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Presentation: Framed
SN: 276
oil on paper
30 x 8 cmIn a gilded frame.
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Presentation: Unmounted
SN: 410
Oil on paper, image size 9 x 11 in. (23 x 28 cm.)
Some scuffs - in need of restoration.
In 1922, on the strength of a Royal Exhibition in drawing, Mahoney enrolled at the Royal College of Art, where he spent four productive years under the
guidance of the College Principal and Professor of Painting,William Rothenstein. Contemporaries at the college with whom he formed life-long friendships included Edward Bawden, Barnett Freedman, Percy Horton and Gerald Ososki.
This colour study is typical of the lyical compositions Mahoney produced during his RCA period.
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Presentation: Unmounted
SN: 1815
Oil on paper, 9 x 11 in. (23 x 28 cm.)
Provenance: The artist's estate
In 1922, on the strength of a Royal Exhibition in drawing, Mahoney enrolled at the Royal College of Art, where he spent four productive years under the
guidance of the College Principal and Professor of Painting,William Rothenstein. Contemporaries at the college with whom he formed life-long friendships included Edward Bawden, Barnett Freedman, Percy Horton and Gerald Ososki.
This colour study is typical of the lyical compositions Mahoney produced during his RCA period.
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Presentation: Mounted
SN: 420
Gouache over pencil
13 3/4 x 20 in. (35 x 51 cm).
In a hand coloured acid free cream mount.
This design is likely to date to the period when Mahoney was working on his illustrations for Gardener’s Choice, a collaboration between Mahoney and Evelyn Dunbar, published by Routledge at the end of 1937.
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Presentation: Mounted
SN: 1074
Watercolour and pencil, squared in pen and ink
19 x 14 ins (48.2x35.5cms)
Acquired in 1937, Oak Cottage, in Wrotham, Kent, was very much Mahoney’s spiritual as well as actual home. It was also a home for his mother, Bessie, after she left Anerley in 1937. Charles lived at Oak Cottage from 1937-40, during which period he renovated it, and again from 1945 until his death in 1968. Once the garden that he planted had matured, he seldom worked anywhere else. For Mahoney, Oak Cottage had something of the quality with which Stanley Spencer imbued his childhood home, Fernlea; in both cases the frequent pictorial references to elements of the architecture and garden gives the location an almost mystical quality. The kitchen here is as it was when Mahoney moved to Oak Cottage. The figure in at the sink is the artist’s mother. Mahoney produced at least one version of this design as a finished painting (private collection):
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Presentation: Mounted
SN: 1744
Watercolour and pencil on paper, 20 X 30 ins. (50.8 X 76.2 cms.)
Provenance: the artist's estate
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Presentation: Unmounted
SN: 1745
Pencil and watercolour, 18 x 11 ins. (47 X 29.8 cms.)
'Beneath the south wall of his studio my father made wigwams of canes to support multicoloured gourds and deep blue Morning Glory trumpets. He grew many kinds of Polygonum. Some, like P. cuspidatum, were statuesque giants, others [such as cat. 106] were delicate and lacy. He appreciated flowers such as tulips and Opium Poppies for their slender upright form with a burst of bloom at the top, as they popped up between bushier plants throughout the garden. Lilies likewise shot through the foliage of other plants and exploded in exquisite flowers. Auriculas were a particular passion. He loved the primly formal arrangement which complemented the sumptuous colour combinations.' Elizabeth Bulkeley, the artist's daughter, letter to Paul Liss 15th March 2005.
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Presentation: Framed
SN: 2131
Pen and ink with highlights in watercolour, on buff paper
15 x 10 in. (38 cx 25.5 cm.); edges irregular
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Presentation: Framed
SN: 2135
Pen and ink with highlights in watercolour, on buff paper
15 x 10 in. (38 cx 25.5 cm.); edges irregular
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Presentation: Mounted
SN: 2137
Watercolour and pencil
9 7/8 x 7 1/8 in. (25 x 18 cm).
Provenance: The Artist's Estate
In a double sided acid free cream mount with washed lines
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Presentation: Mounted
SN: 2146
Pen and ink over pencil
7 1/2 x 9 1/2 in. (19 x 24 cm).
Provenance: The Artist's Estate
In an acid free cream mount with washed lines
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Presentation: Mounted
SN: 2156Watercolor over ink on butt colored paper
41 x 28,5 cm
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Presentation: Unmounted
SN: 2466
Variously signed, inscribed with title and dated
Pen and wash over pencil; 17 × 11 in. (43 × 23 cm)
Provenance:Artist’s estate.
Literature: Paul Liss, Charles Mahoney, London 1999, p. 54.
Gas masks were issued to all children as a precaution against attack by gas bombs, and gas-mask drill (‘remove mask from box, put mask on face, check mask fits correctly, breathe normally’) was a daily feature of school life in the SecondWorldWar .The masks came in cardboard boxes with a strap for carrying them on the shoulder . Children were instructed to keep their masks with them at all times.
In 1940, the Royal College of Art was evacuated to Ambleside in the Lake District, with Mahoney and Percy Horton among the male staff.
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Presentation: Passe-partout
SN: 2468
Brown, black, yellow and green chalk on paper,
42 x 16cm (49 x 23cm framed)
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Presentation: Mounted
SN: 2516Charcoal on blue paper
40,5 x 29,5 cm
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Presentation: Passe-partout
SN: 2526
Black and white chalk and couloured pencil on paper, squared.
35.5 x 29.5cm (42.5 x 36.5 cm framed)
Throughout the 1950's Mahoney produced a series of paintings of successive Christmas trees decorated by his daughter and wife. The small size of the tree (made in fact from a single branch) mirrored both the scale of Oak Cottage, the artist's home, and the modest economic circumstances in which the artist lived.
An similar comopsition, in oil on paper, is in the collection of the Geffrye Museum, London.
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Presentation: Mounted
SN: 2541
Chaorcal on tracing paper, squarred in red
46 x 19 cm
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Presentation: Mounted
SN: 2543
Chaorcal on tracing paper, squarred in blue
39,5 x 23 cm
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Presentation: Unmounted
SN: 2545
Pencil on tracing paper
11 7/8 x 9 7/8 in. (30 x 25 cm.), image size
Extensive creases and fold marks - need pressing
Mahoney was asked to contribute to the Festival of Britain after an initial shortlist of 145 artists was narrowed down to 60. Percy Jowett and John Rothenstein, members of the selection panel, undoubtedly would have recommended him. The exhibition was entitled Sixty paintings for ’51. Works submitted were to be a minimum of 45 x 60 in. The oldest artist asked was W G Gillies (73 at the time), the youngest Lucian Freud (29). Other artists selected included John Armstrong, Edward Burra, Ivon Hitchens, L S Lowry, John Minton, William Scott, Keith Vaughan, Carel Weight and Rodrigo Moynihan ; Barnett Freedman and Edward Bawden, both also invited, declined.
Mahoney’s contribution was entitled The Garden. Figurative works accounted for approximately half of the contributions submitted and many, like Mahoney’s, were firmly rooted in the British tradition of landscape painting. A full account of the exhibition is given in 25 from 51, 25 Paintings from the Festival of Britain 1951, Sheffield City Art Galleries, 1978
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Presentation: Unmounted
SN: 2546
Pencil with white highlights, squared in red
15 3/4 x 7 1/2 in. (40 x 19 cm.)
some creases and colour stains.
Mahoney was asked to contribute to the Festival of Britain after an initial shortlist of 145 artists was narrowed down to 60. Percy Jowett and John Rothenstein, members of the selection panel, undoubtedly would have recommended him. The exhibition was entitled Sixty paintings for ’51. Works submitted were to be a minimum of 45 x 60 in. The oldest artist asked was W G Gillies (73 at the time), the youngest Lucian Freud (29). Other artists selected included John Armstrong, Edward Burra, Ivon Hitchens, L S Lowry, John Minton, William Scott, Keith Vaughan, Carel Weight and Rodrigo Moynihan ; Barnett Freedman and Edward Bawden, both also invited, declined.
Mahoney’s contribution was entitled The Garden. Figurative works accounted for approximately half of the contributions submitted and many, like Mahoney’s, were firmly rooted in the British tradition of landscape painting. A full account of the exhibition is given in 25 from 51, 25 Paintings from the Festival of Britain 1951, Sheffield City Art Galleries, 1978
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Presentation: Passe-partout
SN: 3112
Black ink and wash on paper, 8 1/16 x 3 3/4 in. (20.5 x 9.5 cm.)
(11 7/16 x 7 in. (29 x 18 cm.) framed)
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Presentation: Passe-partout
SN: 3116
Pencil and pen and ink on paper, 7 1/2 x 6 in. (19 x 15cm.)
(10 1/4 x 8 3/4 in. (26 x 22cm.) framed)
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Presentation: Passe-partout
SN: 3139
Watercolour and ink on paper, 8 5/8 x 8 5/8 in. (22 x 22cm.)
(12 1/4 x 12 1/4 in. (31 x 31cm.) framed)
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Presentation: Passe-partout
SN: 3162
Pen and watercolour on paper, 5 3/4 x 6 3/4 in. (14.5 x 17cm.)
(8 1/2 x 9 5/8 in (21.5 x 24.5cm.) framed)
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Presentation: Passe-partout
SN: 3166
Ink on paper, 6 7/8 x 6 1/4 in. (17.5 x 16cm.)
(9 1/2 x 8 7/8 in. (24 x 22.5cm.) framed)
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Presentation: Passe-partout
SN: 3173
Pencil on paper, 6 7/8 x 8 1/2 in. (17.5 x 21.5cm.)
(10 x 11 5/8 in. (25.5 x 29.5cm.) framed)
Mahoney spent much of his time sketching en plein air - needing to shelter from the elements and protect his one good eye (as a child he lost one eye tussling with his brother over a pair of scissors) he almost always wore a hat of this form.
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Presentation: Passe-partout
SN: 3178
Ink and blue watercolour on paper, 4 1/4 x 6 1/2 in. (11 x 16.5cm.)
(7 x 9 1/4 in. (18 x 23.5cm.) framed)
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Presentation: Passe-partout
SN: 3179
Black and white chalk and some pastel on paper,
9 3/4 x 7 3/4 in. (25 x 19.5cm.) (13 3/8 x 11 1/4 in. (34 x 28.5cm.) framed)
Still lives of orange boxes with fruit and flowers arranged within are amongst Mahoney's most characteristic works. Mahoney's interest in unfashionable plants such as auriculas and old roses are typical of the originality and independence of his vision. So too is the hand seen at the bottom of the composition - referring to the hand of the creator (which might be variously interpreted as the hand of God as in his Tate painting Adam and Eve, the hand of a Muse or the Artist's own hand, a device he used frequently in compositions).
Mahoneys unbridled enthusiasm for plants was shared with Edward Bawden, Geoffrey Rhoades, John Nash and Evelyn Dunbar, with whom he swapped cutting by post. The correspondence between this circle is full of exchanges about the discovery, nurturing and drawing of new potential subjects.
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Presentation: Passe-partout
SN: 3180
Pencil on paper, 11 1/2 x 4 1/2 in. (29 x 11.5cm.)
(14 1/8 x 7 1/4 in. (36 x 18.5cm.) framed)
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Presentation: Passe-partout
SN: 3181
Bistre ink and wash on paper, 7 x 6 1/2 in. (18 x 16.5cm.)
(10 1/4 x 9 5/8 in. (26 x 24.5cm.) framed)
Muses carrying baskets of fruit - often pears - feature in many of Mahoney's allegorical works and also in his illustrations to children's stories
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Presentation: Mounted
SN: 3295
Watercolour over pen and ink
9 7/8 x 7 in. (25 x 18 cm.)
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Presentation: Mounted
SN: 3324
Black prince pencil
12 1/2 x 9 1/2 in. (32 x 24 cm.)
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Presentation: Passe-partout
SN: 3405
Ink on paper, 36 x 25cm (45 x 34cm framed)
After the bombing of 1940, it was decided that the Royal College should be moved from London to Ambleside in The Lake District. Thus the main Schools of Painting, Sculpture, Design and Engraving were allowed to continue through the War with P.H.Jowett as Principal. The School of Paintings was taught by Gilbert Spencer, Percy Horton and Charles Mahoney.
Women were accommodated at The Salutation Hotel and men at The Queen’s Hotel. The men came across from the Queen’s Hotel and joined the women at the Salutation at mealtimes. At the beginning there were more women than men amongst the 150 students but by 1944 a considerable number of men invalided out of the forces had started to return to full-time study.
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Presentation: Framed
SN: 3386
Pencil
5 1/4 x 22 in. (13.5 x 56 cm)Provenance: the Artist's Estate
In a flat section pitch pine frame with black inner and outer mouldings.
Mahoney was commissioned to produce a mural scheme for the Lady Chapel at Campion Hall in 1941. The scheme was to be made up primarily of three large panels: the Nativity and Adoration of the Shepherds, the Coronation of the Virgin, and Our Lady of Mercy. In detail and composition the paintings owe much to early Italian example. The most notable case is Our Lady of Mercy (Autumn), clearly inspired by Piero della Francesca's altarpiece at Borgo San Sepolcro. Electing to paint directly onto canvas fixed to the walls and by daylight hours only, the project inevitably became drawn out and Mahoney could only work in situ during the Easter and summer vacations when he was not teaching. The project continued into the following decade and coincided with a serious decline in the artist's physical health. In spite of these problems, Sir John Rothenstein, who chose to reproduce one of the murals as a plate in British Art since 1900 (1962, pl.60), was moved to describe the scheme as as second ...only to that by Stanley Spencer at Burghclere.
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Presentation: Passe-partout
SN: 3434
Pencil on paper, 9.5 x 17.5cm (16.5 x 24.5cm framed)
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Presentation: Passe-partout
SN: 3435
Pencil and watercolour, 22.5 x 26.5cm (32 x 35.5cm framed)
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Presentation: Mounted
SN: 3482
Inscribed with colour notes.
16 x 10 3/4 in. (41 x 27.5 cm.)
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Presentation: Mounted
SN: 3634
Pen and wash over pencil, squared; 17 × 11 in. (43 × 23 cm)
Provenance:Artist’s estate.
Literature: Paul Liss, Charles Mahoney, London 1999, p. 54.
Gas masks were issued to all children as a precaution against attack by gas bombs, and gas-mask drill (‘remove mask from box, put mask on face, check mask fits correctly, breathe normally’) was a daily feature of school life in the SecondWorldWar .The masks came in cardboard boxes with a strap for carrying them on the shoulder . Children were instructed to keep their masks with them at all times.
In 1940, the Royal College of Art was evacuated to Ambleside in the Lake District, with Mahoney and Percy Horton among the male staff.
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Presentation: Passe-partout
SN: 3876
Pencil and oil on paper, each 15 x 13.5
(24 x 36.5 cm overall)
Charles Mahoney was commissioned to paint a mural for the Holy Redeemer Church in Chelsea in 1932 - the subject was Thomas More with the Tower of London in the background.
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Presentation: Mounted
SN: 2509
Pen & ink and wash
25.5 x 30.5 cm
Joy and Sorrow was the subject of one of the murals Mahoney completed at Brockley School between 1932 and 1936
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To be included in a
forthcoming exhibition
Presentation: Framed
SN: 226Charcoal on tracing paper squared in red
Send image BiographyTo be included in a
forthcoming exhibition
Presentation: Framed
SN: 2134
Pen and ink with highlights in watercolour, on buff paper
15 x 10 in. (38 cx 25.5 cm.); edges irregular
Reserved
Send image BiographyTo be included in a
forthcoming exhibition
Presentation: Mounted
SN: 2178Ink on grey paper
44,5 x 29 cm
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forthcoming exhibition
Presentation: Mounted
SN: 2469
Pen and ink and wash, squared in pencil
7 7/8 x 11 7/8 in. (20 x 30 cm.)
Send image BiographyTo be included in a
forthcoming exhibition
Presentation: Framed
SN: 2524Brown wash, pen and ink
11 1/2 x 12 in. (28.5 x 30 cm)In a reverse section reeded white frame
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forthcoming exhibition
Presentation: Unframed
SN: 2527
Oil on paper
47 x 39 cm.
Throughout the 1950's Mahoney produced a series of paintings of successive Christmas trees decorated by his daughter and wife. The small scale of the trees reflected the size of Oak Cottage, the artist's home.
Send image BiographyTo be included in a
forthcoming exhibition
Presentation: Passe-partout
SN: 3164
Ink on paper, 8 1/2 x 7 in. (21.5 x 18cm.)
(11 5/8 x 10 1/4 in. (29.5 x 26cm.) framed)
Send image BiographyTo be included in a
forthcoming exhibition
Presentation: Mounted
SN: 3292
Pen and ink
6 1/2 x 7 in. (16.5 x 18 cm.)
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forthcoming exhibition
Presentation: Mounted
SN: 3420
Pen & ink and wash.
8 7/8 x 11 3/4 in. (22.5 x 29.8 cm.)
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forthcoming exhibition
Presentation: Framed
SN: 3450
Wash and pen & ink
4 1/4 x 17 1/4 in. (11 x 44 cm)Provenance: the Artist's Estate
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forthcoming exhibition
Presentation: Mounted
SN: 3455
Wash over pen & ink.
9 1/4 x 13 in. (23.5 x 33 cm.)
The Artist and his Muse was a theme that Mahoney worked on consistently during the 1950. The design's that he producing during this periodare extremely poetic in their narrative and their landscape settings.
Send image BiographyTo be included in a
forthcoming exhibition
Presentation: Mounted
SN: 3456
Ink & wash over pencil, squared
12 1/4 x 10 in. (31.3 x 25.5 cm.)
Send image BiographyTo be included in a
forthcoming exhibition
Presentation: Mounted
SN: 3489
11 x 9 in. (28 x 23 cm.)
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Presentation: Unmounted
SN: 1760
Watercolour over ink
Inscribed April 40
11 3/8 x 17 1/4 in. (29 x 43.8 cm.)
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Presentation: Passe-partout
SN: 3378
Pen and watercolour on paper
22.8 x 22.5cm (32 x 31.5cm framed)
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Presentation: Mounted
SN: 3443
Pen & ink & wash over green paper.
13 1/8 x 11 1/2 in. (33.4 x 29.3 cm.)
The Artist and his Muse was a theme that Mahoney worked on consistently during the 1950. The design's that he produced during this period are extremely poetic in their narrative and their landscape settings.
Thumbnail panels:
