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Keith Vaughan CBE (British, 1912-1977)


Keith Vaughan was born in Sussex. He was self-taught as an artist and from 1931 to 1938 worked for the advertising agency Lintas, only painting in his spare time. During the war his work was bought by the War Arts Advisory Committee and he met, and was greatly influenced by, Graham Sutherland, John Minton, John Craxton and Robert Colquhoun. His first solo show was at the Reid and Lefevre Gallery in 1944 and he continued to exhibit there until 1952. Retrospective exhibitions of his work include the Whitechapel in 1962, the University of York in 1970. He was represented in many group exhibitions and his works are held in many public collections, including the Tate Gallery. He taught at Camberwell 1946-8, the Central School 1948-1957, and the Slade from 1959. In 1959 he was Resident Painter at the State University of Iowa. He served on the Arts Council Advisory Panel, became an Honorary Fellow of the RAC in 1964 and was made a CBE in 1965. Commissioned work included murals for the Festival of Britain, 1951, and a series of lithographs for Rimbaud's 'Une Saison en Enfer'. He is well-known for his male nudes and landscapes. Early influences were those of Cézanne and the English neo-romantics. Later work achieved an integration of figurative subject and liberated colour and form, reflecting his admiration for de Stael and Matisse.


Keith Vaughan. Farmyard

Farmyard
pen and ink and wash on paper
signed
16.5 x 12.5cm.

£1,800
    

Keith Vaughan. Standing Figure



Standing Figure
stamped with the artist's initials
pencil on paper
1959
18 x 13.5 cm. ( image)

Provenance:
the artist's estate; Julian Lax

SOLD


Keith Vaughan. Surrealist Composition



Surrealist Composition
pen and ink and wash on paper
c. 1941
11 x 6.5cm.
Provenance: The Redfern Gallery, Wenlock Fine Art

Following the death of his brother Vaughan had registered as a conscientious objector. He now conceived war as an anti-human instrument of death, that ‘passes through lathe and drill rooms. Is polished, turned to micrometric exactness’. It was in the midst of such machinal turmoil that Vaughan’s drawing turned for the first time to non-romantic subjects.

This rare drawing rather shows a surrealist scene in which the man-made and the imaginary contrast with nature. The work relates to other war-time art of the 1940s, and is particularly suggestive of John Tunnard. In the Pioneer Corps Vaughan had to move sacks of coal, timber and cast-iron pipes; such labour obtains in the present drawing in the hatching suggestive of sacking and in the lines suggestive of cords or pipes. Like much surrealist art, however, the composition depends for its effects upon ambiguity of form. Vaughan creates a series of tensions, between fluid and static, vertical and horizontal, abstract and representational, and between the contrasting textures. This reflects the climate of the times, and the unnaturalness of the War; but the drawing also achieves a finely-balanced equilibrium in its contradictions that is ultimately reflective and even peaceful.

Vaughan’s army allowances limited him to a 7x5 inch sketchbook and but the simplest materials, which explains the size and media of most of his work of this period.

£1,450


Keith Vaughan. Barrack Room Cat



Barrack Room Cat
c. 1940
pen and ink and wash on paper
Studio stamp
13.5 x 18cm.

SOLD


Keith Vaughan. Male Figure



Male Figure
pencil on paper
stamped with the studio stamp on the reverse
26.5 x 14cm.

£750

Keith Vaughan. Two Figures



Two Figures
dated 'Sep 19' in pencil and stamped with the artist's initials
pencil on paper
1963
28 x 20 cm. ( image)

Provenance:
the artist's estate; Julian Lax

SOLD


Keith Vaughan. double study of figure in an interior



double study of figure in an interior
stamped with the estate stamp on the reverse
pencil on paper
16.8 by 13.5cm.

Provenance: the artist's estate

£950 (framed)
  

Keith Vaughan. Portrait of man; Figure studies



Portrait of man; Figure studies (verso of sheet)
pencil on paper; charcoal on paper
c. 1940
two drawings to both sides of one sheet
21 x 15.5 cm.(sheet)
condition: minor marks at top of verso of sheet from where the drawing was previously glued to another sheet and professionally lifted to reveal the charcoal study to the reverse.

£1,200
(framed to show both recto/verso of sheet)

Two drawings by Keith Vaughan from c. 1940. The first is a fine, crisp pencil portrait of a beautiful and slightly angular youth, presumably a fellow worker or inmate from Eden Camp near Malton, (a POW camp built with the inmates' own labour as a 'model camp'.) Vaughan was a conscientious objector and worked at Eden as an orderly-room clerk. He spent many evenings drawing and, whilst in the camp, he produced a number of portraits of young officers and inmates, such as this one.

The figure studies to the reverse are sketches in charcoal of characteristically sculptural male nudes, presumably studies for a larger composition.

References:
Keith Vaughan. Journals and Drawings 1939-65, 1966; Malcolm Yorke, Keith Vaughan: his life and work, 1990 (ch. 4, pp. 83-114 refer in detail to Vaughan's time spent in North Yorkshire.)


Keith Vaughan. Against the sun; Selside



Against the sun; Selside
stamped with the artist's monogram on the reverse
pencil on paper
c. 1943
two drawings on one sheet, the first inscribed "against the sun" and the second "selside"
26 x 21 (sheet); 11 x 13 cm. (approximately each image)
condition: minor scattered handling marks to the extreme edges of the sheet

SOLD

These fine sketches show cottages and the landscape of Selside, a small hamlet in North Yorkshire. This page from a sketchbook relates to the period when Vaughan was stationed at Eden camp near Malton, a POW camp built with the inmates' own labour as a 'model camp'. Vaughan was a conscientious objector and worked at Eden as an orderly-room clerk. He spent many evenings drawing and, whilst in the camp, he produced a number of landscape sketches from his travels around North Yorkshire, such as these. These drawings, spontaneous yet beautifully controlled and with a powerful sense of the conrasts between light and dark, were mostly sketches drawn on the spot, although some were finished with ink and gouache later in the orderly room.

References:
Keith Vaughan. Journals and Drawings 1939-65, 1966; Malcolm Yorke, Keith Vaughan: his life and work, 1990 (ch. 4, pp. 83-114 refer in detail to Vaughan's time spent in North Yorkshire.) 

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