My email address is: tbjolliffe@gmail.com
Message to Kate: Would Kate who posted a comment on the main blog please contact me?
Abstracts
The comprehensive blog covering all Olive Bagshaw's oeuvres may be found here 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 131in the main blog 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.
A full biography of Olive Bagshaw appears at the end of this blog. Her works in other genres may be found in different blogs.
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 (Now 168 above)
188 22b 84 x 76 cm Double sided (Now 169 above)
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
199 122 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
The comprehensive blog covering all Olive Bagshaw's oeuvres may be found here
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 131in the main blog 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.
A full biography of Olive Bagshaw appears at the end of this blog. Her works in other genres may be found in different blogs.
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 (Now 168 above)
188 22b 84 x 76 cm Double sided (Now 169 above)
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
199 122 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."
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.
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.
Please refer to notes about copyright and Artist's copyright at the end of this blog.
My email address is: tbjolliffe@gmail.com
Message to Kate: Would Kate who posted a comment on the blog please contact me?
Comments
Comments are welcome. However I am unable to reply to anyone directly from a comment. Please use the email address above to send a message to me if you wish me to respond directly to your comment.
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.
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
