Pangolin London specialise in Modern and Contemporary British sculpture, from the miniature to the monumental and in all media. Representing a solid stable of both established and emerging artists and artist estates, Pangolin London pride themselves in their dynamic exhibition programme and expertise in all aspects of making, commissioning, installing and shipping sculpture. Artists include: Lynn Chadwick, Ann Christopher RA, Geoffrey Clarke, Bryan Kneale RA, David Mach RA, Merete Rasmussen & William Tucker RA.
For further details on the artworks offered for sale by Pangolin London in the Eye Viewing Room please make an enquiry below
ZacharyEastwood-Bloom (b.1980), Informazioni Mangiato il mio Tavolo (Information Ate My Table), 2016
Edition 1 of 8, Carved by TORART, Carrara, Italy
90 x 200 x 70 cm.
Weight: 450 kg
Price: £28,000 inc VAT / £26,250 ex VAT
‘Informazioni Mangiato il mio Tavolo’ (Information Ate My Table) is a collaboration between the artist Zachary Eastwood-Bloom and marble carving workshop TORART in Carrara. In increasingly digital times 'Informazioni Mangiato il mio Tavolo', is both a literal and metaphorical title for an artwork representative of an increasingly invasive digital realm into a material world. Quarried from the earth, the marble is then shaped using a digitally controlled milling process before being finished by hand. The object itself becomes a physical manifestation of a wider happening in 21st century society.
Zachary Eastwood-Bloom is an artist with studios in London and Glasgow. He graduated from the Royal College of Art in 2010, previously attending Edinburgh College of Art. Zachary explores human progress and the relationship between the material and digital through sculpture, sound, video and drawing. He has exhibited work with the Royal Academy of Art, London, The V&A Museum and was awarded the Jerwood Maker’s Award in 2015. Zachary was the Pangolin London Sculptor in residence in 2017 which involved working directly with Pangolin Editions foundry and culminated in a major solo show, 'Divine Principles', with a series of work based around classical mythology and the personifications of the planets.
TORART is a company in Carrara which specialises in the application of new technologies in contemporary art and sculpture, namely in the processing of marble, stone and other hard materials. It is led by two young entrepreneurs, Giacomo Massari and Filippo Toncolini, who use traditional processing methods (hand-made finishing) and cutting edge technologies such as the use of anthropomorphic robots and 3D laser scanners.
Lynn Chadwick was a master of presenting the human form, reducing complex shape and curve to geometric shape. ‘Stairs’ 1990 is an exceptional example of Chadwick’s later figurative style which is instantly recognisable across the globe.
Experimenting with showing movement ‘Stairs’ is a playful piece where Chadwick's signature triangulated faces, devoid of expression, powerfully portray a moment of two female figures passing on the stairs leaving it to the viewer to interpret the possible exchange of words or glance as the moment unfolds.
Lynn Chadwick came to sculpture through unconventional means initially working as an architectural draughtsman. He began his sculptural career making mobile constructions for building trade fairs and it was the resulting success of these early mobiles and stabiles two of which were shown on the South Bank during the Festival of Britain in 1951, that first allowed him to seriously consider becoming a freelance sculptor.
Chadwick’s unique approach was based on construction rather than modelling. First, he welded a linear armature or skeleton onto which he applied a skin, building up the surface to a solid form. By beginning with an abstract form or ‘space frame’ and investing it with an allusive vitality Chadwick’s working process is the reverse of most traditional approaches. The results are equally as original and each work has a carefully considered ‘attitude’ communicated through stance, texture and finish. Speaking of the process of making art Chadwick noted:
It seems to me that art must be the manifestation of some vital force coming from the dark, caught by the imagination and translated by the artist’s ability and skill… whatever the final stage, the force behind it is… indivisible.
Chadwick first came to international prominence in 1952 when he was included in the British Council’s 'New Aspects of British Sculpture' exhibition for the XXVI Venice Biennale alongside Kenneth Armitage, Reg Butler, Bernard Meadows, Geoffrey Clarke, Robert Adam, William Turnbull and Eduardo Paolozzi. The following year he was one of the twelve semi-finalists for the Unknown Political Prisoner International Sculpture Competition and went on to win the International Prize for sculpture at the 1956 Venice Biennale, beating Giacometti. Many honours and awards followed this period and his work was widely collected both privately and by major institutions globally. In 1964, he was awarded a CBE and in 2001 was elected a Royal Academician. A major retrospective of his work was held at Tate Britain, London in 2003.
Dennis Farr & Eva Chadwick, ‘Lynn Chadwick Sculptor’, London, 2006.
The Estate of Lynn Chadwick.
Osaka, Gallery Nii, Oct. 1991.
SusieMacMurrayb.1959, Stalker, 2021
Sliced deer antlers, antlers & canvas (Unique)
Approx .240 cm. high
Weight: Approx 70kg
Price: on application
‘Stalker’ is a powerful new sculpture from Manchester based artist Susie MacMurray whose work explores our human vulnerabilities by combining materials in extraordinary ways.
Shown for the first time for ‘Eye of the Collector’ at the impressive late Victorian neo Gothic mansion Two Temple Place, once owned by William Waldorf Astor, Stalker appears at first to be a dominant figure. Yet on closer scrutiny we wonder is she (or he) poised for fight or flight?
Encased in slivers of finely cut deer antlers which over the course of the past year have been tirelessly stitched by hand to cover a canvas corset and flowing skirt, ‘Stalker’ is adorned by an impressive set of antlers. But ‘Stalker’ is not a trophy, nor is she doing the stalking but rather protecting herself with a material most often used for combat or to show status but in MacMurray’s hands inverted to expose a vulnerable and delicate interior.
“If I’m brutally honest” MacMurray says “it’s a self -portrait. I’m building a protective shell in case I’m hurt by someone who I let get under my skin. I was first given the antlers for a commission I did at Attingham Park and have been using them on an off for a while now. However it was only recently when I experimented with slicing them up on the band saw that I realised how beautiful and intricate they are on the inside. For me they embody the human condition and I’ve been thinking a lot recently about that moment of quandary when we have to decide whether to advance or retreat. The danger and risk that our ancient ancestors took to hunt big beasts in fine balance with the necessity of survival and the essence of that enduring in our complex environment and the relationships we have today.”
Susie MacMurray is a British artist whose work includes drawing, sculpture and site-specific architectural installations. A former classical musician, she retrained as an artist, graduating with an MA in Fine Art in 2001. She lives in Manchester and has an international exhibition profile, showing regularly in the USA and Europe as well as in public institutions around the UK. Her work can be found in a number of prestigious museum and private collections and MacMurray has in August 2021 completed her most recent public commission ‘Witness’ at the National Justice Museum, Nottingham.
From the artist
MereteRasmussenb.1974, Evolve, 2019
Ceramic with coloured slip (Unique)
87 x 76 x 78 cm.
Weight: Approx 35 kg
Price: £ 22,000 inc VAT / £20,000 ex. VAT
‘Evolve’ is a breathtaking sculpture which Rasmussen designed to be as large as her kiln could manage and can be seen as a progression from her earlier monumental 'Morphogenesis'. Exploring ideas of growth and the transition from uniform mathematical structures to organic, free-flowing forms, Evolve is a remarkable cuboid work that builds inwards from a regulated external carapace to an impulsive inner energy. This energy is emphasised by the fiery red to luminous orange graduated colour, a recent and exciting departure seen in a number of works in this exhibition along with the discovery of two new coloured slips seen in the works ‘Impetus' and 'Momentum’.
Merete Rasmussen works mainly in stoneware and hand builds her pieces using the coil technique. She enjoys the challenging nature of both the material she works in and the complex structures she builds, which despite their apparent fragility and complicated contours, hold their own shape with poise and elegance. Talking about the wider interests in her work Merete says:
‘I am interested in the way one defines and comprehends space through physical form. My shapes can represent an idea of a captured movement, as a flowing form stretching or curling around itself, or the idea can derive from repeated natural forms or even complex mathematical constructions. Different form expressions appeal to me and results in my continuous exploration with many different variations: soft but precise curves, sharp edges, concave surfaces shifting to convex; the discovery and strength of an inner or negative space. I am intrigued by the idea of a continuous surface, for example with one connected edge running through an entire form.’
Merete Rasmussen was born in Copenhagen and brought up in Sweden. Returning to Denmark to study at the Designskolen Kolding, she was inspired by the iconic designs of fellow Danes, Arne Jacobsen and Verner Panton. During her studies she travelled widely with the sculptural sand dunes of Namibia having a particularly potent effect. Rasmussen has exhibited widely and her work is held in a number of public collections including The Victoria and Albert Museum, The National Museum of Scotland, the Museum of Arts and Design, New York, the National Fund of Contemporary Arts, France, the Crafts Council Collection, UK and the Fitzwilliam Museum, Cambridge.
‘Merete Rasmussen: New Work’, Pangolin London, 2019.
From the Artist.
London, Pangolin, ‘Merete Rasmussen: New Work’, 2019.
LynnChadwick (b. 1914 – d. 2003), Maquette for Unity, 1975 C PE 6/8
Edition 6 of 8, Cast by Pangolin Editions
28.5 x 44 x 28 cm.
Signed and Stamped: C PE 6/8
Price: £120,000 inc. VAT / £100,000 ex. VAT
This wonderful couple with polished bronze faces is a perfect domestic sized example of Lynn Chadwick's work of the 70s. Connected by their cloaks, the male figure turns slightly towards the female for an intimate and private exchange.
Their unity is unambiguous and tender with delicate legs in a relaxed pose.
Dennis Farr & Eva Chadwick, ‘Lynn Chadwick Sculptor’, London, 2006.
The Estate of Lynn Chadwick.
London, Pangolin, ‘Lynn Chadwick: At Home’, 2020.
SusieMacMurray (b.1959), Pan, 2018
Antlers and red silk velvet (Unique) 30 x 16 x 13 cm.
Weight: 0.7 kg
Price: £3,750 inc VAT / £3,410 ex VAT
A delicate and intimate hand-made piece by well known installation artist Susie MacMurray, 'Pan' uses Antlers from the fallow deer herd at Attingham Park in Shropshire which MacMurray found whilst working there. This pair were shed by a young male and allude to the faun Pan the god of the wild shepherds and flocks found in Greek Mythology who was also often affiliated with sex and fertility. The two horns are encased by two breast or buttock like forms covered in red velvet and stuffed with polyester. MacMurray says of the piece: “Given the strange emasculation process we put wild animals through in making them ‘cuddly’ toys, I quite like flipping it back, using it for something implying the uncontainable and the erotic. Of course there is something in there to do with seduction, power, and subverting ideas around the tradition of taxidermy and male trophy taking.”