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Barry Flanagan
RUGBY SCULPTURE, 2007
Lot 28
Price Realised:
€40,000
Estimate:
€30,000 - €50,000
Exhibited
https://youtu.be/4nO3paCKse8
Barry Flanagan OBE, RA, 1941-2009
RUGBY SCULPTURE, 2007
Cast bronze, 12" × 6" × 4 3/4", (30.5 × 15.2 × 12.1cm), Incised signature and number to base 'f-/20 ac 3/4/8'. (ed. 3 of 4, prior to run of 8)
Provenance: Waddington Custot, ...
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Lot 28
Barry Flanagan
RUGBY SCULPTURE, 2007
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Lot 28
Barry Flanagan
RUGBY SCULPTURE, 2007
Estimate:
€30,000 - €50,000
Barry Flanagan OBE, RA, 1941-2009
RUGBY SCULPTURE, 2007
Cast bronze, 12" × 6" × 4 3/4", (30.5 × 15.2 × 12.1cm), Incised signature and number to base 'f-/20 ac 3/4/8'. (ed. 3 of 4, prior to run of 8)
Provenance: Waddington Custot, Mayfair, London (April-May 2008), no.23
Literature: B. Dawson, Barry Flanagan Sculptures 2001-2008, London, Waddington Galleries, 2008, no. 23, illus. p.65.
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 well known all over the world for his large dancing hares, like the one at the entrance to IMMA. They all take on human qualities, celebrating the exuberance, eccentricity and fun in the human spirit. You might find one of his hares playing drums, jiving, or even playing cricket. Flanagan's approach is playful and irreverent, seeming to mock the pompous pretentiousness that underpins much contemporary art. In doing so, his work appeals to a broad audience who are able to connect directly—visually and emotionally—without the need for overly intellectual theoretical jargon.
In 1980 Flanagan was invited to exhibit his 'rope drawings' in ROSC. A precursor of what was to follow later, the ropes were abstract drawings in space. Visually, he 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 its volume, is the main conveyer of emotion. A superb draughtman, he shows the same spontaneous fluidity when modelling with pipe cleaners (eventually dipped in wax and then cast in bronze), as in his 2002 Hare Theme C III. (lot 29). Abstract lines twist and turn, activating the empty space around the sculpture, with the shape of a bounding hare unexpectedly materialising in a surprising flash.
Looking at Rugby Sculpture, one can't help being seduced by the liveliness of sinuous lines that form the hare. It's easy to imagine the artist spontaneously playing with clay as he twists, knots and bends it around a linear armature. With astonishing simplicity, Flanagan has given life to the hare so that it seems to be at the point of leaping into space. To energise static material, like bronze, into something so fluid, buoyant, and animated is what makes his work so special. Flanagan was interested in the idea of a common 'life force' in nature, some shared impulse. So, when we humans see the bounding enthusiasm of this dancing hare astride a rugby ball we can, for a moment, identify with its feeling of exultation, and share it. Flanagan's choice to incorporate a rugby ball is unusual, but not out of character. The quirky, amusing elements in his sculptures are among their most endearing qualities. Presumably a rugby enthusiast himself, he has managed to encapsulate the grace and physical energy of the player in full flight, as well as the unbridled euphoria of the fan.
Dr Frances Ruane HRHA
October 2023
RUGBY SCULPTURE, 2007
Cast bronze, 12" × 6" × 4 3/4", (30.5 × 15.2 × 12.1cm), Incised signature and number to base 'f-/20 ac 3/4/8'. (ed. 3 of 4, prior to run of 8)
Provenance: Waddington Custot, Mayfair, London (April-May 2008), no.23
Literature: B. Dawson, Barry Flanagan Sculptures 2001-2008, London, Waddington Galleries, 2008, no. 23, illus. p.65.
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 well known all over the world for his large dancing hares, like the one at the entrance to IMMA. They all take on human qualities, celebrating the exuberance, eccentricity and fun in the human spirit. You might find one of his hares playing drums, jiving, or even playing cricket. Flanagan's approach is playful and irreverent, seeming to mock the pompous pretentiousness that underpins much contemporary art. In doing so, his work appeals to a broad audience who are able to connect directly—visually and emotionally—without the need for overly intellectual theoretical jargon.
In 1980 Flanagan was invited to exhibit his 'rope drawings' in ROSC. A precursor of what was to follow later, the ropes were abstract drawings in space. Visually, he 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 its volume, is the main conveyer of emotion. A superb draughtman, he shows the same spontaneous fluidity when modelling with pipe cleaners (eventually dipped in wax and then cast in bronze), as in his 2002 Hare Theme C III. (lot 29). Abstract lines twist and turn, activating the empty space around the sculpture, with the shape of a bounding hare unexpectedly materialising in a surprising flash.
Looking at Rugby Sculpture, one can't help being seduced by the liveliness of sinuous lines that form the hare. It's easy to imagine the artist spontaneously playing with clay as he twists, knots and bends it around a linear armature. With astonishing simplicity, Flanagan has given life to the hare so that it seems to be at the point of leaping into space. To energise static material, like bronze, into something so fluid, buoyant, and animated is what makes his work so special. Flanagan was interested in the idea of a common 'life force' in nature, some shared impulse. So, when we humans see the bounding enthusiasm of this dancing hare astride a rugby ball we can, for a moment, identify with its feeling of exultation, and share it. Flanagan's choice to incorporate a rugby ball is unusual, but not out of character. The quirky, amusing elements in his sculptures are among their most endearing qualities. Presumably a rugby enthusiast himself, he has managed to encapsulate the grace and physical energy of the player in full flight, as well as the unbridled euphoria of the fan.
Dr Frances Ruane HRHA
October 2023
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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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