Frederick Edward McWilliam, A.R.A. (1909-1992)
Artist's Resale Right ("Droit de Suite"). Artist's… 顯示更多 THE PROPERTY OF A EUROPEAN COLLECTOR
Frederick Edward McWilliam, A.R.A. (1909-1992)

Axehead

細節
Frederick Edward McWilliam, A.R.A. (1909-1992)
Axehead
signed with initials ‘McW.’ (at the base)
cherry, unique
21 in. (53.4 cm.) high, excluding base
Carved in 1935.
來源
with Waddington Galleries, London.
with Mayor Gallery, London, where purchased by the present owner.
出版
M. Gooding, exhibition catalogue, F.E. McWilliam: Sculpture 1932-1989, London, Tate Gallery, 1989, p. 36, no. 6, illustrated.
Exhibition catalogue, F.E. McWilliam 1909-1992, Dublin, The Soloman Gallery, 1995, n.p., exhibition not numbered, illustrated.
D. Ferran and V. Holman, The Sculpture of F.E. McWilliam, Farnham, 2012, p. 89, no. 18.
展覽
Colchester, Arts Council of Great Britain, The Minories, A Salute to British Surrealism 1930-1950, April - May 1985, no. 39: this exhibition travelled to London, Blond Fine Art, May - June 1985; and Hull, Ferens Art Gallery, July - August 1985.
Suomi, Retretti Art Centre, Surrealismi - Surrealism, May - September 1987, catalogue not traced.
London, Tate Gallery, F.E. McWilliam: Sculpture 1932-1989, May - July 1989, no. 6.
Dublin, The Soloman Gallery, F.E. McWilliam 1909-1992, August 1995, exhibition not numbered.
注意事項
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.

拍品專文


‘The pre-war carvings of McWilliam in stone and wood have as their inspiration images that spring from the subconscious … The outer world has been sufficient for many artists for the supply of inspiration they needed, but the sculptor who relies on his sense of touch as well as his eyes has other more mysterious sources, a wide field of experience equally essential to him. The sense of touch can be a source of emotion independent of sight, but it can also be aroused by sight. We can feel rough or smooth surfaces at a distance without touching them and because of this the sculptor commands a mysterious power over our imagination. The sensory images he creates can in this way be rich and varied but they will be most potent when, in addition, they awaken associations with the imagination. The eye of the imagination which is equally vivid to those who have lost their sight, is not merely a fruitful source of fantastic images, it can also recall instructive memories form the past and become conscious of symbolic forms which seem to have a timeless existence’ (R. Penrose (intro.), McWilliam, London, 1964, pp. 4-5).

更多來自 現代英國藝術(日間拍賣)

查看全部
查看全部