Ceri Richards
The Sabine Women
, 1948
oil on canvas
Signed Lower Left
98 x 142.5 cm / 38.5 x 56 in
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3EThe%20Sabine%20Women%3C/em%3E%2C%201948%3C/div%3E%0A%3Cdiv%20class%3D%22signed_and_dated%22%3ESigned%20Lower%20Left%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eoil%20on%20canvas%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E98%20x%20142.5%20cm%20/%2038.5%20x%2056%20in%3C/div%3E
The Rape of the Sabines was a theme suffused with a wartime preoccupation with death and rebirth which occupied Richards in 1947-8. Matisse was a primary source of inspiration for...
The Rape of the Sabines was a theme suffused with a wartime preoccupation with death and rebirth which occupied Richards in 1947-8. Matisse was a primary source of inspiration for the Sabines series and Richards refers specifically to 'La Danse' for the composition, forms and use of colour.
Provenance
Artist Estate
Literature
Mel Gooding Ceri Richards - Cameron & Hollis 2002 p.87
Ceri Richards
Cycle of Nature: Blue & Red
, 1965-68
oil on canvas
signed, titled & dated verso
59 3/4 x 59 3/4 in / 151.8 x 151.8 cm
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3ECycle%20of%20Nature%3A%20Blue%20%26%20Red%3C/em%3E%2C%201965-68%3C/div%3E%0A%3Cdiv%20class%3D%22signed_and_dated%22%3Esigned%2C%20titled%20%26%20dated%20verso%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eoil%20on%20canvas%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E59%203/4%20x%2059%203/4%20in%20/%20151.8%20x%20151.8%20cm%3C/div%3E
Exhibitions
University of East Anglia Library, Ceri Richards - Poetry into Art: Paintings, Graphic Works & Books, Norwich, 1982
National Library of Wales, Aberstwyth, 1982
National Museum & Gallery of Wales, Ceri Ricahrds - Themes & Variations, Cardiff, 2002
Ceri Richards
Red Interior with Music by Albeniz
, 1949
oil on canvas
signed & dated lower left
40 x 40 in / 101.6 x 101.6 cm
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3ERed%20Interior%20with%20Music%20by%20Albeniz%3C/em%3E%2C%201949%3C/div%3E%0A%3Cdiv%20class%3D%22signed_and_dated%22%3Esigned%20%26%20dated%20lower%20left%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eoil%20on%20canvas%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E40%20x%2040%20in%20/%20101.6%20x%20101.6%20cm%3C/div%3E
Provenance
The Artist, and by descent
Exhibitions
Tate Gallery, London, Ceri Richards, 1981, no. 45
National Gallery of Wales, Cardiff, Ceri Richards – Themes & Variations, 2002
Literature
David Thompson, Art in Progress - Ceri Richards, 1963, p.17, illus.
Mel Gooding, Ceri Richards, 2002, p.99, illus.
Ceri Richards
The Flowering Skull
, c.1965
coloured crayon on paper
5 1/2 x 4 in / 14 x 10 cm
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Ceri Richards
The Force that through the Green Fuse Drives the Flower
, 1964
crayon, pastel & watercolour on paper
8 x 10 in / 20.3 x 25.3 cm
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3EThe%20Force%20that%20through%20the%20Green%20Fuse%20Drives%20the%20Flower%3C/em%3E%2C%201964%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Ecrayon%2C%20pastel%20%26%20watercolour%20on%20paper%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E8%20x%2010%20in%20/%2020.3%20x%2025.3%20cm%3C/div%3E
Ceri Richards
Tinplate Worker Mopping his Brow
, 1942
ink, watercolour & wax resist on paper
14 x 9 in / 35.5 x 22.8 cm
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3ETinplate%20Worker%20Mopping%20his%20Brow%3C/em%3E%2C%201942%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eink%2C%20watercolour%20%26%20wax%20resist%20on%20paper%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E14%20x%209%20in%20/%2035.5%20x%2022.8%20cm%3C/div%3E
'I chose that particular tinplate works because I was a bit familiar with it - father worked there, and it was one of the oldest in the country. I think...
"I chose that particular tinplate works because I was a bit familiar with it - father worked there, and it was one of the oldest in the country. I think what I was much aware of was the gloom ... when you went in there from the outside you couldn't see very much, and they worked in a perpetual gloom ... and this is what I got as well - the heat. It was very, very hot."
Ceri Richards
Provenance
Artist's Estate
Ceri Richards
Costerwoman (Blue)
, 1942
ink, crayon & watercolour on paper
12 x 9 1/2 in / 30.5 x 24.1 cm
Copyright The estate of the Artist
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3ECosterwoman%20%28Blue%29%3C/em%3E%2C%201942%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eink%2C%20crayon%20%26%20watercolour%20on%20paper%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E12%20x%209%201/2%20in%20/%2030.5%20x%2024.1%20cm%3C/div%3E
'I always remember the impression of her coming down the stairs with this terrific floral extension of herself: this enormous hat of feathers. The woman costermoger in her costume became...
"I always remember the impression of her coming down the stairs with this terrific floral extension of herself: this enormous hat of feathers. The woman costermoger in her costume became a sort of flower symbol... The proliferation of her hat and costume had a kind of sensuality. I mean, I soon became aware that this was not the woman in a costume but a costume worn by a person; who wasn't a person really, but had become like a marvellous bouquet of flowers..."
Ceri Richards
Provenance
Artist's Estate
Ceri Richards
The Artist in his Studio
, 1936/7
ink on paper
signed & dated lower left
14 3/4 x 19 3/4 in / 37.5 x 50.2 cm
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3EThe%20Artist%20in%20his%20Studio%3C/em%3E%2C%201936/7%3C/div%3E%0A%3Cdiv%20class%3D%22signed_and_dated%22%3Esigned%20%26%20dated%20lower%20left%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eink%20on%20paper%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E14%203/4%20x%2019%203/4%20in%20/%2037.5%20x%2050.2%20cm%3C/div%3E
Ceri Richards
Two Costers in a Pub
, 1942
ink, watercolour & pastel on paper
12 x 9 1/2 in / 30.6 x 24.1 cm
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3ETwo%20Costers%20in%20a%20Pub%3C/em%3E%2C%201942%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eink%2C%20watercolour%20%26%20pastel%20on%20paper%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E12%20x%209%201/2%20in%20/%2030.6%20x%2024.1%20cm%3C/div%3E
'I always remember the impression of her coming down the stairs with this terrific floral extension of herself: this enormous hat of feathers. The woman costermoger in her costume became...
"I always remember the impression of her coming down the stairs with this terrific floral extension of herself: this enormous hat of feathers. The woman costermoger in her costume became a sort of flower symbol... The proliferation of her hat and costume had a kind of sensuality. I mean, I soon became aware that this was not the woman in a costume but a costume worn by a person; who wasn't a person really, but had become like a marvellous bouquet of flowers..."
Ceri Richards
Provenance
Artist's Estate
Ceri Richards
Tinplate Worker Booting Up
, 1942
ink, crayon, watercolour & wax resist on paper
9 x 14 in / 22.8 x 35.5 cm
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3ETinplate%20Worker%20Booting%20Up%3C/em%3E%2C%201942%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eink%2C%20crayon%2C%20watercolour%20%26%20wax%20resist%20on%20paper%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E9%20x%2014%20in%20/%2022.8%20x%2035.5%20cm%3C/div%3E
'I chose that particular tinplate works because I was a bit familiar with it - father worked there, and it was one of the oldest in the country. I think...
"I chose that particular tinplate works because I was a bit familiar with it - father worked there, and it was one of the oldest in the country. I think what I was much aware of was the gloom ... when you went in there from the outside you couldn't see very much, and they worked in a perpetual gloom ... and this is what I got as well - the heat. It was very, very hot."
Ceri Richards
Provenance
Artist's Estate
Ceri Richards
The Rape of the Sabines
, 1947
ink & watercolour on paper
signed & dated lower right
14 1/4 x 21 1/2 in / 36.8 x 54.5 cm
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3EThe%20Rape%20of%20the%20Sabines%3C/em%3E%2C%201947%3C/div%3E%0A%3Cdiv%20class%3D%22signed_and_dated%22%3Esigned%20%26%20dated%20lower%20right%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eink%20%26%20watercolour%20on%20paper%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E14%201/4%20x%2021%201/2%20in%20/%2036.8%20x%2054.5%20cm%3C/div%3E
Exhibitions
Tate Gallery, London, Ceri Richards, 1981, no. IV
Literature
Mel Gooding, Ceri Richards, Cameron & Hollis, Moffat, 2002, p. 83, illus.
Ceri Richards
Two Tinplate Workers on a Break (Green)
, 1942
ink, watercolour & pastel on paper
12 x 9 1/2 in / 30.5 x 24.1 cm
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3ETwo%20Tinplate%20Workers%20on%20a%20Break%20%28Green%29%3C/em%3E%2C%201942%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eink%2C%20watercolour%20%26%20pastel%20on%20paper%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E12%20x%209%201/2%20in%20/%2030.5%20x%2024.1%20cm%3C/div%3E
'I chose that particular tinplate works because I was a bit familiar with it - father worked there, and it was one of the oldest in the country. I think...
"I chose that particular tinplate works because I was a bit familiar with it - father worked there, and it was one of the oldest in the country. I think what I was much aware of was the gloom ... when you went in there from the outside you couldn't see very much, and they worked in a perpetual gloom ... and this is what I got as well - the heat. It was very, very hot."
Ceri Richards
Provenance
Artist's Estate
Ceri Richards
The Sculptor
, 1934
ink on paper
signed & dated lower right
12 x 17 3/4 in / 30.5 x 45 cm
%3Cdiv%20class%3D%22artist%22%3E%3Cstrong%3ECeri%20Richards%3C/strong%3E%3C/div%3E%0A%3Cdiv%20class%3D%22title%22%3E%3Cem%3EThe%20Sculptor%3C/em%3E%2C%201934%3C/div%3E%0A%3Cdiv%20class%3D%22signed_and_dated%22%3Esigned%20%26%20dated%20lower%20right%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Eink%20on%20paper%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E12%20x%2017%203/4%20in%20/%2030.5%20x%2045%20cm%3C/div%3E
Exhibitions
Tate Gallery, London, Ceri Richards, 1981, no. 24