An Attic Find: Undiscovered Eduardo Paolozzi Collection

From left: Cubist bust, Computer Head and Skyscraper, plaster maquettes by Sir Eduardo Paolozzi

People often remark how exciting it must be for me as a fine art auctioneer to discover wonderful things which have lain undiscovered – it is and it happens more frequently than you might expect. It was on a visit to Newhaven, Sussex, early in the New Year when the gales were blowing, that I discover a marvellous collection of sculptures and prints by the important Modern British artist, Eduardo Paolozzi (1924-2005) which are to be auctioned at Toovey’s on Wednesday 26th March 2014.

The sculptures and prints represented in the sale were given to the current owner over a period of years after he and his family had been befriended by Eduardo. They recount fond memories of visits to Eduardo’s home and studio, of outings and meals together.

Eduardo Paolozzi claimed to have embraced “…the iconography of the New World. The American magazine represented a catalogue of an exotic society, bountiful and generous, where the event of selling tinned pears was transformed in multi-coloured dreams…” This fascination with American culture is clearly expressed in the plaster maquette of a Sky Scrapper included in the sale and illustrated here. In the late 1940s and early 1950s a cold-war generation of artists in Britain began to turn towards New York for inspiration rather than Paris. Paolozzi had a foot firmly in both camps. He emerges as an artistic bridge between post-war Europe, Britain and the US.

Eduardo Paolozzi Bronze Relief
‘Newton after Blake’, bronze bas relief by Sir Eduardo Paolozzi

One of Paolozzi’s most celebrated sculptures is ‘Newton after Blake’ made for the forecourt of the British Library. It was commissioned by its architect the late Colin St John Wilson, who was also responsible for the Pallant House Gallery extension in Chichester, which houses many works from the architect’s own collection. The collection on sale includes several bas reliefs depicting ‘Newton after Blake’. Eduardo Paolozzi was fascinated by the artist William Blake’s image of Sir Isaac Newton from 1795. In Blake’s depiction the scientist appears oblivious to all around him, consumed by the need to redact the universe to mathematical proportion. Paolozzi explained of his own sculpture that “…Newton sits on nature, using it as a base for his work. His back is bent in work, not submission, and his figure echoes the shape of rock and coral. He is part of nature.”

Alongside Paolozzi’s cultural icons and totems the resilience and fragility of the human person and the influence of humankind’s relationship with technology expressed through the culture of science fiction and robots also recur as themes in his work. The complicated array of influences are often collaged into a single work. Take for example the two heads illustrated which are defined by the geometric shapes from which they are formed. The smaller plaster bust ‘Computer Head’ references technology’s effect on our consciousness. The larger bust ‘Head’ is an example of the busts which Paolozzi described as an amalgam of African art, geometric art which speaks of the machine in our age, and the influence of boogie woogie. A rich collage which, for him, described modernism.

'Mozart Magic Flute' screen print by Sir Eduardo Paolozzi

Paolozzi’s prints give voice to the idea of relationship between collage and image making. The prints with their often vibrant colour allowed the artist to explore the theme of finding visual comparisons between music and drawing. They are also connected with Paolozzi’s sculptural reliefs.

This exciting collection provides a valuable insight into the work of Eduardo Paolozzi. There are iconic examples and more modest pieces describing his delight and humour in the world, often with a surrealist influence. Paolozzi’s work is layered, textural and thought provoking delighting the eye and the mind. The sale exhibition provides a wonderful opportunity to see this famous artist’s work and to acquire an example for your own collection. It is on view from Saturday 22nd March 2014 and will be auctioned on the morning of Wednesday 26th March 2014. Further details of opening times and images are available on tooveys.com. Catalogues are available from Toovey’s offices or by telephoning 01903 891955.

By Revd. Rupert Toovey. Originally published on 19th March 2014 in the West Sussex Gazette.

Eduardo Paolozzi Sculptures & Prints for sale at Toovey’s

Lot 54 Eduardo Paolozzi at Toovey's
Lot 54: Eduardo Paolozzi 'Newton after William Blake' plaster relief

Sir Eduardo Paolozzi (1924-2005) was a British sculptor, printmaker, filmaker and writer. He is regarded as one of the most inventive British artists to come to prominence after the Second World War with his legacy ranging from pop art to monumental public works.

0008 Eduardo Paolozzi at Toovey's
Lot 8: '72 Aeschylus & Socrates, see App 4 #123…' by Eduardo Paolozzi

He attended St Martin’s School of Art in 1944, continuing his studies in sculpture at the Slade School of Fine Art where, despite his teacher’s disapproval, he discovered the work of Pablo Picasso. This influence is plain to see in his sculptures and cubist-derived collages. On a trip to France he was exposed to surrealism, which gave him the foundations for all future work. It was also while in Paris, Paolozzi produced rudimentary collages from the adverts contained within American glossy magazines that echoed Dada photomontage. These early examples of pop art were the focus of a recent exhibition at Pallant House Gallery, featured by Rupert Toovey in his article ‘“Collaging Culture” at Pallant House Gallery‘.

His large public sculptures were numerous, in Britain they included the mosaic decoration in Tottenham Court Road underground station, a bronze figure of Isaac Newton for the entrance of the British Library, an abstract monument for Euston Square in London and a large sculpture for the Royal Bank of Scotland headquarters in Edinburgh. Eduardo Paolozzi was made a CBE in 1968, an RA in 1979 and a knight in 1989. The Tate Gallery had a retrospective exhibition of Paolozzi’s work in 1971.

Throughout Paolozzi’s career the human form, language and a fascination of industrial engineering remained as sources of inspiration. These influences can all be seen in a single owner collection of works by Sir Eduardo Paolozzi to be offered at Toovey’s on 26th March 2014. The collection of plaster and bronze sculptures and prints by Paolozzi was discovered by Rupert Toovey in an attic in Newhaven. In his recent article Rupert states:

“This exciting collection provides a valuable insight into the work of Sir Eduardo Paolozzi. There are iconic examples and more modest pieces expressing the joy and humour in his view of the world, often with a surrealist influence. Paolozzi’s work is layered, textural and thought-provoking, delighting the eye and the mind.”

The single owner collection will be offered for sale as part of the Selected Fine Art Auction (Lots 1-68) on Wednesday 26th March 2014. Viewing for the auction commences on Saturday 22nd March between 9.30am and 12 noon. Click here to view the collection online.

Collage in British Modern Art

John Piper’s Chichester Cathedral reredos tapestry, circa 1966, depicting the Trinity, the Evangelists and the Elements.
John Piper’s Chichester Cathedral reredos tapestry, circa 1966, depicting the Trinity, the Evangelists and the Elements.

Picasso, Matisse, Braque and other celebrated, international artists all worked in collage. The word collage comes from the French verb coller, to stick or glue. The technique was used by both cubists and surrealists. British artists like John Piper, Nigel Henderson and Eduardo Paolozzi all embraced this method of working.

The current exhibition Modern British Collage and its Legacy at Pallant House Gallery, Chichester, seeks to explore the role of collage in the course of modern British art. Exhibition curator Katy Norris comments, “Collage evolves in the 20th century from a marginal process to become a central part of the modern aesthetic.” She continues, “It is extraordinary how surrealists, pop and conceptual artists all embrace this method of working.” The works in this captivating exhibition are from the Gallery’s own remarkable collection. The pictures by Ben Nicholson, John Piper, William Scott, Ceri Richards, Nigel Henderson and, of course, Eduardo Paolozzi clearly articulate the importance of collage in British modernism.

I am particularly drawn to a preliminary collage design by John Piper for the reredos tapestry at Chichester Cathedral. In his book Patron of Art, Walter Hussey, then Dean of Chichester Cathedral and famous for his patronage of the arts, notes how he chose to follow Henry Moore’s advice to commission John Piper to create a worthy setting for the High Altar. Piper, known for his atmospheric depictions of English architecture and landscape, returned to the abstraction of his earlier work for this commission. A distinguished artist with a great sympathy for old churches, he suggested a tapestry. Tapestry, he argued, would work in concert with the old stonework and the 16th century carved oak screen. He felt that the seven strips of tapestry would be able to be read as a whole across the narrow wooden buttresses of the screen with its crest of medieval canopies. The original plan was to gild and paint these medieval sections but John Piper advised that they should be left plain and his advice was accepted. In January of 1965 Piper presented a final sketch, which met with favourable opinion. At lunch with Hussey and others, however, Piper was deeply troubled when the Archdeacon of Chichester commented that there was no specific symbol for God the Father in the central section of the design. The lack of this symbol in the earlier collage by John Piper, shown here with Katy Norris, is notable. Katy explains, “In this preliminary design we see the early scheme, worked out using simple cut-out shapes, which enabled Piper to trial different pictorial arrangements.” After much consideration, Piper introduced the white light left of centre on the tapestry itself, shown here in situ. The tapestry panels are schematic in their use of symbolism. The Trinity is represented in the three central panels. God the Father is depicted by a white light, God the Son by the blue Tau Cross and the Holy Spirit as a flame-like wing, all united by a red equilateral triangle within a border of green scattered flames. The flanking panels depict the Gospel Evangelists, Saint Matthew (a winged man), Saint Mark (a winged lion), Saint Luke (a winged ox) and Saint John (a winged eagle), beneath the Four Elements, earth, air, fire and water. Woven by the Pinton Frères atelier at Felletin, near Aubusson, the tapestry was installed in the autumn of 1966.

Whether we immediately understand the symbolism of the tapestry or not, it speaks to our senses and we cannot fail to be moved on many levels. The work’s length, structure, tone, rhythm and colour have a lyrical quality, which tells of our creator God in His Trinity.

Katy Norris, Pallant House Curatorial Assistant and Exhibition Curator for Modern British Collage and its Legacy, with John Piper’s preliminary collage design for the Chichester Cathedral tapestry, circa 1965.
Katy Norris, Pallant House Curatorial Assistant and Exhibition Curator for Modern British Collage and its Legacy, with John Piper’s preliminary collage design for the Chichester Cathedral tapestry, circa 1965.

Before seeing the current series of exhibitions at Pallant House Gallery, I had not fully appreciated the importance of collage to artists like John Piper. Katy Norris concludes, “The link between the preliminary collage and the tapestry at Chichester Cathedral emphasizes that an important international artist like John Piper was working in Chichester at the Cathedral, thanks to the patronage and insight of Walter Hussey.”

I am excited that Toovey’s Fine Art Auctioneers are sponsoring Modern British Collage and its Legacy at Pallant House Gallery. The exhibition runs until 29th September 2013. While you are there, you must make sure that you also see Eduardo Paolozzi: Collaging Culture and perhaps wander over to Chichester Cathedral and allow the Piper tapestry to move you and delight your senses. It is a wonderful thing to reflect upon as you listen to and join with sung evensong – the modern and the ancient united.

For more information and opening times, go to www.pallant.org.uk and www.chichestercathedral.org.uk

Image1: John Piper’s Chichester Cathedral reredos tapestry, circa 1966, depicting the Trinity, the Evangelists and the Elements.

Image2: Katy Norris, Pallant House Curatorial Assistant and Exhibition Curator for Modern British Collage and its Legacy, with John Piper’s preliminary collage design for the Chichester Cathedral tapestry, circa 1965.

By Revd. Rupert Toovey. Originally published on 28th August 2013 in the West Sussex Gazette.

‘Collaging Culture’ at Pallant House Gallery

Real Gold by Eduardo Paolozzi
Eduardo Paolozzi, “Real Gold”, 1949, printed papers on paper, Tate, presented by the artist 1995 © The Trustees of the Eduardo Paolozzi Foundation.

An exhibition of the important British artist Eduardo Paolozzi (1924-2005) has just opened at Pallant House Gallery in Chichester. Its title, “Collaging Culture”, captures the centrality of collage in inspiring and directing the artist’s work across disciplines. But it is the extraordinary breadth of art from the artist’s oeuvre which impresses and provides such insight into his work and times. Paolozzi’s sculptures, printmaking, textiles, ceramics and film are all represented.

Simon Martin, Head of Collections and Exhibitions at Pallant House Gallery, with Eduardo Paolozzi’s “Artificial Sun”, circa 1964.

Eduardo Paolozzi always located his work within a surrealist context. He claimed to have embraced “the iconography of the New World”. “The American magazine,” he said, “represented a catalogue of an exotic society, bountiful and generous, where the event of selling tinned pears was transformed in multi-coloured dreams.” This fascination with American culture is clearly expressed in his collage “Real Gold” from 1949, illustrated here. Disparate images jostle for the viewer’s attention – a futuristic car, a glamorous woman, tinned orange juice, a couple on a motorbike – and yet in this disunity a narrative for post-war American culture is expressed with a clear artistic voice. Paolozzi acknowledged that defacing an image, erasing and destroying its original context was a metaphor for the creative process itself. For him, raw materials equated with raw images. Simon Martin, Head of Collections and Exhibitions at Pallant House Gallery, explains, “In order to understand Paolozzi and the different aspects of the way he works, not just the sculptures but the prints, textiles and ceramics, you have to recognize the fact that his approach to collage connects all of this.” Paolozzi, the son of two Italian immigrants, worked at the family confectionery shop in the Scottish port of Leith. From an early age he collected cigarette cards and images in scrap albums, many of which he used in later work.

In the late 1940s and early 1950s a cold-war generation of artists in Britain began to turn towards New York for inspiration, rather than Paris. Paolozzi had a foot firmly in both camps and I am interested to better understand this link. Simon enthuses, “Through the process of collage, Paolozzi emerges as an artistic bridge between post-war Europe, Britain and the United States.”

Together with fellow sculptors William Turnbull and Geoffrey Clarke (whose work is represented at Chichester Cathedral and on the chapel of the Bishop Otter campus at the University of Chichester), Paolozzi was inspired by Picasso and Matisse and rebelled against the teaching at the Slade School of Fine Art. A near sell-out exhibition in 1947 at the Mayor Gallery allowed the artist to leave the Slade and go to Paris. There he met and befriended Isabel Lambert. Lambert, herself an artist engaged in drawing figures from the ballet, had modelled for and briefly lived with Alberto Giacometti. It was she who introduced the two artists. The influence of Giacometti is visible in Paolozzi’s sculptures at this time.

Portrait of Sir Eduardo Paolozzi, 2000, © The Trustees of the Eduardo Paolozzi Foundation.

Giacometti provided another rich seam of influence when he introduced Paolozzi to the French existentialist philosopher, writer and political activist Jean-Paul Sartre. Existentialist philosophers disagreed about much but shared the belief that philosophical thinking includes the active, feeling, living human individual and not just the thinking person. Paolozzi’s work was included in the groundbreaking exhibition at the 1952 Venice Biennale of existentialist sculpture in the British Pavilion, alongside sculptors like Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke and William Turnbull. In the 1950s Paolozzi was a key member of the Independent Group, which was bound up with the Institute of Contemporary Art. Alongside his cultural icons and totems, the resilience and fragility of the human person and the influence of humankind’s relationship with technology, expressed through the culture of science fiction and robots, also recur as themes in Paolozzi’s work.

Eduardo Paolozzi, Mr Cruikshank, 1950, Bronze with a brown patina, The Ingram collection of Modern and Contemporary British Art © The Trustees of the Eduardo Paolozzi Foundation.

A number of British sculptors in the 1960s, like Eduardo Paolozzi and Hubert Dalwood, made work in aluminium. A more contemporary material than bronze, it reflected something of the age of invention and technology in which they lived. Paolozzi said of the large form “Artificial Sun”, circa 1964, that his aim had been to “get away from the idea in sculpture of trying to make a Thing – in a way, going beyond the Thing, and trying to make a presence”. This artificial sun in prefabricated aluminium reflects the artist’s delight in language games. Beside the sculpture in the exhibition is a colour screenprint of the same title from the series “As is When”. Paolozzi produced this series as a reflection on the work of Austrian philosopher Ludwig Wittgenstein. Wittgenstein believed that a single proposition could stem from many more complex propositions – something which resonates with Paolozzi’s collage technique.

As a fine art auctioneer in Sussex, I have spent some twenty-nine years journeying with people and sharing the stories of their lives, told through their possessions. I have often reflected that the most precious objects in our lives are those that allow us to tell these stories – the prompts to fond memories. I refer to them as the “patchwork quilts” of our lives. Simon Martin responds, quoting Paolozzi, “All human experience is one big collage,” and he is right. Our human journeys reflect our strengths and our weaknesses, our hopes and our fears, and our joys and our sorrows – layered, at once disparate and united, like a collage – the resilience and fragility of humanity.

Exhibition Catalogue Cover

Simon Martin has once again produced an exemplary show, which affirms Eduardo Paolozzi’s reputation and place amongst Britain’s leading post-war artists. It is filled with what Simon refers to as “the witty juxtaposition of disparate images”. I hope it will capture and delight your imaginations as it has mine. This revealing and significant exhibition provides a unique insight into this important British artist of the cold-war era and runs until 13th October 2013. The exhibition catalogue, published by Pallant House Gallery and written by Simon Martin, is a must – elucidating on Paolozzi, his work and times. It is available at the Pallant House Bookshop, price £24.95 (special exhibition price £19.95, when visiting the exhibition). For more information and opening times, go to www.pallant.org.uk or telephone 01243 774557.

By Revd. Rupert Toovey. Originally published on 31st July 2013 in the West Sussex Gazette.