Private Collection, United Kingdom
Buy with confidence: our assurance to you
Professional Associations
We have built up a strong reputation for the quality of the paintings, drawings and sculpture that we curate, exhibit and sell. Our professional associations with bodies such as The British Antique Dealers’ Association (BADA) and the Association of Art & Antique Dealers (LAPADA) are as a result of our reputation for integrity, our wide knowledge of fine arts and the high quality of our stock. Our business standards and expertise are reviewed regularly to adhere vigorously to enforced Codes. Our memberships and commitment to its Code of Conducts gives our buyers confidence when purchasing a work from us.
Authenticity
Condition reports and certificates of authenticity vary in their nature by artwork, for more information on your pieces of interest, please enquire with the gallery.
Artwork images
We take pride in the attention we give to our images of the artworks for purchase and invest in these to ensure outputs are aligned as closely as possible to the item in reality. We do not apply filters or modify images, we provide high-quality images to reflect the high quality of our artworks.
Your purchase process
Payment processing – You can be assured that payments are securely processed through Stripe’s trusted payment gateway.
The Trinity House promise to you
Shipping and packaging
Shipping and packaging requirements are assessed per piece to ensure the most suitable protection for the artwork. Trinity House will therefore call following purchase to agree the recommendations and costs.
Our After Sales services
We offer the following services which we will be happy to discuss with you following your purchase, alternatively, you can enquire for more information.
Insurance
We offer insurance appraisals to protect your prised artwork and help you find the right cover and policy for you.
Framing
We are able to advise on framing and have access to every type and style to suit any artistic period or room setting.
Conservation
The nature of the materials involved in a painting mean that on occasion some pieces are susceptible to movement and the effects of natural ageing. We are able to provide advice on practical measures to conserve the original condition of a piece and have relationships with restorers and framers to offer you a range of services to meet your needs.
Born in 1915 in Methil, Fife, William Gear was the son of a coalminer.
He won scholarships to Edinburgh College of Art (1932-6) and the University of Edinburgh (1936-7) where his studies included art history with David Talbot Rice, the eminent Byzantine scholar.
Between 1937 and 1938 Gear travelled on a scholarship and spent five months in Paris as a pupil of Fernand Léger. In 1940 he was called up and posted to the Royal Corps of Signals. He served in Egypt, Palestine, Cyprus and Italy and consistently managed to paint and exhibit first in Jerusalem and then in Florence. In 1945 he volunteered to serve in Germany and was posted to the Monuments, Fine Art and Archives Section of Allied Control Commission with the rank of major.
By 1947 he was back in Paris and it was during this time that Gear established his more progressive credentials, when he became involved with CoBrA, a European avant-garde art movement. Made up of artists from across Europe who favoured spontaneity and experimentation, the group were united in their pursuit of complete freedom and form, as they searched for new modes of expression to fit with their expectations of life post-war. He was one of only two British artists to take part in the CoBrA exhibition at the Stedelijk Museum, Amsterdam in 1949. In 1958, Gear was appointed curator of Towner Art Gallery in Eastbourne which he left in 1964 when he was appointed Head of the Faculty of Fine Art at the Birmingham College of Art, where he remained until he retired in 1975. In this period, Gear painted dynamic, diagonal black armatures against vibrant detonations of colour, perfecting a new, thrilling evocation of light pulsing through foliage. Towards the end of his life, Gear’s critical reputation was reinvigorated when an exhibition of CoBrA work revived interest in the movement, offering a variety of exhibition opportunities for Gear, one of only two British artists’ featured in the retrospective. He died in 1997 at the age of 83.
