Offer Waterman are specialist dealers in 20th Century British and International Post-War and Contemp
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Offer Waterman is delighted to be sponsoring ‘Lucie Rie: The Adventure of Pottery’ at - opening 4th March
Celebrating one of the most significant studio ceramicists of the twentieth century, the exhibition will showcase works made throughout her expansive and illustrious career.
Head over to the Kettle’s Yard website now to book your free tickets!
Illustrated: Lucie Rie, Footed Bowl, 1984, Offer Waterman
‘I had been making paintings involving a geometric division of the canvas using various grid systems, based usually on found objects such as postcards showing more than one image. I was struck by the images in Life magazine, and their emotional content. I remembered the moment when I first heard of the tragic event of November 1963, and I had been an admirer of JFK since the 1960 election. I had also made my first visit to the USA in summer 1964, when the nation was in the election campaign for President, with Barry Goldwater challenging Lyndon Johnson, and, in New York, Bobby Kennedy running for the Senate. I had seen him and helped to hand out buttons for him at Grand Central Station one day. I had also spent time at Andy Warhol's Factory, and helped to make paintings of Jackie Kennedy, some based on photographs of her at her husband's funeral.
But it was not the content so much as the pattern of the repeated frames spread over page after page, with the white grid and curved corners of each frame, and the predominant color of the grassy knoll, that gave me the idea of making a painting called Zapruder, which seemed the only possible title.’
Mark Lancaster, November 2005
🎨Mark Lancaster b.1938
Zapruder II, 1967
liquitex on canvas
65 3/4 x 129 7/8 in / 167 x 330 cm signed, titled and dated verso
Today marks the birthday of William Turnbull - born on this day in 1922
One of the most celebrated British artists of the post-war period, it was honour to present a special centenary exhibition of his painting, sculpture and work on paper last year. A true master of many mediums - we raise a glass in his honour!
Sending warmest wishes to one and all for the festive season and year ahead -
We are so lucky to have had the incredibly talented design our gallery Christmas card this year - bringing joy to all at this very special time of year!
Celebrating the centenary of Lucian Freud – one of the greatest and most innovative artists of the modern age – and what better work to illustrate the artist’s magnificent presence than this 1996 Self-Portrait: Reflection etching from the
Made in artist’s 74th year, and intricately worked with the assistance of his long-term collaborator Mark Balakjian, here we see the dramatic interplay between light and shadow, that creates one of the most striking self-portraits made by the artist during his long and illustrious career.
Flying Dream suggests a subterranean landscape alongside a swirling, rose-like fleshy form reminiscent of Georgia O'Keeffe, and a triangular shard of glittering marble in golds, jades, ochres and pink. Above, partly shrouded, an ethereal purple figure emerges out of the mists, out of a myth.
She seems to be towing a ship by threads of turquoise and silver, its prow echoed by the form in the painting's top right, a clean yellow outline blurring at the bottom into misty hilltop white.
Text by Tom Jeffreys
🎨Flying Dream, 2022
Oil, glitter and embroidery thread on canvas, 94 1/2 x 74 3/4 in /240 x 190 cm
Text by
Photography:
Portrait of Kirsten Glass by Kieron Helsdon (2020)
Kirsten Glass: Night-Scented Stock
25 November–16 December 2022 & 9–20 January 2023
📍Offer Waterman, 17 St George Street, London W1S 1FJ
📍Karsten Schubert, Room 2, 44 Lexington Street, London W1F 0LW
Exhibition opening hours
Monday–Friday, 11am–6pm
Offer Waterman in association with Karsten Schubert London is pleased to announce the exhibition, 'Kirsten Glass: Night-Scented Stock'; open to the public 25 November-16 December 2022 & 9-20 January 2023, taking place in both galleries.
Kirsten Glass (b. 1975, Belfast) holds a BA from Chelsea College of Arts, London (1996), and an MA from Goldsmiths, University of London (2000). Solo shows include Youthinkyouf**kinslick, Alfred Camp, London (1999); Ace Gallery, Los Angeles (1999); Habitat, London (2000); Windmills of your Mind, One in the Other, London (2004); Hales Gallery, London (2006); The Body in the Library, V22 Ashwin Street, London (2007); A Spritz of Absinthe, xero, kline & coma, London (2012); Persephone, Queen of the Underworld, C**k ‘n’ Bull Gallery, London (2015).
Join us for the final day of Frieze Masters - where you’ll get to see modern British masterpiece spanning the breadth of the past century…
William Turnbull, Pegasus, 1954
William Scott, Seated Figure, 1954
Looking for something to do this weekend? Come and check out the Modern British masterpieces on our stand at Frieze Masters.
📣And we are ready for day2!
Offer Waterman is participating this year with a large selection of Modern British Art in many different media.
The fair will be open today from 11am until 7pm, come and say hello at stand B08 💥
𝘚𝘤𝘶𝘭𝘱𝘵𝘶𝘳𝘦 𝘶𝘴𝘦𝘥 𝘵𝘰 𝘭𝘰𝘰𝘬 '𝘮𝘰𝘥𝘦𝘳𝘯': 𝘯𝘰𝘸 𝘸𝘦 𝘮𝘢𝘬𝘦 𝘰𝘣𝘫𝘦𝘤𝘵𝘴 𝘵𝘩𝘢𝘵 𝘮𝘪𝘨𝘩𝘵 𝘩𝘢𝘷𝘦 𝘣𝘦𝘦𝘯 𝘥𝘶𝘨 𝘶𝘱 𝘢𝘵 𝘢𝘯𝘺 𝘵𝘪𝘮𝘦 𝘥𝘶𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘱𝘢𝘴𝘵 𝘧𝘰𝘳𝘵𝘺 𝘵𝘩𝘰𝘶𝘴𝘢𝘯𝘥 𝘺𝘦𝘢𝘳𝘴.
-William Turnbull, 1960
This gallery showcases five totem sculptures Turnbull produced between 1958 and 1963. These totemic, stacked forms, carry associations of myth, ritual and ancestral lineages. Together they highlight his extensive consideration of materials and bases. Writing in 1960, Turnbull declared 'I like the emotional contrast set off by combining bronze, wood, and stone. The artist's direct experience of Brancusi's studio and his deployment of the base as an integral part of the sculpture inspired these new multipartite forms.
Surrounding these totems, are large abstract paintings that echo their verticality, while suggesting landscapes and rivers as seen from above. Turnbull found the experience of flying in the RAF profound and it informed his subsequent conceptualisation of the landscape. The world looks very different from 30,000 feet and, for Turnbull, alternative ways of thinking about people and places, about lines of ascent and descent, came into focus.
In 1953 Turnbull created a series of bronze mask reliefs, which were hollow and designed to be mounted directly to the wall. The masks were a continuation of Turnbull's interest in the tension between the static and mobile: 'The mask is a marvellous example of the attempt to fix that which is most continuously fleeting and mobile- the expression on a face.' Aesthetically, however, they were a departure from the sculptures he'd been making to
this point, as he described:
‘In 1953 I became dissatisfied with the possibilities of the linear sculpture I had been making for some years. Perhaps it seemed too schematic - too close to intellectual aesthetics. That year I made a series of masks which are concerned with surface as a skin; the division of inside and outside space in volume sculpture. My linear sculpture
had been concerned with motion, and later, I realised that a mask is an arrest of movement. I began to try to infer a quality by its opposite’.
Turnbull made his masks by impressing forms into clay and then pouring bronze directly into the resulting dips and hollows. This fast and simple method, (which had been explored earlier by Picasso), was taken up by a number of Turnbull's contemporaries including Eduardo Paolozzi. The crude nature of the technique gives the masks, with all their magical lumps and bumps, a spontaneous, child-like energy. In these reliefs, mouths are tilted and off-centre, left eyes are different sizes and shapes to the right and are, like the ears, not aligned. In gallery shows, and in his studio, Turnbull liked to display the masks all together in a scattered formation which highlighted their individual personalities.
📸Mask 1-7, 1953 installed at 9 Cork Street
📸Archival photo of Turnbull's Mask 1-7 in the garden c1960s or 1970s. Photograph by Kim Lim
📣William Turnbull: Centenary Retrospective continues
until Wednesday 20th July at 9 Cork Street!
Drawing in Space ✍️
These early Turnbull works were all made between 1947 and 1949. The presentation is loosely based on a display at the Hanover Gallery in 1950, of works Turnbull had recently made in Paris. They reveal his
interest in capturing movement and in spatialising sculpture, inspired by the
work of Alberto Giacometti, whose studio he had recently visited. We also find a
preoccupation with aquariums and circuses, environments in which objects can
float and be suspended.
Turnbull's sculpture at this early moment fizzes with creative energy. Part-sculpture, part-armature, the works cut through space, twisting and turning, while their extended, horizontal bases help ground them, providing stability. They are presented on Tiranti adjustable modelling tables very similar to those used in the 1950 exhibition. Now, as then, these tripod bases bring a sense of the movement
and mobility of the sculptor's studio to the display, enhancing the rotational
dynamism of the works.
Although these 1949 bronzes are relatively modest in size, they were in fact
conceived as much larger works. However in this early period Turnbull could not afford to create further casts at this size, or realise them full scale. Few of the artist's works from the 1940s have survived, and so these unique bronzes are particularly rare objects.
💥William Turnbull: Centenary Retrospective continues until Wednesday 20th July at 9 Cork Street! Tomorrow, Saturday, we are open from 10am to 6pm
‘Turnbull responded to the surface of his solid sculptures with a sense of discovery that traditional sculptors, to whom sculpture was anything but solid, can rarely feel. Since he was a modeller working with a soft material it was natural for him to think of the surface as a receptive plane, inviting inscription and elaboration, like wet sand on the seashore or a wall in a city. He used the surface of his sculptures to record in dramatic textures and marks the events of the creative act.’[1]
The textures and tonal variations within these bronzes find their equivalence in the large canvases Turnbull was making in the 1950s. Alloway outlines this affinity, stating ‘Painting is as physical a business as sculpture now that painters recognise the specific properties of paint as contributing to the work of art. Turnbull’s paintings, with their clear stress on the skin of paint bearing the brush or knife mark, thus extend the sculptor’s recognition of the reality of his materials into painting.’[2]
[1&2] Lawrence Alloway in William Turnbull: New Sculpture and Paintings, The Institute of Contemporary Arts Gallery, London,1957
📸 William Turnbull: Centenary Retrospective, installation photographs of: Landscape, 1957, oil and sand on canvas, 44 1/4 x 59 1/8 in, 112.5 x 150 cm
&
Idol, 1988, bronze, 79 1/2 x 23 3/4 x 15 3/4 inches,201.9 x 60.3 x 40 cm
William Turnbull: Large Siren, 1986 & 7-1958, 1958
Three generations of Kasmins
A beautiful selection of ceramics on view on our stand
William Turnbull: Centenary Retrospective will be open today from 10am to 6pm at 9 Cork Street.
Installation photograph of the Ancestral Lands room, showing the following works (left to right): Hero 1, 1958
Agamemnon, 1962
24-1963, 1963
Installation photograph of two of the works from the Colour and Steel room (left to right): No.3, 1964
15-1965, 1965
Opening today at 9 Cork street
𝘞𝘪𝘭𝘭𝘪𝘢𝘮 𝘛𝘶𝘳𝘯𝘣𝘶𝘭𝘭 𝘊𝘦𝘯𝘵𝘦𝘯𝘢𝘳𝘺 𝘙𝘦𝘵𝘳𝘰𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦
The exhibition will be open to the public from 10am to 5pm today, and will remain open until 20th July, Tuesday to Saturday from 10am to 6pm.
Celebrating the one and only Stanley Spencer - born on this day in 1891 - with his marvellous Goats, Switzerland (1936), on display now at Masterpiece.
In a letter from Spencer to his dealer Dudley Tooth he wrote: ‘I have also nearly finished a small painting of another Swiss landscape with Goats, all of which are butting & kicking about in all directions and eating everything they shouldn’t’.
With special thanks to for finding this fantastic extract from the Tate archives …
Painted nearly a century apart Matthew Smith & David Hockney celebrate the glory of the English landscape in these two works currently on display at Masterpiece - be sure not to miss us at Stand 109
Ruth Asawa: Citizen of the Universe
If you’re lucky enough to find yourself in Florence in the coming weeks be sure not to miss the one-in-a-lifetime exhibition Donatello: The Renaissance at
Charting the astonishing career of one of the most important and influential masters of Italian art, this exhibition celebrates Donatello’s unique sculptural sensibilities - and really is a ‘must see’!
A few more hours of
The gallery will remain open until 5pm today!
Installed in the gallery: Tess Jaray, Love Match, 2020, acrylic on panel, diameter 15 3/4 in / 40 cm (each), and
Alison Wilding, Impact Series 2, 2007, acrylic and collage, 9 1/8 x 8 1/2 in /23 x 21.5 cm
On view at the gallery for a selection of beautiful Lucie Rie ceramics presented next to the impressive large scale triptych by
💥 Extended opening hours for this weekend: Saturday 11am to 6pm and Sunday 11am to 5pm
Tarka Kings, Bluegrass Breakdown, 2018, graphite and colour pencil on Arches paper, 71 5/8 x 41 1/8 in / 181.9 x 104.4 cm (triptych, each drawing)
Lucie Rie, Bottle Vase with Flaring Rim, c.1975, porcelain with a manganese and pale brown glaze with sgraffito design and blue banding, height 9 3/4 in / 24.6 cm
Lucie Rie, Large Bowl, c1968, stoneware with a white glaze with manganese and sgraffito banding, diameter 9 1/4 in / 23.5 cm
Beautiful installed in the gallery for
Our gallery will remain open until 8pm tonight, from 11am to 6pm on Saturday and from 11am to 5pm on Sunday.
Sarah Kogan b.1969
Crater III, 2016
acrylic on unprimed linen
24 1/8 x 18 1/8 in / 61 x 46 cm
For Offer Waterman is delighted to present an exhibition surveying ten women artists’ exploration of line and form. Weaving together an imagined conversation between painters, ceramicists, sculptors and photographers, this exhibition takes the viewer on a visual journey spanning more than half a century.
Pictured above:
Lucie Rie, Large Squeezed Bowl, 1972, stoneware with an all-over pitted glaze,
height: 17.5cm / 7 inches, diameter: 33cm / 13 inches
Clementine Keith Roach, Fold, 2021, terracotta vessel, jesmonite and paint, 22 7/8 x 15 x 14 1/8 inches / 58 x 38 x 36 cm
Special opening hours for London Gallery Weekend:
Friday 13 May, 10am-8pm
Saturday 14 May, 11am-6pm
Sunday 15 May, 11am-5pm
📍Offer Waterman, 17 St George Street, London,W1S 1FJ
Thank you to everyone that joined us for New York Spring! We look forward to seeing you again next year 🌸
Photos by Daniel Terna
Thank you to everyone that joined us for New York Spring! We look forward to seeing you again next year 🌸
Photos by Daniel Terna
Firmly back on British soil - and first stop Britain to catch the fantastic Walter Sickert show currently on view - featuring his 1909 masterpiece Nuit d’été (Private Collection, courtesy )
Be sure not to miss it if you’re in London on view until 18 September!
Join us for the final day of New York at Park Avenue Armory - and a last chance to see Frank Auerbach’s powerful portrait of favoured sitter J.Y.M.
Frank Auerbach, Figure on a Bed II, 1967
‘How wonderful the colour yellow is! It stands for the sun.’ Starting this sunny Monday morning - the penultimate day of New York - with the wonderful Lucie Rie (and a little help from Vincent Van Gogh of course!)
Lucie Rie, Bowl, 1960
Join us at stand 302 or get in touch for further information …
17 St George Street
London
W1S1FJ
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