CLIVE SHEPPARD 19301973 BIO     WORK    STUDIO    PRESS     LINKS THE VIENNA COLLECTION  

SCULPTURES & MONOTYPES


Photo © Iby-Jolande Varga 2014

SCULPTURES IN OTHER COLLECTIONS
 

Photo © Daniel C. Anthony 2015
 
6 Neue Fotos von 2 Skulpturen (Bronze und Blei) und 3 Monotypien. |
6 new photos of original works, 2 sculptures (bronze and lead) and 3 monotypes.

Bronze aus privatem Besitz, zur Verfügung gestellt von Daniel C. Anthony 2015.

Bronze from a private collection, contributed by Daniel C. Anthony 2015.


IN EXHIBITION CATALOGUES


Photo © Markovitz
IN EXHIBITION CATALOGUES


Photographer unknown, 1970

3 Werke aus dem Ausstellungskatalog | 3 works from the
exhibition catalogue:
New Vision Centre Gallery, London 1964

Ein Foto aus dem Ausstelllungskatalog | Work from Exhibition Catalogue
Sheffield Polytechnic School of Art & Design Gallery (Retrospective), 1974

Contributed by Daniel C. Anthony, 2015


PHOTOS OF WORKS (FROM ~1960)


Photographer(s) unknown, around 1960


22 Scans von Fotos von Werken – Skulpturen und Schmuck –
deren Verbleib nicht dokumentiert ist, auch ist unklar, ob
die abgebildeten Wachsmodelle in weiterer Folge gegossen
wurden.

22 Scans of photos from works – sculptures and jewellery.
It is not documented, where these works are at present or
if they have survived at all. Also it is not clear, if the waxes
on the pictures were cast later.





SCULPTURES IN OTHER COLLECTIONS



Photo © Abigail Sheppard 2015

Bronze aus privatem Besitz, zur Verfügung gestellt von Abigail Sheppard 2015.

Bronze from a private collection, contributed by Abigail Sheppard 2015.



Zu den zeitgenössischen Fotos von Werken (um 1960): Neben Bronze- und Bleigüssen sind viele der abgebildeten Arbeiten aus Wachs, auch mit experimentellen Techniken bearbeitet. So tauchte Clive Sheppard Papier in flüssiges Wachs, um es dann zu formen oder umwickelte die Figuren mit Schnüren. Durch seine Arbeit im British Museum hatte er auch die Möglichkeit, Objekte zu galvanisieren: Verkupfert und grün patiniert sahen sie wie Bronzegüsse aus, dies machte er, bevor er sich Bronzegüsse leisten konnte.
Remarks to the contemporary photos of works (around 1960): In addition to casts in bronze and lead, many of these works were made from wax, and some were crafted employing experimental techniques. For example, Sheppard dipped paper into molten wax to be able to sculpt it, and he also wrapped some of the figures with string. An immediate benefit of his work at the Natural History Museum was that he also had the opportunity to galvanize objects with copper plating and a patina so that they looked like bronze casts. He did this principally to keep the costs down before he could afford bronze casting. 


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