- 17
Marlow Moss
Description
- Marlow Moss
- Composition in White, Black and Yellow
- signed and dated .1953. on the frame
- oil on canvas, in the Artist's painted frame
- 45 by 30cm.; 17¾ by 12in.
Provenance
Annely Juda Fine Art, London
Austin/Desmond Fine Art, London
The Mayor Gallery, London, where acquired by the present owner
Exhibited
Zeeland, Middelburg Town Hall, Marlow Moss, April 1972 (details untraced);
Zurich, Gimpel & Hanover Galerie, Marlow Moss, Bilder, Konstrucktionen, Zeichnungen, 1st December 1973 - 19th January 1974, cat. no.27, illustrated, with tour to Gimpel Fils, London;
London, Austin/Desmond Fine Art, Summer Exhibition of Modern British, International and Contemporary Art, 2008, cat. no.29.
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Moss never wavered from the strictures of Neo-Plasticism, even as Europe descended into chaos in the 1930s, forcing her to leave France, eventually arriving in the remote fishing village of Lamorna, at the farthest tip of Cornwall, where she continued her work in what amounted to little more than a converted shed. On arrival, she wrote to Ben Nicholson, working up the road at St Ives and one of the few artists to have also been in close contact with the Parisian avant-garde of the 30s. On receiving no reply (twice) Moss continued to work in splendid isolation, producing a body of work unlike anything else being made in Britain at the time.
One of the reasons why Moss is so little known is that so few of her works survive: almost all her pre-War work was lost when the house in Normandy she had moved it to for safe-keeping was shelled in 1944. Fewer still appear on the open market and it is significant to see the present work so soon after White, Red and Black from the Branco Weiss collection (sold in these rooms 11th July 2013). Both works were shown in the now legendary (amongst Moss aficionados) Gimpel Hanover Gallery exhibition in Zurich in 1973, where Weiss, one of the foremost Swiss collectors of Neo-Plasticism bought White, Red and Black, and which remains Moss’s most significant retrospective, featuring 30 paintings and 9 sculptures.
The exhibition currently at Tate Britain is the final stop on a national tour that has travelled from Tate St Ives to Leeds to the Jerwood Gallery in Hastings, although, as Charles Darwent has ruefully noted, not one of these shows has merited a review in a national newspaper (Charles Darwent, ‘Marlow Moss – Forgotten Art Maverick, The Guardian, 25 August 2014). Here, in rooms that not so long ago housed the Tate’s Mondrians, as well as works by her colleagues from the Abstraction-Création group (Van Doesberg, Helion, Vantongerloo), the purity and rigour of Moss's work is clear to see.
One of the few photographs of Moss that survives shows her standing by a traditional way-post in Cornwall: Lands End is 7½ miles away, the artist colony of Newlyn 3 miles, Lamorna a mile off. Her hair is short and styled like a man's; she wears a white cravat, hunting jacket and jodhpurs. It's as if she has stepped straight out of a Weimar-era Berlin cabaret. It's a quite startling – and consequently beautiful – image – of a truly original person, a trail-blazing woman artist and gay pioneer, someone whose art and life suffered no compromise.