Sculpture in the Home Inventory

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Sculpture in the Home List of works Hillestak desk 1951 Designed by Robin Day for S. Hille & Co Hillestak chair 1951 Designed by Robin Day for S. Hille & Co ‘Versalite’ desk lamp 1947 Designed by A. B. Read for Troughton & Young Ltd Side chair c.1950 Designed by Howard Keith for H K Furniture Ltd Boomerang table c.1950 Designed by Robin Day for S. Hille & Co Nest of tables c.1950-55 Designed by W.H. Russell for Gordon Russell Ltd Textile 1953-54 Designed by Terence Conran for David Whitehead Ltd Reg Butler (1913-1981) Head 1948-49 Forged and welded iron Gertrude Hermes (1901-1983) Frog 1926 Bronze Helen Meyer (b.1930) Seated Dancer 1951 Bronze Rosemary Young (b.1930) Girl Drying Her Foot 1954 Bronze Armchair c.1956 Manufactured by Beresford & Hicks ‘Cloud table’ 1947 Designed by Neil Morris for H. Morris & Co Ltd Sourced for the exhibition by Philip Sharratt of Two Columbia Road, London Rocking chair 1948 Designed by Ernest Race for Ernest Race Ltd Exact modern re-issue by Retrouvius, London Helix sideboard 1949-50 Designed by David Booth and Judith Ledeboer for Gordon Russell Ltd Table lamp 1951 Designed by Paul Boissevain for Merchant Adventurers of London Textile, ‘Tickertape (grey)’ 1953 Designed by Lucienne Day for Heal & Son Ltd Barbara Hepworth (1903-1975) Single Form 1937 Holly wood Dora Gordine (1906-1991) Child with Pigtail 1945 Green bronze Trevor Tennant (1900-1980) Turning Figure c.1950 Bronze Charles Wheeler (1892-1974) Bust of Carol Rosemary Wheeler 1927 Gilt bronze Alan Coleman (1919-1998) Dove Early 1950s Wood Dining table and chair c.1949-50 Designed by David Booth and Judith Ledeboer for Gordon Russell Ltd Bookcase c.1950-55 Designed by Neil Morris for H. Morris & Co Ltd Textile 1952 Designed by Marion Mahler for David Whitehead Ltd Eduardo Paolozzi (1924-2005) Two Gulls and a Fish 1946 Watercolour and gouache on paper Robert Clatworthy (b.1928) Cat 1954 Bronze John Skeaping (1901-1980) The Violin 1932 Hardwoods John Skeaping (1901-1980) Antelope 1920s Chalk on paper Daphne Hardy Henrion (1917-2003) Mother and Child 1954 Stone Henry Moore (1898-1986) Rocking Chair No.2 1950 Bronze Trevor Tennant (1900-1980) Figure Group: Two Women and a Child 1946 Terracotta Frank Dobson (1886-1963) Mother and Child 1954 White marble Henry Moore (1898-1986) Family Group 1946 Bronze Keith Godwin (1916-1991) The Visitation c.1950-51 Plaster Uli Nimptsch (1897-1977) Girl Touching Her Foot 1951 Bronze Sample of the wallpaper, ‘Provence’ 1953 Designed by Lucienne Day for John Line & Sons Ltd Sample of the wallpaper, ‘Carafe’ 1950s Designed by June Lyon for John Line & Sons Ltd Sample of the wallpaper, ‘Zelda’ 1953-4 Designed by Els Calvetti for John Line & Sons Ltd Sample of the wallpaper, ‘Antigua’, 1950s Designed by Willy Herman for John Line & Sons Ltd .

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Eduardo Paolozzi Born Edinburgh, Scotland. 1924 Resident London
Eduardo Paolozzi Born Edinburgh, Scotland. 1924 ResidentLondon Eduardo Paolozziwas visited in London by MT in Octo- really preparedto offer him the kind of freedom or the ber, 1968. When A & T was describedto Paolozzion degreeof accessto their personneland hardwarethat he that occasion,he respondedby expressinginterest in required--thoughthe corporation was equipped techni- working with computers. His work at that time was cally to deal with whatever demandsthe artist might involved in computer-generatedimagery, and thus it was make in the areaof computer graphics.On the evening natural that he should wish to developthese ideas. In after this encounter,Paolozzi telephoned Jane Living- Paolozzi'sletter to us of October 30, he spoke about the ston from his hotel and explainedto her that he saw no areashe visualizedpursuing: point in touring the San Josefacility or bothering It is my intention of bringing a portfolio of schemes further with lBM. Paolozzithen visited Wyle Laborator- in connection with the Los Angelesshow. These ies.He was interviewedby the company's president, schemesare an extension of work concerningimages Frank Wyle [1] ; Gail Scott wrote the following memo and words (ref: the Berkeleycatalogue; Christopher recountingthis event and later discussion: Finch's book Art and Objectsl. You may realizethat I did a certain amount of com- puter researchwhile at Berkeley,but the Art Depart- ment there was unable to extend any of these ideas- which certainly could be realizedwithin the frame- work that we discussedin London during your visit. At the moment, I have an assistantworking on colour mosaicsand endlesspermutations on the grid pattern. This is accordingto my interpretation of current computer literature and can be used in connection with sound experiments.Also the reverse,I under- stand, is possible;which is, soundscan be usedto create patterns.
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Aspects of Modern British Art
Austin/Desmond Fine Art GILLIAN AYRES JOHN BANTING WILHELMINA BARNS-GRAHAM DAVID BLACKBURN SANDRA BLOW Aspects of DAVID BOMBERG REG BUTLER Modern ANTHONY CARO PATRICK CAULFIELD British Art PRUNELLA CLOUGH ALAN DAVIE FRANCIS DAVISON TERRY FROST NAUM GABO SAM HAILE RICHARD HAMILTON BARBARA HEPWORTH PATRICK HERON ANTHONY HILL ROGER HILTON IVON HITCHENS DAVID HOCKNEY ANISH KAPOOR PETER LANYON RICHARD LIN MARY MARTIN MARGARET MELLIS ALLAN MILNER HENRY MOORE MARLOW MOSS BEN NICHOLSON WINIFRED NICHOLSON JOHN PIPER MARY POTTER ALAN REYNOLDS BRIDGET RILEY WILLIAM SCOTT JACK SMITH HUMPHREY SPENDER BRYAN WYNTER DAVID BOMBERG (1890-1957) 1 Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 Coloured chalks Signed and dated lower right, Inscribed verso Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 by David Bomberg – Authenticated by Lillian Bomberg. 54.6 x 38.1cm Prov: The Artist’s estate Bernard Jacobson Gallery, London ‘David Bomberg once remarked when asked for a definition of painting that it is ‘A tone of day or night and the monument to a memorable hour. It is structure in textures of colour.’ His ‘monuments’, whether oil paintings, pen and wash drawings, or oil sketches on paper, have varied essentially between two kinds of structure. There is the structure built up of clearly defined, tightly bounded forms of the early geometrical-constructivist work; and there is, in contrast, the flowing, richly textured forms of his later period, so characteristic of Bomberg’s landscape painting. These distinctions seem to exist even in the palette: primary colours and heavily saturated hues in the early works, while the later paintings are more subtle, tonally conceived surfaces.
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Lynn Chadwick
PANGOLIN for immediate release For further information contact: Georgina Trower: 020 7520 1480 [email protected] LYNN CHADWICK: THE COUPLE 12 January - 26th February 2011 Lynn chadwick Maquette IV Diamond 1984, Bronze Lynn Chadwick: The Couple is the largest exhibition of its kind to concentrate on one of the most prevalent themes of Chadwick’s artistic career: ‘The Couple’. Exploring the most intimate of human unions the exhibition will include works spanning over 40 years, from seminal early pieces such as Teddy Boy and Girl LONDON and Dancers through to his instantly recognisable seated couples of the late 80s and early 90s. Lynn Chadwick is one of the most eminent British sculptors of the 20th century, and an important addition to any modern art collection. Chadwick first came to prominence in 1952 when he was included in the British Council’s New Aspects of British Sculpture exhibition for the XXVI Venice Biennale alongside Kenneth Kings Place Armitage, Reg Butler, Henry Moore and Eduardo Paolozzi. The following 90 York Way London year he was one of twelve semi-finalists for the Unknown Political Prisoner N1 9AG International Sculpture Competition and at the 1956 Venice Biennale he won the International Sculpture Prize, beating Giacometti. 020 7520 1480 Lynn Chadwick Maquette II Watchers V 1967, Bronze Pangolin London has a particularly unique relationship with Lynn Chadwick which dates back to 1983 when owners Rungwe Kingdon and Claude Koenig were appointed his founders and assistants. They went on to set up their own foundry, Pangolin Editions, which is now the largest in europe and which Pangolin London are directly affiliated to.
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Eduardo Paolozzi 16 February – 14 May 2017 Media View: 15 February 2017, 10:00 – 13:00
Eduardo Paolozzi 16 February – 14 May 2017 Media View: 15 February 2017, 10:00 – 13:00 The Whitechapel Gallery announces the first major retrospective of Eduardo Paolozzi in 40 years from 16 February – 14 May 2017 Eduardo Paolozzi (1924-2005) was one of the most innovative and irreverent British artists of the 20th century. Considered the ‘godfather of Pop Art’, his powerful collages, sculptures and prints challenged artistic convention from the 1950s ‘Geometry of Fear’ all the way through the Swinging Sixties and on to the advent of ‘Cool Britannia’ in the 1990s. From his post-War bronzes to revolutionary screen-prints, collages and bold textile designs, this first major retrospective since 1971 aims to reassess Paolozzi’s varied and experimental artistic approach, and highlight the relevance of his work for artists today. Spanning five decades and featuring more than 250 works from public and private collections the exhibition focuses on the artist's radical explorations of material and form, processes and technologies, and consistent rejection of aesthetic convention throughout his career. Rarely exhibited drawings, maquettes and sculptures will shed new light on overlooked or lesser known aspects of his work. The exhibition is presented in four chronological sections and begins with Paolozzi’s groundbreaking early brutalist concrete sculptures including Seagull and Fish (1946), Fish (1946-7) and Blue Fisherman (1946) reunited for the first time since Paolozzi’s debut London exhibitions in 1947. Material from the artist’s influential performative lecture, Bunk! (1952) and examples of textile, fashion and design work including the highly patterned Horrockses Cocktail Dress (1953), are also on display.
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The Henry Moore Foundation Review Contents
Issue Number Fifteen Winter 2006 The Henry Moore Foundation Review Contents 3 Chairman’s Introduction Sir Ewen Fergusson 4 Director’s Report Tim Llewellyn 7 Financial Statement 2005 – 2006 8 Henry Moore Collections and Exhibitions Anita Feldman Bennet 11 Restoration of Hoglands David Mitchinson 12 Henry Moore Institute Penelope Curtis 15 Publishing Sculpture Studies at the Henry Moore Institute Martina Droth 16 Grants Programme 20 Publications 23 General Information Front Cover: Sheep Piece 1971–72 (LH 627) at Perry Green. Photo: Michael Phipps Tim Llewellyn in 1994 with Moore’s Large Figure in a Shelter 1985– 86 (LH 652c). Photo: Michel Muller Chairman’s Introduction This year has been rich in achievements and there is much Whatever has been achieved over the past year, I must to excite us for the future, but I start with the bad news. now look ahead to a most significant event. Next May, after While last year’s Review was being printed, thieves succeeded thirteen years of extraordinary activity on behalf of the in stealing a large bronze from Perry Green. No trace has Foundation, Timothy Llewellyn will be retiring from the since been found. It is hard to imagine a motive for this post of Director. audacious crime, which inevitably has influenced the Tim Llewellyn came to the Foundation early in 1994 conditions under which we and others will be able to show after a highly successful career at Sotheby’s. He brought sculpture to the public in the future. with him experience in management, a knowledge of finan- In spite of this discouraging beginning, the year has seen cial affairs and, above all, a genuine feel for works of art, many exciting projects brought to fruition, including the historic and contemporary.
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William Turnbull William Turnbull
11 Cork Street tel +44 (0)20 7851 2200 mail@waddington -galleries.com waddington galleries London W1S 3LT fax +44 (0)20 7734 4146 www.waddington-galleries.com PRESS RELEASE William Turnbull Sculpture & Paintings from 1946 to 1962 31st January - 24th February 2007 Monday – Friday 10am-6pm Saturday 10am-1.30pm Mask, 1947, bronze, edition of 4 15 1/2 x 91/2 x 5/8 in / 39.5 x 24 x 1.5 cm “Monumentality is a value and not a dimension” 1 Waddington Galleries are pleased to announce an exhibition of sculpture and paintings by William Turnbull, concentrating on the years 1946 –1962. The earliest work in the exhibition is Mask 1946 . Originally conceived in concrete and string it was made whilst Turnbull was still a student at the Slade, London. In 1948 he transferred his grant to study in Paris, there meeting Brancusi, Leger and becoming friends with Hélion and Giacometti. In 1950, having moved back to London, he made Horse a linear dissection of three-dimensional space that stands poised without a base. This bronze has a direct relationship to the paintings of Heads and Figure from 1956, their motifs built from thick interlinking bars of monochromatic impasto. To create Figure 1955 corrugated cardboard was pressed into wet plaster making the column-like figure appear fashioned from seams of strata, its elemental shape revealed by lines of erosion - the fluid plaster fossilized into bronze, creating an aura of permanence and stillness. Screwhead 1957 is a similar upturned-T composition whose forms originated from a chocolate grinder and grandfather clock but again, through Turnbull’s economy of expression, suggests a motionless totemic figure.
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Use the Questions and Activities to Explore the Art with Your Families
at Salisbury Cathedral For nearly eight hundred years, Salisbury Cathedral has been a significant holy building, a special place for millions of visitors and Christians. At the heart of the Cathedral’s life is its worship. Take a virtual tour around the Cathedral’s 2020 Art Exhibition ‘Celebrating 800 years of Spirit and Endeavour’ located both inside the building and outside on the Cathedral lawns. This special art exhibition aims to capture the spirit of the medieval people who came together in faith to build Salisbury Cathedral. Through their hard work and endeavour, we have this incredible building today which is evidence of the remarkable vision and creativity of these ordinary people. Use the questions and activities to explore the art with your families. Post photos of your creations and pictures inspired by the exhibition on Twitter using #spiritandendeavour Curated by Jacquiline Creswell, Salisbury Cathedral’s Visual Arts Adviser. What’s a curator, you ask? A person who creates exhibitions by collecting works of art or objects together to tell a story. Death of a Working Hero by Grayson Perry This tapestry by Grayson Perry is about the mine workers in Durham. It prompts us to remember the ordinary people who worked to build Salisbury Cathedral and reflect on their legacy. • How do you think the medieval stone masons and carpenters who built Salisbury Cathedral would like to be remembered? Time and Place by Bruce Munro The effect of light is an important part of Bruce Monro’s work. For this work, Munro used pixilated photographs of Salisbury Cathedral taken during the 800th anniversary year.
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Twelve Minute Films by Edward Paolozzi to Be Screened at MOMA
he Museum of Modern Art 11 No. 55 est 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modemart Monday, October 5, I96I+ FOR IMMEDIATE RELEASE THE HISTORY OF NOTHING, a 12-minute collage film made by the contemporary British, artist, Eduardo Paolozzi, will be screened at The Museum of Modern Art daily at 2:15 p.m., October 5 through November 10. Paolozzi points out that "this film has no technical innovations; relying mainly on its content, conveyed through elements of surprise — unexpected feelings and strange juxtapositions of image and situation. The language of orthodox surrealism is used in some cases, for example, a collage of machines and objects in rooms. (These collages were done in Hamburg during the period between April i960 and April I96I.) The varied still material is in itself of considerable interest. Certain items have been selected and reinterpreted into screen prints.11 Included are plates from a perforated metal catalogue; views of New York, Sao Paulo and San Remo; a clown and an electronic arm. The accompanying semi-synchronized sound track is drawn from records of church bells, altered jazz, African drums, locomotives, airplanes, etc. The well-known art critic, Dore Ashton, comments that Paolozzi "builds the tex ture of the film in the same way he builds his sculptures. Small details are repeated in slightly different forms throughout. Dominant images, such as an old-walled Italian town perched on a cliff and metamorphosed into a parody of modern war mammoth, are presented at regular intervals, fitted into new circumstances until toward the end they register as parts of a cataclysmic event." The film presented in conjunction with the current Museum of Modern Art exhibi tion of prints and sculpture by Paolozzi, was made in the winter of I96I at the Royal College of Art in London.
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Modern British and Irish Art Montpelier Street, London | 16 September 2020
Modern British and Irish Art Montpelier Street, London | 16 September 2020 Modern British and Irish Art Montpelier Street, London | Wednesday 16 September 2020, at 1pm BONHAMS BIDS ENQUIRIES IMPORTANT INFORMATION Montpelier Street +44 (0) 20 7447 7447 Janet Hardie The United States Government Knightsbridge +44 (0) 20 7447 7401 fax Specialist has banned the import of ivory into London SW7 1HH [email protected] +44 (0) 20 7393 3949 the USA. Lots containing ivory are www.bonhams.com [email protected] indicated by the symbol Ф printed To bid via the internet please beside the lot number in this visit www.bonhams.com Catherine White catalogue. VIEWING Junior Cataloguer Sunday 13 September Please note that bids should be +44 (0) 20 7393 3884 REGISTRATION 11am -3pm submitted no later than 4pm [email protected] IMPORTANT NOTICE Monday 14 September on the day prior to the auction. Please note that all customers, 9am- 4.30pm New bidders must also provide PRESS ENQUIRIES irrespective of any previous activity Tuesday 15 September proof of identity when submitting [email protected] with Bonhams, are required to 9am-4.30pm bids. Failure to do this may result complete the Bidder Registration Wednesday 16 September in your bids not being processed. Form in advance of the sale. The CUSTOMER SERVICES 9am - 11am form can be found at the back of Bidding by telephone will only be Monday to Friday every catalogue and on our website Viewing is by timed appointment accepted on a lot with the lower 8.30am – 6pm at www.bonhams.com and should only, please contact Catherine estimate in excess of £500.
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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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'Reforming Academicians', Sculptors of the Royal Academy of Arts, C
‘Reforming Academicians’, Sculptors of the Royal Academy of Arts, c.1948-1959 by Melanie Veasey Doctoral Thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy of Loughborough University, September 2018. © Melanie Veasey 2018. For Martin The virtue of the Royal Academy today is that it is a body of men freer than many from the insidious pressures of fashion, who stand somewhat apart from the new and already too powerful ‘establishment’.1 John Rothenstein (1966) 1 Rothenstein, John. Brave Day Hideous Night. London: Hamish Hamilton Ltd., 1966, 216. Abstract Page 7 Abstract Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, ‘The Post-war Expansion of State Patronage’, investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, ‘The Royal Academy Sculpture School’, examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques.
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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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