Paule Vézelay Sold at Auction Prices

Attributed to: Paule Vezelay (British 1892-1984) Untitled, Gouache, Signed and Dated 1955, Image Size 9-1/ x 13 inches, Overall framed sizes. 15 x 11.25 inches

Attributed to: Paule Vezelay (British 1892-1984) Untitled, Gouache, Signed and Dated 1955, Image Size 9-1/ x 13 inches, Overall framed sizes. 15 x 11.25 inches

PAULE VEZELAY (BRITISH 1892-1984) FOR HEALS Preview: Barley Mow Centre

PAULE VEZELAY (BRITISH 1892-1984) FOR HEALS Preview: Barley Mow Centre PAULE VEZELAY (BRITISH 1892-1984) FOR HEALS: A length of 'Elegance' fabric, designed 1960s, in the green colourway, sewn as a curtain panel, printed "ELEGANCE" BY PAULE VEZELAY' to the border. 250 x 105 cm Reference: See Victoria & Albert Museum, London, accession number T.533:3-1999 for another example of this fabric. From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

Paule Vézelay,  British 1892-1984 -  Ten Forms, White, Grey and Brown, 195

Paule Vézelay,  British 1892-1984 -  Ten Forms, White, Grey and Brown, 1952;  collage on paper, signed and dated lower right 'Paule Vezelay 52', 18.5 x 63.5 cm  (ARR)  Provenance:  the Estate of the Artist;  England & Co., London (label attached to the reverse of the frame);  private collection and thence by descent  Exhibited:  Annely Juda, London, 'Paule Vezelay: Paintings and Constructions', 9th April-16th May 1987, cat. no.17 (illus.) (according to the abel attached to the reverse of the frame);  England & Co., London, 'Paule Vezelay 1894-1984', June-July 1993 (label attached to the reverse of the frame)  Note:  a pioneering artist of British abstraction, this work was made when Vezelay was living in Paris, after moving there in 1926. Vezelay was a central figure in the French avant-garde, exhibiting at the 'Salon des Superindepedants', where her work was praised by Christian Zervos, and was a member of the seminal Abstraction-Creation, alongside her friends Jean Arp and Marlow Moss.  1952 was an important year for the artist, when she was invited by Andre Bloc to form a London branch of the constructivist abstract movement 'Groupe Espace', demonstrating her importance as a figure. Despite some tensions between her and a younger generation of artists, Vézelay eventually succeeded in organising an exhibition at the Royal Festival Hall in 1955, alongside Marlow Moss, Ithell Colquhoun and Sonia Delaunay. In the 1950s the artist also found success designing textiles for Heals. 

Paule Vézelay,  British 1892-1984,  - A Group of Five Forms, 1974; 

Paule Vézelay,  British 1892-1984,  A Group of Five Forms, 1974;  screenprint in colours on wove, signed, dated, titled and numbered 9/35 in pencil, sheet: 56 x 76 cm,  (unframed)  (ARR) 

A collection of fabric designs,

A collection of fabric designs, A collection of fabric designs, 1950s, all designed by Paule Vézelay (1892-1984) for Heal's, comprising: 'Variations', 'Stanza' and 'Duet', all screenprint on cotton, largest 130 x 120cm (3)

Paule Vezelay (British, 1892-1984) Composition Objets et Soleil 51.5 x 41 cm. (20 1/4 x 16 1/8 in.) (Painted in 1930)

Paule Vezelay (British, 1892-1984) Composition Objets et Soleil oil on canvas 51.5 x 41 cm. (20 1/4 x 16 1/8 in.) Painted in 1930

Paule Vézelay (1892-1984)

Paule Vézelay (1892-1984) ▴ Paule Vézelay (1892-1984) 'Paris' signed 'P Vézelay' l.r., inscribed with title and dated '1926' l.l., pencil 26.5 x 23cm Exhibited: The Garden Gallery, Chichester, 12 August to 30 September 1995. Condition Report: Framed 41.5 x 38cm Some discolouration to the paper with light foxing and surface dirt, there are some small bugs trapped between the glazing and the mount but not on the drawing itself. Unexamined out of glazed frame.

Paule Vézelay, British 1892-1984

Paule Vézelay, British 1892-1984 Figures by the sea, 1931; pastel and watercolour on paper, signed and dated lower right 'Paule Vézelay 1931', 29.1 x 37.8 cm (ARR) Provenance: with England & Co, London (according to the partial label on the reverse of the frame); private collection Exhibited: England & Co, London, 'Paule Vézelay & Andre Masson: Paintings & Works on Paper 1928-1934', December 1989 (according to the partial label on the reverse of the frame) Note: A pioneering artist of British abstraction, this work was made when Vezelay was living in Paris, after moving there in 1926. Vezelay was a central figure in the French avant-garde, exhibiting at the 'Salon des Superindepedants', where her work was praised by Christian Zervos, and was a member of the seminal ‘Abstraction-Creation’, alongside her friends Jean Arp and Marlow Moss. The present work is from an important series of beach scenes the artist made around 1930, demonstrating her early development of abstraction and distinctive use of rhythmic, curvilinear line. The scene is a complex arrangement of form, that creates a burst of light and energy. Please refer to department for condition report

Paule Vezelay (1892-1984) Sun and Trees at Grasse 38 x 54 cm. (15 x 21 1/4 in.)

Paule Vezelay (1892-1984) Sun and Trees at Grasse signed and dated 'Paule Vezelay 1932' (lower left) pen and ink, pastel and wash 38 x 54 cm. (15 x 21 1/4 in.) For further information on this lot please visit the Bonhams website

PAULE VÉZELAY (1892-1984) Lines in Space No. 11 (Sept Angles sur Fond Noir).

PAULE VÉZELAY (1892-1984) Lines in Space No. 11 (Sept Angles sur Fond Noir). Cotton and nylon thread box construction. 240x350 mm; 9 1/2x13 3/4 inches. Signed in pencil on the stretcher bar, verso and with the artist's signed label verso. 1950. Provenance: Artist's estate, London. Exhibited: Salon des Réalités Nouvelles, Paris, 1950; "Paule Vézelay Retrospective: Drawings, Collages, Paintings, Sculptures and Constructions 1916-1968," Grosvenor Gallery, London, October 22-November 16, 1968, number 44. Vézelay was born Marjorie Watson-Williams in Bristol, England. She studied at the Slade School of Fine Art and the London School of Art before starting her career in London, as a figurative painter, where she had her first show in 1921. In 1926, she moved to France and changed her name to Paule Vézelay, possibly with the intention of aligning herself with the avant-garde School of Paris. Her move to Paris coincided with her abandonment of figurative painting in 1928 and she dedicated herself exclusively to abstraction. While living in France she gained success and recognition, and in the 1930s she became a member of the French abstract movement, Abstraction-Création. During her time in Paris she also met and fell in love with André Masson (1896-1987, see lot 217) with whom she had a relationship for several years. The onset of World War II forced her return to London where she had difficulty gaining the same type of respect from the British art community as she had in France. Nevertheless, she remained committed to abstract art, often in the form of floating, quasi-biomorphic shapes. She engaged in innovative approaches to abstraction through her thread and wire constructions, which are seen as a significant contribution to the modern abstract artistic movement and rank among her most original works (see lots 108-110). In 1952, the artist and publisher André Bloc (1896-1966) invited her to form a London branch of the Parisian Constructivist abstract movement Groupe Espace. She also formed a small group of British abstract artists who held an exhibition in 1955 at the Royal Festival Hall, which predated and anticipated the watershed 1956 Whitechapel Gallery exhibition, "This is Tomorrow." She was one of the first British artists to commit wholly to abstraction and her achievements were recognized with a retrospective exhibition at the Tate, London in 1983.

PAULE VÉZELAY (1892-1984) Lines in Space No. 24 (Red, White and Blue Plastic Curved Lines Against Red Background).

PAULE VÉZELAY (1892-1984) Lines in Space No. 24 (Red, White and Blue Plastic Curved Lines Against Red Background). Plastic coated wire, wool and painted wood box construction. 220x270 mm; 8 5/8x10 5/8 inches. With the artist's signed label verso. 1953. Provenance: Artist's estate, London.. Exhibited: "Paule Vézelay," The Tate Gallery, London, February 23-May 22, 1983, number 88, with the label on the frame back; "Paule Vézelay Paintings and Constructions," Annely Juda Fine Art, London, April 9-May 16, 1987, number 32, with the label on the frame back. Vézelay was born Marjorie Watson-Williams in Bristol, England. She studied at the Slade School of Fine Art and the London School of Art before starting her career in London, as a figurative painter, where she had her first show in 1921. In 1926, she moved to France and changed her name to Paule Vézelay, possibly with the intention of aligning herself with the avant-garde School of Paris. Her move to Paris coincided with her abandonment of figurative painting in 1928 and she dedicated herself exclusively to abstraction. While living in France she gained success and recognition, and in the 1930s she became a member of the French abstract movement, Abstraction-Création. During her time in Paris she also met and fell in love with André Masson (1896-1987, see lot 217) with whom she had a relationship for several years. The onset of World War II forced her return to London where she had difficulty gaining the same type of respect from the British art community as she had in France. Nevertheless, she remained committed to abstract art, often in the form of floating, quasi-biomorphic shapes. She engaged in innovative approaches to abstraction through her thread and wire constructions, which are seen as a significant contribution to the modern abstract artistic movement and rank among her most original works (see lots 108-110). In 1952, the artist and publisher André Bloc (1896-1966) invited her to form a London branch of the Parisian Constructivist abstract movement Groupe Espace. She also formed a small group of British abstract artists who held an exhibition in 1955 at the Royal Festival Hall, which predated and anticipated the watershed 1956 Whitechapel Gallery exhibition, "This is Tomorrow." She was one of the first British artists to commit wholly to abstraction and her achievements were recognized with a retrospective exhibition at the Tate, London in 1983.

PAULE VÉZELAY (1892-1984) Lines in Space No. 42 (One White Plastic and One Copper Line in Space on White).

PAULE VÉZELAY (1892-1984) Lines in Space No. 42 (One White Plastic and One Copper Line in Space on White). Copper and plastic coated wire and painted wood relief box construction. 340x415 mm; 13 1/4x16 1/4 inches. With the artist's signed label verso. 1964. Provenance: Artist's estate, London. Vézelay was born Marjorie Watson-Williams in Bristol, England. She studied at the Slade School of Fine Art and the London School of Art before starting her career in London, as a figurative painter, where she had her first show in 1921. In 1926, she moved to France and changed her name to Paule Vézelay, possibly with the intention of aligning herself with the avant-garde School of Paris. Her move to Paris coincided with her abandonment of figurative painting in 1928 and she dedicated herself exclusively to abstraction. While living in France she gained success and recognition, and in the 1930s she became a member of the French abstract movement, Abstraction-Création. During her time in Paris she also met and fell in love with André Masson (1896-1987, see lot 217) with whom she had a relationship for several years. The onset of World War II forced her return to London where she had difficulty gaining the same type of respect from the British art community as she had in France. Nevertheless, she remained committed to abstract art, often in the form of floating, quasi-biomorphic shapes. She engaged in innovative approaches to abstraction through her thread and wire constructions, which are seen as a significant contribution to the modern abstract artistic movement and rank among her most original works (see lots 108-110). In 1952, the artist and publisher André Bloc (1896-1966) invited her to form a London branch of the Parisian Constructivist abstract movement Groupe Espace. She also formed a small group of British abstract artists who held an exhibition in 1955 at the Royal Festival Hall, which predated and anticipated the watershed 1956 Whitechapel Gallery exhibition, "This is Tomorrow." She was one of the first British artists to commit wholly to abstraction and her achievements were recognized with a retrospective exhibition at the Tate, London in 1983.

PAULE VÉZELAY (1892-1984) Trois formes.

PAULE VÉZELAY (1892-1984) Trois formes. Pencil on cream wove paper mounted on cardstock. 415x240 mm; 16 1/4x9 1/2 inches. Signed and dated in pencil, lower right recto. 1948. Provenance: Artist's estate, London. Vézelay was born Marjorie Watson-Williams in Bristol, England. She studied at the Slade School of Fine Art and the London School of Art before starting her career in London, as a figurative painter, where she had her first show in 1921. In 1926, she moved to France and changed her name to Paule Vézelay, possibly with the intention of aligning herself with the avant-garde School of Paris. Her move to Paris coincided with her abandonment of figurative painting in 1928 and she dedicated herself exclusively to abstraction. While living in France she gained success and recognition, and in the 1930s she became a member of the French abstract movement, Abstraction-Création. During her time in Paris she also met and fell in love with André Masson (1896-1987, see lot 217) with whom she had a relationship for several years. The onset of World War II forced her return to London where she had difficulty gaining the same type of respect from the British art community as she had in France. Nevertheless, she remained committed to abstract art, often in the form of floating, quasi-biomorphic shapes. She engaged in innovative approaches to abstraction through her thread and wire constructions, which are seen as a significant contribution to the modern abstract artistic movement and rank among her most original works (see lots 108-110). In 1952, the artist and publisher André Bloc (1896-1966) invited her to form a London branch of the Parisian Constructivist abstract movement Groupe Espace. She also formed a small group of British abstract artists who held an exhibition in 1955 at the Royal Festival Hall, which predated and anticipated the watershed 1956 Whitechapel Gallery exhibition, "This is Tomorrow." She was one of the first British artists to commit wholly to abstraction and her achievements were recognized with a retrospective exhibition at the Tate, London in 1983.

PAULE VÉZELAY (1892-1984) Six Forms in Six Compartments.

PAULE VÉZELAY (1892-1984) Six Forms in Six Compartments. Gouache, watercolor and pencil on paper laid down on card. 195x280 mm; 7 3/4x11 inches. Signed, dated, titled and inscribed "composition sketch" in pencil, lower edge recto. 1936. Provenance: Artist's estate, London. Vézelay was born Marjorie Watson-Williams in Bristol, England. She studied at the Slade School of Fine Art and the London School of Art before starting her career in London, as a figurative painter, where she had her first show in 1921. In 1926, she moved to France and changed her name to Paule Vézelay, possibly with the intention of aligning herself with the avant-garde School of Paris. Her move to Paris coincided with her abandonment of figurative painting in 1928 and she dedicated herself exclusively to abstraction. While living in France she gained success and recognition, and in the 1930s she became a member of the French abstract movement, Abstraction-Création. During her time in Paris she also met and fell in love with André Masson (1896-1987, see lot 217) with whom she had a relationship for several years. The onset of World War II forced her return to London where she had difficulty gaining the same type of respect from the British art community as she had in France. Nevertheless, she remained committed to abstract art, often in the form of floating, quasi-biomorphic shapes. She engaged in innovative approaches to abstraction through her thread and wire constructions, which are seen as a significant contribution to the modern abstract artistic movement and rank among her most original works (see lots 108-110). In 1952, the artist and publisher André Bloc (1896-1966) invited her to form a London branch of the Parisian Constructivist abstract movement Groupe Espace. She also formed a small group of British abstract artists who held an exhibition in 1955 at the Royal Festival Hall, which predated and anticipated the watershed 1956 Whitechapel Gallery exhibition, "This is Tomorrow." She was one of the first British artists to commit wholly to abstraction and her achievements were recognized with a retrospective exhibition at the Tate, London in 1983.

PAULE VÉZELAY (1892-1984) Six Forms (No. 9, 1936).

PAULE VÉZELAY (1892-1984) Six Forms (No. 9, 1936). Pencil on thin Japan paper. 240x205 mm; 9 1/2x7 3/4 inches. Signed, titled and dated in pencil, lower recto. 1936. Provenance: Artist's estate, London. Vézelay was born Marjorie Watson-Williams in Bristol, England. She studied at the Slade School of Fine Art and the London School of Art before starting her career in London, as a figurative painter, where she had her first show in 1921. In 1926, she moved to France and changed her name to Paule Vézelay, possibly with the intention of aligning herself with the avant-garde School of Paris. Her move to Paris coincided with her abandonment of figurative painting in 1928 and she dedicated herself exclusively to abstraction. While living in France she gained success and recognition, and in the 1930s she became a member of the French abstract movement, Abstraction-Création. During her time in Paris she also met and fell in love with André Masson (1896-1987, see lot 217) with whom she had a relationship for several years. The onset of World War II forced her return to London where she had difficulty gaining the same type of respect from the British art community as she had in France. Nevertheless, she remained committed to abstract art, often in the form of floating, quasi-biomorphic shapes. She engaged in innovative approaches to abstraction through her thread and wire constructions, which are seen as a significant contribution to the modern abstract artistic movement and rank among her most original works (see lots 108-110). In 1952, the artist and publisher André Bloc (1896-1966) invited her to form a London branch of the Parisian Constructivist abstract movement Groupe Espace. She also formed a small group of British abstract artists who held an exhibition in 1955 at the Royal Festival Hall, which predated and anticipated the watershed 1956 Whitechapel Gallery exhibition, "This is Tomorrow." She was one of the first British artists to commit wholly to abstraction and her achievements were recognized with a retrospective exhibition at the Tate, London in 1983.

PAULE VÉZELAY (1892-1984) Untitled.

PAULE VÉZELAY (1892-1984) Untitled. Pencil and color pencils on thin cream wove paper. 160x210 mm; 6 1/4x8 1/4 inches. Signed and dated in pencil, lower right recto. 1934. Provenance: Artist's estate, London. Vézelay was born Marjorie Watson-Williams in Bristol, England. She studied at the Slade School of Fine Art and the London School of Art before starting her career in London, as a figurative painter, where she had her first show in 1921. In 1926, she moved to France and changed her name to Paule Vézelay, possibly with the intention of aligning herself with the avant-garde School of Paris. Her move to Paris coincided with her abandonment of figurative painting in 1928 and she dedicated herself exclusively to abstraction. While living in France she gained success and recognition, and in the 1930s she became a member of the French abstract movement, Abstraction-Création. During her time in Paris she also met and fell in love with André Masson (1896-1987, see lot 217) with whom she had a relationship for several years. The onset of World War II forced her return to London where she had difficulty gaining the same type of respect from the British art community as she had in France. Nevertheless, she remained committed to abstract art, often in the form of floating, quasi-biomorphic shapes. She engaged in innovative approaches to abstraction through her thread and wire constructions, which are seen as a significant contribution to the modern abstract artistic movement and rank among her most original works (see lots 108-110). In 1952, the artist and publisher André Bloc (1896-1966) invited her to form a London branch of the Parisian Constructivist abstract movement Groupe Espace. She also formed a small group of British abstract artists who held an exhibition in 1955 at the Royal Festival Hall, which predated and anticipated the watershed 1956 Whitechapel Gallery exhibition, "This is Tomorrow." She was one of the first British artists to commit wholly to abstraction and her achievements were recognized with a retrospective exhibition at the Tate, London in 1983.

Paule Vezelay (1893-1984) Britain Grey Picture Silkscreen ed.76/150

Paule Vezelay (1893-1984) Britain Grey Picture Silkscreen ed.76/150 Signed lower right 68 x 47 cm, 98 x 73 cm framed LITERATURE: The Artist was born Marjorie Watson-Williams in Bristol, a daughter of the pioneering ENT surgeon, Patrick Watson-Williams [1863-1938]. Before the First World War she trained for a short period at the Slade & then at the London School of Art. She first gained recognition as a figurative painter, had her first London show in 1921 & was invited to join the London Group in 1922. She moved to France in 1926 & changed her name to Paule Vézelay possibly to identify herself with the School of Paris. In 1928 she abandoned figurative painting & made her first abstract work (now lost), from then on worked exclusively in an abstract mode. In 1929 she met Andre Masson with whom she fell in love & lived with for four years. Working side by side, both painted dreamlike surrealist works. Vezelay became well respected in modernist Parisian art circles & was elected in the 1930s to membership of the French abstract movement, Abstraction-Création, which was largely established as a reaction to Surrealism. On the outbreak of the Second World War she moved back to London, but had difficulty in gaining recognition by the British art establishment, possibly because of her identification with Paris at a time when the London art world was beginning to acquire its own separate & different reputation. However, in 1952 she was invited by Andre Bloc, president of the Parisian constructivist abstract movement Groupe Espace, to form a London branch of that movement. After many difficulties & the refusal of some leading British abstract artists to join (including Victor Pasmore), she was successful in forming a small group of painters, sculptors & architects who held an exhibition in the Royal Festival Hall in 1955 which anticipated many elements of the much better known 1956 Whitechapel Gallery exhibition, 'This is Tomorrow'. In the 1950s she made textile designs for Metz of Amsterdam & Heals of London. In many of her works, Vézelay's abstract imagery, such as floating quasi-biomorphic shapes, was outside the main characteristics of the constructivist approach. She had a lifelong aim of creating works which were "pleasing and happy" not terms generally associated with Constructivism. However, her view that ‘pure' abstract art enhanced the environment & her involvement with Groupe Espace in the 1950s which promoted the concept of a synthesis (or close collaboration) between architects, abstract painters & sculptors, place her at least in part within the Constructivist tradition. Her post-war textile designs for Heals also place her firmly within the 20th century Modern Movement. The Tate Gallery gave her a retrospective exhibition in 1983, a late recognition of the quality of her work & her significant place in art history as one of the first British artists to embark on a lifetime exploration & development of abstraction. Paule Vézelay was also included in Pallant House Gallery's Radical Women exhibition, focusing on the works of Jessica Dismorr & her contemporaries, in early 2020. https://en.wikipedia.org/wiki/Paule_V%C3%A9zelay OTHER NOTES: Good condition, later framing

§ PAULE VÉZELAY (1893–1984)'

PAULE VÉZELAY (1893–1984) In a café signed and dated M Watson/Williams/1918. (lower left) charcoal and gouache 24 x 33.5 cm (9 1/2 x 13 in) EXHIBITED: London, England & Co, Paule Vézelay 1892-1984: Retrospective, October- November 2004, no.1 Marjorie Watson Williams assumed the name Paule Vézelay when she moved to Paris in 1926.

Paule Vézelay (1893-1984) Grey Picture

Paule Vézelay (1893-1984) Grey Picture Screenprint in colours, 1973, signed, titled and numbered in roman numerals from the artist proof edition of 50 in black ink, aside from the edition of 150, on wove paper, from Abstract Creation Art Non Figuratif 1932-1936, the full sheet, 881 x 630mm (34 3/4 x 24 3/4in) (framed) Saleroom notice: 820 x 660mm (32 1/4 x 26in). A condition report is available online on our website. The present artwork was included in the rare and important portfolio, 'Abstraction Creation Art Non Figuratif 1932-1936', that was created in 1973 to celebrate the French art movement Abstraction, Création formed in Paris in 1931. Vézelay created this screenprint after her celebrated 'Grey Picture', an oil painting she composed in 1935. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Paule Vézelay (1893-1984) Grey Picture

Paule Vézelay (1893-1984) Grey Picture Lithograph printed in colours, 1935, signed, dated, titled and numbered from the edition of 50 in black ink, on wove paper, the full sheet, 881 x 630mm (34 3/4 x 24 3/4in) (unframed)

• Paule Vézelay (1892-1984) Strange Fragments, 1950 signed and da

• Paule Vézelay (1892-1984) Strange Fragments, 1950 signed and dated (twice) l.r.: P.Vézelay/1950 and P.Vézelay/Nov 1950 pencil 43 cm by 26.5 cm; 17 in by 10 ½ in Exhibited England & Co., Paule Vézelay and Andre Masson: Paintings & Works on Paper 1928-1934, December 1989, Ex.Cat.

PAULE VÉZELAY | War

pencil and charcoal

Paule Vézelay (1893-1984) - A cup of Cha

Charcoal, indian ink and watercolour 48 x 35.5 cm.(19 x 14 in) Provenance: Max Rutherston, London (label on reverse) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A pair of 'Contrast' pattern curtains

A pair of 'Contrast' pattern curtains, by Paule Vézelay (1892-1984), possibly retailed by Heals, each 45 x 140cm (2)

Untitled (three shapes on orange)

Untitled (three shapes on orange) signed and dated 'Vezelay 1979' (lower left and right), pastel 53 x 73cm (20 7/8 x 28 3/4in).

*Paule Vezelay (1892-1984) 'AT THE CIRQUE MEDRANO, PARIS', 1924 Woodcut, signed, inscribed

*Paule Vezelay (1892-1984) 'AT THE CIRQUE MEDRANO, PARIS', 1924 Woodcut, signed, inscribed with title and dated 1924 in pencil in margin 19 x 15cm Exhibited: Tate Gallery, 1983, 'Paule Vezelay' no.105. Michael Parkin Fine Art Limited, 'Paule Vezelay (1892-1984)' no. 68. *Artist's Resale Right may apply to this lot.

Paule Vézelay (1892-1984) Construction No. 43, Four Silhouettes oil on boa

Paule Vézelay (1892-1984) Construction No. 43, Four Silhouettes oil on board, relief, with one copper line and 15 parallel lines of thread, in the artist's frame 26 x 13¾ x 1¾ in. (66 x 35 x 4.5 cm.), including frame

Paule Vezelay (1892-1984) Walking in the Wind oil

Paule Vezelay (1892-1984) Walking in the Wind oil on canvas signed in pencil P.Vezelay at lower left 28 1/2 x 36 in., 72 x 91 cm IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Paule Vézelay (1892-1984)

Paule Vézelay (1892-1984) Dancing woman signed and dated 'Vézelay 1926' (lower right) pencil 10½ x 8 in. (26.6 x 20.3 cm.)

Paule Vezelay (1892-1994) Wartime sketchbook,

Paule Vezelay (1892-1994) Wartime sketchbook, several of bomb damaged sites, including a study of a bomb shelter 9 pages of pen, ink and pencil studies and text descriptions all with detailed annotations One drawing dated July 1942, bound in grey cloth covers, oblong 8vo.

Paule Vezelay (1893-1984) Bomb damage at Bristol

Paule Vezelay (1893-1984) Bomb damage at Bristol Coloured chalk over charcoal Signed and dated 1942 lower left 59 x 74cm (23 1/4 x 29in)

Paule Vézelay (1892-1984)

Paule Vézelay (1892-1984) Six Forms on a White Ground dated '1963' (lower right), signed and dated again 'VéZELAY/1963' (on the reverse), signed again, inscribed and dated again 'Oil No 4: 1963 PAULE VéZELAY SIX FORMS ON A WHITE GROUND' (on a label attached to the stretcher) oil on canvas 23½ x 29 in. (59.7 x 73.7 cm.)

Paule Vezelay (1893-1984) Tubes et Rubans Signed

Paule Vezelay (1893-1984) Tubes et Rubans Signed and dated 1933 verso Oil on canvas 24 x 40.5cm; 91/2 x 16in Provenance: Michael Parkin Fine Art

PAULE VÉZELAY

PAULE VÉZELAY 1893 - 1984 MEN IN A CAFE signed; also signed and dated 1928. on the reverse oil on canvas 65 by 54.5cm.; 25½ by 21½in.

Derek Boshier (British, born 1937) Output Screenprint with collage printed in colours, 1966, on wove signed and dated in pencil, numbered 59/75, together with, Paule Vezelay (1892-1984) 'Two Forms and Two Dots', screenprint in colours, 1976, on wove

Output Screenprint with collage printed in colours, 1966, on wove signed and dated in pencil, numbered 59/75, together with, Paule Vezelay (1892-1984) 'Two Forms and Two Dots', screenprint in colours, 1976, on wove signed and dated in pencil, numbered 6/35, with margins, 830 x 640mm (32 3/4 x 25in)(SH) (2)

Paule Vezelay (1893-1984) Formes en Movement Oil

Paule Vezelay (1893-1984) Formes en Movement Oil on canvas Signed and dated 1933 lower right 40cm x 32cm Provenance: Alex Reid and Lefevre, London 1936 ( bought for 28 guineas) Galerie Jean Bucher, Paris 1937 Leicester Galleries, London 1945 Exhibited: Aldeburgh Festival Exhibition, Peter Pears Gallery, 9-24 June 2006, Catalogue No. 3

Paule Vezelay (1893-1984) Archway Oil on canvas

Paule Vezelay (1893-1984) Archway Oil on canvas Signed on reverse 35cm x 25cm Exhibited: Aldeburgh Festival Exhibition, Peter Pears Gallery, 9-24 June 2006, Catalogue No. 1

Paule Vezelay (1892-1984) Random forms 32.5 x 31.5in.

Paule Vezelay (1892-1984) silkscreen print on silk Random forms artists square for Ascher Ltd 32.5 x 31.5in.

Paule Vézelay , 1893-1984 Flowers oil on canvas

signed oil on canvas

Balancing Forms

Paule Vezelay (1892-1984) Balancing Forms pencil and pastel 8¼ x 10½ in. (20.9 x 26.8 cm.) Executed circa 1931.

Paule Vézelay , 1893-1984 five forms pencil

signed and dated 1934 ; also signed, titled and dated in the margin pencil

Paule Vézelay , 1893-1984 lines in space no.49 painted wooden construction and pencil on board

signed and dated 1965 on the reverse painted wooden construction and pencil on board

Paule Vézelay (1892-1984)

Grey Forms on Grey signed and dated '1935/P.Vezelay' (on the reverse) oil on canvas 16 1/2 x 13 in. (41.9 x 33 cm.)

Paule Vézelay (1892-1984)

Formes en Movement signed and dated 'P.Vezelay/1933' (lower right and on a label attached to the frame), signed and dated again 'Vezelay/1933' (on the reverse) oil on canvas 16 x 13 in. (40.6 x 33 cm.)

Paule Vézelay (1892-1984)

Archway with flowers and leaves signed 'P.Vezelay' (on the reverse) oil on canvas 14 x 10 in. (35.6 x 25.4 c,.) Painted in 1929.

Paule V‚zelay (1892-1984)

Paysage (Three Pushing Shoots) oil on canvas 103/4 x 83/4in. (27.2 x 22.2cm.) Painted in 1931 EXHIBITION London, England & Co., Paule Vezelay & Andre Masson: Paintings and Works on Paper 1928-1934, December 1989, no.14.

Paule Vezelay British, 1893-1984 COMPOSITION WITH PENCIL LINES.