William Turnbull

Sale, Christie's London, 25th October 1995, lot 127, where acquired by the previous owner and thence acquired by the present owner

Cambridge, Jesus College, William Turnbull, 1990, cat. no.16, illustrated in the catalogue p.31 (another cast);
London, Waddington Galleries, William Turnbull, Recent Sculpture, 1991, cat. no.2, illustrated in the catalogue p.9 (another cast).

Amanda A. Davidson, The Sculpture of William Turnbull, Lund Humphries/HMF, Aldershot, 2005, cat. no.255, illustrated p.173.

 

The sculpture has recently been rewaxed and is therefore in good overall condition. Please telephone the department on 020 7293 5381 if you have any questions regarding the present work
"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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Conceived in 1988 and cast in an edition of six. 

The ambiguity of Turnbull's sculptures was a deliberate ploy, in his own words, to provoke 'contemplation and action'. By denying the viewer an immediately obvious frame of reference, his sculptures are open to multifarious interpretations and as a result, one is invited to pause and consider the works. Turnbull added to this sense of mystery by employing titles both general and which make vague allusions to legendary figures such as Agamemnon and Venus. These titles suggest rather than explicate ideas, since 'experience must be induced....not explained' (William Turnbull, 'Notes on Sculpture', Studio International, vol.176, no.905, 1968, pp.198-9).

Large Paddle Venus and Paddle Venus 2 (lot 129) are part of Turnbull's recurring exploration of 'Idols', which refer to his long-standing interest in ancient art and artefacts, particularly for their connotations with time and past civilizations. Turnbull is drawn to the idea that over time, an archaeological object's form takes precedence over function as it loses connection with its original cultural context. Consequently, these historical symbols can be incorporated under a more inclusive and flexible artistic context, engendering them with new meaning.  

Roger Bevan explains that the Paddle Venus series is partly based on the flat, oval shape of a 'churinga', a totemic object of the Aboriginal tribes in Australia (Roger Bevan, Introduction, William Turnbull, Waddington Galleries, London, 1987, pp.6-9). These objects formed a connection between people and the divine and were decorated with signs relevant to the specific tribe. Over time, the context of the 'churinga' was lost but Turnbull has inherited the totemic symbol as an aesthetic object and inscribed it with his own designs. In so doing, Turnbull's Paddles bring an ancient image into the present, renewing its relevance and engaging the viewer by continuing to explore transcendent human experiences and connections.