ZULEIKA GALLERY THE MULTIPLE SHOW Featuring prints and editions from The Hepworth Wakefield
18th - 27th September 2019 3rd Floor, 6 Masons Yard St James's, London SW1Y 6BU Viewing Times Exhibition continues until 27 September Opening hours: Mondays - Fridays¨11 - 6pm Finissage Saturday 28th September 12-3pm
Enquiries: lizzie@zuleikagallery.com Telephone::+44(0)7939 566085
Sold on behalf of The Hepworth Wakefield MARTIN CREED (b.1968) Work No. 2874, 2017 £500 (incl. VAT) Edition of 85 (plus artist proofs) Signed and numbered by the artist Lithograph 49.5 x 76 cm Print is unframed 'I like broccoli. It's my favourite vegetable. I eat broccoli every day. I like prints made from broccoli because they look like pictures of trees, and I like trees. But I don't know what colours I like, so I thought I could try a mixture of different colours.' Martin Creed Martin Creed was born in 1968 in Wakefield, England. From the age of three he lived in Glasgow, Scotland. Between 1986 and 1990 he studied at the Slade School of Fine Art, London. After art school he lived and worked in London until 2001, when he moved to Alicudi, Italy. He currently lives and works in London and Alicudi. In 2001 he was the winner of the Turner Prize. He won the Turner Prize for exhibitions during the preceding year, with the jury praising his audacity for exhibiting a single installation, Work No. 227: The lights going on and off, in the Turner Prize show. Lithography is a printing process based on the fact that grease and water don’t mix. The process traditionally uses a flat stone or metal plate on which the image areas are worked using a greasy substance so that the ink will adhere to them, while the non-image areas are made ink-repellent. Paper is then placed against the surface and the plate is run through a press. This edition has been printed at Coriander Studios, a part of Curwen Press who have produced many important lithographs for artists including Henry Moore, Barbara Hepworth, Graham Sutherland, Elisabeth Frink and John Piper.
Sold on behalf of The Hepworth Wakefield STEVEN CLAYDON (b.1969) Vehicle for a Spent Dream, 2017 £1,000 (incl. VAT) Edition of 10 Stamped with edition number and artist’s initials Bronze, nitrous oxide canister 19 x 24.8 x 4 cm
Steven Claydon (b.1969, London) graduated with a BA in Fine Art from Chelsea School of Art & Design (1991) and an MA from Central Saint Martins School of Art and Design 1997) (both London). The London-based sculptor’s work is proof, if any were needed, that opposites attract. Often playful, always thought-provoking, his pieces are fusions of old and new and raw and man-made. A collector of cultural artefacts, Claydon repurposes objects and data into sculptures that are full of intentional contradictions. His work invites the viewer to become the excavator as objects from the past are re-conjured with contemporary materials and new technologies.
Sold on behalf of The Hepworth Wakefield ROSE WYLIE RA (b.1934) King John, Frog, 2017 £500 (incl. VAT) Edition of 85 (plus artist proofs) Signed and numbered by the artist Lithograph 49.5 x 76 cm Print is unframed
'I like frogs, there don’t seem to be a lot about any more. This image was triggered by a television programme on King John, who was not popularly considered a ‘good’ king at the time. The story has it that some monks decided to get rid of him by extracting poison from a frog, disguising it in wine and offering it to a travel-worn king. So this frog is both historically fixed and an example of a contemporary frog drawing, similar to that shown on the programme to catch and embody the historical fact. A suitable subject for schools... green colour for frogs, lateral politics and endangered species; with an apparently random 'King John' written into the print, but in fact there to establish connection and scholarship, and to encourage discussion.' Rose Wylie Rose Wylie (b. 1934, Hythe, UK) studied at Folkestone and Dover School of Art, and at the Royal College of Art. All of her work is centred on painting and drawing. She creates paintings and drawings that on first glance appear aesthetically simplistic, not seeming to align with any recognizable style or movement, but on closer inspection are revealed to be wittily observed and subtly sophisticated meditations on the nature of visual representation itself. The layers of newspaper that line her studio floor are a frequent source of material for the artist, as she encounters images by chance while working. Drawing from such wide-ranging cultural areas as film, fashion photography, literature, mythology, news images, sports, and individuals she meets in her day-to-day life, Wylie paints colorful and exuberant compositions that are uniquely recognizable. Rose Wylie’s solo exhibitions include: Neue Galerie Gladbeck (2017); Choi&Lager, Cologne (2017); David Zwirner, London (2016); Chapter Gallery, Cardiff (2016); Turner Contemporary, Margate (2016); Space K, Seoul (2016); UNION Gallery, London (2016); VW (VeneKlasen / Werner), Berlin (2015); Staedtische Galerie Wolfsburg (2014); Tate Britain BP Spotlight Display (2014) Haugar Museum, Tønsberg (2013).
Sold on behalf of The Hepworth Wakefield FRANCES UPRITCHARD (b.1976) Surly Baboon, 2018 £500 (incl. VAT) Edition of 40 (plus artist proofs) Signed and numbered by the artist Lithograph 76 x 49.5 cm Print is unframed
"Monkeys and Baboons are interesting to me because they look and behave a lot like humans, but are not human. The baboon in this print has a facial expression a little bit like my husband’s when he is in a fake bad mood. I guess a Baboon in a bad mood might have a similar expression, so I’m not sure if this is really a portrait of my husband, or of a Baboon." Francis Upritchard Francis Upritchard (born 1976 in New Plymouth, New Zealand) is a London-based contemporary artist. In 2009 she represented New Zealand at the Venice Biennale. Upritchard's early work often referenced museum displays, collections of artefacts, and ancient cultures. She often combined found objects with her own hand-made additions, such as sculpted heads made from modelleing clay of dogs, monkeys and birds inserted into the necks of ceramic and glass vessels, or fastened onto pieces of sporting equipment like hockey sticks and cricket bats. Other works showed fauxantique delicate instruments in shabby velvet-lined boxes. She also became known for her sculptures that replicated shrunken heads, resting on display cabinets or mounted on small pedestals. Made of plaster and paper mache, the heads referenced mokomokai, tattooed shrunken heads made by New Zealand's indigenous Māori, but the features were those of Pākeha peoples.
Sold on behalf of The Hepworth Wakefield ANTHEA HAMILTON (b.1978) Melon, 2017 £1,800 (incl. VAT) Edition of 18 Accompanied by a signed and numbered certificate Glass 14 cm diameter
Melon depicts a nutritionally healthy food rendered in glass. The elegant material gleams and shines, solid and inedible now, achieving another state of allure. These displacements and associations recur in many of Hamilton's works, which navigate the strange literalness often created through the merging of an image and an object. Anthea Hamilton (b. 1978, London) studied at Leeds Metropolitan University and the Royal College of Art, London. She was nominated for the Turner Prize in 2016. Hamilton is renowned for her art-pop, culture-inspired sculptures and installations that incorporate references from the worlds of art, fashion, design and cinema. Research is at the heart of Anthea Hamilton’s work, whether it is into art nouveau design, the roots of 1970’s disco or lichen. Each subject is studied closely and used as a lens through which to view the world. Hamilton has commented on being strongly influenced by the early 20th century French writer and dramatist Antonin Artaud and his call for the ‘physical knowledge of images’. It is this bodily response to an idea or an image that she wants us to experience when we encounter her work and its use of unexpected materials, scale and humour. Her recent solo exhibitions and performances include: The Squash at Tate Britain, London, UKLOVE V: COLD SHOWER (with Nicholas Byrne), Schinkel Pavillion, Berlin, Germany (2016); Lichen! Libido! Chastity! SculptureCenter, New York, USA (2015); House, Oslo, Norway (2015) LET’S GO, Bloomberg SPACE, London, UK (2013).
Sold on behalf of The Hepworth Wakefield HELEN MARTEN (b.1985) Untitled, 2017 £500 (incl. VAT) Edition of 85 (plus artist proofs) Signed and numbered by the artist Lithograph 49.5 x 76 cm Print is unframed
'The body and its movement through the various volumes of daily space has long been a starting point for artists through history. In this lithograph, the primary lines construct a huddled group of figures, morphing through one another in a manner that could describe an embrace, but also the metaphoric dissolution of one form into many. This body could be one gender or multiples of a state more flexible and deconstructed than any binary classification. The amorphous blobs and shapes that surround the central protagonists are both landscapes (approximate trees or plant life) and shifting forms whose semi-legibility joins the figures in a refusal to conform to definite meaning. The surrounding shapes disguise yet more faces, sentences and alphabet forms which provide the landscape with a more surreal grammar – this is a landscape in which fabrications are possible and encouraged. There are painterly marks, splashes and drips which combine in a celebration of texture and the authorial gestures of mark-making. 'With its softly pastel palette, the lithograph relies on colours not quite reminiscent of our daily lives. They are neither psychedelic nor magical but plausibly just one junction removed from reality. Perhaps this is the space of memory, of dreams, or surrealist apparition. Who are these figures? What are their relationships to us the viewer and where are we all going?' Helen Marten Helen Marten (b. 1985, Macclesfield, UK) won both The Hepworth Prize for Sculpture and the Turner Prize in 2016. She trained at Ruskin School of Art, University of Oxford, and Central Saint Martins. Often her work consists of dense accumulations of handcrafted objects made from a huge variety of materials – wood, ceramic, metal, leather, plastic and fabrics – which draw the viewer in and play with the relationship between two and three dimensions, making us question our understanding of what sculpture is or can be.
Sold on behalf of The Hepworth Wakefield LYNDA BENGLIS (b.1941) Peace of Heaven, 2015 £1,750 (incl. VAT) Edition of 40 Signed and numbered by the artist Cast phosphorescent polyurethane 40.6 x 20.3 x 5 cm A total of 40 of these unique glow-in-the-dark sculptures were cast by Walla Walla Foundry, Inc.working under the artist’s direction. Benglis, who created her first phosphorescent piece in 1971, has long been intrigued by natural phosphorescence, whether found in bioluminescent waters and phosphorescent caves or in the glow of fireflies. She also cites the glow-in-the-dark displays at funhouses that she visited as a child as early influences. Polyurethane is produced through combining the product in liquid form with reacting materials, resulting in polymerisation. The material is then cast into a resin. In 2015 The Hepworth Wakefield presented the UK’s first museum survey of work by Greek-American artist and feminist icon Lynda Benglis. This highly anticipated exhibition was the largest presentation of Benglis’ work in the UK.
Sold on behalf of The Hepworth Wakefield SIR PETER BLAKE (b.1932) Games We Used To Play, Things We Used To Do, 2018 £600 (incl VAT) Edition of 40 (plus artist proofs) Signed and numbered by the artist Lithograph 49.5 x 76 cm Print is unframed ‘I thought about what was different between when I was at school and schools today, and I remembered the games we used to play in the playground. I hope my print will make children smile and that they become involved in working out the different games, maybe asking their mum and dad about them.’ Sir Peter Blake Sir Peter Blake is often referred to as the Godfather of British Pop Art. Best known for the iconic album cover he produced for the Beatles 'Sergeant Peppers Lonely Hearts Club Band', Blake's work is inspired by his love affair with icons and the ephemera of popular culture. Peter Blake was born in 1932 in Dartford, Kent. He studied at Gravesend School of Art before earning a place at the prestigious Royal College of Art London in 1956.
Sold on behalf of The Hepworth Wakefield VIVIANE SASSEN (b.1972) Three Planets, 2018 £350 (incl. VAT) Edition of 50 Signed and numbered by the artist Giclée print 23.5 x 18 cm This work has been produced by Viviane Sassen for The Hepworth Wakefield from the original work, in archival pigment ink and collage, Three Planets, 2017, from the series Of Mud and Lotus. This work explores notions of transformation, procreation and fecundity, all elements traditionally ascribed to the idea of the feminine. Viviane Sassen (born 1972) is a Dutch artist living in Amsterdam. Sassen lived in Kenya as a child and often works in Africa. She is a photographer who works in both the fashion and fine art worlds. She first studied fashion at Arnhem, but soon turned to photography and completed a Masters degree in fine art. She has been widely published and exhibited all over the world, including a solo exhibition in 2017 at the Museum of Contemporary Photography, Chicago. She was nominated for the Deutsche Borse Prize in 2015 and awarded an Honorary Fellowship by The Royal Photographic Society in the same year, and won the Prix de Rome (2007). She has created fashion campaigns for Miu Miu, Stella McCartney, and Louis Vuitton, among others.
Sold on behalf of The Hepworth Wakefield HOWARD HODGKIN (1932-2017) Rug, 2017 £3,500 (incl. VAT) Edition of 60 Numbered and authenticated with a studio stamp on reverse. Accompanied by Certificate of Authenticity Persian yarn 213 x 152 cm The design for the rug was painted by Hodgkin specifically for this edition in 2016. The rug is hand knotted in Mirzapour, India from the finest imported Persian yarn that is then hand-spun and hand-dyed. The edition was created by the artist in partnership with Christopher Farr, a London based company that has been at the forefront of contemporary rug design since 1990 and who work with the world’s leading artists and institutions. All rugs are hand tufted using ethical labour practices. Christopher Farr is an active member of Care & Fair, an organisation based in India dedicated to ethical labour practices in the rug industry and the education of children in weaving areas. Care & Fair came into being in 1994. This initiative was founded by committed carpet importers and dedicated itself to ethical labour practices in the countries of origin and at the same time the improvement of living conditions for carpet knotters as well as their families in the knotting regions of India, Nepal and Pakistan.
Sold on behalf of The Hepworth Wakefield JEREMY DELLER (b.1966) Untitled, 2017 £500 (incl. VAT) Edition of 85 (plus artist proofs) Signed and numbered by the artist Lithograph 49.5 x 76 cm Print is unframed
'I’ve always felt that contemporary art is much better suited to children than it is to adults. Because adults bring so many preconceived ideas and fears about art, whereas children react in a much more visceral, immediate way. The best artists should have their work seen in schools. It totally makes sense. My print is almost like an illustration from a book. It’s meant to make little kids smile’ Jeremy Deller Deller won the Turner Prize in 2004, and in 2010 was awarded the Albert Medal of the Royal Society for the encouragement of Arts, Manufactures & Commerce (RSA). Much of Deller's work is collaborative; it has a strong political aspect, in the subjects dealt with, and the devaluation of artistic ego through the involvement of other people in the creative process. From 2007 to 2011, Deller served as a Trustee of the Tate Gallery.
WILLARD BOEPPLE (b.1945)
ANTONY GORMLEY (b.1950)
Inside Out, 3D £1200 (incl. VAT)
Track III £2376 framed (incl. VAT)
Edition of 25 Sintered nylon 38.1 x 20.3 x 10.2 cm
Edition of 25 Etching on Fabriano paper 34 x 26.5 cm
RICHARD LONG RA (b.1945) Ebb and Flow £4500 framed (incl.VAT) Screenprints on Somerset 410 gsm paper 138 x 58.5 cm (paper and image)
SAM WADSWORTH (b.1980) Reclining Blue Nude, 2019 £10,000 (incl.VAT) painted wood 151 x 110 cm
'"Reclining Blue Nude is a woodcut made after an oil pastel life drawing made in tmy studio. I have been working on this project for a number of years as a part of my studio practice and am very pleased to show the very first piece with the Zuleika Gallery, London. It was my aim to create the immediacy and spontaneity of my original line drawing in a larger piece that I hope can stand alone and speak for itself. I have been looking at Tom Wesselman, Henri Matisse, Julian Opie and Jeff Koons among others whilst working on the woodcut." Sam Wadsworth
DAVID SHRIGLEY (b.1968)
IAN DAVENPORT (b.1966)
Untitiled, 2018 £2640 framed (incl.VAT)
Chromology, 2004 £1500 framed (incl. VAT)
Edition of 125 76 x 56 cm
Edition of 90 Etching on 350gsm Fabriano Artistico paper 30x3 x 26.7 cm
YINKA SHONIBARE (b.1962) Love in a time of war, 2015 £2520 framed (incl.VAT) Edition of 20 Digital print with gold leaf on Somerset Velvet 330 gsm paper 48.5 x 66 cm
YINKA SHONIBARE (b.1962) Kaleidoscope, 2014 £2400 (incl. VAT) Edition of 45 cast brass, digitally printed cotton, lacquer, mirro, lens, glass , perspex, oil 8 x 8 x 27 cm ‘Kaleidoscope’ is a multiple by Yinka Shonibare MBE that playfully explores gender stereotypes and power relations: a kaleidoscope in the shape of a phallus, with the body beautifully decorated in the Dutch wax batik patterns the artist is known for, and the head made of highly polished brass. Through the opening at the head of the phallus a distorted image of Sandro Botticelli’s ‘Birth of Venus’ can be seen. Botticelli’s original image depicted the birth of Venus, the goddess of the sea, standing on a shell, the female ideal as the object of mythology and desire. Shonibare has replaced the female nude with a photograph of a well-endowed naked male. ”I intended this piece as both playful and serious: it looks like an adult sex toy, but it is also a serious comment on patriarchy, and the objectification of the female body in the media, by what film theorist Laura Mulvey called the ‘male gaze’. KALEIDOSCOPE was meant as ‘one for the ladies’…though I think it may appeal to some Gentlemen too…’ Yinka Shonibare This object can also be seen as a subversive take on 19th century Victoriana, and specifically the ‘peep show’ images of women viewed through devices such as a kaleidoscope. As with Shonibare’s celebrated work on the Fourth Plinth, ‘Nelson’s Ship in a Bottle’, ‘Kaleidoscope’ reclaims an object from a familiar British tradition and subverts it through the bold use of batik patterns and by transforming the shape into that of a phallus.
ANGELA PALMER Beneath the Surface: Self-Portrait based on MRI, 2019 £9,000 (incl.VAT) Edition of 10 ink hand drawn on acrylic sheets 20 x 20 x 20 cm Angela Palmer has sculptures in the permanent collections of The Ashmolean Museum in Oxford, The Smithsonian Air and Space Museum in Washington, The National Portrait Gallery in Scotland, and a major installation, The Ghost Forest, in The National Botanic Garden of Wales. Her work is in private and public collections worldwide. She is an award-winning graduate of The Royal College of Art and was a scholar at The Ruskin School of Drawing and Fine Art at Oxford University. Mapping is at the core of her work and using MRI, CT and other scanning methods, she has adapted a technique to show objects floating as threedimensional drawings in glass cubes. These include her brain, an Egyptian child mummy in the Ashmolean Museum and the head of the world’s most famous racehorse Eclipse. She has recreated an area of space using Nasa data for the Kepler mission. Palmer has also created lifesize in glass the most successful Formula 1 engine, the V8 RS27, used by Sebastian Vettel in four consecutive F1 world championships. Her F1 inspired work and engraved portraits were exhibited in September 2017 at Zuleika Gallery in collaboration with Sir Jackie Stewart's charity, Race Against Dementia.
MICHAEL CRAIG-MARTIN (b. 1941) Eye Test, 2018 £7200 (incl.VAT) Edition of 16 Archival digital print on 3mm UV acrylic presented in frame designed by the artist 130.0 x 6.0 x 50.5 cm
Sold on behalf of The Ashmolean, Oxford JEFF KOONS (b. 1955) Flower Drawing, 2019 ÂŁ11,500 unframed (incl.VAT) Edition of 50 Signed, numbered and dated by the artist. Highly reflective silver foil on top of an archival pigmented inkjet print of watercolor and tempura brushstrokes on Canson Plantine Fibre Rag 310g paper. 55.9 x 71.1 cm