An annual selling exhibition from Sotheby's that takes place in the grounds of the magnificent Chatsworth Estate sees 20 important pieces of sculpture available to buy or simply to view.
FERNANDO BOTERO (b. 1932)
STANDING WOMAN, 2003
Cast in bronze in an edition of 3 by the Mariani foundry in Pietrasanta.
“I never give particular traits to my figures. I don’t want them to have personality, but rather that they represent a type that I create. My sculptures do not carry any messages social or otherwise … what matters for me is the form, the voluptuous surfaces which emphasise the sensuality of my work.”
- Fernando Botero
BOSCO SODI (b. 1970)
JEDD NOVATT (b. 1958)
CHAOS CONCEPCIÓN, 2012
Cast in stainless steel in an edition of 3 plus 2 artist’s proofs by the Alfa Arte Foundry, Bilbao
“In terms of describing work as monumental, I would distinguish between size and scale, and define the scale of a sculpture as its size in relation to the space it becomes part of. Scale is one of the most important questions, regardless of the size of the work. I generally conceive of my large-scale works in an interior space, and when the sculpture is placed outdoors the visual experience of the work changes: nature has a way of dramatically reducing the scale of a work. Although the power of a large sculpture may come from an initial response to its size, in some cases its size is gratuitous. Once its impact fades, some work becomes simply a large object. When the scale is successful, take for example Giacometti’s City Square (1948), the size can be actually quite small yet the work feels monumental in scale. And what’s even more interesting is that just because a work is successful in a small format doesn’t guarantee that when it is enlarged it will still maintain its strength and integrity. This is the most challenging aspect of working in a large format.”
- Jedd Novatt
TONY CRAGG (b. 1949)
Cast in bronze in an edition of 1 plus 1 artist’s proof by the Kayser & Klippel foundry in Dusseldorf.
ALICE AYCOCK (b.1946)
CYCLONE TWIST, 2013
Executed in aluminium in an edition of 1 plus 1 artist’s proof.
“Much of my work in both the public and private spheres has been a meditation on the philosophical ramifications of technology from the simplest tool (the arrowhead and plow) to the computer. Many of these works have incorporated images of wheel and turbines and references to energy in the form of spirals, whirlwinds, whirlpools, spinning tops, whirly-gigs, and so on.”
- Alice Aycock
ALLEN JONES (b. 1937)
JAUME PLENSA (b. 1955)
“One lady remarked that throughout my speech I asked people to touch my work, to live with it and feel if it was hot or cold, rough or smooth, while, rather close to my sculpture there was a sign saying “Please do not touch”. I replied that the administration had made a little mistake and that it had forgotten to complete the sign. The text should have said “Do not touch it: caress it”. You caress your wife, you don’t touch her. And this is what people should do with art: it needs to be caressed.”
- Jaume Plensa on being invited to present a work recently donated by a collector.
JUAN MUÑOZ (1952 – 2001)
DOS FIGURAS CON MANO EN EL PECHO, 1999
THOMAS HEATHERWICK (b. 1970)
MARIO MERZ (1925 – 2003)
IGLOO TICINO, 1990
“The igloo developed from a sort of knowledge. It appeared in my work when I said to myself that one could make art with more freedom […]. The igloo is the ideal organic form. It is at the same time the world and the little house. What interested me in the igloo, was the fact that it existed in the head already before it was accomplished; but an organic idea is not yet the organic thing itself, one still has to put it into effect. Then comes the problem of organising a simple construction. Architecture is a sometimes mathematical, sometimes decorative construction, but it is always an edifice for accommodation, for giving man a social dimension. […] When I made the igloo, I acted with the power of imagination. The igloo is a synthesis, a complex picture, because I torture the elementary image of the igloo that I carry inside me. I think the igloo has two sides, a concrete one and a rather mental one.”
- Mario Merz
MARC QUINN (b. 1964)
SPIRAL OF THE GALAXY, 2013
Cast in bronze in an edition of 3.
“To me, looking at these natural forms is like looking at the archaeology of art. Even though these creatures have no self-awareness, they create what we see as amazingly beautiful things, which is what makes the collaboration so interesting. I feel like I'm working alongside a creature from the beginning of time, and the beginning of art, and that therefore, somehow, these shells are about time travel. To me they are actually sculptures of the space-time continuum. By that I mean you have the rings on the outside of the shell, which look and act like the rings of a tree - showing the past of the object - and at the same time, the rings are to me like a map of the turning of the world. Then, on the front surface, you have the highly polished, reflective part, which is of course always in the present moment. This surface is always reflecting the now, and so together the form of the shell is like a found structural diagram of how the present becomes the past.”
- Marc Quinn
STEPHAN BALKENHOL (b. 1957)
Cast in bronze in an edition of 2 plus 1 artist’s proof.
MANOLO VALDÉS (b.1942)
Cast in aluminium in an edition of 4.
TONY CRAGG (b. 1949)
TONGUE IN CHEEK, 2003
“I have developed a particular belief in sculpture making, that I think gives it a principle and important role. What fascinated me is the way we work with materials, like pen and paper, or a piece of clay, or any other material for that matter, and while we are working with this material, it seems to suggest things to us. Leading us to make things we had never envisaged, and allowing us to experience emotion and ideas we may not have had by any other method, and definitely would not have had by sitting in the corner and conceptualising. This happens when people are making sculpture.”
- Tony Cragg
NIKI DE SAINT-PHALLE (1930 – 2002)
LA MACHINE À RÊVER, 1970
“One thing saved me during those difficult teenage years: MY SECRET AND IMAGINARY MAGIC BOX hidden under my bed. It was made of a precious carved wood inlaid with richly colored glazes. NO OTHER THAN I COULD SEE THE BOX. When I was alone I opened it, and all kinds of incredibly colorful fish, geniuses, wild sweet-scented flowers flowed out of it.”
- Niki de Saint Phalle writing in one of the many letters where he discussed where the ideas for his sculptures came from.
BALTASAR LOBO (1910 – 1993)
FEMME ASSISE, MAINS CROISÉES, 1984
Cast in bronze in an edition of 8 by the Susse foundry in Paris.
BILL WOODROW (b. 1948)
SITTING ON HISTORY I, 1990
TONY CRAGG (b. 1949)
CURRENT VERSION, 2010
Cast in bronze by the Schmäcke foundry in Dusseldorf.
“There is this idea that sculpture is static, or maybe even dead, but I feel absolutely contrary to that,' said Cragg in a 2007 interview. 'I'm not a religious person—I'm an absolute materialist—and for me material is exciting and ultimately sublime. When I'm involved in making sculpture, I'm looking for a system of belief or ethics in the material. I want that material to have a dynamic, to push and move and grow.”
- Tony Cragg
UNUS SAFARDIAR (b. 1968)
THE LENS, 2013
Cast in acrylic in an edition of 3.
“As a child I was very interested in looking at objects at very close proximity. In order to discern them in this manner, I used lenses. I wanted to get to the bottom of their existence and try to understand their essence. From early childhood I perceived that our reality, everything that surrounds us is viewed through some sort of lens. All that we experience - our thoughts and feelings are an intricate pattern on the body of this lens. Patterns are changed and transformed, depending on the angle from which we view them and our point of view. The Lens is in itself is a philosophical object - we use lenses when we need to look at distant and massive objects like stars, as well as the microscopically small - like the heart of the atom. It helps us to get a clearer understanding of the world that we individually live in, the environment surrounding us and the universe that we observe from afar.”
- Unus Safardiar
DAVID BREUER-WEIL (b. 1965)
This work is available in bronze as an edition of 3 plus 1 artist’s proof.
“I have always been fascinated by the idea that we are not alone, that a massive Alien might suddenly land on earth. I wanted to capture the sense of wonder and shock that such an arrival would generate. Every new work of art is an Alien, an unexpected arrival. But I also think that an extra-terrestrial being would look like us, but perhaps much larger or smaller. The beautiful rolling grounds of Chatsworth House are the perfect setting to play out this scenario, the ideal place for such a landing . There is also a very personal element to the sculpture. My father arrived in England from Vienna with his parents as refugees in 1938. My grandfather was interred as an enemy ‘Alien’, a great paradox. Sometimes immigrants hide their true identity beneath the surface, like this sculpture. Many of my works, both paintings and sculptures, explore the theme of belonging or alienation. But with this work I wanted to use a vast, breathing human form to express the profound feelings associated with these themes. And I needed the massive scale to portray the intensity of these emotions, and Chatsworth House has a great history of showing works by emigre artists such as Lucian Freud.”
- David Breuer-Weil
Until October 27 at Chatsworth, Derbyshire