ATTRIBUTED TO GLYN WARREN PHILPOT (1884-1937) PORTRAIT STUDY OF AN INDIAN MAN Signed with initials Oil on board Provenance: With Biddle & Webb, 6th August 2010, lot 339 (25cm x 20.5cm)
GLYN PHILPOT (BRITISH 1884-1937)GERALD HEARD (1889-1971), HEAD STUDY Oil on canvas-board 46.5 x 31.5cm (18¼ x 12¼ in.)Provenance:The Rowley Gallery Ltd., LondonEliot HodgkinPrivate Collection, London, where purchased by Count Manfredi della GherardescaExhibited:London, Charles Cholmondeley, Romantic & Symbolist Painting & Drawing, 1987, cat. no. 1Gerald Heard was a friend of Aldous Huxley, W. H. Auden and of Christopher Isherwood who dedicated his novel 'A Meeting by the River' to Heard. He was a follower of the Vedanta movement and wrote a book 'Pain, Sex and Time'.
Attributed to Glyn Philpot (1884 - 1937) Circa 1920, probably New York Portrait of a black gentleman Gouache on fibrous paper/canvas N.B. Comparable picture illustrated above. Dimensions: (Paper) 10 in. (H) x 9 in. (W) (Frame) 19.75 in. (H) x 18.5 in. (W)
GLYN WARREN PHILPOT (BRITISH 1884-1937) JAROil on canvas Signed with initials (lower right)61 x 51cm (24 x 20 in.)Provenance: Gabrielle Cross, the artist's niece The Leicester Galleries, London Sotheby's, London, 3 March 1999, lot 88, where purchased by Robert KimeExhibited: London, Leicester Galleries, An Exhibition of Recent Paintings by Glyn Philpot, February 1934, no. 48Brighton, Brighton Museum & Art Gallery, Glyn Philpot, R.A., 1884-1937, April-May 1953, no. 21 London, Leighton House, and toured by the Art Exhibitions Bureau, Paintings, Drawings and Sculpture by Glyn Warren Philpot R.A., 1884-1937, 1959 Worthing, Worthing Art Gallery, Glyn Philpot, An Exhibition of Paintings and Drawings, 1962, no. 40 Having painted primarily commissioned portraits and classical scenes, still life was a new genre within Philpot's oeuvre. His previous exhibition in 1932 featuring just one still life. The choice of subject matter was essentially a move towards paintings that would be 'sellable' and hence his close involvement with various prominent 1930s interior decorators such as Syrie Maugham.Given the subject, it seems likely that this was painted during, or following, his trip to Morocco with Oliver Messel in September to October 1933, where he was joined by Vivian Forbes. Philpot sometimes created watercolours in situ and then subsequently painted an oil, although there is no evidence of a corresponding study. A fair proportion of Philipot's still lives were painted in the studio at Baynards Manor in Sussex. We are grateful to Simon Martin, Director of Pallant House Gallery, Chichester, for his kind assistance in cataloguing this work.
Glyn Philpot RA, British 1884-1937 - Study of Two Hands; pencil on paper, 16.9 x 9.9 cm (unframed/mounted) Provenance: Gabrielle Cross, the artist's niece; The Fine Art Society, London (according to the label attached to the reverse of the mount); private collection Exhibited: The Fine Art Society, London, Glyn Philpot, 1999, no.20 (according to the label attached to the reverse of the mount)
Glyn Warren Philpot R.A. (British, 1884-1937) Le Trayas signed with initials 'G.P.' (lower left) watercolour, pencil and gouache on paper 37 x 30cm (14 9/16 x 11 13/16in).
GLYN PHILPOT (BRITISH 1884-1937)CORNER OF A COURTYARD, NORTH AFRICAWatercolour, pencil and gouache on paper28 x 34.5cm (11 x 13½ in.)Provenance:(Possibly) Gabrielle Cross, the artist's neicePrivate Collection, Dr. Kenneth Garlick (1916-2009), former curator of of the Ashmolean Museum, OxfordThence by descent to the present ownerExhibited: London, Syrie Maugham Gallery, Glyn Philpot Exhibition, March 1935, probably no. 2 The current work most likely dates to circa September 1934, when Philpot spent a month in Morocco with Vivian Forbes and Tony Harris. The title inscribed on a label to the reverse of the work is in the hand of the artist's niece, Gabrielle Cross. However, if, as seems likely, the work is catalogue number 2 from Syrie Maugham's 1935 exhibition, this locates the work to the town of Moulay Idriss, in the north of Morocco. We are grateful to Simon Martin, Director of Pallant House Gallery, Chichester, for his kind assistance in cataloguing this work.
Glyn Warren Philpot R.A. (British, 1884-1937) Three Muses signed with initials 'GP' (lower right) oil on canvas 76.2 x 50.8 cm. (30 x 20 in.) Painted in 1937
GLYN WARREN PHILPOT (BRITISH 1884-1937)ROBERT ALLERTON, AS A FAUN Oil on canvas 39.5 x 31.5cm (15½ x 12¼ in.)Provenance:Sale, Phillips, London, Modern British Paintings - Watercolours & Drawings, 8 March 1988, lot 35, Private Collection, London Purchased from the above by the present owner c. 1988Literature:Simon Martin, Glyn Philpot, Flesh and Spirit, with an Introduction by Alan Hollinghurst, (Pallant House Gallery, 2022), illustrated, fig. 111, p. 104 In the late 1980s, a chance encounter with Glyn Philpot's niece, Gabrielle, would inspire a fascination with Philpot's work and result in the purchase of the present lot. They recall visiting Gabrielle, who lived in the basement apartment of their friend's property. They would visit for cups of tea as she sat surrounded by exquisite works produced by her uncle. They wanted to acquire a work by Glyn Philpot to add to their own collection and Gabrielle knew of a friend selling a work privately. This sensitive and intimate portrait by Glyn Philpot depicts the American philanthropist and art collector Robert Allerton. He was the son of Samuel Walters Allerton who made his fortune through the livestock trade in Chicago and was co-founder of the First National Bank of Chicago. Determined not to follow in his father's footsteps Robert Allerton decided to follow his passion for the arts and study at the Royal Academy of Fine Arts in Munich followed by further study in Paris. However, after just five years Allerton returned to Illinois to run the family farms. Allerton owned and managed a 12,000 acre estate in Monticello, Illinois which became known as 'The Farms'. Here he built a beautiful Georgian mansion in the style of Ham House in Richmond, inspired by his travels in London. The mansion served as a place to hold lavish parties where he invited artists, friends and notable people from high society. In 1906 the Chicago Tribune released an article surrounding Allerton and his wealth, titled the 'Richest Batchelor in Chicago'. Robert Allerton was a patron of the arts and travelled widely across Europe and Asia. In 1920 he started donating works to the Art Institute of Chicago including pieces by Vincent Van Gogh, Pablo Picasso and Auguste Rodin. By the time of his death in 1964 he had donated 6600 pieces, making him one of the most important benefactors in its history. Allerton also gifted his house, grounds and farmland to the University of Illinois to be used as an education and research centre. This mischievous portrait of Allerton depicted as a mythological faun was not the first time Philpot had explored the subject. In 1912, Philpot sculpted 'The Dead Faun' cast in bronze, believed to be a mask depicting Napier Sturt, Lord Allington. Furthermore, in the spring of 1913 Nijinsky was performing 'L'Apres-midi d'un faune' with the Ballet Russes at the Royal Opera House. Philpot produced a dramatic portrayal of Nijinsky stood against the sumptuous red velvet theatre curtain. This work is now held in a private collection. It was during one of these visits to the opera that Philpot and Allerton first met. Allerton invited the aspiring young artist to visit him in Monticello to which Philpot gladly agreed. In September 1913, Philpot boarded the R.M.S Carmania and set sail on his adventure to the USA. Philpot's arrival caught the attention of 'Madame X' who wrote for the Chicago Sunday Times. The paper published an article on 21st September 1913 which dubbed the artist 'the art sensation of the moment,' and highlighted his highly regarded reputation back in England. Allerton arranged a studio space for Philpot to work from during his stay at 'The Farms' and invited close friends and members of the Chicago elite, including Miss Isabelle McBirney, to have their portrait painted. Enamoured by the people and experience Philpot stayed for four months. Philpot is known to have produced two portraits of Allerton during his stay, The Faun, presented here and a beautifully simple and captivating portrait titled The Man in Black, now held in the Tate collection in London. The present head and shoulder study presents a strikingly different depiction of Allerton compared to all other known portraits and photographs in which he was presented dressed in a smart suit, suitably posed and professional. The admiration felt for Allerton and connection between the painter and sitter exudes from the surface of the canvas. He paints strong muscular shoulders , a chiselled face with a pair of small horns atop his head, glinting in the light. Philpot and Allerton are not believed to have engaged in a sexual relationship but in letters written to Philpot's sister he reveals his infatuation with Allerton and described him as 'the most beautiful wise mature character'. Letter to Daisy Philpot, 22 October 1913.The work is believed to have been a study for a later painting produced by Philpot during his second visit to Allerton in 1921, when he visited with his partner Vivian Forbes. The pair stayed for three months and Philpot painted society portraiture just as Allerton had arranged back in 1913. During their visit Philpot produced Faun and Satyr which was hung above the over-mantel. Unfortunately, this work was moved to Allerton's estate in Kauai, Hawaii and later destroyed in a hurricane. Allerton is known to have had a couple of garden statues which depicted the mythological faun and a bass relief of pan on the carriage house on the estate, which may have further influenced Philpot's decision to depict Allerton as a faun.We are grateful to the staff at Allerton Park Retreat Center, University of Illinois, Nick Syrett and Maureen Holtz for their assistance in cataloguing this lot.
Property of a Nobleman Glyn Philpot (1884 - 1937) A view of Ãle Saint-Honorat Watercolour, pen and ink on paper Provenance: Jason and Rhodes, 4 New Burlington Place. Christieâs South Kensington, Charles Cholmondeley (purchased by the present owner) (Paper)37 cm. (H) x 30 cm (W) (Frame) 58 cm. (H) x 49.5 cm (W)
GLYN WARREN PHILPOT, R.A., R.O.I. (BRITISH, 1884-1937) Reginald Baliol Brett, 2nd Viscount Esher, in the robes of the Order of the... oil on canvas 60 x 40 in. (152 x 101.5 cm.)
Titled "Saint in Ecstasy". Numbered 3/8 on base, with green patina. Provenance: Previously offered at auction by Sotheby's New York; 26 May, 1994; Lot 149. Dimensions: H 25.5" x W 13" x D 7" Condition: Natural green patina, a few small spots of oxidation, some surface dirt.
Glyn Warren Philpot R.A. (British, 1884-1937) The Sisters of the Artist signed and dated 'Glyn Philpot 1922' (lower left) oil on canvas 142.3 x 111 cm. (56 x 43 3/4 in.)
Glyn Warren Philpot R.A. (1884-1937) Head of Henry Thomas, facing left charcoal on card 12 1/2 x 10 1/8 in. (31.8 x 25.8 cm.) For further information on this lot please visit the Bonhams website
Glyn Warren Philpot R.A. (1884-1937) Naked Model (Henry Thomas) pencil and watercolour 12 5/16 x 6 1/8 in. (31.2 x 15.5 cm.) For further information on this lot please visit the Bonhams website
Glyn Philpot RA, British 1884–1937 Nude Back View (with 'Hands Study' on the reverse); pencil on paper, inscribed on the reverse 'A II', 24.5 x 18.2 cm Provenance: Gabrielle Cross, the artist's niece; with The Fine Art Society, London (according to the label attached to the reverse of the frame); private collection, purchased from the above Exhibited: The Fine Art Society, London, Glyn Philpot, May 1999 (label verso) Please refer to department for condition report
Glyn Philpot RA, British 1884–1937 Study for 'Henry Thomas Sitting Back View', 1937; black chalk on paper, 29 x 23.5 cm Provenance: Gabrielle Cross, the artist's niece; The Fine Art Society, London, no.16013 (according to the label attached to the reverse of the frame); private collection, purchased from the above Exhibited: Brighton Art Gallery, Brighton, 'Glyn Philpot R.A., 1884-1937', 3 April 3 May 1953, no.62; Leighton House, London, 'Drawings, Paintings and Sculpture by Glyn Warren Philpot R.A. 1884-1937', 7 28 February 1959, no.8, followed by tour with Art Exhibitions Bureau, 1959-60 (label verso); National Portrait Gallery, London, 'Glyn Philpot 1884-1937; Edwardian Aesthete to Thirties Modernist', 9 November 1984 10 February 1985, no.114 (label verso) Literature: A.C. Sewter, 'Glyn Philpot 1884-1937' (foreword by T Bodkin), 1951, illus. pl.109; R. Gibson, exhibition catalogue, 'Glyn Philpot 1884-1937: Edwardian Aesthete to Thirties Modernist', London, National Portrait Gallery, 1984, illus. p.115 Note: this work is one of three known studies for the painting 'Henry Thomas Sitting Back View, 1937’, and this work has been described by Robin Gibson in his catalogue for Philpot’s exhibition at the National Portrait Gallery in 1984 as ‘perhaps the most brilliant of the three, sinuous and rhythmic, demonstrating once again [his] ability to find great beauty in the human back’. The other studies are now in the British Museum and V&A collection. The painting was has been described ‘perhaps the best of a Philpot’s pure figure paintings.’ Jamaican born Henry Thomas was the artist’s servant and companion, and a favourite model, appearing in numerous works, including ‘Portrait of Henry Thomas, 1934-35’ (Pallant House Gallery) and ‘Melancholy Man, 1936’ (Royal Pavilion & Museums Trust, Brighton & Hove). These works are often considered the most innovative and experimental of Philpot’s career. The original title for the work was Study for 'Negro Sitting Back View'. Please refer to department for condition report
Lot 284 Glyn Philpot British (1884-1937) Study for The Resting Acrobats (c. 1924) oil on paper mounted to board 32 1/4 x 22 1/2 inches unframed Additional Information: inscribed indistinctly to verso Provenance: Property from the Collection of Seymour Stein Sotheby's, London, 06 December 2000, lot 107
Lot 236 Glyn Philpot British (1884-1937) Working Drawing for 'The Creation of Man' oil on canvas board 16 1/8 x 16 1/8 inches frame dimensions: 19 x 19 x 1 inches, wood frame with glazing Additional Information: paper label inscribed to frame verso: 'Working Drawing for 'The Creation of Man' Vice-Regal Lodge, New Dehli / Glyn Philpot' and with Art Exhibition Bureau, London label Provenance: Property from the Collection of Seymour Stein Sotheby's, London, 03 March 1999, lot 89,Art Exhibition Bureau, London label affixed to frame verso
Lot 232 Glyn Philpot British (1884-1937) Portrait of Pietro Busetti oil on canvas 26 x 19 3/4 inches frame dimensions: 34 1/4 x 28 x 2 1/4 inches, wood frame Additional Information: inscribed to verso: 'Mr. Hartley...' Provenance: Property from the Collection of Seymour Stein Sotheby's, UK, 28 February 1995, lot 188
Glyn Philpot RA (1884-1937) Glyn Philpot RA (1884-1937) Study of the Artist's sister, Gertrude; Study of the Artist's sister, Daisy two, pencil 18.7 x 12.5cm each, framed as one Provenance: Gabrielle Cross, the artist's niece; with the Fine Art Society, London. Preparatory sketches for the oil painting 'The Sisters of the Artist', 1922, Bonhams, '20th Century British Art', 26 June 2007, lot 16. Glyn Philpot was a British painter and sculptor, best known for his portraits of contemporary figures such as Siegfried Sassoon. This drawing is a preparatory study for one of the few portraits Philpot painted of his family members; the final painting was exhibited at the Academy of 1922 to wide acclaim. It is an intimate sketch of his two older and much-loved sisters, Gertrude and Daisy. Daisy often posed for her brother, but this is the first portrait featuring Gertrude. Philpots light pencil line, executed in swift movements, captures his sisters with great sensitivity. It creates a feeling of familial intimacy aided by their unforced expressions and composure, neither looking deliberately towards the painter nor away from him.
NO RESERVE Philpot (Glyn Warren) Study of Two Hands, pencil on ruled paper, image approx. 100 x 170 mm (4 x 6 3/4 in), hinged into mount, some creases and cockling to sheet, unframed Provenance: Miss Gabrielle Cross, the artist's niece The Fine Art Society, London From the collection of the late Mr. Laurence Lee Exhibited: The Fine Art Society, Glyn Philpot, 1999, no. 20 This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Glyn Warren Philpot R.A. (British, 1884-1937) Double sided Portrait Study of Henry Thomas signed with initials 'G.P.' (lower right); inscribed and dated 'Henry/1935' (on the reverse) charcoal on paper 27 x 27cm (10 5/8 x 10 5/8in). unframed Executed c. 1935 For further information on this lot please visit the Bonhams website
Glyn Warren Philpot R.A. (British, 1884-1937) Two Muses at the Tomb of a Poet watercolour, gouache, pen and ink and pencil on paper 42 x 22.5cm (16 9/16 x 8 7/8in). Painted in 1937 For further information on this lot please visit the Bonhams website
Oil on canvas, 1913, signed 'Glyn Philpot' lower right, with the sitter's paper address label on the stretcher. 50 x 36 in., 58 1/2 x 44 1/2 in. (frame). Note: The sitter in this portrait is Mrs. Isabel Stimson McBirney, born in 1890 in Lake Forest, IL. Her family commissioned English portrait painter Glyn Philpot to paint her portrait and it has hung in the family home ever since. Our thanks to Charles Beddington, London Philpot expert, for confirming the date of execution and authenticity. Philpot established himself early in his career as a society portrait painter, accepting up to twelve commissions a year. This income allowed him to travel abroad where he absorbed the modern influences of artists in Europe and America. Parallel to his portraiture, Philpot pursued his personal interest in less formal narrative scenes, and also explored religious and spiritual subject matter. Portrait of Isabel Stimson McBirney is a beautiful example of Philpot's talent as a portrait painter and was painted in the same year that he was awarded first prize at the Carnegie International competition in Pittsburgh, PA. Mrs. Isabel Stimson McBirney; Thence by Descent.
GLYN WARREN PHILPOT (1884-1937) André Eglevsky (of the Russian Ballet) with inscription by Gabrielle Cross ‘GLYN PHILPOT./(Title) . ANDRÉ EGLEVSKY (of the Russian Ballet) .’ and ‘Title ANDRÉ EGLEVSKY/(OF THE RUSSIAN BALLET.) /Painter (the late GLYN PHILPOT R.A./1884-1937.) ./(Painted 1937.) /To be returned to Miss Philpot./80 Ladbroke Road, W. 11.’ (on labels attached to the frame) oil and charcoal on canvas22 x 301⁄4 in. (55.9 x 76.8 cm.) Painted in 1937
GLYN WARREN PHILPOT, R.A. (1884-1937) Young Love in the Lap of his Mother oil on canvas 36 x 29 1/8 in. (91.5 x 73.9 cm.) Painted in 1934-37. PROVENANCE: The artist, and by descent to Rosemary Smallet, London. Anonymous sale; Sotheby’s, London, 13 December 2007, lot 72, where purchased by the present owner. EXHIBITED: London, Art Exhibitions Bureau, Glyn Philpot, exhibition not traced. London, Leighton House Museum, Retrospective Exhibition: Drawings, Paintings and Sculpture by Glyn Warren Philpot, R.A., 1884-1937, February 1959, no. 53. LITERATURE: A. Sewter (intro.), Glyn Philpot 1884-1937, London, 1951, p. xi, pl. 99. Glyn Philpot established a distinguished reputation as a painter of society portraits in the years before the outbreak of the First World War, and was rewarded with election as an A.R.A. in 1915 and R.A. in 1923 at notably young ages. He was never content to rest on his laurels, however, and the last years of his career in the 1930s saw him adopting a style heavily infuenced by progressive Parisian painting which alienated much of his clientele. While portraiture was his main source of income, Philpot always interspersed commissioned portraits with subject paintings ranging from genre and ballet subjects to the religious, mythological and mystical. The more eccentric of these often received mixed reviews and caused controversy at the Royal Academy when exhibited. Painted in his last years of his life Young Love in the Lap of his Mother references Greek myth, a theme that Philpot revisited numerous times throughout his career. The title suggests it is a depiction of the God Eros, the daemon (personifcation) of love, and his mother Aphrodite. Philpot’s more progressive style is evident in the bold lines, his loose brushwork and the elegant, almost mannerist, composition. If not for the title, the present work could easily be understood as a Pietà, the depiction of the Virgin Mary supporting the body of the dead Christ. Philpot was deeply religious having converted to Catholicism shortly after he turned 21, in October 1905. His interest in religious themes was clearly heightened by his election in 1929 as President of the newly constituted Guild of Catholic Artists and Craftsmen, formed to celebrate the centenary of Catholic emancipation. Similar to more traditional religious paintings, the composition of the present work draws the eye around the canvas as it follows the drapery and the sculptural limbs of the two fgures. The carefully positioned hands of both mother and son hark back to Renaissance paintings and sculpture in their stance, yet the striking cobalt eyes and bold use of colour convey Philpot’s innovated aesthetic.
* Philpot, (Glynn, Warren, 1884-1937). Sailors on the quayside, North Africa, coloured pencils on paper, signed with initials lower right, 146 x 121mm (5.75 x 4.75 ins) mount aperture, framed and glazed (Qty: 1)
‘Brilliant students do not always fulfill their early promise, but there was a certain quality in Glyn’s work and to himself which convinced me that here was an exceptional being who would make his mark in the world.’ (Reproduced in J.P. Delaney, Glyn Phlipot, His Life and Art, Ashgate Publishing, 1999, p11) So wrote Philip Connard, Philpot’s tutor at Lambeth Art School, to the artist’s sister in 1945, recalling the early promise and natural talent that Philpot displayed as a young student. Philpot had enrolled at the School, which had a very good reputation under the guidance of the headmaster, John Sparkes in 1900 and his ability was formally recognized early on when, in the spring of 1901, he was the first out of 112 candidates to be awarded a two- year scholarship. Philpot created The Mermaid aged just eighteen and it reveals both his natural ability as draughtsman as well as the early and varied influences that he was beginning to absorb whilst at the school. Charles Rickett and Charles Shannon, two older students who had studied at Lambeth in 1882 and who would go on to collaborate with one another on the magazine The Dial 1889–97, and the Vale Press 1896–1904, would prove to be two figures whose work would have a lasting influence on the younger Philpot. From 1900-1904 Phlipot printed booklets containing wood cuts on his own press in small editions and the later examples of these reveal an increasing debt to Rickett’s woodcuts which were published in both The Dial and The Vale Press. Philpot’s grounding in this form of printmaking translates directly to the strong sense of pattern which is present in The Mermaid. However, where as in wood-cutting or engraving, space and form is often clearly defined through negative and positive areas, in The Mermaid the application of watercolour lends itself to a wonderful sensitivity of form. In this work the edges of colour fuse with one another beautifully allowing the artist to describe areas of movement such as the unfocused traces of the female figure’s legs beneath the shimmering water which swells around her body. From Rickett’s also came Philpot’s preference for the figurative and often romantic or allegoric subjects which were considered old fashioned at that time, the avant-garde being dominated by the influence of the French Impressionists. Both Ricketts and Shannon believed in the superiority of ‘history painting’ and in his earlier career this was also a subject that interested Philpot. In early oil paintings such as Oedipus and the Sphinx, 1909 and Melampus and the Centaur, 1919 he directly referenced Greek mythology and in The Mermaid, we see Philpot returning to the same theme, many attributes of the mermaid having found their source in the Sirens of Greek mythology. The more specific theme of the feminine in relation to water was also explored by Ricketts in the frontispiece to ‘The Dial’, 1886 and by Shannon in several of his paintings including The Birth of Venus, 1898-1904, now in the Tate Gallery’s collection. By titling this work as such, Shannon transforms his sitter into the goddess, Venus and imbues his image with an allegorical history, in the same way, Philpot reimagines the young lady before him as a mermaid from some imagined and unknown world. This idea is heightened by the colours Philpot uses to describe the scene before him, green, glowing hair reminiscent of algae sweeps across the mermaids face as she stands, head bent in a classical pose, in a sea of water coloured with hues of red, blue, green and yellow. The swirling pools of water described here are also reminiscent of the stylistic devices used in much art adopted by the Art Nouveau period, and indeed, The Mermaid shares an affinity with this period in its highly stylized forms and vibrant colours. Further, the unusual choice of a thin and tall format whose composition focusses on a female protagonist recalls many of the posters created by Alphonse Mucha in the late 1880s. As such The Mermaid is not only an aesthetically beautiful rendition of the female figure but an amazing sophisticated early work in which a young Philpot absorbs and utilize various influences to create his own unique image of femininity.
Glyn Warren Philpot R.A. (British, 1884-1937) Woman's Head pencil and watercolour36 x 21.5cm (14 3/16 x 8 7/16in). Provenance: With The Redfern Gallery, London, 1937, where acquired by the family of the present owner, and thence by descentPrivate Collection, U.K.ExhibitedLondon, The Redfern Gallery, An Exhibition of Figure-Pieces, Portraits, Landscapes, & Flower-Pieces in Oil & Watercolour by Glyn Philpot, 4-27 November 1937, cat.no.43 (as Negro Ikon)Warsaw, Instytut Propagandy Sztuki, British Council, Contemporary British Art, 28 January-16 February 1939, cat.no.52; this exhibition travelled to Helsinki, Konsthall, 11-26 March 1939 and Stockholm, Liljevalchs Konsthall, 1 April-31 May 1939 Please note that there is a study by the same hand of a lily pond verso.
Glyn Warren Philpot, R.A. (1884-1937) Henry Thomas: Head studies pencil on paper 8¼ x 5¼ in. (21 x 13.3 cm.); 7½ x 5¼ in. (19.1 x 13.3 cm.), framed as one (2)
