Phelan Gibb (Henry William 1870-1948). Composition, oil on card, signed ‘Phelan Gibb' lower left, 28.5 x 33.5 cm (11 1/4 x 13 1/4 ins), gilded wood frame, with typewritten label to verso 'Collection of Derwent Wise Phelan Gibb 1870-1948. Abstraction-probably about 1945. This painting was acquired from Mr. Michael Dawson. It had been given to him by Lucy Wertheim during a period when he worked in her Gallery. She represented his work in her Galley and also was an author of a biography of Phelan Gibb', with additional handwritten inscription by Michael Dawson to the label, dated 23 iv 05', frame 45 x 49.5 cm (Quantity: 1) Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson. According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'. Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).
Phelan Gibb (Henry William 1870-1948). Composition, oil on card, signed ‘Phelan Gibb' lower left, 28.5 x 33.5 cm (11 1/4 x 13 1/4 ins), gilded wood frame, with typewritten label to verso 'Collection of Derwent Wise Phelan Gibb 1870-1948. Abstraction-probably about 1945. This painting was acquired from Mr. Michael Dawson. It had been given to him by Lucy Wertheim during a period when he worked in her Gallery. She represented his work in her Galley and also was an author of a biography of Phelan Gibb', with additional handwritten inscription by Michael Dawson to the label, dated 23 iv 05', frame 45 x 49.5 cm (Quantity: 1) Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson. According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'. Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).
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