Geoffrey Petts Clarke Paintings & Artwork for Sale | Geoffrey Petts Clarke Art Value Price Guide

Oct. 16, 2024
Clarke (Geoffrey, 1924-2014). Tree Form, 1974, monotype
Est: £150 - £200
Clarke (Geoffrey, 1924-2014). Tree Form, 1974, monotype AR * Clarke (Geoffrey, 1924-2014). Tree Form, 1974, monotype on thin tissue, signed and dated lower right image size 17 x 18.5 cm (6 6/8 x 7 1/4 ins), sheet size 26 x 26.5 cm (10 1/4 x 10 1/2 ins), together with a copy of the exhibition catalogue of Geoffrey Clarke, 19 May - 30 June 1975 held at Taranman Gallery QTY: (2) NOTE: Provenance: Estate of David Gould (1922-2004), founder of the Taranman Gallery, collector and connoisseur, and one of the earliest experts on the Antiques Roadshow.
Dominic Winter Auctions
Oct. 16, 2024
Clarke (Geoffrey, 1924-2014). Study for Sculpture, 1956, etching
Est: £400 - £600
Clarke (Geoffrey, 1924-2014). Study for Sculpture, 1956, etching AR * Clarke (Geoffrey, 1924-2014). Study for Sculpture, 1956, etching and aquatint in colour, an unsigned artist's proof, aside from the published edition of 30 impressions, inscribed in pencil to verso (presumably by the artist): Clarke 1956 [GT Bardfield], plate size 90.5 x 55.5 cm (35 1/2 x 21 3/4 ins), sheet size 97 x 61 cm (38 x 24 ins), framed and glazed QTY: (1) NOTE: Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.
Dominic Winter Auctions
Sep. 11, 2024
Geoffrey Clarke RA, Untitled;
Est: £400 - £600
Geoffrey Clarke RA, British 1924-2014 - Untitled; pigment on plaster, unique, signed with initials lower right 'GC', 19.9 x 24.2 cm (ARR)
Roseberys
Sep. 11, 2024
Geoffrey Clarke RA, Sculptures in a Landscape, 1978-79;
Est: £400 - £600
Geoffrey Clarke RA, British 1924-2014 - Sculptures in a Landscape, 1978-79; acrylic on polystyrene, signed with initials and dated lower right 'GC 78-9', 9 x 13 cm (ARR)
Roseberys
Sep. 04, 2024
Geoffrey Clarke RA, Untitled;
Est: £200 - £300
Geoffrey Clarke RA, British 1924-2014, Untitled; aquatint on wove, signed and numbered 8/10 in pencil, plate: 14 x 9.5 cm, (framed) (ARR)
Roseberys
Aug. 01, 2024
λ GEOFFREY CLARKE (BRITISH 1924-2014), COMPOSITION 1X
Est: £400 - £600
λ GEOFFREY CLARKE (BRITISH 1924-2014)COMPOSITION 1XAluminium Signed with monogram, dated 81 and numbered 9 (lower left), further inscribed 9 in pen (verso)18 x 18.5cm (7 x 7¼ in.)
Dreweatts 1759 Fine Sales
Jun. 18, 2024
Geoffrey Clarke RA, Death of a Flower, 1951;
Est: £250 - £350
Geoffrey Clarke RA, British 1924-2014, Death of a Flower, 1951; drypoint etching and aquatint on wove, signed, dated and numbered 5/50 in pencil, printed by the artist at the RCA, plate: 21.5 x 44cm, (framed) (ARR) Note: LeGrove 120. Examples of this work exist in the collections of The British Museum, British Council and MoMA Brazil.
Roseberys
May. 23, 2024
§ Geoffrey Clarke RA (1924-2014)
Est: £200 - £400
§ Geoffrey Clarke RA (1924-2014) Aerial, Cambridge University Library signed 'Clarke.' (lower right); dated 5/58 and numbered 21/70 lithograph and aquatint 50.5 x 64cm Provenance: With Heffers Gallery, Cambridge
Cheffins
May. 01, 2024
§ GEOFFREY CLARKE R.A. (BRITISH 1924-2014)
Est: £400 - £600
GEOFFREY CLARKE R.A. (BRITISH 1924-2014) WARRIOR'S HEAD - 1956/2000 Aquatint, 8/25, signed and numbered in pencil to margin, printed by St. Barnabas Press, Cambridge, with their blindstamp, commissioned by Strand Gallery the image 75cm x 41cm (29.5in x 16in), unframed Literature: Judith LeGrove, Geoffrey Clarke: A Sculptor's Prints, Bristol, 2012, no. 183. Judith LeGrove indicates that this work was printed in two editions:I / Edition of 20 started in 1956: No.1, plus 4 artist's proofs printed by the artist and Richard Fozard at the RCA, then II / Edition of 25 printed in black by St Barnabas Press for Strand Gallery in 2000.The offered work is from the later, second edition.
Lyon & Turnbull
Apr. 26, 2024
§ GEOFFREY CLARKE R.A. (BRITISH 1924-2014)
Est: £1,000 - £1,500
GEOFFREY CLARKE R.A. (BRITISH 1924-2014) INDUSTRIAL COMPLEXITIES, 2007 (S871) 28 elements, the bowl and one element stamped with artist's mark, aluminium 15cm high, 34cm wide (5 7/8in high, 13 3/8in wide) Private Collection, U.K. Literature:LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London, Pangolin and Lund Humphries, 2017, p.251, S871, illustrated.
Lyon & Turnbull
Apr. 26, 2024
§ GEOFFREY CLARKE R.A. (BRITISH 1924-2014) (S290c, S291c)
Est: £1,000 - £1,500
GEOFFREY CLARKE R.A. (BRITISH 1924-2014) (S290c, S291c) TORIIJ & TORIIK, 1965 each stamped with maker's mark, from an edition of 10, aluminium 8cm high, 12.5cm wide (3 1/8in high, 4 7/8in wide) and 8cm high, 11.5cm wide (3 1/8in high, 4 1/2in wide) (2) Private Collection, U.K. Literature:LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London, Pangolin and Lund Humphries, 2017, p.109, nos S290c and S291c, illustrated.
Lyon & Turnbull
Apr. 18, 2024
Geoffrey Clarke (1924-2014), British, An abstract aquatint
Est: £400 - £600
Geoffrey Clarke (1924-2014), British 1956, An abstract study for a sculpture Sugar-lift aquatint in colours on wove, a proof aside from the edition of 30 Signed bottom right and inscribed bottom left '3/30 /6/56' Together with a 2013 Pangolin London Geoffrey Clarke RA catalogue for the 'A Decade of Change' exhibition Geoffrey Clarke was born in Derbyshire in 1924. He studied at Preston Manchester School of Arts and specialised in stained glass during his studies at the Royal College of Art after serving in the RAF during WWII. He was a sculptor who used various media including iron, bronze, aluminium, expanded polystyrene and stained glass. He was commissioned to do work at the Coventry Cathedral, Lincoln Cathedral and in St. Martin's Lane. He represented Britain at the 1952 Venice Biennale and had solo exhibits at Gimpel Fils Gallery in 1955, Strand Gallery, Alderberg in 2003, the Fine Arts Society in 2006, and the Linton Court Gallery, Settle in 2013. Clarke was made a Royal Academician in 1975. Provenance: Pierre Rouve Dimensions: (Frame) 45.5 in. (H) x 31.5 in. (W) (Paper) 37.5 in. (H) x 23.5 in. (W)
Sloane Street Auctions
Mar. 21, 2024
GEOFFREY CLARKE M.F DAWSON, Cottages & Still Life, watercolours, frames: 45 x 56, 42 x 40 cm
Est: $50 - $70
GEOFFREY CLARKE M.F DAWSON Cottages & Still Life watercolours each signed
Lawsons
Mar. 12, 2024
Geoffrey Clarke RA, British 1924-2014 - Untitled; metal and slate, sig
Est: £600 - £800
Geoffrey Clarke RA, British 1924-2014 - Untitled; metal and slate, signed with monogram lower right 'GC', H43.5 x W37 x 2.3 cm (ARR) Provenance: Askew Art, London (according to the copy of original invoice); a Collector of Modern British Art, purchased from the above 16th January 2014 and thence by descent
Roseberys
Dec. 14, 2023
Geoffrey Clarke (1924-2014) Birth of a Flower
Est: £300 - £500
Geoffrey Clarke (1924-2014) Landscape, Birth of a Flower (LeGrove 119) Etching with drypoint printed in colours, 1951, signed and dated in pencil, numbered from the edition of 50, on laid paper, with full margins, sheet 276 x 504mm (10 7/8 x 19 7/8in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Forum Auctions - UK
Nov. 29, 2023
Geoffrey Clarke RA, Untitled;
Est: £1,000 - £2,000
Geoffrey Clarke RA, British 1924-2014 - Untitled; metal and slate, signed with monogram lower right 'GC', H43.5 x W37 x 2.3 cm (ARR) Provenance: Askew Art, London (according to the copy of original invoice); a Collector of Modern British Art, purchased from the above 16th January 2014 and thence by descent
Roseberys
Oct. 27, 2023
§ Geoffrey Clarke R.A. (British 1924-2014) Sea at Aldeburgh, 1978
Est: £700 - £1,000
§ Geoffrey Clarke R.A. (British 1924-2014) Sea at Aldeburgh, 1978 initialled and dated (lower right), mixed media on polystyrene (11cm x 14.5cm (4 1/4in x 5 3/4in)) Exhibited Strand Gallery, Aldeburgh, Geoffrey Clarke RA and the Aldebrugh Connection, 16 October - 20 November 2004. This was one of two works acknowledged by Clarke to have been inspired by Aldeburgh. Clarke owned the Martello Tower there and he and his family enjoyed trips to the seaside at Aldeburgh. Geoffrey Clarke: Intimate yet Monumental The works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works. Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect. Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement. Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later. The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea. Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale. Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lyon & Turnbull
Oct. 27, 2023
§ Geoffrey Clarke R.A. (British 1924-2014) Maquette for Sainsbury Sculpture Competition (Climber), 1965 (LeGrove S260a)
Est: £1,000 - £2,000
§ Geoffrey Clarke R.A. (British 1924-2014) Maquette for Sainsbury Sculpture Competition (Climber), 1965 (LeGrove S260a) stamped artist's mark, aluminium (26.6cm high (10 1/2in high)) Provenance Private Collection, UK. Literature LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.100, S260a, illustrated. This is one of a series of maquettes for a sculpture submitted for a competition for a site between the King's Road, Chelsea and a new branch of Sainsbury's. This example was later titled Climber. Geoffrey Clarke: Intimate yet Monumental The works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works. Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect. Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement. Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later. The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea. Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale. Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lyon & Turnbull
Oct. 27, 2023
§ Geoffrey Clarke R.A. (British 1924-2014) Pyramid, 1993 (LeGrove S703)
Est: £1,000 - £2,000
§ Geoffrey Clarke R.A. (British 1924-2014) Pyramid, 1993 (LeGrove S703) stamped artist's mark, aluminium (20.5cm high (8in high)) Provenance Private Collection, UK. Exhibited The Fine Art Society Limited, London, Geoffrey Clarke: Sculpture, Constructions and Works on Paper 1949-2000, 9 October - 2 November 2000, no.75. Literature LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.211, SS703, illustrated. Geoffrey Clarke: Intimate yet Monumental The works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works. Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect. Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement. Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later. The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea. Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale. Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lyon & Turnbull
Oct. 27, 2023
§ Geoffrey Clarke R.A. (British 1924-2014) Column, 1993 (LeGrove S692)
Est: £1,500 - £2,500
§ Geoffrey Clarke R.A. (British 1924-2014) Column, 1993 (LeGrove S692) stamped artist's mark, aluminium (26cm high (10 1/8in high)) Provenance Private Collection, UK. Exhibited Chappel Galleries, Chappel, Geoffrey Clarke RA - Latest Work: Sculpture, Paintings & Drawings, 29 October - 26 November 1994. Literature LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.209, S692, illustrated. Geoffrey Clarke: Intimate yet Monumental The works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works. Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect. Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement. Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later. The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea. Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale. Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lyon & Turnbull
Oct. 27, 2023
§ Geoffrey Clarke R.A. (British 1924-2014) Toriio, 1965 (LeGrove S294b)
Est: £1,000 - £1,500
§ Geoffrey Clarke R.A. (British 1924-2014) Toriio, 1965 (LeGrove S294b) stamped with the artist's mark, numbered 3/10 and 533 and dated 65, aluminium (15.2cm high, 7.5cm wide (6in high, 3in wide)) Provenance Purchased from Whitford Fine Art, London in 2002 by the current owner. Literature LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.110, S294b, illustrated. Geoffrey Clarke: Intimate yet Monumental The works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works. Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect. Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement. Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later. The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea. Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale. Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lyon & Turnbull
Oct. 27, 2023
§ Geoffrey Clarke R.A. (British 1924-2014) Head I, 1951 (LeGrove S36)
Est: £1,500 - £2,500
§ Geoffrey Clarke R.A. (British 1924-2014) Head I, 1951 (LeGrove S36) iron on aluminium, unique (18cm high (7in high)) Provenance Private Collection, UK. Exhibited Gimpel Fils, London, Geoffrey Clarke, Peter Potworowski, March - April 1952, no.41; Redfern Gallery, London, Geoffrey Clarke: Recent Sculptures, March - April 1965, no.49; Yorkshire Sculpture Park, Wakefield, Geoffrey Clarke RA: Sculpture and Works on Paper 1950-1994, April-June1994, illustrated on the cover. Literature LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.29, S36, illustrated. A cross on the top was missing by 1965 and has never been restored. Geoffrey Clarke: Intimate yet Monumental The works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works. Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect. Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement. Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later. The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea. Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale. Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.
Lyon & Turnbull
Jun. 28, 2023
§ GEOFFREY CLARKE RA (BRITISH 1924-2014)
Est: £300 - £500
GEOFFREY CLARKE RA (BRITISH 1924-2014) Birth of a Flower 1951 signed, dated and numbered 19/50 in pencil etching with aquatint in colours on laid sheet 21.5 x 45cm unframed ARR Reference: see Tate Britain, accession number P03163 for another example of the edition.
Chiswick Auctions
Apr. 28, 2023
§ Geoffrey Clarke R.A. (British 1924-2014) Façade (Man as a Fortress), 1958 (S151)
Est: £6,000 - £8,000
§ Geoffrey Clarke R.A. (British 1924-2014) Façade (Man as a Fortress), 1958 (S151) edition of 4, bronze (28.5cm high, 29cm wide, 11cm deep (11 1/2in high, 12in wide, 4 3/4in deep)) Literature LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin & Lund Humpries, 2017, p. 62, cat. no. S151, illustrated; LeGrove, Judith, Geoffrey Clarke: A Sculptor's Materials, Bristol: Sansom & Company, 2017, p.129, illustrated. Exhibited Arts Council Touring Exhibition, Sculpture in the Home, 1958, no. 10 (another cast); James Hyman Fine Art, London, Henry Moore and the Geometry of Fear, November 2002 - January 2003, no. 15 (another cast); Pangolin, London, Geoffrey Clarke: A Decade of Change, September - October 2013 (another cast); Pangolin, London, Conjunction: Lynn Chadwick & Geoffrey Clarke, October - November 2013 (another cast). Judith LeGrove, Geoffrey Clarke's biographer, has written about this sculpture, describing it as '...a work in bronze: a rectilinear construction, with walls and a mast, cast in summer 1958...He constructed sections from wax sheet, from which moulds were made, casts taken, and the components welded as a potential edition of four. Some casts were smoother and more regular than others indicating a degree of variation...welcomed by Clarke...Despite its apparent abstraction, the sculpture literally had a heart: a cut-out barely concealed behind its protective spike. Clarke circled the issue of naming ('I think that the actual association of the word 'Man' in the title may lead to the spout shape being misunderstood!! How about 'Façade', 'Barrier' or 'Shield'?')...He clearly envisaged the work as a 'symbol for man'...In so doing he was radically rethinking the figure.' (Judith LeGrove, Geoffrey Clarke: A Sculptor's Materials, Sansom & Company, Bristol, 2017, p.129) Innovative sculptor Geoffrey Clarke (1924 – 2014) experimented readily with materials throughout his lifetime, moving away from a figurative focus which for many years dictated his study to a more abstract direction. His fearless experiments and bold sculptures epitomised the vivacity of the post-war art scene in Britain. A graduate of London’s Royal College of Art, Clarke was acknowledged as one of the few British sculptors who actively encouraged the practice of cooperation and synergy between sculptors and architects. Characteristically monumental and large in scale, his output notably included the combined use of aluminium, stained glass, mosaic and enamel. Taking advantage of the post-war architectural boom, Clarke was known in his early years for his iron, wire and plaster works. One of the first artists to use welding in his sculptures, Clarke experimented readily with processes, trialling different modes of making which were both more cost and time effective. Often building an initial ‘skeleton’ in his sculptures, his process was undeniably influenced by anthropomorphism. Reducing the human figure to a curvilinear sculpture in his work, this technique remained in line with the rise of sculptors looking to develop a more meaningful sculptural language. In 1952, Clarke’s fame was cemented when he was selected by the Arts Council for the inclusion in the landmark exhibition of British sculpture at the Venice Biennale. Attaining several subsequent awards in the years which followed, Clarke rapidly became one of the most frequently commissioned architectural sculptors of the mid-twentieth century. A notable public commission being his work on the windows of Coventry Cathedral, which showcased his stained-glass abilities.
Lyon & Turnbull
Apr. 28, 2023
§ Geoffrey Clarke R.A. (British 1924-2014) Artist Series: The Artist’s Progression, The Artist and Participation, or Mutual Thought, 2000
Est: £600 - £800
§ Geoffrey Clarke R.A. (British 1924-2014) Artist Series: The Artist’s Progression, The Artist and Participation, or Mutual Thought, 2000 each signed, dated, and numbered 12/25, 10/25 and 6/25 respectively, etching on zinc, two etching and aquatint, commissioned by Strand Gallery and printed by St. Barnabas Press (25cm x 15.5cm (10in x 6 1/4in), 17.5cm x 14.5cm (6 7/8in x 5 5/8in) and 19cm x 12.5cm (7 1/2in x 4 7/8in) respectively, unframed) Qty: (3) Provenance Private Collection, UK. Literature Judith LeGrove, Geoffrey Clarke: A Sculptor's Prints, Bristol, 2012, no. 209, 210 and 211. Innovative sculptor Geoffrey Clarke (1924 – 2014) experimented readily with materials throughout his lifetime, moving away from a figurative focus which for many years dictated his study to a more abstract direction. His fearless experiments and bold sculptures epitomised the vivacity of the post-war art scene in Britain. A graduate of London’s Royal College of Art, Clarke was acknowledged as one of the few British sculptors who actively encouraged the practice of cooperation and synergy between sculptors and architects. Characteristically monumental and large in scale, his output notably included the combined use of aluminium, stained glass, mosaic and enamel. Taking advantage of the post-war architectural boom, Clarke was known in his early years for his iron, wire and plaster works. One of the first artists to use welding in his sculptures, Clarke experimented readily with processes, trialling different modes of making which were both more cost and time effective. Often building an initial ‘skeleton’ in his sculptures, his process was undeniably influenced by anthropomorphism. Reducing the human figure to a curvilinear sculpture in his work, this technique remained in line with the rise of sculptors looking to develop a more meaningful sculptural language. In 1952, Clarke’s fame was cemented when he was selected by the Arts Council for the inclusion in the landmark exhibition of British sculpture at the Venice Biennale. Attaining several subsequent awards in the years which followed, Clarke rapidly became one of the most frequently commissioned architectural sculptors of the mid-twentieth century. A notable public commission being his work on the windows of Coventry Cathedral, which showcased his stained-glass abilities.
Lyon & Turnbull
Apr. 28, 2023
§ Geoffrey Clarke R.A. (British 1924-2014) Warrior's Head, 1956/2000
Est: £700 - £900
§ Geoffrey Clarke R.A. (British 1924-2014) Warrior's Head, 1956/2000 signed (lower right), numbered 8/25 (lower left), aquatint, commissioned by Strand Gallery and printed by St. Barnabas Press (76cm x 41cm (30in x 16in), unframed) Provenance Private Collection, UK. Literature Judith LeGrove, Geoffrey Clarke: A Sculptor's Prints, Bristol, 2012, no. 183. Innovative sculptor Geoffrey Clarke (1924 – 2014) experimented readily with materials throughout his lifetime, moving away from a figurative focus which for many years dictated his study to a more abstract direction. His fearless experiments and bold sculptures epitomised the vivacity of the post-war art scene in Britain. A graduate of London’s Royal College of Art, Clarke was acknowledged as one of the few British sculptors who actively encouraged the practice of cooperation and synergy between sculptors and architects. Characteristically monumental and large in scale, his output notably included the combined use of aluminium, stained glass, mosaic and enamel. Taking advantage of the post-war architectural boom, Clarke was known in his early years for his iron, wire and plaster works. One of the first artists to use welding in his sculptures, Clarke experimented readily with processes, trialling different modes of making which were both more cost and time effective. Often building an initial ‘skeleton’ in his sculptures, his process was undeniably influenced by anthropomorphism. Reducing the human figure to a curvilinear sculpture in his work, this technique remained in line with the rise of sculptors looking to develop a more meaningful sculptural language. In 1952, Clarke’s fame was cemented when he was selected by the Arts Council for the inclusion in the landmark exhibition of British sculpture at the Venice Biennale. Attaining several subsequent awards in the years which followed, Clarke rapidly became one of the most frequently commissioned architectural sculptors of the mid-twentieth century. A notable public commission being his work on the windows of Coventry Cathedral, which showcased his stained-glass abilities.
Lyon & Turnbull
Apr. 28, 2023
§ Geoffrey Clarke R.A. (British 1924-2014) Symbol for Man VIII, 1951-54
Est: £4,000 - £6,000
§ Geoffrey Clarke R.A. (British 1924-2014) Symbol for Man VIII, 1951-54 signed and dated (on underside of base), iron on aluminium base (27cm high, 15cm wide, 12cm deep (10 1/2in high, 6in wide, 4 1/2in deep)) Provenance Private Collection, UK. Exhibited Gimpel Fils, London, Recent Sculpture, Drawings and Engravings by Geoffrey Clarke; Collages by Austin Cooper, January 1955; The Redfern Gallery, London, Geoffrey Clarke: Recent Sculptures 1965, March - April 1965, no. 43; Taranman Gallery, London, Geoffrey Clarke, June - July 1976, no. 40; Fine Art Society, London, Geoffrey Clarke: Sculpture, Constructions and Works on Paper, 1949-2000, October - November 2000, no. 9, p. 19, illustrated; Strand Gallery, Aldeburgh, Geoffrey Clarke RA: Monotypes, Early Sculptures and Prints, April - May 2003. Literature LeGrove, Judith, Geoffrey Clark Sculptor: Catalogue Raisonné, London: Pangolin & Lund Humpries, 2017, p. 47, cat. no. S110, illustrated. This work also has variant titles of Man, Man as a Fortress and Maquette. As Peter Black has written: 'Clarke uses allegory and symbol; he is interested not in the historical moment but in permanent truths about Man. His Man figure [including in Symbol for Man VIII]...who appears first in the aquatints, and was developed in iron sculptures made 1950-4, is conceived as a monument. He is sometimes tree- and plant-like. In other incarnations he resembles a man-made structure such as a giant crane...In others again 'Man' becomes fortress-like; static and enduring, but sentient and spiritual.' (Peter Black, 'Introduction', Geoffrey Clarke: Sculpture, Constructions and Works on Paper 1949-2000, London, 2000, p. 8.) Innovative sculptor Geoffrey Clarke (1924 – 2014) experimented readily with materials throughout his lifetime, moving away from a figurative focus which for many years dictated his study to a more abstract direction. His fearless experiments and bold sculptures epitomised the vivacity of the post-war art scene in Britain. A graduate of London’s Royal College of Art, Clarke was acknowledged as one of the few British sculptors who actively encouraged the practice of cooperation and synergy between sculptors and architects. Characteristically monumental and large in scale, his output notably included the combined use of aluminium, stained glass, mosaic and enamel. Taking advantage of the post-war architectural boom, Clarke was known in his early years for his iron, wire and plaster works. One of the first artists to use welding in his sculptures, Clarke experimented readily with processes, trialling different modes of making which were both more cost and time effective. Often building an initial ‘skeleton’ in his sculptures, his process was undeniably influenced by anthropomorphism. Reducing the human figure to a curvilinear sculpture in his work, this technique remained in line with the rise of sculptors looking to develop a more meaningful sculptural language. In 1952, Clarke’s fame was cemented when he was selected by the Arts Council for the inclusion in the landmark exhibition of British sculpture at the Venice Biennale. Attaining several subsequent awards in the years which followed, Clarke rapidly became one of the most frequently commissioned architectural sculptors of the mid-twentieth century. A notable public commission being his work on the windows of Coventry Cathedral, which showcased his stained-glass abilities.
Lyon & Turnbull
Feb. 28, 2023
Geoffrey Clarke, (1924-2014), "Aerial," Abstracted aerial view of Cambridge University Library 1958, Aquatint in colors on paper, Plate: 14.625" H x 20.625" W; Sight: 16" H x 22" W
Est: $300 - $500
Geoffrey Clarke (1924-2014) "Aerial," Abstracted aerial view of Cambridge University Library 1958 Aquatint in colors on paper Edition: 63/70 Signed, dated 6/58, and numbered in pencil in the lower margin: Clarke; Cambridge Art Trust, Cambridge, England, pub.
John Moran Auctioneers
Dec. 08, 2022
Geoffrey Clarke RA, British 1924-2014 - Primitive, 2006; parcel polychrome painted bronze plaqu
Est: £800 - £1,200
Geoffrey Clarke RA, British 1924-2014 - Primitive, 2006; parcel polychrome painted bronze plaque mounted on slate, signed with initials and titled on the reverse 'GC PRIMITIVE', H36.5 x W18.5 x D2.5 cm (ARR) Provenance: Strand Gallery, Aldeburgh, Suffolk
Roseberys
Nov. 30, 2022
Geoffrey Clarke R.A. (1924 -2014) British, A maquette for 'Two Troughs - Flat Bar II', aluminium, stamped 9/10
Est: £600 - £800
Geoffrey Clarke R.A. (1924 -2014) British, A maquette for 'Two Troughs - Flat Bar II', aluminium, stamped 9/10 GC 64 44, length 9.75", (25cm).
John Nicholson's Fine Art Auctioneers & Valuers
Oct. 28, 2022
§ Geoffrey Clarke R.A. (British 1924-2014) Bird I, 1954
Est: £7,000 - £9,000
§ Geoffrey Clarke R.A. (British 1924-2014) Bird I, 1954 unique, iron and stone (71.7cm high (28 1/4in high)) Provenance: Acquired directly from the artist by the present owner after the 1955 exhibition. This work also has a variant title of 'Rook'. Exhibited: Gimpel Fils, London, Recent Sculpture, Drawings and Engravings by Geoffrey Clarke; Collages by Austin Cooper, January 1955, no.17. Literature: LeGrove, Judith, Geoffrey Clarke: A Sculptor's Materials, Bristol, 2017, pp.112-113 (illustrated); LeGrove, Judith, Geoffrey Clarke: Sculptor: Catalogue Raisonné, London, 2017, p.40, no.578 (illustrated). Geoffrey Clarke was included in Herbert Read’s selection for the 1952 British Pavilion at Venice Biennale. It was in the catalogue for this show that Read coined the term ‘The Geometry of Fear’. Read was attempting to capture a particular quality of these young artists’ work, in counterpoint to the subtle curves of Henry Moore, whose work also featured in Venice. For Read, the spiky and etiolated forms of these new welded and forged sculptures, often made from iron rather than bronze, spoke to the existential crisis of the post-war period, as humanity tried to reimagine itself burdened by the knowledge of Auschwitz and Hiroshima. For all the ‘Geometry of Fear’ artists, one theme seems to have been constant: that the human and the animal were interchangeable – that man had become a changeling being, easily becoming a beast. Equally, the ‘innocence’ of animals could also stand as a clear metaphor of our ability to wreak suffering on our fellow man. Clarke, Turnbull, Meadows, Chadwick and Paolozzi – perhaps more so than Adams, Butler or Armitage – all created bestiaries of creatures imbued with human emotion [which found equivalents, too, in the paintings of Francis Bacon and Graham Sutherland]. Bird One can be seen almost as the pendant to Clarke’s Complexities of Man (1951) now in the Tate. Both works resonate with human angst, but also with something deeper and more compelling. In Bird One, this is realised in the juxtaposition of the smooth, beautifully carved stone egg with the scored and rough surface of the nest and the spiky form of its protective parent, its head and beak striking out into space. The mass of the egg weights and centres the work, lending the initially terrifying form of the bird an underlying warmth and humanity, its primal scream turning to a song of motherhood.
Lyon & Turnbull
Oct. 19, 2022
Clarke (Geoffrey, 1924-2014). Man,1950, etching with aquatint, signed in pencil
Est: £300 - £500
Clarke (Geoffrey, 1924-2014). Man,1950, etching with aquatint, signed in pencil AR * Clarke (Geoffrey, 1924-2014). Man, 1950, etching with aquatint, on laid paper watermarked G.L. Hombourn, signed, dated and numbered 8/25 in pencil, platemark 35.1 x 16.2 cm, sheet size 40.5 x 19.8 cm QTY: (1)
Dominic Winter Auctions
Oct. 11, 2022
Geoffrey Clarke RA, British 1924-2014 - Primitive, 2006;
Est: £1,200 - £1,800
Geoffrey Clarke RA, British 1924-2014 - Primitive, 2006; parcel polychrome painted bronze plaque mounted on slate, signed with initials and titled on the reverse 'GC PRIMITIVE', H36.5 x W18.5 x D2.5 cm (ARR) Provenance: Strand Gallery, Aldeburgh, Suffolk Please refer to department for condition report
Roseberys
Mar. 23, 2022
GEOFFREY CLARKE, R.A. (1924-2014) Bird I iron and stone, unique 28 1/4 in.
Est: £12,000 - £18,000
GEOFFREY CLARKE, R.A. (1924-2014) Bird I iron and stone, unique 28 1/4 in. (71.7 cm.) high
Christie's
Oct. 21, 2021
GEOFFREY CLARKE, R.A. (1924-2014) - Infernal Machine
Est: £12,000 - £18,000
GEOFFREY CLARKE, R.A. (1924-2014) Infernal Machine iron, unique 17 ¾ in. (45.1 cm.) long
Christie's
Aug. 11, 2021
§ GEOFFREY CLARKE R.A. (BRITISH 1924-2014) LANDSCAPE: BIRTH OF A FLOWER - 1951
Est: £400 - £600
§ GEOFFREY CLARKE R.A. (BRITISH 1924-2014) LANDSCAPE: BIRTH OF A FLOWER - 1951 Etching, 6/50, signed, numbered and inscribed 'Jan 51' in pencil to margin; and a companion, a pair 'Landscape: Death of a Flower,' Etching, 32/50, signed, numbered and dated '1951' in pencil to margin (each, image size 21.5cm x 44cm (8.5in x 17.25in))
Lyon & Turnbull
Aug. 11, 2021
§ GEOFFREY CLARKE R.A. (BRITISH 1924-2014) TABLE - 1964
Est: £300 - £500
§ GEOFFREY CLARKE R.A. (BRITISH 1924-2014) TABLE - 1964 Monotype on tissue paper, signed with initials; and 'Still-Life - 1950,' Etching, 29/30, signed, dated and numbered in pencil (23cm x 35cm (9in x 13.75in), and the sheet 13cm x 12cm (5in x 4.75in)) Footnote: Note: 'Table' is an initial design for an aluminium sculpture titled 'Block with Eight Pieces' (Tate T00736).
Lyon & Turnbull
Aug. 11, 2021
§ GEOFFREY CLARKE R.A. (BRITISH 1924-2014) ME, C.1995
Est: £300 - £500
§ GEOFFREY CLARKE R.A. (BRITISH 1924-2014) ME, C.1995 Acrylic on board (35cm x 45.5cm (13.75in x 18in)) Footnote: Note: This painting was conceived as a late self-portrait, imagined as one of his metal sculptures placed on a Derbyshire cliff.
Lyon & Turnbull
Jul. 21, 2021
Geoffrey Clarke R.A. (British, 1924-2014) VII
Est: £800 - £1,200
Geoffrey Clarke R.A. (British, 1924-2014) VII signed with initials and dated 'GC 6'91' (lower left); further signed, titled and dated 'Geoffrey Clarke 1991/VII' (on backboard) acrylic on paper 25 x 19.5cm (9 13/16 x 7 11/16in). For further information on this lot please visit the Bonhams website
Bonhams
Jul. 08, 2021
Â§ GEOFFREY CLARKE, R.A. (1924-2014)
Est: £300 - £500
Â§ GEOFFREY CLARKE, R.A. (1924-2014) GEOFFREY CLARKE, R.A. (1924-2014) Standing Sculpture: Sheet of Studies signed and dated GC 68 (lower right) monotype 23.5 x 36 cm (9 1/4 x 14 1/4 in) PROVENANCE: with Askew Art, London
Chiswick Auctions
Jul. 08, 2021
Â§ GEOFFREY CLARKE, R.A. (1924-2014)
Est: £1,000 - £2,000
Â§ GEOFFREY CLARKE, R.A. (1924-2014) GEOFFREY CLARKE, R.A. (1924-2014) Pilgrim stamped with monogram, numbered and referenced JC 3 45 (right side) aluminium 23 x 19 cm (9 x 7 1/2 in) Conceived in 1995
Chiswick Auctions
Apr. 28, 2021
Geoffrey Clark (British, 1924-2014) Untitled (Mother and Child); Head Etching and aquatint, 1950, on wove, signed, dated and numbered 13/25 in pencil, with margins, 150 x 115mm (5 7/8 x 4 1/2in)(PL); together with 'Head', etching and aquatint prin...
Est: £500 - £700
Geoffrey Clark (British, 1924-2014) Untitled (Mother and Child); Head Etching and aquatint, 1950, on wove, signed, dated and numbered 13/25 in pencil, with margins, 150 x 115mm (5 7/8 x 4 1/2in)(PL); together with 'Head', etching and aquatint printed in colours, 1956, on wove, signed in pencil, a rare colour proof aside from a later black and white edition of 25 impressions, published in 1976 by Taranman Gallery, London, with margins, 240 x 245mm (9 1/2 x 9 5/8in)(PL)(2) For further information on this lot please visit the Bonhams website
Bonhams
Apr. 22, 2021
§ GEOFFREY CLARKE, R.A. (1924-2014)
Est: £300 - £500
GEOFFREY CLARKE, R.A. (1924-2014) Birth of a flower signed Clarke (lower right), inscribed, dated and numbered 1/1951 31/50 (lower left) etching and aquatint, unframed image: 21.25 x 44.75 cm (8 1/2 x 17 3/4 in) sheet: 28.75 x 50 cm (11 1/2 x 19 3/4 in)
Chiswick Auctions
Mar. 09, 2021
Geoffrey Clarke RA, British 1924-2014- Torii Series, 1965; the complete suite of ten monotypes
Est: £1,000 - £1,500
Geoffrey Clarke RA, British 1924-2014- Torii Series, 1965; the complete suite of ten monotypes on rice paper, each initialled in pencil, individually mounted, in original clothbound portfolio, each sheet 20 x 36cm (folio) (ARR) Please refer to department for condition report
Roseberys
Feb. 25, 2021
§ GEOFFREY CLARKE (1924–2014)
Est: £80 - £120
GEOFFREY CLARKE (1924–2014) Untitled signed C. (lower right), dated 1956 (lower left) engraving with aquatint 9 x 5.5 cm (3 1/2 x 2 1/4 in) PROVENANCE: Gift to Allen and Beryl Freer from Basil Taylor.
Chiswick Auctions
Feb. 25, 2021
Geoffrey Clarke R.A. (British, 1924-2014) Maquette for Sainsbury Sculpture Competition, 1965 34.5cm (13 9/16in) high (Unique)
Est: £1,200 - £1,800
Geoffrey Clarke R.A. (British, 1924-2014) Maquette for Sainsbury Sculpture Competition, 1965 stamped with monogram (lower right side) aluminium 34.5cm (13 9/16in) high Unique For further information on this lot please visit the Bonhams website
Bonhams
Feb. 25, 2021
§ Geoffrey Clarke RA (British 1924-2014), Angle and Supporting Bar, 1964,
Est: £700 - £1,000
§ Geoffrey Clarke RA (British 1924-2014), Angle and Supporting Bar, 1964, sand cast aluminium, signed and numbered 10/10 to underside 12 x 25.5cm Footnote: Provenance: The John Ady Collection Writing in 1952, the critic and art historian, Sir Herbert Read, coined the term the Geometry of Fear Sculptors to describe the most recent cohort of artists occupying the British Pavilion at the Venice Biennale. The work of these artists reflected the anxieties of a post-war society through their use of sharp, distended, extra-terrestrial forms. Among this group, whose members included Lynn Chadwick, William Turnbull, Reg Butler, and Kenneth Armitage, was Geoffrey Clarke, who is today remembered as one of the most experimental and innovative British sculptors of the 20th century. By the time of the Venice Biennale, in 1952, Clarke had graduated from the Royal College of Art and was beginning to embark upon a decade of architectural and ecclesiastical sculptural commissions, many of which were monumental in their scale. Unlike his peers, who laboured over clay models before casting in bronze or iron, Clarke had to find ways to work economically and efficiently, and instead made his models in polystyrene before sand casting in aluminium and welding the constituent parts of his works together. The present lot, a maquette of a much larger work, is typical of Clarkes rough-hewn aesthetic and pioneering use of material. The present lot will be sold for the benefit of Kettle's Yard, University of Cambridge
Cheffins
Dec. 16, 2020
Geoffrey Clarke R.A. (British, 1924-2014) Two Slabs With Five Bars 61cm (24in) long
Est: £3,000 - £5,000
Geoffrey Clarke R.A. (British, 1924-2014) Two Slabs With Five Bars stamped with monogram, dated '65' and numbered '1 56' (on side) aluminium 61cm (24in) long For further information on this lot please visit the Bonhams website
Bonhams