Vaughan
nigel soper | book design
2014 Preface Sir Nicholas Goodison
eith Vaughan was one of the most distinctive British painters of his generation. His mature works, both in oils and in gouache, are instantly recognisable. Alan Ross, in his introduction to Keith Vaughan’s Journals 1939–1977, said that ‘for the last twenty years of his life no mark that he made or line that he drew could possibly have been made by anyone else’. In recent years his work has become widely admired. Collectors of modern British art, sale rooms, commercial galleries, scholars and students have shown increasing interest in him. Commercial exhibitions of his paintings, drawings and sketches have stimulated attention, as have studies of his handwritten journals, which he began in 1939 and wrote until his death in 1977. Vaughan was a fluent writer and a frank recorder of his doings, his thoughts and his moods, and was writing to be read. Although only abridged and selected passages from the journals have been published they have been a valuable source in the exploration of his artistic motivation and of the main themes and features of his work: the constancy of his concentration on the nude male figure; the psychological origins of much of his work in his homosexuality and private loneliness; the isolation (and sometimes agony) of the human figure in the landscape; the haunting depiction of the human condition through the depersonalisation of individual figures and groups of figures; the use of increasing abstraction; the fusion of figures into landscape as Vaughan achieves a harmony between the figurative and the abstract; the strong recurring sense of classical formality; the sheer beauty of the subtle colours and formal organisation; the working and re-working of shapes, textures and surfaces as the pictures grew from the first tentative markings; the influence of artists who were important to his inspiration, especially de Staël, and so much else. The journals are now lodged in their entirety in
K
Keith Vaughan Philip Vann and Gerard Hastings
Keith Vaughan
Keith Vaughan, 1948 Photograph: Felix H. Man Hastings and Evans Collection
LUND HUMPHRIES in association with OSBORNE SAMUEL
Philip Vann and Gerard Hastings
Keith Vaughan by Philip Vann and Gerard Hastings Lund Humphries 2012 270 × 249mm 184pp
Recollecting such pre-war tranquillity in the maelstrom of wartime emotions in his 1940 barrack-room, Vaughan added, as a devastatingly ironic, bitter coda, ‘that was all in June & July thereabouts. 1939. Before the Soviets had signed their pact with Germany and signed our death warrant.’ In the unpublished Memoire (1965), Vaughan noted that at Pagham he had ‘exposed hundreds of feet of Leica film. I am glad I did because in the end images are better than memories and the results of those summers … still exist and reveal the simple innocent face of their pagan eroticism’. The innocent sensual atmosphere of Vaughan’s Pagham photographs is refreshingly evident today. They are homoerotic in feeling though they are not lascivious or prurient. In a later journal entry (14 February 1972), Vaughan described a supper party given by his friend Patrick Woodcock: ‘Edward Albee [the American playwright] extremely agreeable. Much impressed that he was familiar with my published Journals. Wanted to know if the photographs at Pagham were ‘discretely’ [sic] selected. Tried to explain the complete innocence of those days (and the complete sexual suppression) so hard to comprehend today.’42 Vaughan had a photographic skill, flair and sensitivity to rival that shown by two advanced, renowned homosexual photographers, the German Herbert List (1903–75) and an American, George Platt Lynes (1907–55) – who also came to flower during the 1930s with their own photos (often of naked youths at the beach) with surrealistic tendencies. Vaughan explored the sense of felicitous ease and playful naturalness of his young male subjects in sometimes arrestingly original poses. He later grouped together some of the original photographs he had taken on Pagham beach in the summer of 1939 into a memorial volume for his brother, which he called ‘Dick’s book of photos’ (now in the Collection of the School of Art Gallery and Museum, Aberystwyth University). Some of these photographs were illustrated in Journals and Drawings 1939–1965; the original negatives of these photos were lost (they were never returned from the publishers), so most of the beach photos here are reproduced directly from the 1966 book. One photo pictures a naked boy who has apparently just thrown a ball, so that his left upper arm and forearm form, with elegant precision, a perfect right-angle against the sky; Dick stands to his left, in shorts (Plate 42). A young man plays with a long swathe of linen soaked in seawater, resembling a silky undulating stream of light or water halfwrapped around him; he smiles with pleasure as his companion looks on. In other
the Tate Archive and will enormously bolster the work of future scholars. Now we have arrived at the centenary of his birth in 1912. Astonishingly, only one public art gallery, Pallant House in Chichester, which has a fine collection of modern British art, has celebrated with an exhibition of his work, but there have been opportunities to see works both on loan from generous collectors and for sale in commercial galleries, and this is not the only book to be published during the centenary. The origin of this book was the planned exhibition of Vaughan’s work at Osborne Samuel in the autumn of 2012, and their wish to celebrate the centenary with more than an ephemeral exhibition. The illustrations include work representative of Vaughan’s entire working life and are introduced with essays by Philip Vann and Gerard Hastings, whose edition of the final journals has also been published this year under the title Drawing to a Close. Philip Vann has given us a succinct and penetrating account of Vaughan’s work and its stylistic development in the context of his life, its passions and its anxieties, with wellchosen evidence drawn from the journals and other sources. Gerard Hastings treats perceptively the subject of Vaughan’s very considerable output of paintings in gouache, a subject inadequately covered by past writers, bringing the knowledge and experience of an artist to explaining Vaughan’s inspiration, working methods and techniques. These two enthralling essays, and the copious illustrations, go a long way to show why Bryan Robertson said in 1962, at the time of the retrospective exhibition of Vaughan’s work at the Whitechapel Art Gallery, that Vaughan’s ‘patience and conviction, and his brilliantly realised gifts, will certainly find their place among some of the best work done in this country in the twentieth century’.
82 Figures at a Table, 1948 Oil on canvas 50.8 ǂ 76.2 cm (20 ǂ 30 in) Christie’s 83 Interior with Figures at a Table, 1948 Oil on canvas 71 ǂ 107 cm (28 ǂ 42⅛ in) Private Collection
40 Two Men at Highgate Ponds, c.1933 from Dick’s Book of Photographs, c.1941 Photograph: Keith Vaughan Aberystwyth University, School of Art Gallery and Museum 41 from Keith Vaughan, Journals and Drawings 1939–1965 42 from Keith Vaughan, Journals and Drawings 1939–1965 43 from Keith Vaughan, Journals and Drawings 1939–1965
46
eith Vaughan (1912–1977), a major figure in post-war British art is known for his searching portraits of the male nude and his association with the Neo-Romantic painters. Celebrating the centenary of his birth, this book provides for the first time a definitive, illustrated account of his life and work. By drawing on Vaughan’s considerable writings it explores many aspects of the personal professional and philosophical inner life.
44 Hooded Figure, 1963 Oil on canvas 120.5 ǂ 90 cm (47½ ǂ 35⅜ in) Private Collection
KEITH VAUGHAN
84 Figure at Table, 1950 Oil on board 40.6 ǂ 40.6 cm (16 ǂ 16 in) Private Collection
THE INTIMATE FIGURATIVE IMPULSE
47
84
KEITH VAUGHAN
THE INTIMATE FIGURATIVE IMPULSE
85
THE INTIMATE FIGURATIVE IMPULSE
99
K
‘Keith Vaughan occupies a unique position in British art owing to his desire to marry eroticism with ‘permanent, formal, classical values’. A complex, conflicted character, he dismissed Bacon’s ‘spivexistentialist outlook’ and instead stripped down the human figure in such a way as to bring out man’s dignity and self-possession. This book will contribute to the growing interest in this artist, while Gerard Hastings’s essay on the gouaches draws attention to a previously overlooked aspect of Vaughan’s work.’
99 Theseus (Final Study for the Dome of Discovery at the Festival of Britain), 1950 Oil on board 41.9 ǂ 190.5 cm (16½ ǂ 75 in) Property of the Ingram Collection
unadorned nature have a striking immediacy. In the first, the young man (conforming to Vaughan’s preferred type, as embodied in his description of Johnny Walsh) stands at a slight tilt, right hand on hip. His small, sullen face, spare lustrous form and ‘copper varnished limbs’ stand out with unembellished subtlety against the muted blue backdrop. It is as though one of Vaughan’s black-and-white Pagham beach photographs has come to life, ‘the full and supple animality’ (in Vaughan’s phrase from a journal entry, 6 February 1940) of one of its subjects restored. Vaughan had once lamented that the inescapable draining of all colour from his black-and-white Pagham beach photographs resulted in their subjects becoming as ‘untouchable as a dream’. So in the thoughtless masculine warmth of this Nude Study we can say (making a positive of what had been a negative) that ‘he has recreated the substance of the dream and colour is an integral part of it’ (6 February 1940). The Standing Figure in Vaughan’s 1953 painting of that name (Plate 94) has the kind of well-developed physique of Len, the lad from Kentish town, in Vaughan’s Pagham beach photos. The sideways pose here, as he stretches upwards (having taken
92
93 Pear Tree Bathers, c.1954 Oil on canvas 63.5 ǂ 84 cm (25 ǂ 33⅛ in) Collection of Conrad Roeber
94 Standing Figure, 1953 Oil on canvas 107.5 ǂ 71.5 cm (42⅜ ǂ 28⅛ in) The Collection of the Old Jail Art Center, Albany, Texas
100 Study for Theseus, 1950–51 Oil on board 40.5 ǂ 84 cm (16 ǂ 33⅛ in) Private Collection
KEITH VAUGHAN
THE INTIMATE FIGURATIVE IMPULSE
93
98
101 Theseus and the Minotaur, 1950 Oil on canvas 152.5 ǂ 203 cm (60 ǂ 79⅞ in) Dr Mark Cecil Collection
KEITH VAUGHAN
106 First Assembly of Figures, 1952 Oil on board 142 ǂ 116.8 cm (55⅞ ǂ 46 in) Sainsbury Centre for Visual Arts
107 Second Assembly of Figures, 1953 Oil on softboard 101.5 ǂ 122 cm (40 ǂ 48 in) Manchester City Galleries
103 The Martyrdom of St Sebastian, 1958 Oil on hardboard 91.5 ǂ 124.5 cm (36 ǂ 49 in) Bradford Art Galleries and Museums
102 Figure Group at Cumae, 1953 Oil on canvas 34.5 ǂ 42.5 cm (13⅝ ǂ 16¾ in)
100
In Vaughan’s First Assembly of Figures (1952, Plate 106) four nudes, their bodies partly shadowed, stand around in poses that are not so much listless and indifferent as sublimely aimless. Certain postures are seen to recur in Vaughan’s paintings of bathers: these include a man standing on one leg, his other leg upraised, bent at the knee; also the figure with one arm extended upwards so that hand and forearm cradle the top of his head. Both of these postures are seen in this First Assembly (and echoed in the figureation of the ominously and darkly charged Second Assembly). The latter posture must have been something that Vaughan had taken note of with real interest; what it signifies is hard to say – though this supple, slightly absurd self-cradling might be one that reveals the man’s innate vulnerability.
KEITH VAUGHAN
THE INTIMATE FIGURATIVE IMPULSE
101
104
KEITH VAUGHAN
THE INTIMATE FIGURATIVE IMPULSE
153 Showers, 1943 Pen and ink, wash and wax resist on paper 22 ǂ 28.2 cm (8⅝ ǂ 11⅛ in) Private Collection
105
to record every aspect of his army life, the horrors of war and the surrounding life and landscape in which he found himself (Plates 150–153). Vaughan not only recorded army life around him, but also produced more poetic, expressive works of a greater personal nature (Plates 154, 155). These reflect his sense of emotional isolation and loneliness. He made numerous pen and sepia ink drawings adding washes to create tonal variations. Acid-free paper was an undreamt of luxury at that time; consequently many of the early works on paper have yellowed or faded. By 1942 Vaughan’s ambitions had grown. He was always on the lookout for new materials and added to his knapsack a few pots of designers’ gouache and some yellow and green wax crayons, the only colours on which he could lay his hands. With these he attempted to recover some of the firmness and depth of the oil paint he had been using prior to the war (see Plate 156). He gave the work of this period the generic title of ‘gouache’ even though he confessed:
151 The Start of a New Day, 1942 Pen and ink, wash, gouache and wax resist on paper 49 ǂ 39 cm (19¼ ǂ 15⅜ in) Private Collection 152 Winter Woollies, 1941 Pen and ink and wash on paper 20.3 ǂ 27.3 cm (8 ǂ 10¾ in) Private Collection
126 Cenarth Farm, 1962–3 Oil on canvas 91 ǂ 101 cm (35⅞ ǂ 39¾ in) Private Collection
FRANCES SPALDING 124
KEITH VAUGHAN
127 Landscape, November, 1970 Oil on canvas 101.5 ǂ 91.5 cm (40 ǂ 36 in) Private Collection
128 Garden, 1975 Oil on canvas 102 ǂ 91.5 cm (40⅛ ǂ 36 in) Private Collection
THE INTIMATE FIGURATIVE IMPULSE
125
150
KEITH VAUGHAN
PAINTING WITH GOUACHE
151
to contact me telephone 020 7274 1243 mobile 07790 398 710 email: [email protected]
2014 Preface Sir Nicholas Goodison
eith Vaughan was one of the most distinctive British painters of his generation. His mature works, both in oils and in gouache, are instantly recognisable. Alan Ross, in his introduction to Keith Vaughan’s Journals 1939–1977, said that ‘for the last twenty years of his life no mark that he made or line that he drew could possibly have been made by anyone else’. In recent years his work has become widely admired. Collectors of modern British art, sale rooms, commercial galleries, scholars and students have shown increasing interest in him. Commercial exhibitions of his paintings, drawings and sketches have stimulated attention, as have studies of his handwritten journals, which he began in 1939 and wrote until his death in 1977. Vaughan was a fluent writer and a frank recorder of his doings, his thoughts and his moods, and was writing to be read. Although only abridged and selected passages from the journals have been published they have been a valuable source in the exploration of his artistic motivation and of the main themes and features of his work: the constancy of his concentration on the nude male figure; the psychological origins of much of his work in his homosexuality and private loneliness; the isolation (and sometimes agony) of the human figure in the landscape; the haunting depiction of the human condition through the depersonalisation of individual figures and groups of figures; the use of increasing abstraction; the fusion of figures into landscape as Vaughan achieves a harmony between the figurative and the abstract; the strong recurring sense of classical formality; the sheer beauty of the subtle colours and formal organisation; the working and re-working of shapes, textures and surfaces as the pictures grew from the first tentative markings; the influence of artists who were important to his inspiration, especially de Staël, and so much else. The journals are now lodged in their entirety in
K
Keith Vaughan Philip Vann and Gerard Hastings
Keith Vaughan
Keith Vaughan, 1948 Photograph: Felix H. Man Hastings and Evans Collection
LUND HUMPHRIES in association with OSBORNE SAMUEL
Philip Vann and Gerard Hastings
Keith Vaughan by Philip Vann and Gerard Hastings Lund Humphries 2012 270 × 249mm 184pp
Recollecting such pre-war tranquillity in the maelstrom of wartime emotions in his 1940 barrack-room, Vaughan added, as a devastatingly ironic, bitter coda, ‘that was all in June & July thereabouts. 1939. Before the Soviets had signed their pact with Germany and signed our death warrant.’ In the unpublished Memoire (1965), Vaughan noted that at Pagham he had ‘exposed hundreds of feet of Leica film. I am glad I did because in the end images are better than memories and the results of those summers … still exist and reveal the simple innocent face of their pagan eroticism’. The innocent sensual atmosphere of Vaughan’s Pagham photographs is refreshingly evident today. They are homoerotic in feeling though they are not lascivious or prurient. In a later journal entry (14 February 1972), Vaughan described a supper party given by his friend Patrick Woodcock: ‘Edward Albee [the American playwright] extremely agreeable. Much impressed that he was familiar with my published Journals. Wanted to know if the photographs at Pagham were ‘discretely’ [sic] selected. Tried to explain the complete innocence of those days (and the complete sexual suppression) so hard to comprehend today.’42 Vaughan had a photographic skill, flair and sensitivity to rival that shown by two advanced, renowned homosexual photographers, the German Herbert List (1903–75) and an American, George Platt Lynes (1907–55) – who also came to flower during the 1930s with their own photos (often of naked youths at the beach) with surrealistic tendencies. Vaughan explored the sense of felicitous ease and playful naturalness of his young male subjects in sometimes arrestingly original poses. He later grouped together some of the original photographs he had taken on Pagham beach in the summer of 1939 into a memorial volume for his brother, which he called ‘Dick’s book of photos’ (now in the Collection of the School of Art Gallery and Museum, Aberystwyth University). Some of these photographs were illustrated in Journals and Drawings 1939–1965; the original negatives of these photos were lost (they were never returned from the publishers), so most of the beach photos here are reproduced directly from the 1966 book. One photo pictures a naked boy who has apparently just thrown a ball, so that his left upper arm and forearm form, with elegant precision, a perfect right-angle against the sky; Dick stands to his left, in shorts (Plate 42). A young man plays with a long swathe of linen soaked in seawater, resembling a silky undulating stream of light or water halfwrapped around him; he smiles with pleasure as his companion looks on. In other
the Tate Archive and will enormously bolster the work of future scholars. Now we have arrived at the centenary of his birth in 1912. Astonishingly, only one public art gallery, Pallant House in Chichester, which has a fine collection of modern British art, has celebrated with an exhibition of his work, but there have been opportunities to see works both on loan from generous collectors and for sale in commercial galleries, and this is not the only book to be published during the centenary. The origin of this book was the planned exhibition of Vaughan’s work at Osborne Samuel in the autumn of 2012, and their wish to celebrate the centenary with more than an ephemeral exhibition. The illustrations include work representative of Vaughan’s entire working life and are introduced with essays by Philip Vann and Gerard Hastings, whose edition of the final journals has also been published this year under the title Drawing to a Close. Philip Vann has given us a succinct and penetrating account of Vaughan’s work and its stylistic development in the context of his life, its passions and its anxieties, with wellchosen evidence drawn from the journals and other sources. Gerard Hastings treats perceptively the subject of Vaughan’s very considerable output of paintings in gouache, a subject inadequately covered by past writers, bringing the knowledge and experience of an artist to explaining Vaughan’s inspiration, working methods and techniques. These two enthralling essays, and the copious illustrations, go a long way to show why Bryan Robertson said in 1962, at the time of the retrospective exhibition of Vaughan’s work at the Whitechapel Art Gallery, that Vaughan’s ‘patience and conviction, and his brilliantly realised gifts, will certainly find their place among some of the best work done in this country in the twentieth century’.
82 Figures at a Table, 1948 Oil on canvas 50.8 ǂ 76.2 cm (20 ǂ 30 in) Christie’s 83 Interior with Figures at a Table, 1948 Oil on canvas 71 ǂ 107 cm (28 ǂ 42⅛ in) Private Collection
40 Two Men at Highgate Ponds, c.1933 from Dick’s Book of Photographs, c.1941 Photograph: Keith Vaughan Aberystwyth University, School of Art Gallery and Museum 41 from Keith Vaughan, Journals and Drawings 1939–1965 42 from Keith Vaughan, Journals and Drawings 1939–1965 43 from Keith Vaughan, Journals and Drawings 1939–1965
46
eith Vaughan (1912–1977), a major figure in post-war British art is known for his searching portraits of the male nude and his association with the Neo-Romantic painters. Celebrating the centenary of his birth, this book provides for the first time a definitive, illustrated account of his life and work. By drawing on Vaughan’s considerable writings it explores many aspects of the personal professional and philosophical inner life.
44 Hooded Figure, 1963 Oil on canvas 120.5 ǂ 90 cm (47½ ǂ 35⅜ in) Private Collection
KEITH VAUGHAN
84 Figure at Table, 1950 Oil on board 40.6 ǂ 40.6 cm (16 ǂ 16 in) Private Collection
THE INTIMATE FIGURATIVE IMPULSE
47
84
KEITH VAUGHAN
THE INTIMATE FIGURATIVE IMPULSE
85
THE INTIMATE FIGURATIVE IMPULSE
99
K
‘Keith Vaughan occupies a unique position in British art owing to his desire to marry eroticism with ‘permanent, formal, classical values’. A complex, conflicted character, he dismissed Bacon’s ‘spivexistentialist outlook’ and instead stripped down the human figure in such a way as to bring out man’s dignity and self-possession. This book will contribute to the growing interest in this artist, while Gerard Hastings’s essay on the gouaches draws attention to a previously overlooked aspect of Vaughan’s work.’
99 Theseus (Final Study for the Dome of Discovery at the Festival of Britain), 1950 Oil on board 41.9 ǂ 190.5 cm (16½ ǂ 75 in) Property of the Ingram Collection
unadorned nature have a striking immediacy. In the first, the young man (conforming to Vaughan’s preferred type, as embodied in his description of Johnny Walsh) stands at a slight tilt, right hand on hip. His small, sullen face, spare lustrous form and ‘copper varnished limbs’ stand out with unembellished subtlety against the muted blue backdrop. It is as though one of Vaughan’s black-and-white Pagham beach photographs has come to life, ‘the full and supple animality’ (in Vaughan’s phrase from a journal entry, 6 February 1940) of one of its subjects restored. Vaughan had once lamented that the inescapable draining of all colour from his black-and-white Pagham beach photographs resulted in their subjects becoming as ‘untouchable as a dream’. So in the thoughtless masculine warmth of this Nude Study we can say (making a positive of what had been a negative) that ‘he has recreated the substance of the dream and colour is an integral part of it’ (6 February 1940). The Standing Figure in Vaughan’s 1953 painting of that name (Plate 94) has the kind of well-developed physique of Len, the lad from Kentish town, in Vaughan’s Pagham beach photos. The sideways pose here, as he stretches upwards (having taken
92
93 Pear Tree Bathers, c.1954 Oil on canvas 63.5 ǂ 84 cm (25 ǂ 33⅛ in) Collection of Conrad Roeber
94 Standing Figure, 1953 Oil on canvas 107.5 ǂ 71.5 cm (42⅜ ǂ 28⅛ in) The Collection of the Old Jail Art Center, Albany, Texas
100 Study for Theseus, 1950–51 Oil on board 40.5 ǂ 84 cm (16 ǂ 33⅛ in) Private Collection
KEITH VAUGHAN
THE INTIMATE FIGURATIVE IMPULSE
93
98
101 Theseus and the Minotaur, 1950 Oil on canvas 152.5 ǂ 203 cm (60 ǂ 79⅞ in) Dr Mark Cecil Collection
KEITH VAUGHAN
106 First Assembly of Figures, 1952 Oil on board 142 ǂ 116.8 cm (55⅞ ǂ 46 in) Sainsbury Centre for Visual Arts
107 Second Assembly of Figures, 1953 Oil on softboard 101.5 ǂ 122 cm (40 ǂ 48 in) Manchester City Galleries
103 The Martyrdom of St Sebastian, 1958 Oil on hardboard 91.5 ǂ 124.5 cm (36 ǂ 49 in) Bradford Art Galleries and Museums
102 Figure Group at Cumae, 1953 Oil on canvas 34.5 ǂ 42.5 cm (13⅝ ǂ 16¾ in)
100
In Vaughan’s First Assembly of Figures (1952, Plate 106) four nudes, their bodies partly shadowed, stand around in poses that are not so much listless and indifferent as sublimely aimless. Certain postures are seen to recur in Vaughan’s paintings of bathers: these include a man standing on one leg, his other leg upraised, bent at the knee; also the figure with one arm extended upwards so that hand and forearm cradle the top of his head. Both of these postures are seen in this First Assembly (and echoed in the figureation of the ominously and darkly charged Second Assembly). The latter posture must have been something that Vaughan had taken note of with real interest; what it signifies is hard to say – though this supple, slightly absurd self-cradling might be one that reveals the man’s innate vulnerability.
KEITH VAUGHAN
THE INTIMATE FIGURATIVE IMPULSE
101
104
KEITH VAUGHAN
THE INTIMATE FIGURATIVE IMPULSE
153 Showers, 1943 Pen and ink, wash and wax resist on paper 22 ǂ 28.2 cm (8⅝ ǂ 11⅛ in) Private Collection
105
to record every aspect of his army life, the horrors of war and the surrounding life and landscape in which he found himself (Plates 150–153). Vaughan not only recorded army life around him, but also produced more poetic, expressive works of a greater personal nature (Plates 154, 155). These reflect his sense of emotional isolation and loneliness. He made numerous pen and sepia ink drawings adding washes to create tonal variations. Acid-free paper was an undreamt of luxury at that time; consequently many of the early works on paper have yellowed or faded. By 1942 Vaughan’s ambitions had grown. He was always on the lookout for new materials and added to his knapsack a few pots of designers’ gouache and some yellow and green wax crayons, the only colours on which he could lay his hands. With these he attempted to recover some of the firmness and depth of the oil paint he had been using prior to the war (see Plate 156). He gave the work of this period the generic title of ‘gouache’ even though he confessed:
151 The Start of a New Day, 1942 Pen and ink, wash, gouache and wax resist on paper 49 ǂ 39 cm (19¼ ǂ 15⅜ in) Private Collection 152 Winter Woollies, 1941 Pen and ink and wash on paper 20.3 ǂ 27.3 cm (8 ǂ 10¾ in) Private Collection
126 Cenarth Farm, 1962–3 Oil on canvas 91 ǂ 101 cm (35⅞ ǂ 39¾ in) Private Collection
FRANCES SPALDING 124
KEITH VAUGHAN
127 Landscape, November, 1970 Oil on canvas 101.5 ǂ 91.5 cm (40 ǂ 36 in) Private Collection
128 Garden, 1975 Oil on canvas 102 ǂ 91.5 cm (40⅛ ǂ 36 in) Private Collection
THE INTIMATE FIGURATIVE IMPULSE
125
150
KEITH VAUGHAN
PAINTING WITH GOUACHE
151
to contact me telephone 020 7274 1243 mobile 07790 398 710 email: [email protected]
