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We will be open with restricted hours from June 15th. If you would like to visit please call first and we will make sure appropriate measures are in place. We have installed the Nash and Nevinson exhibition and this will stay on view until the end of June. We will also install our new Modern British summer exhibition which will be available to view from June 25th.
Details at www.osbornesamuel.com
 
Sadly the Masterpiece fair will not happen this year but we will otherwise proceed with our programme. It is too early to say which of the Autumn events will go ahead but we will still plan our Henry Moore show for October, and if the art fairs do happen we expect to participate.

We fully appreciate that many people will still be reluctant to travel so we are making sure that we present our inventory and exhibitions online as best we can. We have nearly completed a total re-design for our website with a viewing room for special events and features, as well as using virtual reality technology to film gallery installations. This will go live at the end of June. We fully understand that many collectors will prefer to see the real thing so have organised with our shippers to show particular works at home where and when this is possible. The art market continues to be very active, we have had record numbers of enquiries and in spite of everything we have found ways to deliver our pictures and sculptures, not just in UK but around the world.

Virtual Tour of our Nash & Nevinson Exhibition

Our current exhibition Nash and Nevinson: Impressions of War and Peace continues to attract a lot of attention and has been extended to mid-June. It also featured in the online versions of London Original Print Fair and the IFPDA Fine Print Fair in New York for these past weeks. Unfortunately, we were not able to print a catalogue at the time because the printers had to close but we have had so many enquiries for a hardcopy that we will print a small quantity for sale at £25 + P&P. If you are unable to visit the exhibition the virtual catalogue can be viewed on our website and an online tour of the exhibition can be viewed by clicking the image above. 

View Online Catalogue
Our Modern British Summer Exhibition will go live in two weeks, highlights include these two works by Kossoff and Chadwick 

Leon Kossoff, Cathy II, 1997
(Oil on board, 38.7 x 61.4 cm)

Kossoff’s studio at Willesden Green was described, in 1999, as a place where his ‘belief in the fundamental but elusive nature of drawing and in the primal chaos of creativity’ took palpable form. Kossoff was born in London, to Russian-Jewish parents, and this was the studio where he had painted most of his work since 1966. Paint encrusted the floor and work surfaces. Light came from a single bulb, since a screen of curtains and garden overgrowth largely excluded daylight, and in one corner, slightly cleaner than the rest, was a radiator and old bench, where models would pose. It is this radiator and bench that can be seen in Cathy II. Kossoff would typically make series of charcoal drawings, then work in oils, revising and beginning again numerous times, perhaps over months, until a final state of coalescence was reached. In Cathy II, Richard Kendall described this moment as possessing ‘a raw feeling for structure, the studio tones fusing with a subject that is both old-masterly and poignantly real’. Taking Kendall’s description as a cue, Cathy II may be approached through light, subject, and a connection to the past.

Lynn Chadwick, Teddy Boy and Girl II, 1957
(Bronze, Edition of 9, 87 cm H)

Among the series of dancing couples Chadwick created, from 1954 onwards, Teddy Boy and Girl proved the most provocative. The very act of plucking a title from popular culture seemed  calculated to raise critics’ hackles – a ‘catchpenny’ trick as guileful as a song’s refrain. For Chadwick it reflected both the playfulness often evident in his sculpture and a narrowing of the distance between art and reality: a confrontation that proved increasingly fertile. Such clashes could be merely allusive – in titles such as Later Alligator or Moon of Alabama – or, as in the case of Teddy Boy and Girl, point to imagery derived fundamentally from contemporary visual culture.


Chadwick’s first solo exhibition in the United States took place in April 1957 at New York’s Saidenberg Gallery. The timing, less than a year after Chadwick’s prizewinning contribution to the Venice Biennale, left scant time to create a completely new body of work. Thus it is unsurprising that many of the sculptures were variations on existing themes: continuations of the Bird, Wigwam, Conjunction, Dance, and Teddy Boy and Girl series. 


Although clearly recognisable in terms of its generic subject, Teddy Boy and Girl II (1957) differs significantly from the version exhibited at Venice. Its silhouette is less angular, its clothing less crisp – in short, it is less stylised and altogether more human. By reducing the male’s head (previously two formidable spikes) and lengthening its raised arms, Chadwick transforms the mood to gaiety. The theme is continued in the sculpture’s crumpled surfaces and less severely tailored outfits. Still stylish, the composition suggests a joyous abandon to the music.

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