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A Brief Biography
Olive Bagshaw was born on 27th November 1931 in Salford, Lancashire.
Olive studied Textile Design at Salford School of Art from 1946-1949. Working as a designer, at the age of 21, she enrolled at the Regional College of Art in Manchester for part time studies in Portrait Painting in 1953 and each successive year until 1961. *
Olive knew Harry Rutherford, an eminent artist of the Northern School. Harry Rutherford was very probably Olive's tutor at the Regional College of Art where he taught. See Note 1
Olive Bagshaw Self Portrait (Private collection)
Olive was a passenger in a car involved in a road accident in 1961 which left her unable to walk. Olive was in hospital for a year. Olive married Greg Driver, who had known Olive since he was 16 years old, in the autumn of 1965.
Olive wanted her artistic merit to stand alone, quite separate from her personal circumstances and her physical disability. Always a very private individual, she lived happily with her husband for the rest of her life at Riverside Cottage, Birchin Lane near Chorley in Lancashire. In the last part of her artistic development, in her later years, she focussed on abstract works, many in acrylic and mixed media, constantly developing her unique vision.
Chronology of Exhibitions
In her early career, Olive Bagshaw specialised in portraiture, still life subjects and some landscapes. To begin with, her still life subjects were quite varied and eclectic, but as time passed, Olive concentrated more on paintings of flowers in her still life works.
She maintained the focus on portraits until 1972. Her portraits were exhibited by the Royal Society of Portrait Painters in London. She exhibited also at The Royal Academy, The Royal Institute of Oil Painters and the Federation of British Artists (The Mall Galleries). Her most important exhibitions were at Salford Museum and Art Gallery.
1966 A very early private exhibition was held at The Limes, 816 Wilmslow Road, Didsbury in 1966.
1970 Her first exclusive exhibition was at the Monks Hall Museum and Gallery in Eccles in May 1970, when she exhibited 36 paintings. (See Appendix 1 below and Appendix 2, a contemporary review).
1971 There followed an exhibition at Salford Art Gallery in 1971 (16th December - to 23rd January 1972). A catalogue for this exhibition can be found in Appendix 3. An appreciation of Olive's work by F W Fenton, the Northern Art Critic for the Daily Telegraph forms the foreword. I am indebted to Peter Ogilvie, the Collections Manager at Salford At Gallery for this document.
A newspaper feature from the Manchester Evening News has also been included at Appendix 3.
1972 She exhibited again at the Monks Hall Museum and Gallery in Eccles from January to May 1972.
Olive stopped painting portrait commissions after this exhibition. In March, 1972, she wrote, "I've recently had a chance at outdoor landscape painting and it's been a revelation to me after all these years of painting faces."Note 2. From that point on, she embarked on a long period when she worked on landscapes. From the beginning, she appreciated the work of the Impressionists, particularly Claude Monet. Olive found constant inspiration in Nature.
1973 In June 1973, she exhibited 32 paintings in the BDP Vernon Gallery in Preston. Appendix 4.
As well as many more landscapes, Olive extended her subject matter to larger figure studies and nudes.
1977 In 1977, her paintings across three genres were featured at a major exhibition at the City of Salford Art Gallery and Museum (19th August - 28th September). At that time, she was concentrating mainly on landscapes. 47 paintings were included. See Appendix 5a and 5b.
1985 Some paintings were exhibited at The Mall Galleries "Flowers and Gardens" exhibition in 1985. See below painting number 154.
Paintings are held in the collection of the Salford Art Gallery and Museum.
Abstract Works
Subsequently, from the 1980s Olive Bagshaw began another phase in her painting, creating abstract works. An exhibition of her abstract works has never taken place. It is possible that some may have appeared at local exhibitions.She continued to paint abstracts mainly in acrylic paint but also with other materials until shortly before her death in 2017.
Final years
Olive's home suffered a flood early in 2015 and all the stored works had to be moved. Olive said that she had found it fascinating to see works which had been in storage for decades and which she had virtually forgotten about. She wrote that there were four distinct phases in her work. Towards the end of her life, I had discussions with Olive about the possibility of a retrospective exhibition. The failing health of her husband and of Olive herself made this an unachievable objective. Olive was in a care home with Greg at Fulwood near Preston and the paintings were in storage.
Many of Olive's portraits were commissions. Nonetheless Olive's appetite for painting was such that she would paint a large number of uncommisioned portraits. Many still life, landscape and figure paintings including from the exhibitions were sold throughout her life.
Sale of Studio Works 2019
After the death of her husband, Greg, the executor's sale took place at Silverwoods Auction in Clitheroe, Lancs in early 2019. It is believed that all the works were sold to a single buyer. These were then split up and a number of these were sold at David Duggleby's Winter Art sale in 2019 and Spring Art sale in 2020. These were termed the "Artist's Studio Sale".
Collection of Works
In this account a collection of images of oil and acrylic paintings (including those from the Duggleby's "artist's studio" sale) has been gathered from private and public collections, but it is just a sample.
It is hoped and intended that this blog, which I aim to be a basis for a catalogue, can be improved and expanded. Better quality images may be included in the future and more information about their history and details of their subject matter, etc, as a result of information received from those who knew Olive and Greg and who sat for portraits. I shall be grateful for any information. Please see my contact details at the top of this blog.
No systematic documentation of Olive's paintings was found to exist after her death, so for a chronology I have had to rely on those paintings which were dated, information from owners, portrait subjects of the paintings and the changes in Olive's painting style in order to attribute approximate periods of time.
What follows is an attempt at a broad chronological order, though not wholly so as some paintings have been grouped by sitter or theme. As far as the abstract works are concerned, I have tried to group them into similar bands, but it is all guesswork, although one sequence is clearly derived from a physical location, Whin's Bridge. Note 3
Still Life, Landscapes, Flowers
A glance at the first exhibition catalogue in 1970 (see Appendix 1) shows that from the beginning, Olive was painting in several genres. Three examples below of a still life with flowers, a still life of "Georgian Junk" and a landscape show that Olive painted across a range of subjects while she also focussed on the development of her portrait painting.
1. Still Life (c early 60s) believed to be "Georgian Junk"
Listed as 78 below. Landscape (mid 60s) (Private collection Mrs N Shelton)
Listed as 138 below. Chrysanthemums c 1966 22" x 26" (OBP)
Portraits
In the first stages of Olive's development as a portrait painter, she was hugely keen to practise and to improve. Consequently she needed a range of models to pose for her.
4. 1960 (Nicole) (Private collection Mrs N Shelton)
The first portrait in this collection was painted well before the other three paintings featured above. It is a straight on full face pose, largely two dimensional. It shows a concentration on facial features and while it captures character, the features do not blend naturally. The artist's confidence with a range of poses was to grow swiftly and her technique to deepen perspective likewise. Sound oil painting technique and subtle use of colour were already in evidence. These would become more and more instinctive and free as Olive explored her full capability. With her early portraiture skills, Olive nonetheless creates a striking portrait.
We know that Olive painted three members of the cast of the Granada Television soap opera Coronation Street. Pat Phoenix, Doreen Keogh and Ivan Beavis were painted in 1962/63. This was at the studio address of church architect Edward Blackwell at 10a Plymouth Grove West, Manchester. I have not found images of these early portraits.
More natural formal portraits with the sitters' heads positioned at a slight angle, painted in 1964 and 1965, reveal major developments in Olive's technique some five years after the 1960 portrait above (4).
The first of these is described as Sir William Rothwell Hulton, 2nd Baronet (1868–1943) by ArtUK and Judges Lodgings where it is in the collection. However, I think this is a portrait of Sir William Rothwell Hulton's son, Sir Geoffrey Hulton (1920-1993). I base this on the date of Sir William's death (1943) when Olive was around 12 years old. A contemporary photograph of Sir Geoffrey bears a strong resemblance to the portrait. A further point is that Olive always painted from a live sitting, not from photographs. At the time of adding this portrait (September 2022), ArtUK is investigating the provenance to check the facts. The style of the portrait, dated 1964, is consistent with the following portrait of Dorothy Heap, dated 1965.
5(a) Sir Geoffrey Hulton (1920-1993) 1964
(On loan to Judges' Lodgings, Lancaster)
This portrait of Dorothy Heap (5) was donated to Touchstones, Rochdale.
5(b) Dorothy Heap 1965 Touchstones Rochdale
In 1966, a portrait of a young woman (below) shows a much more assured, freer style. Olive used to paint directly from the sitter without sketches, drawings or photographs and though she aimed for a likeness, she was always seeking to capture the sitter's personality and their character. This young woman (6) was also painted later (see number 15)
6. Gillian c1966 (Private collection Mrs G Barry)
Olive explored a range of different poses when painting her subjects .
7. Full length Portrait of Rita with cat (Ling) c1967
8.Thomas Jolliffe 1967 (Private collection Mrs N Shelton)
9. Portait of a Woman c1967
10. Portrait - Possibly "Head Study" 1970 Exhibition
Over time, Olive's style became freer and the poses and composition more adventurous.The portrait restricted to a woman's head above (10) is another development.
Olive wished to develop her skills and techniques as a portrait artist aimed at creating an accurate depiction and of charcater. At the same time, she followed a path which had been trodden by her mentor, Harry Rutherford who taught her and further back by Harry Rutherford's mentor, Walter Sickert. Indeed it goes back to Impressionist painters who sought to capture real people.
According to Harry Rutherford, Sickert encouraged his students to find models straight from their daily existence: ""The importance of depicting real people from the real world was underlined by Sickert at the second meeting of the painting school. Rutherford remembers his tutor entering the class accompanied by an elderly gentleman. When Sickert had arrived at London Road Station he noticed the old man who he decided would make an excellent model for that evening's class. The artist approached the man, gave him a pound note and took him to the Parsonage." p 151 See note 4. See also the section under portrait number 28A below.
Consequently quite a number of portraits are studies carried out not as commissions, but as explorations of character. This applies to many portraits below, for example those of Dolly, and more extensively, of Albert Bateson and of George Templeton.
11. Dolly c 1967
The portrait of Dolly above shows great confidence in the use of colour and free brushstrokes.
There follow a number of portraits from 1967 onwards. Dates, many approximate, have been added where possible. Variations in poses are again evident.
12. Portrait of an Artist - Salford Exhibition 1972 number 77 20" x 16" (OBP)
13. Dolly c 1967
14. Young Woman seated near a Window c 1967 23" x 16" on board signed (Possibly "Ellen" from 1970 exhibition. (OBP)
The portrait of the Young Woman seated Near a Window (14) above uses the silhouette approach which the artist deploys from time to time throughout her portraiture works. In this case, it achieves an effect of great sensitivity.
14a Spanish Lace c 1968/69 30" x 22" Signed
Formerly owned by Pearl Blackwell. Appeared in two exhibitions: 1970 Catalogue number 19 ; 1972 Catalogue number 15 (OBP)
15. Gillian c1967 (Private collection Mrs G Barry)
16. Artist's Husband, Greg c1967 22" x 18" (OBP)
17. Greg, Artist's husband 1968 16" x 12" (OBP)
This portrait of Greg is a much less formal painting than the previous one.
18. Dolly 1969 Probably "Dolly in Blue" 24" x 20" number 81 1972 Salford Mueum and Art Gallery exhibition (OBP)
The portrait above of Dolly (18) was painted two years later (1969) than 13 above and is a deeper study of her character. Olive often experimented with different costumes.
19 Jacqueline c 1969 Salford Museum and Art Gallery
19a. Almost certainly the same sitter as number 19
.
20. Cyrilla Jolliffe catalogued as Mrs R Jolliffe 1970 (Private collection Mrs N Shelton)
21. Paul 1970 (Private collection Mrs N Shelton)
Salford Museum and Art Gallery Exhibition (16th December 1971 - to 23rd January 1972) Catalogue number 69
22. Jenny 1970 (signed) (Private collection the Finch family)
Salford Museum and Art Gallery Exhibition (16th December 1971 - to 23rd January 1972) Catalogue number 67
22A Girl in a White Headscarf 1970 (signed)
Salford Museum and Art Gallery Exhibition (16th December 1971 - to 23rd January 1972) Catalogue number 28 (See Appendix 3)
Photo Courtesy of Capes Dunn Auctioneers
Olive originally studied textiles at the Salford School of Art and her appreciation of textures in materials shows in studies which she painted of fabrics, in interior furniture and in costumes worn by her models. The Mandarin Jacket is a notable example. Similarly, the matador's costume, (modelled by Greg) is a study of a material as well as a portrait. Olive enjoyed exploring fabrics within her portrait genre.
23. Thomas in the Mandarin Jacket, 1970 ( Salford Art Gallery 71-72 Exhibition, Catalogue number 10)
24. The Mandarin Jacket, 1970 22" x 24" (OBP)
25. The Matadors' Costume (Greg) 30" x 26"(OBP)
This painting may be a reference to Harry Rutherford's 'The Matador', 'Souvenir a Juan Belmonte'.
Freer painting technique and intense depiction of character in models featured more strongly in Olive's later portraits such as 26 below which is tightly framed, striking and luminous.
26. Portrait of a Woman 1971
27. Portrait of a Man 18" x 15" on board Signed 1971 (OBP)
28. Portrait of a Young Man 1971
28A Bert (Private Collection)
It was noted above that Harry Rutherford was almost certainly Olive's tutor at the Regional College of Art in Manchester where Olive attended portrait painting classes for a number of years in the 1950s. This was towards the latter part of Rutherford's painting career. Originally, in 1925, Harry Rutherford himself was taught by Walter Sickert, who was a leading British artist and a pupil of Degas with strong connections to the French Impressionists. Sickert had opened a class in Manchester. After a short time he handed it over to Harry Rutherford and called him, "My intellectual heir and executor".
A passage about Sickert's methods makes the following observation,
"The importance of depicting real people from the real world was underlined by Sickert at the second meeting of the painting school. Rutherford remembers his tutor entering the class accompanied by an elderly gentleman. When Sickert had arrived at London Road Station he noticed the old man who he decided would make an excellent model for that evening's class. The artist approached the man, gave him a pound note and took him to the Parsonage." p 151
Tandy V. (1986) "Harry Rutherford" in Lock, A. (ed.) Looking back at Hyde. Tameside.
The search for realism which this approach reflects is echoed in Olive Bagshaw's studies of Albert Bateson, a man encountered by chance by Greg, Olive's husband. Albert Bateson sat for many portraits. Later, George Templeton became the subject for a number of Olive's portrait studies.
Olive always spoke with great affection for and respect about Harry Rutherford, and indeed she is the subject of one of Rutherford's most well known portraits. Note 1.
Olive's husband, Greg, met Albert (below) by chance, who agreed to sit for Olive. See Appendix 3 below. She painted Albert a number of times. Ten of these studies were exhibited in her Salford Art Gallery exhibitions (Dec 1971- Jan 1972). It is notable that Olive's style became much freer and more confident in comparison with her early work.
Albert Series , c 1968
29. Albert (Albert Bateson, subject of an article in Appendix 3. A number of portraits were included in the Salford Art Gallery exhibition 1971/1972
29A Possibly Old Man reading, or Old man in a blue cap, certainly Albert Bateson. Signed and dated. May have been exhibited in Salford Art Gallery in 16th December 1971 to 23rd January 1972. Private collection.
30. Albert - 16" x 20" Possibly Man Stroking his beard Signed oil on board.(OBP)
31. Albert Signed 16" x 12" (OBP)
32. Albert Signed 30" x 22" (OBP)
33. Albert 1971 Signed (Wessex Auctions 2022)
34. Albert 1971 Signed (Wessex Auctions 2022)
35 Albert 30" x 22"(Oil on canvas) (OBP)
35A Albert 20" x 16"(OBP)
35B Albert signed 20" x 16" (OBP)
36. Old Man Reading
37. George (Bolton Road) 20" x 16"(OBP)
Two sketch portraits of the artist and her husband below are of uncertain date.
38. Self Portrait c1975 (Private Collection)
39. Greg - Artist's Husband
Additional portraits of an unknown date
40. A gentleman from Bolton 20" x 16" (OBP)
41. Retired Nurse from Manchester 16" x 22" (written on reverse canvas). Signed (OBP)
42. Young Woman sitting in a Chair 16" x 24" (OBP)
Nudes
Olive Bagshaw began to paint nude figures around 1968. There is a composition dated 1975, so it is probable that the following nudes were painted between 1968-1977. She used a small number of models and experimented with various compositions.
43. Jackie 1968 (David Duggleby Studio sale 2020)
44. Woman in a Chair c 1970-75 (David Duggleby Studio sale)
A composition including a nude figure which is only a part of an overall interior is interesting and is followed by two paintings with substantial emphasis on the interior composition, but in which the nude figure takes a more significant role and focus.
45. Female Nude by The Window
46. Female Nude by The Window
47. Woman sitting on a Bed 22" x 18" on wooden panel c1973-1975 (David Duggleby Studio sale) (OBP)
48. Woman sitting by a window with Brass Bed 20" x 16" oil on board Signed c1973-1975 Salford Museum and Art Gallery
In her later paintings of nude figures Olive took a careful account of the choice of background fabrics . Furniture fabrics were also painted with care.
49. Young woman on Chaise Longue 1 (David Duggleby Studio sale)
50. Young woman on Chaise Longue 2 Signed and
Dated 1975 12" x 20" (David Duggleby Studio sale) (OBP)
51. "Female Nude Sleeping in an Armchair" c1975 (David Duggleby Studio sale)
52. Female Nude with Oranges c 1975 (David Duggleby Studio sale)
A more impressionistic technique is used for this nude study below.
53. Sleeping Nude c1975-77 20" x 16" on board (David Duggleby Studio sale) (OBP)
Further Portraits
A portrait of Ann Cottam in 1975 (below) shows the development of Olive's technique and portrayal of character. This is arguably one of her best portraits. A black and white image is from her 1977 exhibition catalogue.
54. c 1975 Ann Cotton 20" x 16" Signed (David Duggleby Studio sale) (OBP)
54a Ann 1976 (From Salford Art Gallery Exhibition 1977)
55. Keith (Williams) 1976 (Private collection K and S Williams)
The three other male models featured below sat for Olive. She painted them a number of times. It is interesting to study the approaches which Olive took with the same model. Many others are in private collections. The ones shown below were those retained by Olive and which appeared in the studio sale after her death.
Two of the following set are dated 1976. They are probably all of George Tarleton.
56. 16" x 24" (OBP)
56a. George Tarleton 30" x 16" 1976 (name written on reverse) (OBP)
57. 24" x 16" Signed dated 1976 (OBP)
58. George Signed and dated 1976 23" X 13" (OBP)
59. George 24" x 16" Signed (OBP)
59A
Portrait of the same model smoking a pipe and wearing a buttonhole with dresser in the background. (Private collection of Vladimir Stoyanov.)
The contextualised portrait of an Old Man Peeling Potatoes (below) appears to involve the same model. This was exhibited at the 1973 exhibition at the BDP Vernon Gallery in Preston.
60. Old Man Peeling Potatoes (David Duggleby Studio sale)
61. Georgie 22" x 30" (Written on canvas) (OBP)
Three varied compositions which follow appear to use the same model which may be Mr Campbell.
62.14" x 20" (OBP)
63. 20" x 16" Signed (OBP)
64. Portrait of a Man with Journals (Mr Campbell) 24" x 20" (OBP)
The next portrait (65) has inscribed on the reverse, LSL by OB. The previous owner, Lancashire Fine Art included the following description, "We believe this is a portrait of L.S.Lowry, (it is faintly inscribed verso) whom Olive is bound to have known if not been friends with because they were both Manchester artists, active in Manchester art circles for many years and we also know that Olive definitely knew Harry Rutherford (1903-1985) another of the great northern school (Manchester) artists (who was a life-long friend of Lowrys after they met when studying art together under Valette) because he famously painted her portrait back in the 1960s and exhibited it and it is one of best remembered portraits he ever painted."
65. Portrait of L S Lowry (?) See above 18"x 22" (OBP)
A female subject is included in three studies, one unfinished.
66 Woman in a Pink Blouse (Titled 2021) (OBP)
.
67. Woman in a Green Pullover 16" x 20" (titled 2021) (OBP)
68. Woman in a Green Dress 18" x 12" Signed (Titled 2021) (OBP)
Silhouette Compositions
A silhouetted woman seated by a window was featured from 1967 (see above fig 14). Olive continued and developed the approach until 1979 when it appears that Olive took the further step of very rarely including people in her work but she focussed on flowers and her abstract work. What follows are paintings where the silhouette technique is chosen for the composition.
69. Young Woman Sewing 1975 (David Duggleby Studio sale)
70. Young Woman Reading (David Duggleby Studio sale)
71. Woman reading behind a jug of dried Honesty (David Duggleby Studio sale 2022) 20" x 14" on board (OBP)
71A Woman sewing behind a jug of Honesty (David Duggleby Sale Summer 2023)
72. Young Woman Peeling Apples (David Duggleby Studio sale)
73. Mother and Baby 20" x 16" (David Duggleby Studio sale) (OBP)
The painting of a mother and child above appears to be the same sitter from this period.
74. Ann Cotton Signed 1979 18" x 20" (OBP)
75. George 20" x 16" Canvas on board Salford Museum and Art Gallery
76. Old Man Drinking (David Duggleby Studio sale)
77. Old Man reading with a Vase of Flowers 22" x 18" (David Duggleby Studio sale) (OBP)
Later Portraits
77A. Sue Williams 1983 Signed and dated (K and S Williams Collection) A rare late portrait, a friend of the artist.
77B John Abbott 1983 Signed and dated Private Collection Abbot family
Landscapes, seascapes, flowers and still life
Olive painted landscapes, seascapes, flowers and still life subjects throughout her career until she began to paint abstracts.
One or two have been included in the earlier section on Portraiture. In the following section the works are arranged (as far as it has been possible to judge) in a chronological or style sequence. It is hoped to add locations in due course.
78 . c1967 (Also included above) Signed
78A "Winter Sunshine". 14" x 10" on board Signed. Same subject as 2 above (?) Label on reverse suggests it appeared in an exhibition. Private collection. (OBP)
78B
Signed and dated 1966 (?) Private collection P Dordi
The only example of a painting of a stream or pond known.
79. 20" x 18" Signed (OBP)
80. The Thaw, Pleasington, 1972 (BDP Exhibition 1973) (OBP)
81.
82. Signed 18" x 22" (OBP)
82A
Signed 1973 (Private collection Mr P Blackwell)
82B
December Morning Mist, 26" x 16" oil on canvas. Catalogued number 7 in Salford Museum and Art Gallery Exhibition August to September 1977 (Appendix 5)
Signed and dated 1973 (Gumtree Sales)
83.
Old Mill Botany (?) Written on reverse (Double sided with number 94) 24" x 18" (OBP)
84. 24" x 20" (OBP)
85. 20" x 24" (OBP)
86. 20" x 16" on canvas Signed (OBP)
87.20" x 16" (OBP)
88. On reverse of 93 20" x 24" (OBP)
89.22" x 26" (possibly) Barley Field Digby House Farm (OBP)
90. 20" x 26" (OBP)
91. (Pivate collection Mr J McNally)
92. Spring Blossom 22" x 18" (Titled 2021) (OBP)
93. Near Pope Farm (Written on canvas) 20" x 24" On reverse of 88 (OBP)
94. "From Mr D's Garden" written on canvas reverse. 24" x 18" Double sided with number 83. (OBP)
95. Misty Winter Landscape, Lancashire 1975 27" x 19" (OBP)
96. (possibly) Cabbage Field Croston or Cabbage Field Bretherton Signed 1973 20" x 24" (OBP)
98. 20" x 28" (OBP)
99. Breakfast in the garden 1976
100. 16" x 20" (OBP)
101. Harvest Field Signed 1976 24" x 20" (Private Collection - Don and Sue Berry)
102. Farmworkers Fencing 24" x 20" (OBP)
103. The End of the Day - signed and dated 1971 Listed Number 2 1977 Salford Exhibition with Exhibition labels verso 12" x16 " Private Collection, Mr Nick Coleman
104. Snowy Morning Marsh Lane 1977 26" x 24" (1977 Salford Exhibition)
105. Snow Covered Landscape Rivington 1977 Signed 20" x 28" (OBP)
106. Adams Hill, Winter 1978 (Salford Museum and Art Gallery)
107. Monk's Hill 1978 (Collection K and S Williams)
108 Frosty Sunrise (1977 Salford Art Gallery Exhibition catalogue)
109. (1977 Salford Art Gallery Exhibition catalogue)
110. 36" x 22" Signed 1977 (OBP)
110A Signed 24" x 14" (OBP)
110B On reverse of 97 18" x 24" (OBP)
111. 16" x 20" (OBP)
112. A Cracking Day Caught 24" x 20"(OBP)
113 24" x 18" (OBP)
Coastal/Seascape and associated Interiors
The following group is probably from around Morecambe, carried out when Olive was on holiday. For outdoor painitngs on location, Greg, her husband made a bespoke tent attached to the back of his vehicle which gave protection from the elements. Olive told me that she took her cats with her to Anglesey. Some works are painted from interiors. One is identified as Morecombe.
114. Low tide, Morecambe Bay, Lancashire 13" x 11" (OBP)
115. 18" 12" Signed (OBP)
116. 22" x 18" on board (OBP)
118. 16" x 14" (OBP)
120. Seascape, probably the North Wales Coast from Anglesey 24" x 16" (OBP)
121. (Possibly Menai Straits Storm Approaching c1977)
122. 18" x 10" Salford Museum and Art Gallery
Both the above are very probably the North Wales Coast from Anglesey. The latter (122) is an oil sketch.
123. The Little Terrace 20" x 24" (OBP)
124. 12" x 10" (OBP)
As mentioned at the start of this brief summary, Olive was inspired by the Impressionists, as Harry Rutherford had been, but particularly by Claude Monet's attempts to capture the endless changes in light in the natural environment and on water. Her seascapes were undoubtedly a challenge she anticipated with much enthusiasm. She painted seascapes in England, Wales and Scotland. See 120, 121, 122 above.
125. Rocky Seascape 1976 Probably Treadur Bay 28" x 30" Signed (OBP)
126. Treadur Bay 28" x 24" (OBP)
127 28" x 20" (OBP)
Whin's Bridge Series
The following sequence of landscapes based on the same landscape subject may be a transition point in the artist's direction when she begins to paint abstracts. Two of these paintings are dated 1978, so it is probable that they all date from that period.
128. Whin's Bridge 1978 (K and S Williams Collection)
129. 1978 Whin's Bridge with Trees Series Signed 20" x 24" (OBP)
130. Whin's Bridge with Trees Series 28" x 20" (OBP)
131. Whin's Bridge with Trees Series 24" x 16"Signed (OBP)
132. Whin's Bridge with Trees Series Signed 18" x 16"(OBP)
133. 1978 Whin's Bridge with Trees Series Signed 10" x14" (OBP)
134. Whin's Bridge with Trees Series Acrylic 24" x 18" Semi Abstract (OBP)
In the painting above, which may appear to be an unfinished representational painting of the familar subject, there may be the beginning of an exploration of motifs, which appear more strongly in the following painting.
135. 76 x 61cm (OBP)
These motifs can be found in her abstract works below including 168, 171, 180.
Flowers
Still life paintings of flowers were a major feature of the artist's life work. Flowers were included from time to time in portraits and interiors as can be seen in portraits and interiors above.
136. Still Life of Roses 20" x 18" 1965 (OBP)
137. (Chrysanthemums) Salford Museum and Art Gallery
138.Chrysanthemums in a Cream Jug 22" x 26" (Also illustrated above) Signed (OBP)
138A (1960s?) Private collection P Dordi. Photo Keith Williams
138 B Chrysanthemums Photo kindly supplied by Homeless Hounds, Dogs in Need Charity. Signed 24" x 20"
139. 20" x 30" (OBP)
140. Signed 16" x 20" (OBP)
140A Signed, date from 1960s? Private collection P Dordi. Interesting treatment of the roses' container. Photo Keith Williams.
140B Roses (Signed) Private Collection Abbot Family
141. 20" x 16" (OBP)
141A Still Life of Flowers in a Jug (David Duggelby Spring Art Sale 2021)
141 B
With kind permission from The Brian Nolan Trust Signed (top)
142. OBP)
143. 20" x 16" Signed (OBP)
144.14" x 16" (OBP)
145.20" x 24" (OBP)
146. 20" x 24" (OBP)
"Early Morning" Written on canvas
147. 23" x 18" (OBP)
148. 24" x 20" Signed (OBP)
149. 24" x 20" (OBP)
150.
151.
152. Still Life of Flowers (David Duggleby's Sale)
153 16" x 16" .(OBP)
154
155. 14" x 18" (OBP)
156. 16" x 20" (OBP)
157. 12" x 16" (OBP)
158. 16" x 20" (OBP)
Some paintings were exhibited at The Mall Galleries "Flowers and Gardens" exhibition in 1985.
159. Buttercups in the Rain signed 1983 24" x 20" (OBP)
160. c1983
161. 38" x 20" This painting is a landscape, possibly a clearing in a wood or large garden, but contains many wild flowers. (OBP)
Other Still Life Paintings
162. Still Life of fish and tomatoes (David Duggleby's sale)
162 A.
Probably Still Life with Kippers, number 42 1977 Salford Exhibition Signed and dated 1976
(Private Collection of Jane Blunt)
162B
Probably "Kippers and Carpet" catalogue number16 exhibited at Monks Hall Museum and Gallery, Eccles, May 1970. Signed and dated 1968(?) With kind permission from the Brian Nolan Trust
6 1/4" x 9 1/4" From "Still Life" group. Private Collection.
163A. Study of a Cat (David Duggleby's Sale) 12" x 16" (OBP)
Olive and her husband were very fond of cats. They usually kept several. This is the sole example which I have found. In an earlier painting (number 5) above, a siamese cat sleeps on a sitter's lap. This cat belonged to Margaret "Pearl" Blackwell, a lifelong friend of the artist and her husband until Pearl's death in 1980. Pearl Blackwell gave a great deal of support to Olive and her husband and supported a very early private exhibition of her paintings at The Limes in Didsbury around 1966.
Abstracts
Olive created a substantial number of abstract works in the later phase of her creative life. At the executor's sale in January 2019 after the death of her husband Greg, a total of 63 abstracts were listed by Silverwoods of Clitheroe. In paintings numbered 130 and 131 above there are elements which presage the change to abstract work. A painting which falls into the category of representation, being of what looks to be a reflection in a mirror of candlesticks, but could be seen as an abstract, is reproduced as the first of the abstracts, though its date is unknown.
A Commentary on the Abstracts has been written by Clive Bridger, which can be found at the end of the sequence below.
163 14 A 122 x 61 cm double sided
164 14B. 122 x 61 Double sided
165 1A 122 x 61cm double sided
166 1 B 122 x 61 cm double sided
167 24. 122 x 61 cm
168 22b 84 x 76 cm Double sided
169 22A. 84 x 76 cm Double sided
170 18. 122 x 92 cm
171 3. 152 x 92 cm
172 29. 122 x 92 cm Lot 4162
173 12. 122 x 92 cm
174 13. 122 x 92 cm
175 21 122 x 92 cm Top indicated on reverse
176 28. 153 x 92 cm Top Indicated on reverse
177 26. 91 x 61 cm
178 16. Salford Museum and Art Gallery 122 x 61 cm framed
179 8. 122 x 92 cm Lot 4161
180 5. 125 x 94 cm signed 95 lot 4159 x
181 10. 122 x 92 cm Signed Lot 4162 x 7 Silverwoods
182 25. 122 x 91 cm Highly textured
183 23. 122 x 61 cm Framed
184 9. 122 x 92 cm
185 4. 152 x 92 cm
186 2. 81 x 55 cm
187 22A. 84 x 76 cm Double sided
188 22b 84 x 76 cm Double sided
189 27. 91 x 61 cm
190 17. 122 x 92 cm
191 11. 122 x 92 cm
192 30. 122 x 61 cm
193 19A. 122 x 61 cm
193 detail 19A detail
194 20 122 x 61 cm framed
195 15. 122 x 61 cm
196 61cm x77 cm
197 (Appears as 131 in representational section above)
198 7. 122 x 92 cm
Private Collection of Jane Blunt
Commentary on the Abstracts
I am indebted to Clive Bridger, former Principal Lecturer in Art History at South Devon College who has written the following commentary on the abstracts. This is an unexplored field and so I have found Clive's comments to be extremely useful bearings and signposts to directions of further study.
"Many of the abstract works seem to take their cue from Fig 163 in being a sort of ‘plan view’ looking down on a motif. Figs 165,167,183,188,191 for instance almost seem like aerial views of settlements or field systems, or even Nazca lines. Almost all seem to stem from the ‘abstraction’ of figurative motifs, rather than pure formal invention.
Some feel in character and texture as though reductions of organic form (tree bark perhaps in
185 or
189). In one or two there is the suggestion of references to Aboriginal or pre–Columbian American figurative imagery,
Fig 152 for instance. Or perhaps even an acquaintance with the work of Dubuffet.
Fig 131 (Whin's Bridge series) would seem to be the genesis for works such as Figs 164,166,194, 195: organic plant forms in front of a generalised atmospheric space.
The textures and colours also often seem to suggest something ancient almost archaeological (cracking and peeling paintwork, the vestiges of shapes emerging from earth colours and textures).
It is an expressive and organic form of abstraction with its roots in the visible and tactile world.
The variety of approaches suggest she is searching for a method that convinces her in these works. I feel the most successful of these are those in which there is coherence between the formal shapes and the picture plane, such as 175 and particularly 178. Here the colour and formal composition seem to complement each other most successfully, but this is very subjective."
Clive Bridger, December 2020
Purpose of this record
The aim of this blogged record and brief biography is to enlarge the wider public's understanding and appreciation of Olive Bagshaw's work. The quality of some images included is not good, but they are included until better ones become available.
If an owner of an Olive Bagshaw painting would like to have a work by Olive Bagshaw added to this record and made publicly available for the enjoyment of the general public through this record, please get in touch with me as I shall be very happy to include it. Similarly, if you have any information which you think might add to the usefulness of this blog, please let me know. See the end of this blog.
Appendix 1
Exhibition May 1970, list of exhibits. Monks Hall Museum and Gallery, Eccles, May 1970
No Title Price
1. Chrysanthemums 60 gns
2. Forty Winks 30
3. Boots No 1 18
4. Self Portrait NFS
5. William Bromilow Esq NFS
6. Georgian Junk 30
7. Mrs N Sandeman-Allen NFS
8. White Roses 25
9. 18
10. September 30
11. Bottles 25
12. Jacqueline 20
13. Copthurst in Winter 25
14. Miss Melleta Wilson NFS
15. Vegetables 35
16. Kippers and Carpet 35
17. Mr C. 35
18. Yellow Rose 20
19. Spanish Lace 150
20. The Pink Hat 35
21. Mrs R Jolliffe NFS
22. Greg NFS
23. Head Study 15
24. Ellen 20
25. Mrs G Bromilow NFS
26. Bottle and Fruit 15
27. Boots No 2 35
28. Charles Drapkin Esq NFS
29. Man with Pipe 30
30. Thomas Jolliffe NFS
31. Study in Light 30
32. Dolly NFS
33. Hydrangea Plant 12
34. Mrs N Holt NFS
35. Tractor in the Mist 18
36. Old Bill's Stool 25
Accompanying text: Miss Bagshaw was born in Salford and received her formal art trainng at Salford and Manchester Art Schools. She is now in her thirties, an accomplished portrait painter with the unique ability to portray character.
Her work has been accepted regularly at the Royal Society of Portrait Painters, and for the past four years, "hung on the line".
Miss Bagshaw has also had her work accepted and hung at the Royal Academy, Royal Institute of Oil Painters and the Federation of British Artists.
While she is first and foremost a portrait painter, she also enjoys other subjects which her impressionistic technique lends itself to most successfully.
Appendix 2 Review
Daily Telegraph Review
Appendix 3
Exhibition Salford Art Gallery in 16th December 1971 to 23rd January 1972
Manchester Evening News January 24th 1972
Appendix 4
BDP Vernon Gallery Preston June 1973
Appendix 5
5 a
City of Salford Museum and Art Gallery 1977 August to September
5b Press Cutting related to the exhibition
Whatever the weather Olive is out of doors
Capturing
Thanks to Nick Coleman who supplied this cutting. Probably from the Manchester Evening News.
Notes
* Thanks are due to Jeremy Parrett the Archivist at MMU who was able to verify Olive Bagshaw's attendance at the Regional College of Art.
** Also many thanks to Peter Ogilvie, Collections Manager for Salford Art Gallery for a copy of the 1971-1972 Exhibition catalogue.
1. Portrait of Olive Bagshaw by Harry Rutherford, one of his most well known paintings.
2. Letter to the author.
3. The extensive local knowledge of Keith Williams has proved invaluable. He and his wife were also friends of Olive and Greg.
4.Tandy V. (1986) "Harry Rutherford" in Lock, A. (ed.) Looking back at Hyde. Tameside.
Repeated from above: It is hoped and intended that this blog can be improved and expanded. Better quality images may be included in the future and more information about their history and details of their subject matter, etc, as a result of information received from those who have knowledge of her work, who sat for portraits or indeed knew Olive and Greg personally. I shall be grateful for any information which I shall treat confidentially.
Please email me at: tbjolliffe@gmail.com
All comments are welcome.
Tom Jolliffe December 2020
Olive Bagshaw, circa 1967
Copyright
Images
I have sought to record image copyright where I have been able to find it. Please let me know if you own copyright on images which is not credited. I shall be happy to record it or remove the image if you wish.
Artist's Copyright
Please note: To date, I have not been able to establish who holds Artist's Copyright for Olive Bagshaw's works reproduced in this blog. Currently, the provisions of Non Commercial Use are intended to apply. This blog is not monetized and its purpose is informational. Please let me know if you have any information about the artist's copyright. Contact details are to be found at the beginning of this blogpost.
164 14B. 122 x 61 Double sided
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