- The Rape of The Sabines
- Cycle of Nature: Blue & Red, 1965-68
- Red Interior with Music by Albeniz, 1949
- The Flowering Skull, c.1965
- The Force that through the Green Fuse Drives the Flower, 1964
- Tinplate Worker Mopping his Brow, 1942
- Costerwoman (Blue), 1942
- The Artist in his Studio, 1936/7
- Two Costers in a Pub, 1942
- Tinplate Worker Booting Up, 1942
- The Rape of the Sabines, 1947
- Two Tinplate Workers on a Break (Green), 1942
- The Sculptor, 1934
Ceri Richards
The Rape of The Sabines
oil on canvas
Signed Lower Left
98 x 142.5 cm / 38.5 x 56 in
Copyright 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%3EThe%20Rape%20of%20The%20Sabines%3C/em%3E%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.
- Tumblr
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
Copyright 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%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
Copyright The Artist
Sold
%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
Copyright 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%3EThe%20Flowering%20Skull%3C/em%3E%2C%20c.1965%3C/div%3E%0A%3Cdiv%20class%3D%22medium%22%3Ecoloured%20crayon%20on%20paper%3C/div%3E%0A%3Cdiv%20class%3D%22dimensions%22%3E5%201/2%20x%204%20in%20/%2014%20x%2010%20cm%3C/div%3E
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
Sold
%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
Sold
%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
Copyright 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%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