Cundall, Charles

(1890 – 1971)

Sketch for Stourport Power Station, 1956

£1,750.00

SKU: 6937

Pencil and oil on paper

9 ¬Ω x 13 in. (24.5 x 33 cm)
Size:
Height: 24.5cm
Width: 33cm

1 in stock

DESCRIPTION

Provenance:
Acquired directly from the Artist’s Daughter

Exhibited: – A Working Method,Young Gallery Salisbury, March- April 2016, Sotheran’s, April-May 2016. 

Literature: Charles Cundall – A Working Method, Edited by Sacha Llewellyn & Paul Liss, published by Liss Llewellyn Fine Art, February 2016.

For Cundall, painting war-time industry had led on with a certain inevitability to similar peace-time subjects, and eventually to Exhibited: – A Working Method,Young Gallery Salisbury, March- April 2016, Sotheran’s, April-May 2016. 

Literature: Charles Cundall – A Working Method, Edited by Sacha Llewellyn & Paul Liss, published by Liss Llewellyn Fine Art, February 2016.


In the years after the war my father was commissioned to do a lot of industrial paintings, and he was skilled at finding a good subject to paint, from what seemed initially to be rather unpromising buildings,
 Jackie Setter, the artist’s daughter

For Cundall, painting war-time industry had led on with a certain inevitability to similar peace-time subjects, and eventually to the massive modern effort of regeneration and new industrial plant. His long-standing interest in architecture, coupled with early experience of industrial design at Pilkington’s, was applied to post-war growth, and in the late 1950s he became sought-after as a chronicler of industrial buildings. Cundall treated his new subjects as he had done his old, and pointed out that I’m not trying to ‚Äúexpress the machine age‚Äù as I suppose a painter like Léger wished to do, which seems to me to lead to a kind of decoration instead of picture painting.’ Always thoughtful, he was an artist who gave serious consideration to the broader artistic implications of a new subject.

Cundall’s working technique was dependant upon sketching on the spot to create images that would later be worked up into larger paintings in the studio. Here one would find him working form many drawings and colour notes accumulated during some recent journey. He prefers working with such aids to memory, on a fine canvas with soft hog and sable brushes, occasionally using a palette knife, and laying on colour instinctively rather than by methodical system. (William Gaunt, Charles Cundall R.A, A Study of his Life and Work).

We are grateful to Jackie Setter for assistance.

Disclaimer:
Liss Llewellyn are continually seeking to improve the quality of the information on their website. We actively undertake to post new and more accurate information on our stable of artists. We openly acknowledge the use of information from other sites including Wikipedia, artbiogs.co.uk and Tate.org and other public domains. We are grateful for the use of this information and we openly invite any comments on how to improve the accuracy of what we have posted.

THE ARTIST

Cundall, Charles

1890 – 1971

Painter, potter and stained glass artist, born in Stratford, Lancashire. After working as a designer for Pilkington’s Pottery Company under Gordon Forsyth, Cundall studied at Manchester School of Art, obtaining a scholarship to the Royal College of Art, 1912. After World War I army service he returned to the Royal College in 1918, then from 1919 to 1920 attended the Slade, and furthered his studies in Paris. Cundall traveled widely in several continents and became noted for his panoramic pictures, such as Bank Holiday Brighton, in the Tate Gallery (accession no. NO4700). He was a member of NEAC, RP, RWS and other bodies and was a prolific RA exhibitor. He had first solo show at Colnaghi 1927. He was an Official War Artist in World War II, during which time he was sent to Quebec (1944). In the same year he was elected RA. His wife was the artist Jacqueline Pietersen.

His technical facility – especially when working on large panoramic canvases – was remarkable. His pictures are rich with texture, light and movement. He was equally at ease with aerial views, landscapes, seascapes and cityscapes, and was a master of crowd scenes. His work as an Official War Artist has never received the attention it merits.

MORE PICTURES BY ARTIST

Charles Cundall
Falmouth Harbour from the Town Quay, 1940
£14,000.00
Charles Cundall
Dieppe with Figures on the Quayside and Boats Moored, circa 1930
£8,500.00
Charles Cundall
The British Railways Carry On, 1941
£68,000.00
Charles Cundall
Pont Saint-Michel
£3,750.00
Charles Cundall
H.M.S. Cyclops, Portsmouth
£6,800.00
Charles Cundall
Sketch for Stourport Power Station, 1956
£1,750.00
Charles Cundall
Study for the Central Cricket & Recreation Ground, Hastings, c.1952
£3,950.00
Charles Cundall
Study for Excavation in Park Lane, early 1960s
£3,850.00
Charles Cundall
Seine Bookstalls & Fishermen
£3,450.00
Charles Cundall
Study for Hipper at Kiel, c.1945
£11,000.00
Charles Cundall
Calm in the Baltic, 1935
£2,400.00
Charles Cundall
Study for Laying the Commemoration Stones of the new Minicipal BuildingsBristol, 1939
£8,700.00
Charles Cundall
Approaching the Bridge, 1935
£2,750.00
Charles Cundall
Tuilleries Gardens, 1955
£6,000.00
Charles Cundall
Lockheed Hudson, c.1942
£2,350.00
Charles Cundall
Study for Coastal Operational Training Unit (Limavady, Northern Ireland), circa 1942
£14,500.00