Beach, Flagpole Sketch, pencil & watercolour, 4'' x 6'', £360
Toppesfield Landscape II, Watercolour, 6'' x 9'', £650
Landscape near Corfe, Watercolour, 7'' x 6'', £585
Grey Landscape, Watercolour, 5'' x 4'', £350
Bracken, 1967, Oil on canvas, 44'' x 34'', £16,750
Sketch for Golfers in the Rain, Watercolour, 9'' x 11'', £850
Aldeburgh Beach Flagpole, pencil & watercolour, 4'' x 6'', SOLD
Grey Window Toppesfield, Watercolour, 11'' x 11'' , SOLD
Snow on the Beach, Oil on board, 9'' x 11'', SOLD
Garden Scene with a Music Stand and Recorder, Oil on canvas, 22" x 30", SOLD
Golfers in the Rain II, Oil on canvas, 20'' x 25'', SOLD
Grazing Sheep, pencil and watercolour, 3'' x 5'', SOLD
Hills from Terrace, Watercolour, 6'' x 9'', SOLD
Pale Grey Vase on Windowsill, Watercolour, 6'' x 5'', SOLD
Carafe and Mug, Oil on canvas, 20" x 22", SOLD
1900 - 1981
Born Mary Attenborough in Beckenham she upset her parents by choosing painting from her many talents. Whilst at the Slade she was awarded first prize for portrait painting and a place in a New English Art Club exhibition. She then decided she was working to a formula and ceremonially burned all her portraits.
Mary later married writer Stephen Potter and with two children continued to paint as she wished. It was while living by the Thames in Chiswick from 1927 that she began to dabble with the watery vision which she would explore for the rest of her life. An early member of the London Group Mary Potter also showed allegiance to the Seven and Five Society.
In 1951 the Potter family moved to Aldeburgh and it was this Suffolk fishing town that was to provide the inspiration for her finest art. After her divorce in 1955 her great friendship with the founders of the Aldeburgh Festival, Benjamin Britten and Peter Pears led to them swapping houses for six years. So she could paint overlooking the sea from Crag House.
During her isolation, with only holiday and occasional visits from artists such as John Piper, Prunella Clough and Sidney Nolan she pared down her vision, thinning her paint, blurring outlines and abolishing the horizon line and painted to ever greater acclaim.
Kenneth Clarke’s conclusion that her paintings are “enchanting moments of heightened perception”, should stand as her epitaph.