Dame Paula Rego DBE RA, Portuguese/British 1935-2022 Dressing him up as Bluebeard, from the Jane Eyre series; monochrome lithograph on wove, signed in pencil and numbered 2/35, sheet: 76 x 55 cm, (framed) (ARR)
Paula Rego (1935-2022) "Mother with Big Daughter" Silkscreen on paper Signed and marked Proof Printed by Kip Gresham, Gresham Studios, Cambridge Dedicated to Colette Morey de Morand (1934-2022), artist and Paula Rego's friend 75x56 cm (papel) Literature: T. G. Rosenthal, "Paula Rego: The Complete Graphic Work. New Updated and Expanded Edition", Thames & Hudson, 2012, p. 302 e 364.
Paula Rego (1935-2022) "Celestina's Goddaughter", 2001 Etching and aquatint on paper Signed and marked A/P Printed by Paul Coldwell, Culford Press, Londres Dedicated to Colette Morey de Morand (1934-2022), artist and Paula Rego's friend (slight dirt) 20x29,5 cm (mancha) 38x47,5 cm (papel) Literature: T. G. Rosenthal, "Paula Rego: The Complete Graphic Work. New Updated and Expanded Edition", Thames & Hudson, 2012, p. 298 e 368.
Paula Rego (1935-2022) "The Baker's Wife I", 1989 Etching and aquatint on paper Signed and numbered 25/75 (slight dirt on the reverse) 16,5x11,8 cm (mancha/image) 34x26,5 cm (papel/sheet) Literature: T. G. Rosenthal, “Paula Rego: The Complete Graphic Work. New Updated and Expanded Edition”, Thames & Hudson, 2012, p. 279 e 346.
Paula Rego (1935-2022) "Mother Wears the Wolf's Pelt", 2003 Pastel on paper 84x67 cm Exhibitions: "Paula Rego", Exposição Antológica, Museu de Serralves, Porto, 2004-2005, Cat. p. 201; "Family Sayings", La Virreina Centre de la Imatge, Barcelona, 2017; "All the Better to See You With: Fairy Tales Transformed", The Ian Potter Museum of Art, Melbourne, 2017-2018; "Paula Rego: Folktales and Fairy Tales", Casa das Histórias, Cascais, 2018. Literature: Deryn Rees-Jones, "Paula Rego The Art of Story", Thames&Hudson, il. p. 251; "Paula Rego Retrospective", Tate Britain, London, il. p.44. "The Manipulative Mother This painting is part of a series depicting – or rather playing around with – the European fairy tale of Little Red Riding Hood, the young girl who is tricked into revealing the way to her grandmother’s house by a wolf who promptly beats her to the house and devours first the grandmother then Little Red Riding Hood herself. The tale in its best-known versions (written down in the seventeenth century from several oral sources by Charles Perrault and in the nineteenth century by the Brothers Grimm) is a cautionary one, warning us to be careful about talking to strangers in the wood. In the Grimm version, both Little Red Riding Hood and her grandmother survive, cut from the wolf’s belly by a huntsman who wants the wolf’s skin. The story has been multiply told and re-told, with many a variation and interpretation, most notably by novelist Angela Carter whose ‘Company of Wolves’ reworks the story as one of puberty, sexual awakening and feminist agency. Rego’s series of pastels gives us six moments from the story: ‘Happy Family: Mother, Red Riding Hood and Grandmother’; ‘Little Red Riding Hood on the Edge’; ‘The Wolf’; ‘The Wolf Chats Up Red Riding Hood’; ‘Mother Takes Revenge’; and this picture, ‘Mother Wears the Wolf’s Pelt’. Rego’s Little Red Riding Hood veers between innocent young girl (though ‘on the edge’ – of what, sexual maturity as in the Carter story?) and sceptical adolescent, arms folded in the face of the ‘wolf’, clearly a man, his likeness that of one of Rego’s most persistent models. Rego’s grandmother appears only once, fading into the background of the ‘happy family’ but the artist inserts a mother into the tale, first embracing her daughter as part of a traditionally imagined maternal hierarchy cruelly disrupted by the wolf; next laying into the wolf with a pitchfork, and finally alone and triumphant in this painting. In Rego’s version of the story, condensed into this picture, female power and rivalry are to the fore. If Little Red Riding Hood may be interpreted as a fable to do with sexual awakening and coming of age, then there is something about it of the Electra complex; that developmental stage identified by Carl Jung to match the male Oedipus complex, in which a girl experiences her developing sexuality as a psychosexual competition with her mother for the attention of her father. Rego was interested in Jung’s theories, and saw a Jungian analyst throughout her life. Equally, she was interested in traditional children’s tales, making prints and paintings inspired by them throughout her career, and seeing them (like psychoanalytic theories) as capacious, elastic vehicles for individual imagination and collective recognition. In ‘Mother Wears the Wolf’s Pelt’, the mother sits smartly dressed in a red velvet dress on a swivel, office type chair. She wears a hat and a fur stole, the shaggy end of which she clutches in one hand like a handbag. Her other hand hovers protectively – suggestively – over her stomach. In the narrative dynamics of the series to which the painting belongs, she has clearly dispatched and skinned the wolf, overpowering him and beating her daughter in any psycho-sexual power game they might be playing. Tender in ‘Happy Family’, determined in ‘Mother Takes Revenge’, in this painting she is both smug and sly. She has taken her revenge, but on who? And who or what is in her stomach? The wolf? Her daughter? Mothers are part of Paula Rego’s regular cast of characters. Rarely straightforward, they can be loving; are sometimes shy, retiring and browbeaten (I am thinking, for example, of the mother fading into the background in ‘Pregnant Rabbit Telling her Parents’, 1981, or re-imagined as a defeated vegetable in ‘Rabbit and Weeping Cabbage’, 1982); but can also often be scheming, competitive and manipulative. The mother in this painting seems of the third type. She has about her something of the mothers in the large painting ‘Betrothal’, one of three panels in the triptych ‘After ‘Marriage à la Mode by Hogarth’, 1999. The painting shows two mothers engaged in some kind of bridal negotiation. One – the mother of the girl ¬– perches on the arm of a chair, dressed in high heels, tight skirt and a power jacket. The other, her son cowering nervously behind her, wears and fondles a fur stole uncomfortably suggestive of the wolf’s pelt of the later painting. With its psycho-sexual complexities and ambiguities (the girl, for example, seems to flirt with the viewer as she gazes straight out of the painting while fondling her dog with her feet but it is in fact the gaze of her father, looking at her in a mirror, that she is returning), this painting seems to take something from Rego’s work with the tale of Little Red Riding Hood. This painting is made in oil pastel, Rego’s signature medium. Working in pastel allowed her to make paintings with a looseness, freedom and immediacy more normally associated with drawing. Rego’s mastery of pastel is to the fore in this painting, her mark making both fluid and descriptive, the surface of the painting alive with a materiality and dynamism that complements the narrative while elevating the painting from the realm of illustration into the kind of original storytelling for which Rego is justifiably admired. Fiona Bradley Director Fruitmarket, Edinburgh Curator ‘Paula Rego’, Tate Liverpool, 1996-1997"
PAULA REGO (BRITISH/PORTUGUESE 1935-2022) FEEDING TIME (FROM O VINHO), 2007 (ROSENTHAL 243) signed in pencil (lower right), inscribed Unique Proof (lower left) and dedicated Happy Birthday dear Colette, much love, lithograph on Somerset satin paper, hand-coloured by the Artist with watercolour, a proof aside from the edition of 35Published by Marlborough Graphics, LondonPrinted by The Royal College of Art, London 46cm x 57cm (18 1/8in x 22 ½in), unframed A gift of the Artist to Colette Morey de Morand and thence by descent.
PAULA REGO (BRITISH/PORTUGUESE 1935-2022) APRÈS LA FÊTE II, 2003 signed in pencil (lower right), numbered AP 2/14 (lower left) and dedicated Happy Birthday Dearest Colette, colour lithograph on Somerset wove paperPublished by Thames & Hudson Ltd, London to accompany the deluxe edition of Paula Rego: The Complete Graphic Work, 2003.Printed by The Curwen Studio, Cambridge. 37.5cm x 29.5cm (14 ¾in x 11 ½in), unframed A gift of the Artist to Colette Morey de Morand and thence by descent.
PAULA REGO (BRITISH/PORTUGUESE 1935-2022) UP THE TREE (FROM JANE EYRE - THE GUARDIANS), 2002 signed in pencil (lower right) and numbered A/P (lower left), lithograph on paper, an Artist's Proof aside from the edition of 35Published by Marlborough Fine Art, London 86cm x 62cm (33 ¾in x 24 ¼in), unframed A gift of the Artist to Colette Morey de Morand and thence by descent.
MOTHER AND DAUGHTER (ROSENTHAL 156) Color screenprint, 1997, on wove paper, signed and inscribed TP 2/3 in pencil, a trial proof aside from the edition of 100, from The National Museum of Women in the Arts 10th Anniversary Portfolio, printed by Gresham Studios, Cambridge, England, published by The National Museum of Women in the Arts, Washington D.C., with full margins, unframed. Image 27 1/4 x 15 inches; 692 x 381 mm. Sheet 29 5/8 x 22 1/8 inches; 752 x 562 mm.
Paula Rego (1935-2002) Embarkation, from Six Artists: The Royal College of Art Portfolio 1992 (Rosenthal 76) Etching with aquatint, 1992, signed and inscribed 'A/P IX' in pencil, an artist's proof aside from the edition of 50, printed by the Printmaking Workshop of The Royal College of Art, published by the Royal College of Art, London, on Arches paper, with full margins, sheet 760 x 560mm (29 7/8 x 22 1/2in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Paula Rego (1935-2002) The Encampment (Rosenthal 30) Etching with aquatint, 1989, signed in pencil, numbered from the edition of 50, printed by Studio Prints, published by the artist and Marlborough Graphics, London, on Arches paper, with full margins, sheet 562 x 760mm (22 1/8 x 29 7/8in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Paula Rego (1935-2002) Secrets and Stories (Rosenthal 29) Etching with aquatint, 1989, signed in pencil, numbered from the edition of 50, printed by Studio Prints, published by the artist and Marlborough Graphics, London, on Arches paper, with full margins, sheet 565 x 765mm (22 1/4 x 30 1/8in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Paula Rego (1935-2022) Untitled (not in Rosenthal) Etching with extensive handcolouring in watercolour, 2006, signed, dated, inscribed Happy Xmas and numbered from the edition of 15, printed at Culford Press, London, on wove paper, with full margins, sheet 245 x 218mm (9 5/8 x 8 1/2in) The present work was a gift from the artist to the current owner, the etching was never commercially published, and the entire edition was given as gifts by the artist to friends. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Paula Rego 1935 - 2022 Five Generations of Muses graphite and Conté on paper 137.2 by 101.6 cm. 54 by 40 in. framed: 147.1 by 111.7 cm. 58 by 44 in. Executed in 2007.
▲ Dame Paula Rego RA (Portuguese-British, 1935-2022) 'Crow and his Cat' etching with aquatint, 1994, signed 'Paula Rego' in pencil l.r., and numbered '8/20' with blind stamp plate 17.5 x 23.5cm Condition Report: Framed: 34.5 x 42.5cm Appears to be in good condition. Well presented and ready to hang. Not viewed out of glazed frame.
▲ Dame Paula Rego RA (Portuguese-British, 1935-2022) 'The Crow's House' etching with aquatint, 1994, signed 'Paula Rego' in pencil l.r., numbered '17/20' with blind stamp plate 17.5 x 26cm Condition Report: Framed: 34 x 43cm Appears to be in good condition. Well presented and ready to hang. Not viewed out of glazed frame.
Paula Rego Mother and Daughter 1997 screenprint in colors on Somerset 29.75 h x 22 w in (76 x 56 cm) Signed and numbered to lower edge 'TP 1/3 Paula Rego'. This work is trial proof 1 of 3 apart from the edition of 100 printed by Gresham Studio, Ltd., Cambridge, England and published by the National Museum of Women in the Arts, Washington, D.C. This work will ship from Lambertville, New Jersey.
Dame Paula Rego DBE RA, Portuguese/British 1935-2022, Carmen and Bird, 1997; screenprint on Somerset wove paper, signed in pencil and numbered 6/30 (there were also 5 artist's proofs), printed by Gresham Studios, Cambridge, published by the artist, London, sheet: 85 x 71 cm, (framed) (ARR)
Dame Paula Rego DBE RA, Portuguese/British b. 1935- How Many Miles to Babylon?, from the Nursery Rhymes series, 1989; aquatint on wove, signed in pencil and numbered 18/50, sheet: 51.5 x 37.5 cm, (framed) (ARR) Provenance: Marlborough Fine Art, London, 1989
PAULA REGOIN THE COMFORT OF THE BONNET (ROSENTHAL 204) - 2001-2 Lithograph, ed. 35, signed in pencil, printed at Curwen Studio, Cambridge, published by the Artist and Marlborough Graphics the sheet 98.5cm x 73.5cm (38.75in x 28.75in), unframed Charlotte Brontë’s Jane Eyre proved to be a rich source of inspiration for Paula Rego, who often turned to existing literary narratives as the basis of her striking figurative work. As Marina Warner explains ‘Brontë and Paula Rego share an imaginative ardour that abolishes the veil between what takes place in fact and in fantasy. As storytellers, they really are kith and kin: Rego reproduces the psychological drama in the book through distortions of scale, cruel expressiveness of gesture, and disturbingly stark contrasts of light and welling shadows’ (‘An artist's dream world: Paula Rego’, Tate Research Publication, 2003).YesR.A.ArtistBRITISH/PORTUGUESE19352022
PAULA REGOSCARECROW (ROSENTHAL 242) - 2006 Lithograph, S/P, aside from the edition of 35, signed and editioned in pencil, printed at the Curwen Studio, Cambridge, published by the Artist and Marlborough Graphics, London the sheet 106cm x 75cm (41.75in x 29.5in), unframed ‘I always need a story. Without a story, I can’t get going. Maybe the story changes in the doing of it. I might discover it isn’t what I thought or intended. But I need it to find my way. I’m always looking for new stories’ – Paula Rego This print is one of a series of artworks inspired by Martin McDonagh's writing. Rego claimed that his 2003 play The Pillowman changed her life.YesR.A.ArtistBRITISH/PORTUGUESE19352022
Paula Rego (1935-2002) O Vinho/Wine The deluxe portfolio, 2007, comprising one original lithograph printed in colours, signed in pencil and numbered from the edition of 100, with title-page, text and justification, this copy signed in pencil, numbered from the edition of 100, printed by Robin Smart, Royal College of Art, published by Enitharmon Editions, London, on Somerset wove paper, the full sheets loose as issued within the original mauve solander box, sheet 590 x 470mm (23 1/4 x 18 1/2in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
⊕ PAULA REGO (PORTUGUESE 1935-2022) GOOD MORNING, 1988 signed in pencil Paula Rego lower right margin; numbered in pencil 48/50 lower left margin engraving 21 x 32cm; 8 1/4 x 12 1/2in (plate) 44 x 52cm; 17 1/4 x 20 1/2in (framed) Property from a Private Collector, London
Dame Paula Rego R.A. (British, 1935-2022) Après la fête II (Rosenthal 222) Lithograph in colours, 2003, on Somerset wove paper, signed and numbered 36/50 in pencil (the total edition was 75), printed by The Curwen Studio, Cambridge, published by Thames & Hudson Ltd., London, the full sheet, framed; as issued with the accompanying deluxe edition of 'Paula Rego: The Complete Graphic Work', copy number 36, published by T.G. Rosenthal, Thames & Hudson Ltd., London, 2003 Image 260 x 200mm (10 1/4 x 7 7/8in) Sheet 280 x 200mm (11 x 7 7/8in)
PAULA REGO R.A. (BRITISH/PORTUGESE 1935-2022) REFECTORY, FROM 'JANE EYRE - POETRY & STORY' (ROSENTHAL 212) - 2001/2 Lithograph, printer's proof aside from the numbered edition of 35, signed, dated 18/9/01 and inscribed ‘For CS,’ with pencil annotations from the studio, including 'Proof Passed’ and comments on colour, printer's registration marks to wider sheet the sheet 54.5cm x 74.6cm (21.5in x 29.37in), unframed Curwen Studio, Cambridge; Private Collection.
PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022) MOTHER WITH BIG DAUGHTER, 1997 (R.156) signed (lower right) and inscribed Proof (lower left) For Colette, Happy Birthday - much, much love (lower centre), screenprint in colours on wove paper, a proof aside from the edition of 100, unframed.Published by the National Museum of Women in the Arts, Washington, D.C, USA.Printed by Gresham Studio, Ltd, Cambridge 74cm x 56cm (29 ¼in x 22in) Gift of the Artist to Colette Morey de Morand and thence by descent.
PAULA REGO R.A. (BRITISH/PORTUGESE 1935-2022) THE CROW'S HOUSE, 1994 (R.108) signed in pencil (lower right) and inscribed A/P (lower left), etching and aquatint on paper, with blindstamp, artist's proof aside from the edition of 20. unframed 18cm x 26.5cm (7 x 10 1/2in) [plate]; 30cm x 38.5cm (11 3/4in x 15 1/4in) [sheet] Gift of the Artist to Colette Morey de Morand and thence by descent.
PAULA REGO R.A. (BRITISH/PORTUGESE 1935-2022) UNTITLED, 2004 inscribed in pen (lower margin) For Colette and James / a very happy Christmas and New Year 2004 / lots of love / Paula, hand-coloured lithograph on paper, unframed 29.8cm x 21cm (11 3/4in x 8 1/4 in) Gift of the Artist to Colette Morey de Morand and thence by descent.
PAULA REGO R.A. (BRITISH/PORTUGESE 1935-2022) CELESTINA'S GOD-DAUGHTER, 2001 (R. 183) signed in pencil (lower right), inscribed A/P (lower left) and dedicated Happy Birthday Dear Colette (lower centre), etching and aquatint, artist's proof aside from the edition of 17, unframed 20cm x 29.5cm (7 3/4in x 11 1/2in) [plate]; 36 x 48cm (14 1/4in x 19in) [sheet] Gift of the Artist to Colette Morey de Morand and thence by descent.
▲ Dame Paula Rego RA (Portuguese-British, 1935-2022) 'Come to Me' lithograph in colours, 2001-2002, signed 'Paula Rego' in pencil l.r., numbered 18/35, printed on Somerset Velvet by the Curwen Studio, Cambridge, and published by the artist and Marlborough Graphics, London sheet 99 x 67cm Condition Report: Framed: 105 x 72.5cm Very slight cockling to the lower edge but this does not detract from enjoyment of the work. Presents well overall and appears to be in otherwise good condition. Not viewed out of glazed frame.
▲ Dame Paula Rego RA (Portuguese-British, 1935-2022) 'The Voices I' hand-coloured etching and aquatint, 1996-1998, signed 'Paula Rego' in pencil l.l. and numbered '21/25' plate 29 x 19.5cm Condition Report: Framed: 58.5 x 47cm Not viewed out of glazed frame but appears to be in good condition.
▲ Dame Paula Rego RA (Portuguese-British, 1935-2022) 'Secrets & Stories' etching and aquatint on Arches wove, 1989, signed 'Paula Rego' in pencil l.r., numbered '4/50', printed by Culford Press, and published by the artist and Marlborough Graphics, London plate 33 x 51.5cm Condition Report: Framed: 63 x 80cm In good condition. Well presented and ready to hang. Not viewed out of glazed frame.
Engraving and aquatint, signed and numbered 71/75. Accompanies the edition of the book 'Stone Soup', written by Cas Willing, numbered and signed by the author and Paula Rego. Enitharmon Editions, London, 2014. Dim.:35x42.5cm.
Paula Rego (1935-2022) Sing a Song of Sixpence II, from Nursery Rhymes (Rosenthal 58) Etching with aquatint, 1989, signed in pencil, numbered from the edition of 50, printed by Culford Press, with their blindstamp, published by Marlborough Graphics, London, on wove paper, with full margins, sheet 510 x 375mm (20 x 14 3/4in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Paula Rego (1935-2022) Ride a Cock-Horse, from Nursery Rhymes (Rosenthal 42) Etching with aquatint extensively handcoloured in watercolour, 1989, signed numbered and inscribed A/P in pencil, one of 14 artist’s proofs, aside from the edition of 50, printed by Culford Press, with their blindstamp, published by Marlborough Graphics, London, on wove paper, with full margins, plate 322 x 219mm (12 5/8 x 8 5/8in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
DAME PAULA REGO DBE RA (PORTUGESE 1935-2022) Polly Put the Kettle on 1989 signed and numbered 36/50 in pencil etching with aquatint on wove from the series Nursery Rhymes printed at Culford Press, with their blindstamp, published by Marlborough Graphics, London sheet 51.8 x 38cm framed ARR Reference: See The British Council Collection, London, accession number P5787, for another example of this edition.
† Paula Rego (1935 - 2022), Jane Eyre: The Guardians, from The Jane Eyre Suite, lithograph on wove paper, signed and numbered 29/35 in pencil, 87.5 x 64 cm, framed and glazed 101 x 78 cm
