We spotted a number of sculptures we hadn’t seen before while wandering around the gardens and woods during our recent visit to Chatsworth.
This giant pink shoe Pop Art sculpture is by Michael Craig-Martin and was one of 12 of his works exhibited at Chatsworth in 2014
This baby elephant is by Barry Flanagan and was shown in the 2012 Beyond Limits exhibition
We couldn’t find out which artists had created these next two sculptures. Any information welcome!!!
During our tour of the Beyond Limits exhibition at Chatsworth, we spotted this large cube of granite standing on the lawn where one of the exhibits had been located during Beyond Limits 2016, but it wasn’t included in the list of this year’s exhibits.
We wandered over and took a closer look. We noticed a number of holes drilled into the granite and peeked though them, revealing something of a surprise
a hidden garden inside the cube!
Reading the accompanying information panel and discovered that this was a work that had originally been exhibited at the Royal Horticultural Society Chelsea Flower show last year. It was designed by Martin Cook and Gary Breeze .
It had been included in the inaugural RHS Chatsworth House Flower Show in June this year and was still on display
Gary Breeze’s website tells us
Antithesis of Sarcophagi represents a world turned inside out; a garden inside a sculpture; desolation versus life; civilisation versus nature. A forty-four tonne rough granite cube, one face painted with a mysterious inscription, contains a rejuvenating woodland; only visible from the stark, ash-charred exterior through small fissures in its surface.
The planting was done with great sensitivity and precision by 7 times RHS medal winner Chris Holland.
A fascinating work that’s up for sale – “price on application”. Don’t think I can afford it though!
It’s become something of a regular fixture that we visit the Beyond Limits exhibition of contemporary sculpture organised by Sothebys at Chatsworth. So last Sunday we drove over to Derbyshire to take a look at the works on display. This year the focus was entirely American with works from artists including Isamu Noguchi, Richard Serra and Robert Indiana.
My overall impression was that this year’s exhibition wasn’t as strong as the others we’ve seen – there didn’t seem to be as much variety and there was a “sameness” about a number of the works. However, when reviewing the photographs while preparing this post, my perception changed somewhat and I found more variation than I initially thought and found that I appreciated more some of the works after a second look – albeit looking at photos. So, a worthwhile visit with some attractive sculptures and new discoveries.
So, what did we see?
Leaning Fork with Meatball and Spaghetti III by Claes Oldenburg & Coosje Van Bruggen was the first work we saw. Not a good start for me as I wasn’t impressed. It’s meant to be amusing, I thought it was corny.
Tropical Night Disc by Louise Nevelson. Much more interesting.
Three sided pyramid by Sol Lewitt. Does what it says on the tin!
Untitled by Joel Shapiro. Sited at the bottom of the grand cascade
Gradiva, the first of 5 sculptures in the exhibition by Julian Schanabel. It looks like the local pigeons have been paying attention to this one.
Golem by
Joe by Julian Schanabel
Si Tacuisses by Julian Schanabel
Leutweyler for BB by Julian Schanabel
Untitled , a second work by Joel Shapiro
The Cave by Mark di Suvero. In previous years the works sited by the ornamental pond have been enhanced by the setting with reflections in the water. So although this was an interesting enough piece, the location didn’t really add to its appeal for me.
Irregular Procession by Sol Lewitt
Lock by Richard Serra.
The work is formed from five separate steel parts: two thin plates that stand upright on their sides and three smaller blocks that sit along the ground. These separate elements are not fused in any way; rather Serra relies on the forces of gravity and a careful balancing of the relative weights to achieve stability.
Voltri Bolton X by David Smith
Big M by Wendell Castle. Another one that does what it says on the tin. Originally created for the Marine Midland Bank, Rochester, New York
Barrier by Robert Morris, which looks like a giant hash tag. Of course the hash tag wasn’t quite so ubiquitous when this work was created in 1962 so an illustration how the interpretation and understanding of art works can change over time with cultural changes.
Untitled by Sam Francis
Column of Four Squares Excentric Gyratory III by George Rickey.
This kinetic sculpture was attracting a lot of interest as it moved, twisting a twirling randomly. I think most people were fascinated and wondered how it worked. I think its movements depended on the wind.
Source by Tony Smith. Although painted with a uniform colour the two tone nature of the pigment created some interesting optical effects. I rather liked this work because of that.
Curvae in Curvae by Beverly Pepper. This was the last work we saw during our tour of the exhibition and it was probably my favourite. Don’t think I can afford to buy it, though!
Of course, what I think is irrelevant really. This is a selling exhibition in a setting meant to impress the wealthy individuals and corporations who are helicoptered in to view the sculptures, with hopes of a sale. It no doubt attracts a few extra paying visitors like us to swell the Chatsworth coffers. But it’s a good opportunity to view works of art we otherwise wouldn’t have the opportunity to see and in a beautiful setting which enhances many of the works. All being well we’ll be back again next autumn.
The bridge over the River Derwent on the Chatsworth Estate.
A barrel organ really!
Here’s a few more photographs that I took in the garden and grounds during our recent visit to Chatsworth
Autumn colours were very evident
Besides the Beyond Limits exhibits, there are a number of permanantly sited contemporary sculptures in the Gardens.
We reckoned that this piece is by David Nash
A quick Google revealed that we were right. It’s called Oculus Oak and was only installed in October last year (2015).
We came on it by accident and as we are both fans of David Nash it was a pleasant surprise.
This work (Forms that Grow in the Night (2009)) is also by Nash, but we had seen it during our previous visits.
We hadn’t seen this retriever before, though
Walking. Madonna (1981) by Elisabeth Frink
and Richard Long’s Cornish Slate Line, an attractive work by another favourite artist.
I don’t know who created this sculpture of a wild boar – well sited in the woods near one of the small lakes.
Outside the gardens in the grounds of the estate, walking back to our B and B we passed this bench. It was built by younger members of the Derbyshire branch of the Dry Stone Walling Association of Great Britain (DSWA) using dry stone walling techniques.
Last year there was a different bench in this location. It seems that building a bench is an annual event as part of the Chatsworth Country Fair.
A little further down the path we could see a structure out in the field – in fact we’d spotted it in the morning while we were making our way to the house and gardens from our B and B. So we went to have a closer look.
It’s a sculpture made from oak and lead, by Tim Harrison entitled Pegasus
This was the third year we’d visited Chatsworth to see the annual Beyond Limits exhibition of modern sculpture organised by Sotheby’s. Our visit was a little later in the year but we were lucky with the weather – a fine sunny autumn day late in October.
On arrival we were disappointed to be told that two of the works weren’t on display. This included, Lilas, the large structure by Zaha Hadid. This featured in muchof the publicity for the exhibition and is also on the cover of the catalogue. We discovered it had been removed as the site was to be used for the Chatsworth bonfire. Rather inappropriate and bad planning we thought. Black mark to Chatsworth.
The other missing work was Time and Again by David Munro, 108 engraved stainless steel lily pads floating on the canal pond, which, the exhibition catalogue tells us
was conceived specifically for the renowned Canal Pond at Chatsworth House
Looking at the photograph in the catalogue and the Sotheby’s website of works from the exhibition, the work looks impressive and I’d I’ve liked to have seen it in-situ. We couldn’t find out why this had been removed – perhaps they’d sunk!. Whatever the reason, another black mark.
So what was on show?
Red Mountain Head by Emily Young
Folium by Charles Hadcock who I’d first encountered when he had a small exhibition of works displayed at the Mill on the Pier in Wigan a few years ago. I rather liked this work
designed with mathematical precision, the interlocking arms of the two halves form a perfect sphere, whilst the spirals at the centre of each half recall the coiled circles of ammonites.
L’Abbraccio di Ettore a Andromaca (The embrace of Hector and Andromache) by Giorgio de Chirico – a modern take on Classical sculpture
Donna Sdraiata by Fernando Botero
Black Beast. This was instantly recognisable as a work by Lynne Chadwick
Fruit Cake by Joana Vasconcelos
The monumental form of a cupcake is outlined via a steel frame and built up from plastic moulds typically used by children when playing with sand. The moulds are vivid in colour and shaped like various fruits and pretzels.
Wandering Mountain by Wendell Castle (“the father of the art furniture movement.”) – a trio of sculptures, seat like sculptures sited by the ornamental pond.
Energy 2 by Alexander Macdonald-Buchanan rather reminded me of a giant, fluorescent blue, barley sugar or liquorice twist.
I wasn’t quite sure what to make of this giant cucumber
Der Gurk by Erwin Wurm
Habitacion vegetal XV (Double Paaje) (Plant Room XV (Double Passage)) by Cristina Iglesias
the exterior with its stainless steel finish literally reflects its immediate surroundings; however, this appearance is deliberately deceiving as the mirror distorts the reflections and presents a contorted view of the surrounding environment. In contrast to this, the interior chamber presents what appears to be a more natural reality, revealing a myriad of delicately formed branches and leaves that recreate the living world reflected in the outer walls.
Taichi Arch by Ju Ming’s
Hexad III, another work by Charles Hadcock. I didn’t like this as much as his Folium sculpture
La Montagne by Aristide Maillol. is unusual in that it is cast from lead rather than the more usual bronze. It’s appearance changed with the light looking particulrly effective when the sun was shining.
I was sure I’d seen this sculpture before. Checking the information in the exhibition leaflet I found that there are casts in various locations around the world including the Jardin des Tuileries in Paris. I reckon that’s where I’ve seen it.
Tear by Richard Hudson.
Made from highly polished stainless steel it reflected it’’s surroundings, the curved surface distorting the landscape.
Chaos Meteoro by Jedd Novatt was sited high up in the gardens, high up on the slope overlooking the maze. It rather reminded me of a distorted climbing frame from a children’s playground.
So, another interesting exhibition even if two of the major exhibits had been removed. Like last year, however, it didn’t quite match the first one of the series that we’d seen a couple of years ago.
During our recent visit to Chatsworth we bought a combined House and Garden ticket for although our main motivation for visiting was to see the Beyond Limits exhibition in he gardens, we also wanted to have another look around the house to revisit the collection of Modern Art on display. We’d also read that there was an exhibition of contemporary seating taking place. Initially I wasn’t sure it would be of much interest, but, as it happened, I was wrong!
The Chatsworth website told us that:
Make Yourself Comfortable at Chatsworth will see items from the private collection of the Duke and Duchess showcased alongside furniture by internationally acclaimed and innovative designers – from Thomas Heatherwick and Amanda Levete, to Marc Newson, Tokujin Yoshioka, Piet Hein Eek and Moritz Waldemeyer. The exhibition will also showcase thought-provoking, specially commissioned pieces, including Raw Edges’ End Grain seating which will become part of the Sculpture Gallery, and Synthesis IV by emerging designer Tom Price which will be on display in the Chapel.
Chairs and other types of seating were positioned around the house and visitors were allowed to take advantage of them, try them out and rest their legs for a while.
Some of the chairs were very comfortable
Others less so!
These were the first we saw. Designed to spin around so you could view the painted ceiling in the entrance hall (if you didn’t lose you balance and fall off!)
These were chairs designed for readers (I think Milady would like these)
A bench made of coal
and one of resin infused with bitumen
both reflecting the Dukes of Devonshire’s association with the mineral extraction industries.
Some others we saw
Towards the end of the tour of the house, in the dining room, around the large dining table there were chairs designed by students from Sheffield
Finally, in the sculpture hall a very interesting collection specially created for the exhibition
(an) indoor landscape created by Raw Edges in the Sculpture Gallery, where benches and stools emerge like tree trunks from the coloured grid-like floor and offer new perspectives of the sculptures.
Last year we visited the annual exhibition of sculpture organised by Sotheby’s in the grounds at Chatsworth. We enjoyed it so decided to visit again this year. So last Saturday we drove over to Chatsworth and spent a pleasant, sunny, autumn afternoon wandering around the grounds.
This year’s exhibition was the tenth and to celebrate Sotheby’s invited Tim Marlow, Artistic Director of the Royal Academy and well known as a TV pundit, to be guest curator.
For this year’s ‘Beyond Limits,’ Marlow has organized an impressive array of British sculpture from 1950 to the present. His choices reflect the seismic shifts in British art, a journey in 30 sculptures from such totemic figures as Anthony Caro to contemporary artists like Sarah Lucas.
There weren’t so many works by unfamiliar, new talents on show, which was a little disappointing. It’s always good to make new discoveres. I did like the Hepworth pieces (always do) which were nicely sited although they were familiar works – the one from the Family of Man especially, they have a full set at the Yorkshire Sculpture Park. I thought he cheated, too, by including some of Chatsworth’s own pieces that are permanantly of display – the Richard Long Cornish Slate path and the Barry Flanagan Hare. But, overall, we enjoyed it and had good weather too.
The Dukes of Devonshire have long been collectors of ceramics and pottery. The current Duke has continued the tradition. and there are a number of ceramic works on display in the public areas of Chatsworth.
Edmund du Waal’s A Sounding Linem a work comprising 52 porcelain vessels in 5 celadon glazes and 14 thrown porcelain vessels in 5 white glazes is installed in the fireplaces and high corbels of the Chapel Corridor.
At first glance, especially when viewed during the Luminaire event, they all appeared the same off-white colour. But closer inspection during the daytime revealed subtle variations in shade. Like much of his work the pots have a Japanese, Zen-like quality.
These two abstract forms were also displayed in the Chapel corridor. Unfortunately I can’t remember the name of the artist.
This large scale pot located on the landing at the topof the flight of stairs from the Painted Hall is Chinese Ladders by Felicity Aylieff . The form and design of the pot is inspired by the structure of bamboo scaffolding used by builders in China.
In the State rooms, and elsewhere in the house, were a number of installations by the Australian artist, Pippin Drysdale. With interesting surface textures and vibrant colours her works are inspired by the landscapes of her native country.
This stunning installation is fixed to the walls of the North Sketch gallery.
Created by the artist Jacob van der Beugel, the work represents the DNA profiles of the the Duke and some members of his family. The Chatsworth website tells us that the:
Raised ceramic blocks represent the DNA strand of ‘Everyman’ in the central portrait, which is flanked by the personal DNA profiles of the Duke and Duchess of Devonshire, their son Lord Burlington and his wife, Lady Burlington.
DNA samples were taken from members of the Devonshire family and the results were translated onto ceramic panels, while aspects of each individual’s personality are captured on glazed pieces in their DNA sequence
This is how it looked during the Luminaire event, lit up with candles.
There are 659 warm, ochre coloured panels making up a large work, approximately 20m long x3m wide x4m high all along one of the walls of the long narrow room. The other wall is covered with mirrors which reflect the panels.
Overall a stunning contemporary work of art.
Down by the Dougie 