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*ROBYN DENNY (1930-2014) 'For John Constable' From the 'For...

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Hammer

£70

*ROBYN DENNY (1930-2014) 'For John Constable'

From the 'For John Constable' portfolio, 1976, signed, dated, titled and numbered 45/100 in pencil to the margin, screenprint in colours with collage on paper, published by Bernard Jacobson Gallery, London, the sheet 62cm x 102cm (unframed)

This work was published to coincide with the Tate's major Constable exhibition in 1976. Bernard Jacobson commissioned 19 artists to contribute a print to the portfolio. Several of the selected artists chose to respond directly to individual works (or series of works) by Constable in the V&A collection. Robyn Denny's print is characteristically more opaque and conceptual. He incorporates a postcard image of one of his own paintings, and explores ideas of framing. The characteristic structure of his work suggests openings, thresholds and framed vistas and is reminiscent of the device of the two trees which 'frame' the view of the cathedral in Salisbury Cathedral from the Bishop's Grounds (V&A FA.33 [O]) and of the way the viewer is enticed into the cornfield by a bright lane and field bordered by dark trees. Like Constable, Denny was also interested in using colour to express light and as an indicator of time of day.

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[ translate ]

Hammer

£70

*ROBYN DENNY (1930-2014) 'For John Constable'

From the 'For John Constable' portfolio, 1976, signed, dated, titled and numbered 45/100 in pencil to the margin, screenprint in colours with collage on paper, published by Bernard Jacobson Gallery, London, the sheet 62cm x 102cm (unframed)

This work was published to coincide with the Tate's major Constable exhibition in 1976. Bernard Jacobson commissioned 19 artists to contribute a print to the portfolio. Several of the selected artists chose to respond directly to individual works (or series of works) by Constable in the V&A collection. Robyn Denny's print is characteristically more opaque and conceptual. He incorporates a postcard image of one of his own paintings, and explores ideas of framing. The characteristic structure of his work suggests openings, thresholds and framed vistas and is reminiscent of the device of the two trees which 'frame' the view of the cathedral in Salisbury Cathedral from the Bishop's Grounds (V&A FA.33 [O]) and of the way the viewer is enticed into the cornfield by a bright lane and field bordered by dark trees. Like Constable, Denny was also interested in using colour to express light and as an indicator of time of day.

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Time, Location
25 Apr 2024
United Kingdom
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