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Antony Gormley (b. 1950)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY SOLD TO BENEFIT THE WATTS GALLERY TRUST
Antony Gormley (b. 1950)

Another Time XIII

Details
Antony Gormley (b. 1950)
Another Time XIII
cast iron
75¼ x 21¾ x 13¾in. (191 x 55 x 35cm.)
Executed in 2010, this work is number one from an edition of five plus one artist's proof.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Alice de Roquemaurel
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Lot Essay

This work has generously been given by Antony Gormley to the Watts Gallery Trust for auction to raise funds to save the house and studio of G F Watts OM RA (1817-1904) for the nation.

'GF Watts was a visionary who believed in arts potential to transform lives and the power of the artist as a singular independent voice that can speak for all. I am happy to be able to support the revitalisation of his home and studio as a place of inspiration'
(Antony Gormley, May 2011)

'Another Time is a series of one hundred sculptures identical to the hundred sculptures of Another Place. They are mutually dependent works: one that is permanently sited on Crosby Beach on the Mersey estuary in Liverpool, UK; the other, through a process of dispersion, will be found all over the world. Each work in Another Place faces out to the horizon twelve degrees south of west, while with Another Time each work finds its own orientation.

The body forms are taken from seventeen distinct moulding times between 19th May and 10th July, 1995.

The works acknowledge their industrial method of production. Each of the seventeen individual moments has been cast five to six times and shows the manner of its making, with traces of cling film through to the ingates of the molten metal clearly visible on the rusting surface. The works are corpographs: indexical body impressions that freeze time.

The history of western sculpture has been concerned with movement. I wish to celebrate the still and silent nature of sculpture. The work is designed to be placed within the flow of lived time. Recently, the works have been placed high on buildings against the sky, standing outside the shelter and protection of architecture.

The work is made from iron, a concentrated earth material found at the core of this planet, each sculpture massive: a solid body.

The work asks where the human being sits within the scheme of things. Each work is necessarily isolated, and is an attempt to bear witness to what it is like to be alive, alone in space and time.'


(Antony Gormley, May 2008)

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