MUSE.

The Sculpture Company
ROYAL ASCOT 2020

Featured Works for Ascot 2020

Sadly due to the Covid-19 pandemic, Royal Ascot this year will be held behind closed doors. It’s a great honour to be asked by Ascot to provide work for the Royal enclosure gardens and this year’s planned showing was an exciting mix of styles and approach from the very best in British sculpture.  All the works are available for you own, do get in touch for details or to arrange a viewing.

Nicola Toms - Horse Studies with Muse. The Sculpture Company

Horse Studies
by Nicola Toms
Life-size
Bronze World Edition of 8

Striding Man
by Maurice Blik
Height 188cm
Bronze Worls Edition of 9

Touching Victory
by Maurice Blik
Height 240cm
Bronze Word Edition of 9

Peacock
by Theodore Gillick
Height (excl plinth) 84cm
Bronze World Edition of 6

Lion by Hamish Mackie with Muse. The Sculpture Company

Lion
By Hamish Mackie
Life-Size
Bronze World Edition of 9

Lioness
By Hamish Mackie
Life-Size
Bronze World Edition of 9

Ammonite Cretaceous
By Hamish Mackie
Unmounted 134 x 178 x 82 cm
Stainless Steel World Edition of 9

Sculpture in the Royal Enclosure Gardens
Royal Ascot Sculpture Gallery

We are honoured and delighted to yet again present the very best in British sculpture at the very finest British event.

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Maurice Blick

Hamish Mackie

British wildlife sculptor Hamish Mackie has had the privilege of observing wildlife in many corners of the world at first hand. “Observing animals in their own environment, in their natural habitat, is essential to understanding the subject’s physical and instinctive traits. For example, the disposition of a captive predator is very different from that of a predator the wild,” he says. This close observation, often involving intense research trips and sculpting from life in the field, informs Hamish’s whole approach to his work, which resonates with his passion for the natural world.

His bronze wildlife sculptures capture instinctive moments of animal behaviour but are his own interpretation, not merely photographic representations. Hamish manages to convey the inner core, strength and grace of his subject. Largely self-taught, his style is unique – he frequently works in spontaneous, often unrepeatable, fluid gestures with a confidence born from many years of mastering his craft. This assertive handling of his materials, coupled with an acute understanding of anatomy,results in strong, dynamic, ‘living’ sculptures.

“It is close observation of my subject’s behaviour that really brings my pieces to life. I want to convey a sense of character, their spirit. This determines how I handle my material – in a loose fluid manner or in a tighter, more controlled way; with large sweeping strokes, or with smaller detail. A sculpture should have its own power. I want the viewer to feel an emotional response.” (Hamish Mackie)

Born in 1973, Hamish Mackie grew up on a livestock farm in Cornwall, England. In the kitchen of the family farm,there still hangs his first bronze sculpture – a calf’s head he made at the age of 12 as a Christmas present for his father. He attended Radley College and Falmouth School of Art, before going on to study design at Kingston University.He began sculpting full time in 1996. Hamish has works in public and private collections around the world. His sculptures are cast in bronze or silver as limited editions, each signed, dated and numbered. Each sculpture takes on average four months to be sculpted, moulded and then cast in bronze using the lost wax method. It is a highly skilled, labour-intensive process.

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Nicola Toms

Born in 1969, Nicola Toms' fascination and passion for wildlife stems from growing up on a cattle and game ranch in Zimbabwe. From an early age she studied animal character and behaviour in the wild. After studying art in Harare, she moved to London and worked in a fine art foundry. Nicola's work is now divided between African wildlife and those in the British countryside, but her aim remains the same whatever her choice of subject:  to convey the awe and excitement of the living creature.She employs a truthful approach, a love of craftsmanship and her distinctive talent to combine form with motion and strength with delicacy. The end result shows great poise and maturity - an artist absolutely in control of her medium. Today she is acknowledged as one of our leading wildlife sculptors. Her work is in numerous private collections in Britain and throughout the world and she has exhibited with galleries in Britain, America, South Africa and New Zealand.

Nicolas works have been shown:

LAPADA London 2016, 2017
Battersea Decorative Fair 2017,2018
Olympia Fine Art Fair 2017, 2018
Nec Fine Art Antiques Fair

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Theodore Gillick

Theodore Gillick was born an identical twin in 1972 and against the flow of his close-knit and entirely artistic family studied science at Aberdeen University. An award winning degree led to a scholarship to the University Botanical Gardens in Jerusalem where a friend and painter re-introduced him to sculpture. Returning to Britain he consulted as a botanist for game and stock management on landed estates throughout Scotland and her Islands for the Macaulay Research Institute and the Institute of Terrestrial Ecology but finally quit to retrain in sculpture and stone carving. Finishing that course with an award, he set about developing work and ideas and received his first commissioned work in 1997.

Theodore’s family has been involved professionally in the arts for three generations. Three direct family members have represented Britain as artists at the famous international Venice Biennale - more than any other family. Among these poets, actresses, illustrators, dancers, painters,architects, designers and craftsmen are: Earnest Gillick (1874-1951),responsible for figures on the V&A façade, the Cenotaph in Glasgow, among many other works both here and abroad; Mary Gillick (1881 - 1965), master practitioner of relief sculpture, responsible for the portrait and design of the pre-decimal coinage, the current silver silhouette of the Queen on picture stamps, among other fine secular and ecclesiastical works; his cousin, Liam Gillick, a conceptual sculptor and a figure of the Brit-art movement, Turner Prize 2002; twin brother, James, a sought after portrait, still life and figure painter who is also the youngest yet to have a PM sit for him (Margaret Thatcher) and the first British painter officially commissioned to paint a Pope; Dr. Ambrose Gillick, innovative architect and lecturer; Gordon and Victoria Gillick, ground breaking printers. It is within this extended family tradition of professional artists, designers and makers that Theodore grew up and was trained, and it forms the bedrock of his work. He is married and has six fabulous children in Buckinghamshire. 


Of his work Theodore writes;

Animalia work has occupied me from 1999 to date and it is as much an intellectual idea as it is the translation of things I admire. This genre of sculpture, very strong in the UK, is something quite unlike any previous period that depicts animals in art. There is no allegory here. No symbolism. No human sentiment. Although sometimes using contrivances to break the limitations of sculpture, I have made a study of nature unobserved and at ease with itself.  It is pure,unobtrusive observation and delight in that observation. It is David Attenborough in metal, describing wildlife in its most natural state.

European and British Fauna: The response of the art buyer to a good piece of contemporary animal sculpture has everything to do with the sense of place and occasion that animals in the landscape conjure in the imagination and memory. The challenge is to convey by touch, texture and shape not a super-accurate likeness, but a truthful attitude, with an internal energy that fills the modelling with life and vibrates the air around the work. In all works is an attempt to escape the terrible restrictions of sculpture which cannot set a thing in a landscape or give it perspective.  A good piece, by modelling and design, has to suggest the wheel rut and the sun the hare is lying in, the clatter of wings, or the keen wind that rakes the mane.

African work:  The heart of this continent has a visual language, richness and originality entirely of its own. A tension exists in the landscape, in the beasts, even in the shape of the trees, in the quietness and noise. It quickens a very primitive core and all the senses unlike anything I remember. Some of the artworks that I developed from sights and sketches come from the same line and principle as my studies of our native fauna. They delight in close and quiet observation, and are similarly worked and poised.  In these works the unreleased potential,rapid movement or the full and burning attention of a predator viewing its prey describes an aspect of the animal, but also of the artist and the viewer alike.

Theodore's animal work is highly sought after and is to be found from palaces to cottages all over the world.  He has completed numerous private and public commissions.

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