Sculpture Prints and Drawings Price List.Indd

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Sculpture Prints and Drawings Price List.Indd

GALLERY PANGOLIN Sculptors’ Prints & Drawings 2016 Autumn Series No. 27 Magnum Series 1 Megalopolis Contact! Anthony Abrahams Anthony Abrahams Anthony Abrahams Anthony Abrahams iprint iprint iprint iprint Edition of 2 Edition of 2 Edition of 3 Edition of 3 £275 £600 £700 £700 Three Dancers Untitled 1972 Family going for a Walk Nude Study 18 Harold Ambellan Kenneth Armitage 1951 John Bridgeman Silkscreen Lithograph Kenneth Armitage Pencil Edition of 80 Edition 37/200 Lithograph Unique £400 £2000 Edition 11/24 £665 £4500 Nude Study 12 Figure/Head 1963 Seated Queen 1962 Black Wings, Red Fields John Bridgeman Ralph Brown Ralph Brown Jon Buck Pencil Drawing Drawing Woodblock Print Unique Unique Unique Edition of 10 £665 £2400 £4000 £635 9 Chalford Ind. Estate Chalford Stroud GL6 8NT England T: 0044 (0) 1453 889765 F: 0044 (0) 1453 889762 E: [email protected] Rainbird Sign Language Figure with English Tower Two 1968 Jon Buck Jon Buck Newspaper 1955 Reg Butler Woodblock Print Woodblock Print Reg Butler Lithograph Edition of 10 Edition of 10 Lithograph Edition 57/65 £635 £635 Edition 10/20 £1200 £3600 Teddy Boy & Girl Winged Girl Watcher 1960 Winged Figure 1957 Lynn Chadwick Lynn Chadwick Lynn Chadwick Lynn Chadwick Lithograph 2013 series Lithograph 2013 series Ink, wash & wax resist Ink, wash & wax resist Edition of 60 Edition of 60 Unique Unique £1200 £1200 £9000 £9000 Dancing Figures 1957 Figure II (Trig) 1966 Sitting Girl in Robes Father, Mother & Children Lynn Chadwick Lynn Chadwick Lynn Chadwick January 1950 Ink Lithograph Lithograph 2013 series Geoffrey Clarke Unique Edition 27/50 Edition of 60 Etching £9000 £1200 £1200 Edition 9/25 £1450 Landscape, Death of a Goat I Goat II Chough Flower, January 1951 Terence Coventry Terence Coventry Terence Coventry Geoffrey Clarke Lithograph Lithograph Lithograph Etching Edition of 25 Edition of 25 Edition of 18 Edition 17/50 £570 £570 £550 £1344 Swifts II Gutted Deep Blue Charcoal Head Terence Coventry Abigail Fallis Abigail Fallis Sue Freeborough Drawing Photo-montage Photo-montage Charcoal Unique Edition of 30 Edition of 30 Unique £2250 £350 £350 £600 Spaceman 1960 Untitled 1960 Untitled Untitled 07 Elisabeth Frink John Hoskin John Hoskin Jeff Lowe Charcoal Gouache Gouache Woodblock Unique Unique Unique Unique £8000 £2800 £2800 £650 Untitled 054 Rider on Black Ground Two Acrobats with Bird 2 1956 Jeff Lowe 1956 Horse 1955 Bernard Meadows Woodblock Marino Marini Marino Marini Pencil & wash Unique Lithograph Lithograph Unique £650 11/50 27/50 £1500 £4800 £4800 Group of Figures 1963 Black Spots Sap River I Sap River II Henry Moore Breon O’Casey Peter Randall-Page Peter Randall-Page Lithograph Etching Silkscreen Silkscreen Edition 1/65 Edition 9/10 Edition of 10 Edition of 10 £2500 £875 £550 £550 Peep Show I Peep Show II Ten Variations 1968 Lorraine Robbins Lorraine Robbins William Tucker Drypoint Drypoint Set of 10 Collage Prints Edition of 5 Edition of 5 Signed A/Ps outside £200 £200 the edition of 8 £3500 set of 10 NB. ALL PRICES INCLUDE FRAMING AND VAT AT 20%.

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Artists' Lives
National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS
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THE ART of LIVING Marianka Swain Shares Her Capital Cultural Highlights
THE ART OF LIVING MARIANKA SWAIN SHARES HER CAPITAL CULTURAL HIGHLIGHTS PICK OF THE MONTH DON’T MISS PUBLIC DISPLAY MODERN MASTER How often do you walk past a piece of art without Historic England has taken action by listing 40 giving it a second glance? A new Historic England pieces, which should demonstrate the value of such exhibition at Somerset House aims to change that by art to councils and developers. “There are sculptors highlighting exceptional public work created between like Anthony Gormley who would love more public 1945 and 1985 by artists like Barbara Hepworth, platforms if the commissions were there,” notes Sarah. Henry Moore, Geoffrey Clarke and Elisabeth Frink – much of which has since disappeared, explains She hopes the exhibition, which features drawings, curator Sarah Gaventa. maquettes, letters and photographs as well as large- scale pieces, opens our eyes to such art. “There’s “We’re desperately trying to track these pieces down, a Barbara Hepworth Winged Figure off Oxford and leads are still coming in. There’s actually a wall Street ignored by a million people every day. Let’s in the exhibition with descriptions of lost art, like the appreciate how much this work enriches our lives, missing cat posters stuck on trees. This is our – the because it might not be there if we don’t.” nation’s – collection, but unless we all get involved, we’re in danger of losing even more of it.” OUT THERE: OUR POST-WAR PUBLIC ART The post-war period was extraordinarily democratic, TO APRIL 10 notes Sarah, with local authorities regularly commissioning art to go with new structures like hospitals.
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Sculptors' Jewellery Offers an Experience of Sculpture at Quite the Opposite End of the Scale
SCULPTORS’ JEWELLERY PANGOLIN LONDON FOREWORD The gift of a piece of jewellery seems to have taken a special role in human ritual since Man’s earliest existence. In the most ancient of tombs, archaeologists invariably excavate metal or stone objects which seem to have been designed to be worn on the body. Despite the tiny scale of these precious objects, their ubiquity in all cultures would indicate that jewellery has always held great significance.Gold, silver, bronze, precious stone, ceramic and natural objects have been fashioned for millennia to decorate, embellish and adorn the human body. Jewellery has been worn as a signifier of prowess, status and wealth as well as a symbol of belonging or allegiance. Perhaps its most enduring function is as a token of love and it is mostly in this vein that a sculptor’s jewellery is made: a symbol of affection for a spouse, loved one or close friend. Over a period of several years, through trying my own hand at making rings, I have become aware of and fascinated by the jewellery of sculptors. This in turn has opened my eyes to the huge diversity of what are in effect, wearable, miniature sculptures. The materials used are generally precious in nature and the intimacy of being worn on the body marries well with the miniaturisation of form. For this exhibition Pangolin London has been fortunate in being able to collate a very special selection of works, ranging from the historical to the contemporary. To complement this, we have also actively commissioned a series of exciting new pieces from a broad spectrum of artists working today.
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City Research Online
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
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Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow
CONTENTS 6 28—29 Foreword SOS – Save Our Sculpture 8—11 30—31 Brave Art For A Brave New World Out There Now 12—15 32—33 Harlow Sculpture Town Get Involved 16—17 34 Art For The People Acknowledgements 18—19 Private Public Art 20—21 City Sculpture Project All images and text are protected by copyright. No part of this book may be reprinted or reproduced 22—23 in any form or by any electronic means, without written permission of the publisher. © Historic England. Sculpitecture All images © Historic England except where stated. Inside covers: Nicholas Monro, King Kong for 24—27 the City Sculpture Project, 1972, the Bull Ring, Our Post-War Public Art Birmingham. © Arnolfini Archive 4 Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow Out There: Our Post-War Public Art 5 FOREWORD Winston Churchill said: “We shape our buildings and afterwards our buildings shape us”. The generation that went to war against the Nazis lost a great many of their buildings – their homes and workplaces, as well as their monuments, sculptures and works of art. They had to rebuild and reshape their England. They did a remarkable job. They rebuilt ravaged cities and towns, and they built new institutions. From the National Health Service to the Arts Council, they wanted access-for-all to fundamental aspects of modern human life. And part of their vision was to create new public spaces that would raise the spirits. The wave of public art that emerged has shaped the England we live in, and it has shaped us.
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In a M Ed Ieval Space
ARK IN A MEDIEVAL SPACE SCULPTURE EXHIBITION at Chester Cathedral Education partner MODERN ART EXHIBITION CURATED BY GALLERY PANGOLIN 7 July - 15 October 2017 Chester Cathedral’s historic interior is an atmospheric and creative space. It will provide a fascinating and accessible context for viewing world-class sculpture as part of the ARK exhibition. The cathedral is the largest exhibition space within Chester. The largest FREE TO ENTER contemporary and modern sculpture exhibition to be held in the north west of England. ARK will feature 90 works of art by more than 50 celebrated sculptors, including Damien Hirst, Antony Gormley, Lynn Chadwick, Barbara Hepworth, Sarah Lucas, David Mach, Elisabeth Frink, Eduardo Paolozzi, Kenneth Armitage and Peter Randall-Page. AN EXCITING INTERNATIONAL ART EVENT & YOU CAN BE PART OF IT ARK is for everyone. For those new to sculpture and for aficionados. For adults and for children. For families. For you. We will be running an education programme alongside our exhibition. Join us for masterclasses, lectures and workshops for all ages. ARK SCULPTURE EXHIBITION Artists at Chester Cathedral Several sculptors will be showing brand new works of art whilst some will be on loan from private collections. It will be the first time these pieces have been seen together. ANTHONY ABRAHAMS ANN CHRISTOPHER ANTHONY ABRAHAMS ANN CHRISTOPHER KENNETH ARMITAGE GEOFFREY CLARKE KENNETH ARMITAGE GEOFFREY CLARKE BAILEY MICHAEL COOPER BAILEY MICHAEL COOPER BRUCE BEASLEY TERENCE COVENTRY BRUCE BEASLEY TERENCE COVENTRY NICK BIBBY
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Geoffrey-Clarke-Catalogue-Email.Pdf
PANGOLIN GEOFFREY CLARKE A DECADE OF CHANGE LONDON 1 INTRODUCTION Geoffrey Clarke was a pioneer in a golden age of British sculpture. A pioneer because of his fearless experimentation with new materials and processes and a golden age because sculpture in Post-War Britain had never been so exciting. Not only had Henry Moore successfully established an international platform for British sculptors, but there was an important step change in the approach to new materials; an abundance of top quality sculpture exhibitions and a bountiful wave of public commissions, all of which proved the perfect melting pot for sculpture. With an artist’s natural inquisitiveness Geoffrey Clarke adapted his working methods to accommodate new projects and ideas, tirelessly exploring a broad range of materials and perfecting new techniques. As this exhibition highlights, Clarke never lost sight of his visual language despite experiments in scale or material, rather his carefully considered line, bold form and delicate surface textures were the constant whatever the medium. As one of the last remaining artists from the eminent group of young sculptors that exploded on to the scene at the 1952 Venice Biennale, we are honoured to host this exhibition. It is as a celebration of an immensely fertile period in Geoffrey Clarke’s oeuvre and we hope that it brings to life the sculptural zeitgeist that influenced a momentous age. Polly BIeleCkA Pangolin london Man 1954, Iron Unique 28.5 cm high 2 3 MaterIAl sHIFTs By JUDITH leGroVe ike Primo levi’s Periodic Table, Geoffrey Clarke’s life can be mapped lthrough materials: glass, iron, bronze, aluminium, polystyrene, silver, wood.
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PARALLEL LINES: Drawing and Sculpture 22 June – 25 August 2019
PARALLEL LINES: Drawing and Sculpture 22 June – 25 August 2019 Barbara Hepworth (1903 – 1975), Sculpture with Colour and Strings, 1939 – 1961 © Bowness Large print gallery guide © The Lightbox No part of this document may be reproduced in whole or in part in any manner without the permission of the copyright owner. Please do not remove from the Gallery. The Ingram Collection Working in partnership with galleries, innovative spaces and new artistic talent, The Ingram Collection brings art to the widest possible audience. The Ingram Collection is one of the largest and most significant publicly accessible collections of Modern British Art in the UK, available to all through a programme of public loans and exhibitions. Founded in 2002 by serial entrepreneur and philanthropist Chris Ingram, the collection now spans over 100 years of British art and includes over 600 artworks. More than 400 of these are by some of the most important British artists of the twentieth century, amongst them Edward Burra, Lynn Chadwick, Elisabeth Frink, Barbara Hepworth and Eduardo Paolozzi. The main focus of the collection is on the art movements that developed in the early and middle decades of the twentieth century, and there is a particularly strong and in-depth holding of British sculpture. The Ingram Collection also holds a growing number of works by young and emerging artists, and in 2016 established its Young Contemporary Talent Purchase Prize in order to celebrate and support the work and early careers of UK art school graduates. The Royal Society of Sculptors The Royal Society of Sculptors is an artist led membership organisation.
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ROBERT ADAMS (British, 1917-1984)
ROBERT ADAMS (British, 1917-1984) “I am concerned with energy, a physical property inherent in metal, [and] in contrasts between linear forces and masses, between solid and open areas … the aim is stability and movement in one form.” (R. Adams, 1966, quoted in A. Grieve, 1992, pp. 109-111) Robert Adams was born in Northampton, England, in October 1917. He has been called “the neglected genius of post-war British sculpture” by critics. In 1937, Adams began attending evening classes in life drawing and painting at the Northampton School of Art. Some of Adam’s first-ever sculptures were also exhibited in London between 1942 and 1944 as part of a series of art shows for artists working in the Civil Defence, which Adams joined during the Second World War. He followed this with his first one-man exhibition at Gimpel Fils Gallery, London, in 1947, before starting a 10-year teaching career in 1949 at the Central School of Art and Design in London. It was during this time that Adams connected with a group of abstract painters – importantly Victor Pasmore, Adrian Heath and Kenneth and Mary Martin – finding a mutual interest in Constructivist aesthetics and in capturing movement. In 1948, Adams’ stylistic move towards abstraction was further developed when he visited Paris and seeing the sculpture of Pablo Picasso, Julio Gonzales, Constantine Brancusi and Henry Laurens. As such, Adams’ affiliation with his fellow English carvers, such as Henry Moore and Barbara Hepworth, extended only as far as an initial desire to carve in stone and wood. Unlike his contemporaries, Adams did not appear to show much interest in the exploration of the human form or its relationship to the landscape.
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Exorcising the Fear British Sculpture from the 50S & 60S
FOR IMMEDIATE RELEASE Exorcising the Fear British Sculpture from the 50s & 60s Private View: Tuesday 10 th January, 6 – 8pm 11 th January – 3 rd March 2012 Taking the sixtieth anniversary year of the XXVI Venice Biennale of 1952 as its starting point, Exorcising the Fear will explore a pivotal point in the history of British sculpture. Returning to the essay by Herbert Read which left an indelible mark on the history of art with the phrase ‘the geometry of fear’, the exhibition aims to recapture the excitement and vitality of the moment when eight young British sculptors – Robert Adams, Kenneth Armitage, Reg Butler, Geoffrey Clarke, Lynn Chadwick, Bernard Meadows, Eduardo Paolozzi and William Turnbull - burst onto an international scene and jump started a chain reaction that brought about a crucial sculptural renaissance in the history of British sculpture, the impact of which can still be felt today. Kenneth Armitage, Model for Krefeld Monument , 1956 Pangolin London are delighted to be able to show three rare works that are particularly closely related to those exhibited at the biennale (Lynn Chadwick’s Bull Frog , Reg Butler’s Young Girl and Geoffrey Clarke’s Man ) along with a superb collection of further works chosen for their direct relationship with those on display in Venice. The exhibition will include another rare Lynn Chadwick entitled Beast , which has not been seen in public since the 1950s. The work is over two metres high and made from welded iron and glass. Other highlights in the exhibition include Eduardo Paolozzi’s 1957 bronze Frog Eating a Lizard and William Turnbull’s minimal bronze with green patina on stone base, entitled Strange Fruit .
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Artists' Lives
National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: interviews complete and in-progress (at January 2017) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR DENIS BOWEN ANGELA CONNER IVOR ABRAHAMS FRANK BOWLING MILEIN COSMAN NORMAN ACKROYD ALAN BOWNESS STEPHEN COX NORMAN ADAMS IAN BREAKWELL TONY CRAGG ANNA ADAMS GUY BRETT MICHAEL CRAIG-MARTIN CRAIGIE AITCHISON STUART BRISLEY JOHN CRAXTON EDWARD ALLINGTON RALPH BROWN DENNIS CREFFIELD ALEXANDER ANTRIM ANNE BUCHANAN CROSBY KEITH CRITCHLOW RASHEED ARAEEN STEPHEN BUCKLEY VICTORIA CROWE EDWARD ARDIZZONE ROD BUGG KEN CURRIE DIANA ARMFIELD LAURENCE BURT PENELOPE CURTIS KENNETH ARMITAGE ROSEMARY BUTLER SIMON CUTTS MARIT ASCHAN JOHN BYRNE ALAN DAVIE FRANK AVRAY WILSON SHIRLEY CAMERON DINORA DAVIES-REES GILLIAN AYRES KEN CAMPBELL AILIAN DAY WILLIAM BAILLIE STEVEN CAMPBELL PETER DE FRANCIA PHYLLIDA BARLOW CHARLES CAREY ROGER DE GREY WILHELMINA BARNS- NANCY CARLINE JOSEFINA DE GRAHAM ANTHONY CARO VASCONCELLOS WENDY BARON FRANCIS CARR TONI DEL RENZIO GLENYS BARTON B.A.R CARTER RICHARD DEMARCO
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Catalogue for Website.Indd
Cast in a Different Light: George Fullard and John Hoskin 2013 Introduction We follow with our eyes the development of the physical fact of a clenched hand, a crossed leg, a rising breast…until at the moment of recognition we realize that all this and more lies behind and makes up the reality of one woman or child during one second of their lives. And in this human tender sense, I would say that Fullard is one of the few genuine existentialist artists of today. He opens up for us the approach to and from the moment of awareness. John Berger on George Fullard, 1958 ¹ Vital and original…being a very distinct personality, he belongs to the animistic or magical trend in the now recognisable school of English sculpture. Herbert Read on John Hoskin, 1961 ² Woman with Earrings 1959 George Fullard Pencil At first glance, the artists featured in Cast in a Different Light have a good deal in common. Born in the early 1920s, they were both on active war service (Fullard in North Africa and Italy, Hoskin in Germany) and went on to make sculpture the focus of their creative practice. During the war years and immediately after, Henry Moore’s work attracted extraordinary international critical acclaim and, along with a generation of young sculptors, Fullard and Hoskin became part of what critics called the ‘phenomenon’ of postwar British sculpture.3 Through the 1960s, they both showed in gallery exhibitions such as the Tate’s British Sculpture in the Sixties (1965) and their work reached new audiences in the Arts Council’s iconic series of open-air sculpture exhibitions which toured public spaces and municipal parks up and down the country.
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