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§ Anthony Abrahams ( 1926-2019), Bending, a patinated bronze model of a person bending at the waist, the integral plinth base inscribed with initials, numbered 3/9 and bearing the foundry mark of Pangolin London42 x 32.5 x 17cm The work of Anthony Abrahams is fraught with paradox - his at once familiar and unfamiliar representations of the human body, which typically juxtapose swollen with suppressed corporeal forms, appear to suggest both the strength and fragility of mankind. Often situated within a lineage of important and renowned twentieth century British sculptors, including Bernard Meadows, Elisabeth Frink and Lynn Chadwick, one could argue that the formal language of Abrahams’ work belongs to a much older tradition. Indeed, his characteristically exaggerated forms suggest the influence of early fertility emblems upon his practice, thereby placing modern man and primordial man beside one another. His playful figures seem to bloat, wither, bend and flex before us, but, perhaps most importantly, they question and challenge our perceptions.

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