DOCSLIB.ORG

Lynn Chadwick at Cliveden

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lynn Chadwick at Cliveden Lynn Chadwick At Cliveden May – October, 2018 The National Trust and Blain|Southern present Lynn Chadwick at Cliveden, an exhibition of sculptures by the internationally renowned British artist, Lynn Chadwick (1914-2003). The artist’s large-scale bronze and steel sculptures are installed over twelve sites across Cliveden’s gardens, working to enhance and invite reconsideration of the landscape and vistas of these historic Grade I listed grounds. The exhibition runs until 14 October 2018. Discover the artist Lynn Chadwick was one of the leading British sculptors who rose to international prominence after World War II. He is known primarily for metal works often inspired by the human form and the natural world, but which also at times seemed close to abstraction. He was born in Barnes, London in 1914 and died at his home in Gloucestershire, in 2003. Chadwick was launched on the international stage as a key figure in a generation of sculptors who succeeded the likes of Henry Moore and Barbara Hepworth, and exhibited for the first time together at the Venice Biennale, 1952. The ground-breaking exhibition New Aspects of British Sculpture at the British Pavilion saw Chadwick exhibiting with Robert Adams, Geoffrey Clarke, Reg Butler, Eduardo Paolozzi, William Turnbull and Bernard Meadows. These young sculptors, born between 1913 and 1930, were moving away from Hepworth and Moore's carved sculptures introducing, new ways of working with welded metals. Four years later, representing Great Britain at the 1956 Venice Biennale, Chadwick won the coveted International Prize for Sculpture ahead of established artists such as Alberto Giacometti. Chadwick’s approach to making sculpture was instinctual; engaging in the physical activity of making without preliminary drawings, where practical improvisation resulted in works imbued with a unique intensity and presence. “It seems to me”, Chadwick said,” that art must be the manifestation of some vital force coming from the dark, caught by the imagination and translated by the artist’s ability and skill. Whatever the final shape, the force behind is... indivisible.” From this point, in a career that spanned over half a century, Chadwick had over a hundred solo exhibitions and his works can now be found in the collections of the world’s most renowned museums. He was awarded a CBE in 1964 and was elected a Royal Academician in 2001. Art at Cliveden Exhibiting sculpture outdoors has been a significant feature of the designed landscape at Cliveden since the 18th century. Large figurative works and architectural structures have defined spaces and delineated views in- and-around the gardens that visitors have enjoyed for three centuries. Exhibiting the work of Lynn Chadwick, The National Trust’s Cliveden invites visitors to view its world famous gardens in a new light, reframed by iconic figurative works by one of Britain’s most significant sculptors. Lynn Chadwick shared the view that the placement of monumental sculpture enhanced both the landscape and the work. It became a particular preoccupation for the artist in the latter part of his career when he created his own sculpture park at his home in Gloucestershire. In 1958 he bought a neglected manor house, Lypiatt Park and alongside his sculptural practise, his life’s project was to renovate and restore the house and surrounding gardens. In the 1980s Chadwick bought some of the original parkland and set about restoring it to the original Victorian design. He then began placing his monumental works outdoors with dedication and precision, to ensure a harmonious balance between the land and sculpture. His daughter, Sarah Chadwick, said: “The exhibition focuses on some of his key figurative pieces. The human form was always a starting point for these works as he strove to capture the ‘attitude’ of a figure. Even at their most monumental he captures a humanity and sensitivity, which is emphasised when placed in nature, freeing the figure to interact with its surroundings. Cliveden’s historic gardens, with their exceptional beauty and tradition of siting sculpture outdoors, are perfect for showing his works as he intended. Seeing them here would have given my father great pleasure.” Works in the exhibition Lynn Chadwick Teddy Boy and Girl (Second Version 1974) 1955 Bronze 185 x 65 x 55 cm / (72⅞ x 25⅝ x 21⅝ in) Edition of 6 Cat Rais: 170B BSL ref: 57632 Lynn Chadwick Dancing Figures (Two Dancing Figures) 1956 Bronze 184 x 110 x 69 cm / (72½ x 43¼ x 27⅛ in) Edition of 2. Cat Rais: 175 BSL ref: 40219 Lynn Chadwick Stranger III 1959 Bronze 218 x 264 x 82 cm / (85 x 104 x 32¼ in) Edition of 4 Cat Rais: 285 BSL ref: 41924 Lynn Chadwick Sitting Figure 1962 Bronze 152 x 183 x 94 cm / (60 x 72 x 37 in) Edition of 4 Cat Rais: 381 BSL ref: 41568 Lynn Chadwick Two Reclining Figures 1972 Bronze Length 183 cm / (72 in) Edition of 4 Cat Rais: 642 BSL ref: 41584 Lynn Chadwick Cloaked Figure IX 1978 Bronze 185 x 101 x 140 cm / (73 x 40 x 55 in) Edition of 6 Cat Rais: 770 BSL ref: 40238 Lynn Chadwick Sitting Figures 1979-80 Bronze Female: 180 x 84 x 122 cm (71 x 33 x 48 in) Male: 193 x 94 x 142 cm (76 x 37 x 56 in) Edition of 6 Cat Rais: 786 BSL ref: 44505 Lynn Chadwick Little Girl 1987 Bronze 178 x 120 x 120 cm / (70 x 47 x 47 in) Edition of 9 Cat Rais: C64 BSL ref: 41841 Lynn Chadwick Little Girl II 1987 Bronze 173 x 122 x 132 cm / (68 x 48 x 52 in) Edition of 9 Cat Rais: C65 BSL ref: 42939 Lynn Chadwick Little Girl III 1987 Bronze 175 x 120 x 124 cm / (69 x 47 x 49 in) Edition of 9 Cat Rais: C66 BSL ref: 41382 Lynn Chadwick Sitting Figures 1989 Welded stainless steel 192 x 166 x 152 cm / (75½ x 65¼ x 60 in) Edition of 6 Cat Rais: C92 BSL ref: 41925 Lynn Chadwick Sitting Couple on Bench 1990 Bronze 262 x 303 x 249 cm / (103 x 119 x 98 in) Edition of 9 Cat Rais: C97B BSL ref: 41364 Lynn Chadwick Stairs 1991 Bronze 239 x 160 x 112 cm / (94 x 63 x 44 in) Edition of 9 Cat Rais: C126S BSL ref: 40270 Lynn Chadwick Crouching Beast II 1990 Welded stainless steel 183 x 213.5 x 472.5 cm / (72 x 84 x 186 in) Edition of 6 Cat Rais: C108 BSL ref: 41365 4 Hanover Square London W1S 1BP +44(0) 20 7493 4492 [email protected] Potsdamer Straße 77–87 10785 Berlin +49 (0) 30 6449 31510 [email protected] blainsouthern.com.
Load more

Recommended publications
  • 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.
    [Show full text]
  • AM-CONTEXT Closing Day Releasepc Final
    MIAMI ART WEEK 2012 BRINGS RECORD-BREAKING SALES FOR ART MIAMI AND CONTEXT ART MIAMI STRONGEST SALES & ATTENDANCE IN THE FAIR’S 23 YEAR HISTORY MIAMI, Fla. – (Dec. 12, 2012) – In its 23rd year as the anchor fair to the city of Miami, Art Miami, the premiere international contemporary and modern art fair and its new sister fair CONTEXT Art Miami closed with record breaking attendance and sales in excess of $50 million with many galleries selling important works to major museums, private foundations and international collectors. Within hours of the opening, gallery owners were reporting extraordinary, unprecedented six & seven figure dollar sales with a number selling out their booths before fair's end. Over 60,000 international collectors, museum professionals, art world luminaries and enthusiasts visited Art Miami and CONTEXT Art Miami throughout the week with over 11,000 patrons attending the exclusive VIP Preview that took place on Tuesday Dec 4 which benefited the Miami Art Museum. New on the scene, Art Miami's sister fair, CONTEXT Art Miami in its inaugural edition proved to be one of the strongest markets to acquire emerging and cutting-edge art with several galleries selling out their booths. "We have been at every Art Miami and this was probably the best of all. We met a number of new collectors, sold to two museums and generally had a very positive experience. We were regularly told by collectors how much they enjoy the buzz at Art Miami and certainly it would seem the galleries did good business. We do several prestigious fairs around the world and for the second year, Art Miami was the best," Peter Osborne, Gallery Director.
    [Show full text]
  • The Philip I. and Muriel M. Berman Papers: Collection I
    ² ² ² The Philip I. and Muriel M. Berman Papers: Collection I Held by Special Collections, Linderman Library Lehigh University, Bethlehem, Pennsylvania 18015 Call No.: SC MS 095 Berman Papers Page 1 of 154 rev. 05/24/2006 Biographical Sketch Philip Isaac Berman and Muriel Mallin Berman, husband and wife – the “amazing Bermans” as they were often called – worked together as a team throughout the fifty-five years of their marriage, in raising their family, managing their businesses, making frequent trips abroad, collecting art, and planning philanthropy. This biographical sketch is therefore an account, not of one person alone, but of two together, who devoted a great deal of their astonishing energy and considerable fortune to philanthropy and public service, in their home city of Allentown, their home state of Pennsylvania, and around the world, especially in Israel. Philip Berman was born on June 28, 1915, in Pennsburg, Pennsylvania, son of Joseph and Dora (Feingold) Berman. In 1932 he enrolled at Ursinus College in Collegeville, Pennsylvania, but in 1933 returned home to join the family trucking business, from which he built his fortune. On September 23, 1942, he married Muriel Mallin. In the same week, however, he also joined the U.S. Marine Corps, with which he served in the South Pacific during World War II. Muriel Mallin Berman was born on June 21 1914, in Pittsburgh, Pennsylvania, daughter of Solomon and Dora (Cooperman) Mallin. From The Pennsylvania State College of Optometry in Philadelphia she earned her doctorate in 1938 and maintained her license in optometry until 1984. In 1945 Philip Berman was relieved of active duty with the Marine Corps.
    [Show full text]
  • Lynn Chadwick
    Lynn Chadwick 1914-2003 Born in London, UK Lived and worked in the UK SELECTED SOLO & TWO-MAN EXHIBITIONS 2019 Sculpture at RHS Wisley, Surrey, UK (forthcoming) Alberto Giacometti: A Line Through Time, Vancouver Art Gallery, CA (forthcoming) Beast of the Times, The Georg Kolbe Museum, Berlin, DE (forthcoming) 2018 GIACOMETTI-CHADWICK: FACING FEAR, Museum de Fundatie, Zwolle, NL Lynn Chadwick at Le Bristol, Le Bristol, Paris, FR Beasts, Sainsbury Centre for Visual Arts, Norwich, UK Lynn Chadwick at Cliveden, The National Trust’s Cliveden, Buckinghamshire, UK 2017 Lynn Chadwick, Ashmolean Museum, Oxford, UK (ongoing) 2016 Lynn Chadwick, The Rotunda, One Exchange Square, Hong Kong, HK (organised by McNamara Art Projects) 2015 Conjunction: Lynn Chadwick and Geoffrey Clarke, Pangolin London, London, UK Lynn Chadwick, Skulturenpark Wuppertal, Wuppertal, DE Lynn Chadwick -Draughtsman, Gallery Pangolin, Chalford, UK Lynn Chadwick, Retrospective for Two Gardens, Bardini Gardens and Boboli Gardens, Florence, IT Lynn Chadwick, Tremenheere Sculpture Gardens, Penzance, UK 2014 The Maker’s Studio, Museum in the Park, Gloucestershire, UK Lynn Chadwick a Centenary Exhibition, Osborne Samuel, London, UK Lynn Chadwick, Blain|Southern, London, UK Lynn Chadwick, Blain|Southern, Berlin, DE Lynn Chadwick, Blain|Di Donna, New York, US Lynn Chadwick RA, Royal Academy of Arts Courtyard, London, UK 2013 Lynn Chadwick. Evolution in Sculpture, Abbott Hall and Blackwell Arts and Crafts House, Cumbria, UK 2012 Lynn Chadwick. The Complete Candelabra 1959-1996, Willer, London, UK Lynn Chadwick, Beaux Arts, London, UK 2011 Lynn Chadwick: The Couple 1954-1990, Pangolin London, London, UK Lynn Chadwick (with David Farrell photographs), Osborne Samuel, London, UK Lynn Chadwick.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Download Artist's CV
    NIGEL HALL RA 1943 Born Bristol Lives and works in London Education 1960-64 West of England College of Art, Bristol 1964-67 Royal College of Art, London Fellowships, Awards and Posts 1967-69 Harkness Fellowship, USA 1971-74 Tutor, Royal College of Art, London 1974-81 Principal Lecturer, Head of MA Sculpture, Chelsea School of Art, London 1977-79 External Examiner, Royal College of Art, London 1979-83 Faculty Member of British School at Rome 1992-94 External Examiner, Royal College of Art, London 1995 Pollock-Krasner Award 2001 Residency at Chretzeturm, Stein Am Rhein, Switzerland 2002 Jack Goldhill Sculpture Prize, Royal Academy 2003 Elected to Royal Academy 2017 Awarded Honorary Doctorate from the University of the Arts, London Selected Solo Exhibitions 2020 12 Images 12 Poems, (1 each month for the year), Wren Library, Trinity College, Cambridge Tangled up in Blue, Annely Juda Fine Art 2019 Una Individual, Galería Álvaro Alcázar, Madrid Call and Response, Galerie Scheffel, Bad Homburg 12 Images 12 Poems, Yorkshire Sculpture Park 2018 From Memory, Galerie Andres Thalmann, Zurich Drawings and Small Sculpture, Zuleika Gallery, London 2017 Sculpture in Steel and Bronze, Heidelberg Sculpture Park, Germany Drawings and Smaller Works, Isaac Newton Institute, Cambridge 2016 Here and Now, There and Then, Annely Juda Fine Art, London Orbits and Ellipses, One Canada Square, London 2015 Curved Spaces, Galerie Alvaro Alcazar, Madrid Plus ça change, plus c’est la même chose, Galerie Scheffel, Bad Homburg 2014 Galerie Andres Thalmann, Zurich (with Manijeh Yadegar) 2013 Jock Colville Hall, Churchill College, Cambridge 2012 Southern Shade, Galerie Andres Thalmann, Zurich 2011 The Spaces Between, Annely Juda Fine Art, London Artists Laboratory, Royal Academy, London 2010 Carbon Handprints, City Arts Center, Oklahoma City, USA Chinese Whispers, Galerie Andres Thalmann, Zurich Galerie Scheffel, Bad Homburg, Germany 2009 Sala Pelaires, Palma de Mallorca Galeri C.
    [Show full text]
  • 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.
    [Show full text]
  • The Smart Museum of Art BULLETIN 1998-1999
    The Smart Museum of Art BULLETIN 1998-1999 CONTENTS Board and Committee Members 4 Report of the Chair and Director 5 Mission Statement 7 Volume 10, 1998-1999 Front cover: Three Kingdoms period, Silla King­ Studies in the Permanent Collection Copyright © 2000 by The David and Alfred Smart dom (57 B.c.E-935 C-E-) Pedestalledjar, 5th—6th Museum of Art, The University of Chicago, 5550 century stoneware with impressed and combed Metaphors and Metaphorphosis: The Sculpture of Bernard Meadows South Greenwood Avenue, Chicago, Illinois, decoration and natural ash glaze deposits, h. 16 in the Early 1960s 9 60637. All rights reserved. inches (40.6 cm), Gift of Brooks McCormick Jr., RICHARD A. BORN 1999.13. ISSN: 1099-2413 Back cover: The Smart Museum's Vera and A.D. Black and White and Red All Over: Continuity and Transition in Elden Sculpture Garden, recently re-landscaped Editor: Stephanie P. Smith with a gift from Joel and Carole Bernstein. Robert Colescott's Paintings of the Late 1980s 17 Design: Joan Sommers Design STEPHANIE P. SMITH Printing: M&G Commercial Printing Photography credits: Pages 8-13, 16, 18, 24-40, Tom van Eynde. Page 20, Stephen Fleming. Pages Activities and Support 41 —43» 4 6> 48> 51. Lloyd de Grane. Pages 44, 45, 49, Rose Grayson. Page 5, Jim Newberry. Page 53, Acquisitions to the Permanent Collection 25 Jim Ziv. Front and back covers, Tom van Eynde. Loans from the Permanent Collection 36 The images on pages 18-22 are reproduced courtesy of Robert Colescott. The work by Imre Kinszki illustrated on page 24 and 31 is reproduced Exhibitions 39 courtesy of Howard Greenberg Gallery, New York.
    [Show full text]
  • 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.
    [Show full text]
  • Lynn Chadwick out of the Shadows Unseen Sculpture of the 1960S
    LYNN CHADWICK OUT OF THE SHADOWS UNSEEN SCULPTURE OF THE 1960S 1 INTRODUCTION ince my childhood in Africa I have been fascinated and stimulated by Lynn SChadwick’s work. I was drawn both by the imagery and the tangible making process which for the first time enabled my child’s mind to respond to and connect with modern sculpture in a spontaneous way. I was moved by the strange animalistic figures and intrigued by the lines fanning across their surfaces. I could see that the lines were structural but also loved the way they appeared to energise the forms they described. I remember scrutinising photographs of Lynn’s sculptures in books and catalogues. Sometimes the same piece appeared in two books but illustrated from different angles which gave me a better understanding of how it was constructed. The connection in my mind was simple. I loved skeletons and bones of all kinds and morbidly collected dead animals that had dried out in the sun, the skin shrinking tightly over the bones beneath. These mummified remains were somehow more redolent of their struggle for life than if they were alive, furred and feathered and to me, Lynn’s sculpture was animated by an equal vivacity. His structures seemed a natural and logical way to make an object. Around me I could see other structures that had a similar economy of means; my grandmother’s wire egg basket, the tissue paper and bamboo kites I built and the pole and mud constructions of the African houses and granaries. This fascination gave me a deep empathy with Lynn’s working method and may eventually have contributed to the success of my relationship with him, casting his work for over twenty years.
    [Show full text]