Geoffrey Clarke British, 1924-2014
Study for Sculpture (176), 1956
Sugar lift aquatint on steel.
Plate Size: 91 x 56 cm
Paper: 101 x 84 cm
Paper: 101 x 84 cm
Edition of 30. First impression printed by the artist and Richard Fozard at the RCA in 1956.
First Impression: Edition of 30 printed in colour by the artist and Richard Fozard at the RCA in 1956 Second Impression: Edition of 10 printed in black by St Barnabas...
First Impression: Edition of 30 printed in colour by the artist and Richard Fozard at the RCA in 1956
Second Impression: Edition of 10 printed in black by St Barnabas Press (signed, and inscribed 2nd Ed B& W') in 2003.
Printed from a single plate, run through the press multiple times. Also titled Impression for Sculpture. Produced for New Editions at the Zweemer Gallery. Winner of 'New Figure Prize', Tokyo Print Biennale, 1957.
‘Study for Sculpture’ is arguably one of Clarke’s finest prints and marked a significant point in the artist’s career in 1956 as it was not only the largest prints produced by the artist since 1951 but marked a return in the use of colour. The work was well received when it was exhibited in Zwemmer’s exhibition ‘New Editions Colour Prints’ in 1956 and because of it, Clarke was encouraged to produce more large-scale works.
Like many artists Clarke used sketching and monoprints as starting points for his sculptures. In her book, Geoffery Clarke: A Sculptors’ Prints, Clarke’s biographer Dr Judith Le Grove suggests it is highly possible that “Study for Sculpture” should be ‘seen as the origin – a highly developed sculptor’s sketch – for the Goldsmiths’ Cross which was cast in Silver.’ P.33/34
Second Impression: Edition of 10 printed in black by St Barnabas Press (signed, and inscribed 2nd Ed B& W') in 2003.
Printed from a single plate, run through the press multiple times. Also titled Impression for Sculpture. Produced for New Editions at the Zweemer Gallery. Winner of 'New Figure Prize', Tokyo Print Biennale, 1957.
‘Study for Sculpture’ is arguably one of Clarke’s finest prints and marked a significant point in the artist’s career in 1956 as it was not only the largest prints produced by the artist since 1951 but marked a return in the use of colour. The work was well received when it was exhibited in Zwemmer’s exhibition ‘New Editions Colour Prints’ in 1956 and because of it, Clarke was encouraged to produce more large-scale works.
Like many artists Clarke used sketching and monoprints as starting points for his sculptures. In her book, Geoffery Clarke: A Sculptors’ Prints, Clarke’s biographer Dr Judith Le Grove suggests it is highly possible that “Study for Sculpture” should be ‘seen as the origin – a highly developed sculptor’s sketch – for the Goldsmiths’ Cross which was cast in Silver.’ P.33/34
Provenance
From the Artist's Estate
Exhibitions
1956:- 'Bardfield Artists', The Picture Guild, Clare College, Cambridge (November-December).
- 'French and English Lithographs, Etchings, Aquatints, Lithographed Affiches, Collotypes, Pochoirs', Redfern Gallery, London (November- January).
- 'New Editions Colour Prints', Zwemmer Gallery, London (July- August).
1957:
- 'Sixty-Fourth Spring Exhibition', Bradford City Art Gallery, Cartwright Memorial Hall, Bradford (March- June).
- 'New Editions', Midland Group Gallery, Nottingham, organised by Zwemmer Gallery (February).
- 'IIe Exposition Internationale de Gravure', Moderna Galerija, Ljubljana (June- September).
- ' 1ère Exposition Biennale de Gravure à Tokio', Musée National d'Art Moderne Tokyo (June - July).
1957-9:
- 'Gravures et Lithographies anglaises contemporaines', British Council, touring: British Council Galleries in France).
1958:
- 'Mille gravures en couleurs', Redfern Gallery, London (November- January).
1959:
- 'The Graven Image', Whitechapel Art Gallery, London (April- May).
1960:
- 'Victor Passmore paintings and constructions, Eduardo Paolozzi sculpture and drawings, Geoffrey Clarke, Henry Cliffe and Meryn Evans engravings', British Pavilion, XXX Biennale, Venice, organised by the British Council (June 1960).
1961:
- 'Incisioni di G. Clarke, H. Cliffe, M. Evans', Mostra d'Arte Trento, Centro Culturale 'Fratelli Bronzetti' (May).
1962:
- 'Deux mille gravures en couleur: lithographies, aquatintes, eau-fortes, pochoirs, affiches', Redfern Gallery, London.
1993:
- 'A Selection of Prints and Drawings exhibited at the Eighth London Original Print Fair', Catalogue Four, Peter Black Modern and Contemporary Art (February).
2008:
- 'Abstract', Festival Exhibition, including Geoffrey Clarke's enamels and colour prints, Strand Gallery, Aldeburgh.
2011:
- 'North by South-East', Linton Court Gallery, Settle (July- August).
2020:
- 'Geoffrey Clarke: Intuitionism - Prints and Works on Paper', Pangolin London (March - April).
Literature
Geoffrey Clarke: A Sculptor's Prints, 2012, By Dr Judith LeGrove Published by Samsom & Co Ltd
Publications
Geoffrey Clarke: A Sculptor's Prints, 2012, By Dr Judith LeGrove Published by Samsom & Co Ltd
