SCULPTURES & MONOTYPES  Photo © Iby-Jolande Varga 2014 |
SCULPTURES IN OTHER COLLECTIONS |
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Photo © Daniel C. Anthony 2015 |
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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. |
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IN EXHIBITION CATALOGUES |
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 Photo © Markovitz |
IN EXHIBITION CATALOGUES  Photographer unknown, 1970 |
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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 |
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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 |
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 Photo © Abigail Sheppard 2015 |
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Bronze aus privatem Besitz, zur Verfügung gestellt von Abigail Sheppard 2015. Bronze from a private collection, contributed by Abigail Sheppard 2015. |
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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.
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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