Barry Flanagan, R.A. (1941-2009)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM THE COLLECTION OF GLORIA LURIA Gloria Luria is a pioneer in the visual arts. Starting in 1966 when she opened the Gloria Luria Gallery in Miami and for three decades thereafter, Gloria was the leading advocate of contemporary art in South Florida. She was first listed in “Who’s Who in American Art” 1973. Born in 1925 and raised in New York City, Gloria graduated from Skidmore College in 1947 as a Fine Arts major. She continued post-graduate work at Brooklyn’s prestigious Pratt Institute and studied at the Art Students League of New York. She began her career as an interior designer on New York City’s fashionable 57th Street. Gloria married Leonard Luria in 1949. In 1960, the family, which now included three children, moved to Miami. Gloria brought her love for contemporary art with her to South Florida and this passion inspired her to open the first Gloria Luria Gallery in Miami in 1966. Gloria’s inaugural exhibition included paintings from her own collection. She introduced works by celebrated artists George Segal, Pat Steir, David Hockney, Andy Warhol, Robert Rauschenberg, James Rosenquist and Larry Rivers to Miami’s fledgling art scene. In addition to the above-named artists, Gloria Luria represented some of the most important names in the art world; artists such as Helen Frankenthaler, Frank Stella, Joan Mitchell, Arakawa, Tom Wesselmann, Christo, Karel Appel, Sol Lewitt, Ray Parker, Claes Oldenburg, Willem de Kooning and Barry Flanagan were among her “stable” of artists. Gloria Luria was a founding member and president of the Art Dealers Association of South Florida in the 70’s. Gloria was instrumental in first bringing “Art Miami” to the Miami Beach Convention Center, which in turn paved the way for Art Basel. Miami Today (July 1983) published a profile of Gloria in which the front page headline declared her “First to bring blue-chip artists to Miami.” A work from her collection, by artist Pat Steir, was selected by the Whitney Museum for inclusion in its 1983 Biennial Show. As a contemporary art enthusiast and collector for over 50 years, Gloria Luria has made it a priority to share her passion for art by donating numerous pieces to museums in both South Florida and New York including the Perez Art Museum Miami (PAMM) and the New York Metropolitan Museum of Art where Gloria is a “Fellow for Life.” Over her lifetime, Gloria and her late husband, Leonard, supported not just the visual arts, but the performing arts, as well. Her list of recipients includes Tanglewood and the Boston Symphony Orchestra, Jacob’s Pillow, Barrington Stage, the Adrienne Arsht Center for the Performing Arts and the New World Symphony. Gloria and Leonard’s home was featured in the May 1984 edition of Architectural Digest. The article, entitled “Orchestrating for Fine Art,” celebrates both her home and art collection. Of the house, Gloria said, “I love...watching the light change and play across the rooms. The ceilings soar dramatically, and mentally I soar with them. Best of all, the paintings let me dream.” To express the community’s gratitude for enriching Greater Miami’s cultural status through superlative art by Order of Proclamation, Metropolitan Dade County Mayor Steven P. Clark named February 7, 1986 “Gloria Luria Day.” As recent as February 2019, Gloria was honored by the Perez Art Museum Miami (PAMM) for being a “bold trailblazer who exhibited women artists long before it was in vogue.” At 93 years of age, Gloria’s passion for and involvement in the art scene continues to this day.
Barry Flanagan, R.A. (1941-2009)

The Bowler

Details
Barry Flanagan, R.A. (1941-2009)
The Bowler
stamped with monogram, numbered and stamped with foundry mark 'fo/AA/LONDON/8/8' (on the base)
bronze with a black patina
119 ½ in. (303.8 cm.) high
Conceived in 1990 in an edition of 8, plus 3 artist's casts.
Cast in 1992 by A & A Sculpture Casting Foundry, London.
Provenance
The artist.
with Waddington Galleries, London, where purchased by the present owner on 17 January 1993.
Literature
Exhibition catalogue, British Art from 1930, London, Waddington Galleries, 1991, p. 18-19, 63, no. 7, another cast illustrated.
C. Renfrew and S. Nakazawa, exhibition catalogue, Barry Flanagan, Tokyo, Fuji Television Gallery, 1991.
Exhibition catalogue, Le Parc de Pourtales, Le Centre Européen D'Actions, Artistiques Cotemporaines, Strasbourg, Le Parc de Pourtales, Le Centre Européen D'Actions, 1993. pp. 24, 26, another cast illustrated.
'Provocative Sculpture', Today in English, February 1994.
J. Bumpers and J. Thompson, exhibition catalogue, Barry Flanagan Recent Sculpture, New York, Pace Gallery, 1994, pp. 12-13, exhibition not numbered, another cast illustrated.
E. Juncosa, exhibition catalogue, Barry Flanagan, London, Waddington Galleries, 1994, pp. 12-13, 57, no. 2, another cast illustrated.
E. Juncosa, exhibition catalogue, Barry Flanagan, Dublin, Royal Hibernian Academy, Gallagher Gallery, 1995, pp. 12-13, 57, no. 2, another cast illustrated.
Exhibition catalogue, Kansai Collections, Osaka, National Museum of Art, 2013.
C. Preston (ed.), Barry Flanagan, London, Waddington Custot, 2017, p. 283, pl. 71, another cast illustrated.
J. Melvin, exhibition catalogue, Barry Flanagan: The Hare is Metaphor, New York, Paul Kasmin Gallery, 2018, catalogue not traced.
Exhibited
London, Waddington Galleries, British Art from 1930, February - March 1991, no. 7, another cast exhibited.
Tokyo, Fuji Television Gallery, Barry Flanagan, October - December 1991, another cast exhibited, catalogue not traced.
Milton Keynes, Central Milton Keynes Shopping Centre, A Carnival of Animals - An Exhibition of Contemporary Sculpture, May - July 1992, another cast exhibited, , catalogue not traced.
Strasbourg, Le Parc de Pourtales, Le Centre Européen d'Actions, Artistiques Contemporaines, June 1992, another cast exhibited, , catalogue not traced.
Wakefield, Yorkshire Sculpture Park, The Names of the Hare: Large bronzes by Barry Flanagan: 1983-1990, June - August 1992, another cast exhibited, catalogue not traced.
New York, Pace Gallery, Barry Flanagan Recent Sculpture, April - June 1994, exhibition not numbered, another cast exhibited.
London, Waddington Galleries, Barry Flanagan, October - November 1994, no. 2, another cast exhibited.
Dublin, Royal Hibernian Academy, Gallagher Gallery, Barry Flanagan, February - March 1995, no. 2, another cast exhibited.
Osaka, National Museum of Art, Kansai Collections, April - July 2013, another cast exhibited, catalogue not traced.
Special notice

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Brought to you by

William Porter
William Porter

Lot Essay


In 1979, Barry Flanagan’s sculptural investigations took a different direction, turning away from the ‘soft-forms’ of the 1960s and 1970s towards bronze casting and modelling. Flanagan employed the seemingly conventional material at a time when the medium was as unexpected as his use of sand, ropes and building materials had been in previous decades. Most importantly, the transition to bronze denoted Flanagan’s inextricable bond to the subject of the hare, as exemplified in The Bowler, conceived in 1990. As a member of the Royal Zoological Society, Flanagan certainly featured other animals in his oeuvre, but the hare remains his most constant motif with which he is now invariably associated. In a typed telegram format, Flanagan chose to elucidate his reasons for choosing the animal as his muse, detailing the seminal moment in which he witnessed a hare dashing across the Sussex Downs:

‘It was a bright icy day, mid morning, with a covering of snow still on the downs. The road, following the flat and straight part at the base of the dome of the down so there was a moat like gully in which this hare ran. Not at any particular speed nor with any intent did it seemingly accompany us. I observed it for sometime and remarked. Then we saw two walkers and their dog descending the gentle bulge. We thought it so funny they were oblivious of the hare, since they might have wanted to catch it I suppose. Some time later I remember Sue and I travelling from Paddington to Chepstow with Emlyn and drawing it on the back of an envelope. We would talk a lot he being a strong liberal’ (B. Flanagan, ‘Why the Hare?’ in C. Preston (ed.), Barry Flanagan, London, Waddington Galleries, 2017, p. 18).

Growing up as a young boy in Wales, Flanagan had heard anecdotes of hares from hunters and poachers that outlined the animal’s unparalleled physicality and courage. Flanagan heard how the hare was the only animal that would run towards fire and leap over it to escape instead of fleeing. He often compared himself to the hare, stating that he only ever ran directly into problems instead of away from them. Upon his discovery of the work The Leaping Hare by George Ewart Evans and David Thompson, he realised that these anecdotes he had once absorbed as a boy rang true. The book solidified Flanagan’s engagement with the hare’s rich and diverse mythological significance. The hare appears repeatedly in the myths and legends of many societies, carrying considerable cross-cultural importance. Flanagan was also inspired by other artists like Joan Miró, who was equally enthused by the sight of a hare darting across a field on a summer’s evening. Miró translated this experience into his surreal piece Landscape (the Hare) in 1927. Similarly, Flanagan’s hares are multifaceted; they are simultaneously pensive, mystical and energetic, communicating a myriad of animated attributes that Flanagan believed the human form was inadequate to express. Thompson insists ‘It ‘The “Hares” spelt the beginning of a completely new phase in the artist’s work, one that continues to the present. Since 1980 Flanagan has been committed to representational work, but all the while testing its limits and his own capacity to re-invent figurative tropes and traditional rhetorical forms’ (J. Thompson, ‘Barry Flanagan: Artisan of Unreason’, in exhibition catalogue, Barry Flanagan, Madrid, Fundación “la Caixa”, 1993).

The Bowler, conceived in 1990 when Flanagan had been creating his hares for just over a decade, emphasises the artist’s fascination with the hare’s dynamic physicality. Flanagan learned of the hare’s mythological associations with fecundity and rejuvenation; the hare is often depicted as the primordial beginning of the Easter festival. Flanagan explored this sense of liveliness and vigour in earlier works, such as Boxing Hare on Anvil (1989) and The Drummer (1989-1990), which privilege motion despite their bronze sculptural forms. In the present work, the hare is captured by the sculptor at the pivotal moment; the animal’s lithe arms are wound up, prepared to bowl the vital shot, its leg is raised and all set to leap forward. Movement and energy are integral to the work - the hare is poised and ready for action. Flanagan himself was very physically active; he was an excellent dancer and a keen sportsman. In The Bowler, Flanagan establishes the hare’s anthropomorphic potential, substituting what could have been a self-portrait for the image of a hare that takes on human characteristics. Flanagan was also an avid fan of cricket, a sport that appears elsewhere in his oeuvre, for example in The Cricketer, conceived in 1989. Flanagan did not only study the game for its strategies, but also for the athletic movements of its most celebrated players such as Courtney Walsh and Michael Holding. In the present work, the hare appropriates these players’ signature bowling techniques in a humorous homage to the sport. Flanagan often used his hares in this way, as vehicles to transmit his sense of humour and connect with his audience through references to popular culture. Works like The Bowler have come to epitomise Flanagan’s unique wit and playfulness, whilst demonstrating the dynamic potential of the bronze material. Flanagan’s hare sculptures have been universally loved and appreciated since their debut, as they imbue the world of contemporary sculpture with an exuberant force of energy.

We are very grateful to the Barry Flanagan estate for their assistance in preparing this catalogue entry.
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