Sir Terry Frost (British, 1915-2003)
One of the best-loved figures in British art, Sir Terry Frost was encouraged to paint in a prisoner-of-war camp by fellow prisoner and artist Adrian Heath, he moved to St Ives in Cornwall after the war, studying at the St Ives School of Painting. From 1947 to 1950 he attended the Camberwell School of Art, which, with Heath’s studio, was the focal point of Constructivist tendencies in England. Frost followed their concern for proportion and systematic procedures but he soon rejected their historicist notions of a necessary development towards abstraction from two to three dimensions and the potential relationship between painting, architecture and design. His first one-man show was held in London at the Leicester Galleries (1952), led to paintings that evoked the features of the Yorkshire countryside and harsh snowy winters. He returned to St Ives in 1956 but spent the decade from 1964 teaching at Reading University, before settling back at Newlyn in 1974.
Swing Red Newlyn
Screenprint on wove paper
signed and numbered from edition of 150 (no. 149)
64 x 64 cm. (sheet)
Ref: Kemp: 183
Screenprint in 10 colours and collage (3 collage elements)
on Arches paper
signed and numbered from edition of 125 (+ 13 artist’s proofs); (no. 124)
50.5 x 101.5 cm. (sheet)
Published by the CCA, Tilford. Printed by Brad Faine at Coriander Studio, London.
Ref: Kemp: 244
Woodcut and collage (13 collage elements)
on Velin arches Blanc paper
signed, dated and inscribed to the reverse.
Printer’s proof aside from edition of 40
61 x 38.2 cm.
Published by the Paragon Press, London. Printed by Hugh Stoneman at Stoneman Graphics, Cornwall.
Example in the British Council collection.
‘Halzephron’ is from a series of eight collaged woodcuts, printed by Hugh Stoneman and individually collaged by the artist; the series became renowned as the artist’s most ambitious print project. The work combines Frost’s characteristic exuberance of form and colour with a subtle counterpointing of textures: of projected collage with embossed print, and of flat colour with the linear grains of the woodblock. Mel Gooding has described ‘the arrangement of the individual split motifs’ as ‘a kind of synaesthetic notation, as musical as it is visual’. The title refers to a stretch of the Cornish coast on the Lizard, whose soaring cliffs are the inspiration behind this swirling of the senses.
Lithograph in colours
signed and numbered from edition of 40 by the artist in pencil
73 x 54.5 cm. (sheet).
untitled screenprint in 10 colours on Velin arches paper
signed and numbered 1/XX by the artist in pencil
one of 20 artists’ proofs aside from the standard edition of 100
64.5 x 51.2 cm. (sheet)
published by the Royal Academy in 2000.
silkscreen in red and black
signed in the plate
Provenance: The artist’s studio
Oh what an effort it is to love you as I do Garcia Lorca
Silkscreen in colours
signed and numbered 18/48 by the artist in pencil
31 x 31 cm. (sheet)
the full sheet with deckled edges.
Published by The Royal College of Art in 1987 in an edition of 48.