Bidding on this item has ended.
Barry Flanagan
FORM IN A STORM NO.1
Lot 18
Price Realised:
€7,000
Estimate:
€8,000 - €12,000
Barry Flanagan OBE, RA, 1941-2009
FORM IN A STORM NO.1 (2002)
Bronze (unique) with circular base, 8 1/2" x 6" (22 x 15cm), signed and dated 2002.
Provenance: Waddington Custot, Mayfair, London; Private Collection, Califiornia; Private Collection... Read more
Lot 18
Barry Flanagan
FORM IN A STORM NO.1
FORM IN A STORM NO.1 (2002)
Bronze (unique) with circular base, 8 1/2" x 6" (22 x 15cm), signed and dated 2002.
Provenance: Waddington Custot, Mayfair, London; Private Collection, Califiornia; Private Collection... Read more
Lot 18
Barry Flanagan
FORM IN A STORM NO.1
Estimate:
€8,000 - €12,000
Barry Flanagan OBE, RA, 1941-2009
FORM IN A STORM NO.1 (2002)
Bronze (unique) with circular base, 8 1/2" x 6" (22 x 15cm), signed and dated 2002.
Provenance: Waddington Custot, Mayfair, London; Private Collection, Califiornia; Private Collection, United Kingdom.
Born in Wales, Flanagan lived in London and, later, in Dublin, becoming an Irish citizen. In this country many people formed an affectionate attachment to his work when in 2006 ten of his famous hare sculptures were temporarily installed along Dublin's O'Connell Street. He's known all over the world for his large dancing hares, like the one at the entrance to IMMA, and another outside AIB on Serpentine Avenue. They all take on human qualities, celebrating a sense of exuberance and fun in the human spirit. Flanagan approach is playful and irreverent, without a trace of pomposity or pretension.
I recall first seeing Flanagan's work in 1980, when he was invited to exhibit his 'rope drawings' in ROSC. A precursor of what was to follow over two decades later in pieces like Form in a Storm, these ropes were abstract drawings in space. Visually, Flanagan has always thought in linear terms, in the same way, perhaps, that 'lines' underpin the paintings of artists like Daumier or Toulouse Lautrec. In a Flanagan sculpture, the linear movement of a piece, rather than volume, is the main conveyer of emotion. It's not surprising that he's a wonderful draughtsman. Form in a Storm was included in the artist's first exhibition of what he called 'linear sculpture', 3-dimensional drawings in bronze. Even with his large-scale pieces, the emotional key can be traced to early stages, when Flanagan bends and shapes the internal linear armature that will form the sculpture's core. That kind of thinking is made visible in linear sculptures like this one. You can easily imagine the artist spontaneously playing with the material as he twists, knots and bends it in space.
Form in a Storm has a deliberately ambiguous title: is the 'form' a hare, an insect, a tree? Flanagan was interested in the commonality of forms in nature, some organic impulse or life-force that is also shared with humans. One catches teasing glimpses of a bounding hare, momentarily transformed into a tree that's buffeted against the wind. One can see in the leaping, dancing upward thrust of Form in a Storm an optimistic buoyancy that is a common thread in his work.
Dr Frances Ruane HRHA
FORM IN A STORM NO.1 (2002)
Bronze (unique) with circular base, 8 1/2" x 6" (22 x 15cm), signed and dated 2002.
Provenance: Waddington Custot, Mayfair, London; Private Collection, Califiornia; Private Collection, United Kingdom.
Born in Wales, Flanagan lived in London and, later, in Dublin, becoming an Irish citizen. In this country many people formed an affectionate attachment to his work when in 2006 ten of his famous hare sculptures were temporarily installed along Dublin's O'Connell Street. He's known all over the world for his large dancing hares, like the one at the entrance to IMMA, and another outside AIB on Serpentine Avenue. They all take on human qualities, celebrating a sense of exuberance and fun in the human spirit. Flanagan approach is playful and irreverent, without a trace of pomposity or pretension.
I recall first seeing Flanagan's work in 1980, when he was invited to exhibit his 'rope drawings' in ROSC. A precursor of what was to follow over two decades later in pieces like Form in a Storm, these ropes were abstract drawings in space. Visually, Flanagan has always thought in linear terms, in the same way, perhaps, that 'lines' underpin the paintings of artists like Daumier or Toulouse Lautrec. In a Flanagan sculpture, the linear movement of a piece, rather than volume, is the main conveyer of emotion. It's not surprising that he's a wonderful draughtsman. Form in a Storm was included in the artist's first exhibition of what he called 'linear sculpture', 3-dimensional drawings in bronze. Even with his large-scale pieces, the emotional key can be traced to early stages, when Flanagan bends and shapes the internal linear armature that will form the sculpture's core. That kind of thinking is made visible in linear sculptures like this one. You can easily imagine the artist spontaneously playing with the material as he twists, knots and bends it in space.
Form in a Storm has a deliberately ambiguous title: is the 'form' a hare, an insect, a tree? Flanagan was interested in the commonality of forms in nature, some organic impulse or life-force that is also shared with humans. One catches teasing glimpses of a bounding hare, momentarily transformed into a tree that's buffeted against the wind. One can see in the leaping, dancing upward thrust of Form in a Storm an optimistic buoyancy that is a common thread in his work.
Dr Frances Ruane HRHA
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In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
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