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Sir Peter Blake, R.A. (b. 1932)
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Sir Peter Blake, R.A. (b. 1932)

Jockey Act

Details
Sir Peter Blake, R.A. (b. 1932)
Jockey Act
signed, inscribed and dated '"JOCKEY ACT"/Peter Blake 1957.' (on the backboard)
watercolour, mixed media and collage
22½ x 28½ in. (57.1 x 72.4 cm.)
Provenance
Alan Power.
John-Erick and Lilott Berganus.
with Waddington Galleries, London.
Literature
Exhibition catalogue, Peter Blake, London, Tate Gallery, 1983, p. 105, no. 110, illustrated.
N. Rudd, Peter Blake, London, 2003, p. 23, fig. 17.
Exhibited
Bristol, City Art Gallery, Peter Blake, November - December 1969, no. 85.
London, Tate Gallery, Peter Blake, February - March 1983, no. 110. Paris, Galerie Claude Bernard, Peter Blake Peintures, aquarelles, dessins et gravures, September - November 1984, no. 37.
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.
VAT rate of 5% is payable on hammer price and at 15% on the buyer's premium

Lot Essay

Natalie Rudd comments on the artist's work of this period, 'It was during these relatively quiet years of the late 1950s that he produced a remarkable range of work that set a precedent for a younger generation of British artists in the early 1960s ... a favourite subject from college - the circus - remained prominent. In 1957 he made a series of collages, each featuring a different circus act (knife throwers, animals, human cannonballs and so on) performing in front of a ringside audience. Although the influence of Max Ernst, Kurt Schwitters, and the visual mayhem of collaged Victorian screens are discernible in the Circus Act works, Blake's increasingly skilful and original use of the medium is clear to see. Jockey Act [the present work] is a typical work from this series. It offers an early glimpse of his interest in representing magical crowds of people from different times and places while reflecting his own love of watching from the sidelines. The composition of the piece - where performers and audience, foreground and background, are divided by a strong horizontal - would frequently recur in future works' (see N. Rudd, loc. cit.).
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