,
Mary Martin,
Februrary 1964, no.17, illustrated on the cover of the exhibition catalogue;
London, Tate Gallery,
Mary Martin,
3rd October - 25th November 1984, no.25, p.55, illustrated in the exhibition catalogue.

LITERATURE AND REFERENCES

Alastair Grieve
, Constructed Art in England After the Second World War: A Neglected Avant-Garde
, Yale University Press, New Haven & London 2005, no.272, illustrated, p.162

CATALOGUE NOTE

The constructions such as I seek to make are based on implications of movement and infinity by positive and negative means (The artist, statement in
Structure
, Amsterdam, 1962).

Martin?s first relief was Columbarium (Estate of the Artist), made in 1951, and throughout the decade she produced a coherent body of works that used systems of proportional growth, such as the Fibonacci series, as their underlying basis. In the early 1960s, she created a number of works that use the basic unit of the cube as their prime element, and in the present relief, the cube is divided diagonally along the hypotenuse, this side being faced with stainless steel to give a reflective surface.

By creating a sequence of progressive permutations on this consistent base form, the relief develops both a structural harmony, but by the incorporation of the reflections on the steel into the design, the work combines this mathematical synchronization with a more random emphasis of light and shadow that depends entirely on the ambient light conditions.
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