Ceri Richards 1903-1971

"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

"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

"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

"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

Exhibitions

Tate Gallery, London, Ceri Richards, 1981, no. IV

Literature

Mel Gooding, Ceri Richards, Cameron & Hollis, Moffat, 2002, p. 83, illus.

"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

Exhibitions

Tate Gallery, London, Ceri Richards, 1981, no. 24