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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Nov 15, 2011 | Bonhams | Knightsbridge | Modern Pictures | 226 | $****** - ****** | Portait of Heather Bolton |
paintings
32 x 26 cm (12.6 x 10.24 in)
oil on board
Acquired directly from the artist by the family of the present owner
Private Collection, U.K. The painting was made during the artist's penultimate year at St. Martin's where he was a student from 1957-1961, having painted prolifically for much of his three years on military service in Germany in the mid 1950s. Here he was invited to study perspective, architecture and wood engraving as well as painting. Under the tutelage of Rowland Vivian Pitchforth R.A. in particular, whose excellence as a teacher impressed him greatly, and Archibald Ziegler, he was directed initially to develop his technical acumen in composition using figures and still life groups, then encouraged to work directly with oil paints, experimenting with thin glazes then for a time with household emulsion paint and egg tempera. Many contemporaries experimented in what Ingham observed as mutations of British social realism which he regarded as a trap that confused their nascent cultural experience with the necessary disciplines that this formative education provided. Here he was able to use the formal aspects of his apprenticeship to bring greater self-expression to his work to accompany his emergent flair for undertaking detailed topographical subjects - clearly evident in this painting. The depicted landscape is an amalgam of different architectural influences, including the red and white-striped building to the right that may recall the building at Elephant and Castle, subject of a subsequent painting exhibited at the Royal Academy, and in the left background, possibly Hawksmoor's church at Spitalfields. Ingham became familiar with the area of Spitalfields and Stepney in the 1960s and early 1970s, living and working in studios in Fournier Street, and in Hanbury Street where he worked in a silk weaver's workshop looking out over Christ Church Spitafields which he described as the best view in London. We are grateful to Francis Graham-Dixon and Joss Wynn Evans for their assistance in compiling this catalogue entry.
