• Two boys playing on a street pavement -
    Biography Enquire about this picture£1,200


    Presentation: Framed
    oil on paper
    30 x 8 cm
  • Rest on the flight into Egypt - colour study -
    Biography Enquire about this picture£850


    Presentation: Unmounted
    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.
  • Mary Magdalene -
    Biography Enquire about this picture£850


    Presentation: Unmounted
    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.
  • Trellis design for a garden -
    Biography Enquire about this picture£400


    Presentation: Mounted
    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.
  • Study for The Kitchen, circa 1937 -
    Biography Enquire about this picture£950


    Presentation: Mounted
    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):

  • Auriculas in pots, 1950s -
    Biography Enquire about this picture£1,500


    Presentation: Mounted
    Watercolour and pencil on paper, 20 X 30 ins. (50.8 X 76.2 cms.)
    Provenance: the artist's estate
  • Lily heads and stems, 1950s -
    Biography Enquire about this picture£1,000


    Presentation: Unmounted
    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.
  • Study of Polygonum amplexicaute leaves (recto); study (verso) -
    Biography Enquire about this picture£380


    Presentation: Mounted
    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

  • Study of chrysanthemum heads with a personification of Autumn -
    Biography Enquire about this picture£390


    Presentation: Mounted
    Pen and ink over pencil
    7 1/2 x 9 1/2 in. (19 x 24  cm).

    Proveannce: The Artist's Esate

    In an acid free cream mount with washed lines
  • Mantelpiece -
    Biography Enquire about this picture£300


    Presentation: Mounted
    Pen and ink, inscribed with colour notes
    7 1/2 x 10ins. (19x25.2cms)


    The large picture hanging above the mantelpiece shows a design by Mahoney for the back cloth of the Merchant of Venice, one of a number of theatre designs produced at the end of his Royal College of Art Period (c.1930).
  • Fern -
    Biography Enquire about this picture£300


    Presentation: Mounted

  • Adam & Eve -
    Biography Enquire about this picture£300


    Presentation: Mounted

    Pencil

    34,5 x 23,5 cm

  • Posy in a glass cup -
    Biography Enquire about this picture£700


    Presentation: Mounted

    Ink and watercolour

    30 x 24,5 cm

  • -
    Biography Enquire about this picture£800


    Presentation: Mounted

  • Sunflowers -
    Biography Enquire about this picture£500


    Presentation: Mounted

    Ink on grey paper

    44,5 x 29 cm

  • Sheet of studies of a gardener planting seedling -
    Biography Enquire about this picture£300


    Presentation: Mounted

  • -
    Biography Enquire about this picture£950


    Presentation: Mounted
    12 x 8 in. (30.5 x 20.3 cm.)
  • Gas Mask Drill, 1939 -
    Biography Enquire about this picture£650


    Presentation: Unmounted
    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.
  • Study of woman and dress -
    Biography Enquire about this picture£650


    Presentation: Mounted

    Charcoal on blue paper

    40,5 x 29,5 cm

     

     

  • Allegory of Autumn, 1932 -
    Biography Enquire about this picture£600


    Presentation: Mounted
    Signed and dated
    Watercolour on paper, squarred in pencil
    38 x 28,5 cm
  • Christmas tree with cat, circa 1952 -
    Biography Enquire about this picture£850


    Presentation: Passe-partout
    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 scale of the trees reflected the size of Oak Cottage, the artist's home.
  • Study for Autumn, circa 1951 -
    Biography Enquire about this picture£600


    Presentation: Mounted
    Chaorcal on tracing paper, squarred in red
    46 x 19 cm



  • Study for Autumn, circa 1951 -
    Biography Enquire about this picture£450


    Presentation: Mounted
    Chaorcal on tracing paper, squarred in blue
    39,5 x 23 cm
  • Study for The Gardener, waist-up -
    Biography Enquire about this picture£320


    Presentation: Unmounted
    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
  • Study for the Gardener, full length -
    Biography Enquire about this picture£380


    Presentation: Unmounted
    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

  • Still life with thistles -
    Biography Enquire about this picture£1,500


    Presentation: Unmounted

  • Kneeling girl study for Moley College, 1928-1930 -
    Biography Enquire about this picture£300


    Presentation: Passe-partout
    Pencil on paper, 7 3/4 x 6 3/4 in. (19.5 x 17cm.)
    (10 1/2 x 9 1/2 in. (26.5 x 24cm.) framed)
  • Figure in loggia, circa 1930 -
    Biography Enquire about this picture£150


    Presentation: Passe-partout
    Pen and ink on paper, 2 1/8 x 2 5/8 in. (5.3 x 6.8cm.)
    (5 1/4 x 6 in. (13.5 x 15cm.) framed)
  • Muse with cello, circa 1950 -
    Biography Enquire about this picture£450


    Presentation: Passe-partout
    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)
  • Man gardening, circa 1935 -
    Biography Enquire about this picture£650


    Presentation: Passe-partout
    Pen and ink on paper, 7 3/8 x 7 1/2 in. (18.7 x 19cm.)
    (10 1/4 x 10 1/4 in. (26 x 26cm.) framed)

    This is likely to be a rough sketch for one of the illustrations to Gardeners's Choice.
  • Women and Flowers -
    Biography Enquire about this picture£600


    Presentation: Mounted
    Pen and pencil on paper, 56 x 38cm.
  • The Emblems of of the Virgin, design for Campion Hall altarpies, circa 1941 -
    Biography Enquire about this picture£600


    Presentation: Mounted
    Pencil
    13.5 x 56 cm.


     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.
    Pencil
  • The Emblems of of the Virgin, design for Campion Hall , circa 1941 -
    Biography Enquire about this picture£450


    Presentation: Mounted
    Pencil
    13.5 x 56 cm.

    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.
    Pencil
  • Symbol of Mary, Campion Hall, mid 1940s -
    Biography Enquire about this picture£400


    Presentation: Mounted
    Pencil
    13.5 x 56 cm.

    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.

  • Allegory -
    Biography Enquire about this picture£600


    Presentation: Passe-partout
    Pencil on paper, 9.5 x 17.5cm (16.5 x 24.5cm framed)
  • Study of an apple tree with finch -
    Biography Enquire about this picture£430


    Presentation: Passe-partout
    Pencil and watercolour, 22.5 x 26.5cm (32 x 35.5cm framed)
  • Muse, circa 1950 -
    Biography Enquire about this picture£325


    Presentation: Mounted
    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 producing during this period are extremely poetic in their narrative and their landscape settings.
     
  • Muses: Landscape, c 1961 -
    Biography Enquire about this picture£350


    Presentation: Mounted
    Wash and pen & ink.
    4 1/4 x 17 1/4 in. (11 x 44 cm.)
  • The artist and his Muses, c 1950 -
    Biography Enquire about this picture£800


    Presentation: Mounted
    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.
     
  • Girl with broom & figures picking fruit -
    Biography Enquire about this picture£320


    Presentation: Mounted
    Ink & wash over pencil, squared
    12 1/4 x 10 in. (31.3 x 25.5 cm.)
     
  • Sacred garden, sketch for central motif, Campion Hall -
    Biography Enquire about this picture£350


    Presentation: Mounted
    Signed with initials.
    Charcoal and white pastel.
    11 3/16 x 15 7/16 in. (28.3 x 39.3 cm.)
     
  • Study of various flowers -
    Biography Enquire about this picture£600


    Presentation: Mounted
    Inscribed with colour notes.
    16 x 10 3/4 in. (41 x 27.5 cm.)
  • Gas Mask Drill, 1939 -
    Biography Enquire about this picture£1,200


    Presentation: Mounted
    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.
  • Roses -
    Biography Enquire about this picture£300


    Presentation: Mounted
    Pen and ink
  • Study for the Sleeve of Thomas More, 1932 -
    Biography Enquire about this picture£800


    Presentation: Passe-partout
    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.
  • Study of a cherub, for Campion Hall, early 1940's -
    Biography Enquire about this pictureTo be included in a
    forthcoming exhibition


    Presentation: Framed

     Charcoal on tracing paper squared in red

  • Cherub -
    Biography Enquire about this pictureTo be included in a
    forthcoming exhibition


    Presentation: Framed

  • Cat on a drawf's Hat -
    Biography Enquire about this pictureTo be included in a
    forthcoming exhibition


    Presentation: Framed

  • Christmas Tree -
    Biography Enquire about this pictureTo be included in a
    forthcoming exhibition


    Presentation: Unframed
    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.

  • Landscape with Poplars, study for
    Biography Enquire about this pictureTo be included in a
    forthcoming exhibition


    Presentation: Framed
    Oil on Rowney canvas board
    10 x 14 in.
  • Little Bo Peep, 1940's -
    Biography Sold


    Presentation: Framed
    Pencil and pen and ink
    6 1/4 x 6 7/8 in. (15.8 x 19.7 cm.)

    In a black wedge section frame with distressed gold knull and silver inner slip

    Mahoney took great pleasure in children's stories, which he loved to read to his daughter Elizabeth.  These stories often formed the subject of pen and ink sketches and sometime more elaborate oil paintings.

    Provenance: Elizabeth Bulkeley, the artist's daughter
  • Houses at Veryan, 1959 -
    Biography Sold


    Presentation: Unmounted
    Oil on board ,
    11 x 14 13/4ins. (28x37.5cm.)
    Provenance: The artist's daughter

    photograph of beach huts, Veryan, Cornwall.

    In 1959, Mahoney went to Veryan in Cornwall, an excursion supported by the Artists' General Benevolent Institution.
  • Adam Eve in the Garden of Eden -
    Biography Sold


    Presentation: Unmounted
    Black chalk with highlights in white, squared in white and red
    16 x 13 in. (40.5 x 33 cm.)

    This is a squared-up study for the Tate Gallery painting of the same title, which Mahoney exhibited at the NEAC in 1936( 199).

    Adam and Eve in the Garden of Eden exhibited 1936, oil on canvas 91 x 76 cm, presented by the Contemporary Art Society 1942, Tate (N05323).

    A similar study is in the collection of the Tate:

    Study for `Adam and Eve' circa 1936, pencil, pen and ink and wash on paper support: 403 x 270 mm on paper, presented by the artist's widow 1976 (T02091)

    The Garden of Eden is here reinstated as a horticultural fantasy, defined by its relationship with an unseen domestic interior. Mahoney's image of perfection glimpsed from a window was created in the mid-1930s, when the idea of the garden was actually an accomplice of suburbanisation. (From the Tate display caption May 2003) Adam and Eve are shown exploring the Garden of Eden before their fall. They are seen through a brick window at the right of which a pair of hands, belonging to some unseen person inside the building, arranges a branch of leaves in a glass on the sill. In the final painting Adam and Eve hold hands instead of standing apart and some of the objects on the window sill are different: two pears in place of the insects shown in the drawing, more flowers in the vase at the left and a less elegant glass at the right. As no record appears to survive of Mahoney's precise intentions in ‘Adam and Eve’, one can only guess at the identity of the mysterious hands. Are they meant to be God's? Or did the artist, a keen botanist, imagine Eden as his own garden and do the hands stand for his own? Throughout his life Mahoney turned to flowers and gardens for much of his subject matter; about the time ‘Adam and Eve’ was painted he was even preparing, with Evelyn Dunbar, an illustrated book on the subject, Gardeners' Choice, which appeared in 1937. That the hands may be human rather than divine is also suggested by the inclusion of similar motifs in non-Biblical pictures, for example ‘Three Boxes with Flowers’ (Coll. John Ward), in which mysterious fingers edge their way into the design. Mahoney painted and drew the Adam and Eve subject on later occasions. An oil ‘Sketch for Adam and Eve’ exhibited at the NEAC in 1959 (77) and still with Mrs Mahoney is a different composition, as presumably is the drawing ‘Garden of Eden, Version II’ shown there in 1965 (409). In the latter year Mahoney exhibited at the RA two pen and wash drawings entitled ‘Adam and Eve (version II)’ and ‘Study for Adam and Eve (version II)’ (nos. 1239 and 1265 respectively). Another pen and wash drawing shown at the RA that year, ‘Adam and Eve (version I)’ (1266) is presumably related to T02091. On the reverse of T02091 there are an ink drawing of a tree, and ink sketches of crowns (one on a female head), with suggestions of ornamented designs (the latter perhaps for costume relating to the crowns). Published in: The Tate Gallery 1976-8: Illustrated Catalogue of Acquisitions, London 1979
  • Brick Fields Near Burough, April 1940 -
    Biography Sold


    Presentation: Unmounted
    Watercolour over ink
    Inscribed April 40

    11 3/8 x 17 1/4 in. (29 x 43.8 cm.)
  • Angel Blowing Horn, study for Campion Hall, mid 1950's -
    Biography Sold


    Presentation: Framed
    Wash,
    13 3/4 x 6 1/4  in. (35 x 16 cm.)

    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 – 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 “second ….. only to that by Stanley Spencer at Burghclere”. A full account of the circumstances of the commission and some of the problems involved can be found in Sir John Rothenstein’s Tribute to Mahoney in the catalogue of the Memorial Exhibition held at the Ashmolean Museum in 1975.
  • Study of chrysanthemum heads and related patterns -
    Biography Sold


    Presentation: Unmounted
    Pen and ink over pencil
    9 1/2 x 7 1/2 in. (24 x 19 cm).

    Proveannce: The Artist's Esate

    In an acid free cream mount with washed lines
  • Husband and Wife tending allotment with Sunflowers, 1930's -
    Biography Sold


    Presentation: Unmounted
    Pen & ink and wash
    11 7/8 x 9 7/8 in. (30 x 25 cm).

    Provenance: The Artist's Esate

    In an acid free cream mount with washed lines

    This image is characterisic of the sketches Mahoney often included in letters sent to other artists.  Mahoney’s unbridled enthusiasm for plants, and growing them in allotments, was shared with Edward Bawden, Evelyn Dunbar, Geoffrey Rhoades and John Nash, all of whom swapped cuttings with each other by post.

    The artist’s daughter recalls that he ‘particularly liked to grow and paint tall, statuesque plants;Annual Sunflowers excelled in this respect. In addition they had handsome heads, with great twisted necks resembling a Celtic torque’ (Elizabeth Bulkeley, email to Paul Liss, 2 February 2007).
  • Girl with bird cage, three quarter rear view -
    Biography Sold


    Presentation: Passe-partout
    Black and white chalk on paper,
    43 x 24cm (52 x 33cm framed)
  • Wheelbarrow, basket and sack -
    Biography Sold


    Presentation: Unmounted
    Pen and ink
    13 3/8 x 19 in. (34 x 48 cm.)
  • Still Life with orange box, circa 1940 -
    Biography Sold


    Presentation: Passe-partout
    Brown ink on paper, 5 x 4 1/8 in. (12.5 x 10.5cm.)
    (7 3/4 x 6 7/8 in. (19.5 x 17.5cm.) framed)
  • Bathsheba with attendant, circa 1950 -
    Biography Sold


    Presentation: Passe-partout
    Pencil and wash on paper, 8 x 9 7/8 in. (20 x 25cm.)
    (11 1/2 x 9 1/2 in. (29 x 34cm.) framed)

  • Two figures in a loggia -
    Biography Sold


    Presentation: Passe-partout
    Ink on paper, 1 5/8 x 2 in. (4 x 5.2cm.)
    (4 3/4 x 5 1/4 in. (12 x 13.2cm.) framed)
  • Study of muses -
    Biography Sold


    Presentation: Mounted
    Signed with initials
    Brown wash over pen & ink.
    8 5/8 x 11 3/4 in. (22 x 29.8 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.
     
  • Study of Muse -
    Biography Sold


    Presentation: Mounted
    14 x 9 1/2 in. (35.5 x 24 cm.)
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