Ronald Rae

Purchased directly from the artist by the Jerwood Foundation, March 2000

Sheffield, Nunnery Square, Granite Sculpture by Ronald Rae, 26th May 1994 - 26th May 1995, cat. no.16, illustrated p.32;
Ragley Hall, Warwickshire (2000 to present).

Generally the work is in good overall condition. There are spots of staining and debris across the surface, including lichen, which is consistent with exhibiting the piece outdoors. Please telephone the department on +44 207 293 6424 if you have any questions regarding the present lot.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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She the widow woman
Would not have you go empty handed
A bite if you are hungry
A story if you want one
What would she not do
To be combing out your parting
Brushing down your suit
For a second or two I was he
Her old body summoning what I could not give her
I never intended those throws of ash
To blow back in her eyes
Up here the wind can be cruel
Ronald Rae

Ronald Rae's sculptures concentrate on universal themes surrounding humanity and nature, and in the present work he explores with subtle poignancy the recollections, sorrow and isolation encompassed by widowhood.  Conscious of the permanence of granite, he chooses subject matter which will transcend time. Rae first began carving granite at the age of fifteen, and has since dedicated himself to working on one of the world's hardest stones. Rae works intuitively, using only hand tools, and begins by searching quarries, such as Creetown and Dalbeattie on the Solway Firth, to find a suitable stone. Making no plans in advance, he instead finds and discovers the sculpture as he proceeds, uncovering what he feels is inside each stone; a concept which underlies the heavy influence of Michelangelo in his work.