The Major Periods
1962 – 1965: Early Pop Paintings
As one of the original wave of Pop artists Gerald Laing produced some of the most significant works of the British Pop movement. His paintings reproduced images of popular heroes such as starlets, film stars, drag racers, astronauts and skydivers. His 1962 portrait of Brigitte Bardot is an iconic work of the period and regularly features in major Pop retrospectives alongside Lincoln Convertible from 1964, a commemoration of the assassination of JFK.
1965 – 1970: Utopian Abstract Sculpture
From 1965 Gerald Laing's painting evolved into abstract sculptures using the techniques and materials of car customisation - lacquering, spray-painting and chrome-plating on metal.
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1970 – 1973: Sculpture In The Landscape
A move from New York to the Highlands of Scotland in 1970 saw Gerald Laing's sculpture respond to the beauty, roughness and power of the surrounding landscape.
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1972 – 2010: Public Sculpture
Public sculptures include the the Bank Station Dragons; the Rugby Sculptures at Twickenham Stadium; the Cricketer at Lords; the Highland Clearances Memorial in Helmsdale, Sutherland and Axis Mundi in Edinburgh.
1973 – 1980: Galina Series
Inspired by the figurative sculpture of the First World War Artillery Memorial at Hyde Park Corner, in 1973 Gerald Laing began to model in clay and cast in bronze. The Galina Series and associated sculptures were his first works from this period.
1982 – 2007: Portrait Heads
Gerald Laing's portrait work includes heads and reliefs of Luciano Pavarotti, Andy Warhol, Paul Getty and Sam Wanamaker.
2002 – 2005: War Paintings
The Iraq war and the publication of images of torture at Abu Ghraib prison drew Gerald Laing back to painting for the first time in over three decades. The War Paintings series sees the starlets and all-American heroes of his early paintings take on new, more sinister roles.
2004 – 2011: New Paintings
Returning to the style and subject matter of his early pop art paintings, Gerald Laing's latest paintings feature media images of contemporary celebrities including Amy Winehouse and Kate Moss.
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War Paintings 2002–2005
The Iraq war and the publication of images of torture at Abu Ghraib prison drew Gerald Laing back to painting for the first time in over three decades. The War Paintings series sees the starlets and all-American heroes of his early paintings take on new, more sinister roles.
These new paintings for modern times treat the canvas as a flat plain on which colours and forms are clearly arranged. little attempt is made to create atmospheric space by moduation of the paint colour and tone, and accident is kept to a minimum.
Within the paintings there are games for the eye and the mind; visual paradoxes, puns and metaphors, deeply layered. This strengthens and indeed sustains them.
As in my earliest paintings of the 1960s, the chief compositional opportunity lies in the dichotomy between the monochrome drawing of halftone and the hard edge flatness of the coloured areas.
I can get more detail, more information, more drama and more mystery in the black and white passages which are literally paintings of newspaper photographs, and I tend to use them to convey emotionally charged ideas. They depend on optical effects, such as the persistence of the visual image on the retina, and our ability to understand certain visual conventions that are part of the shorthand of image transmission which we have learned in the modern environment. If you look closely at the cnvas, the surface disintegrates and becomes abstract, displaying its digital system of transmission; from further away, it resolves into an image. Both qualities are part of the painting; combined, they are unique to our age.
On the other hand, the coloured areas are stark, clear and sharp. They reiterate the fact that the paintings are flat, decorated surfaces, relating to what used to be called, but are no longer, the Italian primitives. in other words they are more like Cimabue and Uccello than Turner or Rothko. They are objects, not windows; icons, not landscapes. These qualities are abstract. They sustain the paintings and give them stamina.
To Discuss the content of these paintings is to enter another arena. |It is the role of the artist to reiterate humanist concerns by pushing aside the veil of history which, cobweb-like, obscures the living past, and comment on them for his generation. The paintings show us the dance of our own modern times, in a modern manner. The events are essentially commonplace, ordinary joys and sins, though their effect is often devastating.
Gerald Laing, 2008
Badge - Brooch
1969
London
Chrome on brass with inset sections of variously coloured champlevé enamel, pin fastening verso (Edition of 25)
2.5x2.5inches/6x6cm
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Souvenir (of the Cuban Missile Crisis Oct 16–28 1962)
Artists CR 0
16–28 October 1962
Saint Martin's School of Art, London
Oil on wood and oil on canvas laid over board, in the artist’s painted frame
25x15inches/64x38cm
Collection: Private collection
Provenance: Collection of Gerald Laing., 1962 - 1975; (Frasers Auction Room, Bailechaul Road, Dingwall, Dingwall) Private Collection, c. 1975;Collection of Iain Marr., c. 1975 -;Private collection, - 2014; (Christie’s King Street, London) Private Collection, 25 June 2014;.
Exhibitions: Gerald Laing: Exhibition of Paintings and Drawings, Laing Art Gallery, Newcastle upon Tyne, 1963; The Sixties Art Scene in London, Barbican Art Gallery, London, 1993; From the Bomb to the Beatles - Britain 1945–1965, Imperial War Museum, London, 1999–2000; This Was Tomorrow: Pop Art in Great Britain, Kunstmuseum Wolfsburg, , 2016–7
Literature: Gerald Laing: A Retrospective 1963–1993, 1993; Gerald Laing: New Paintings for Modern Times, 2008; Gerald Laing: From 1963 to the Present, 2004; David Mellor, The Sixties Art Scene in London, 1993, p.34; Catherine Jolivette (ed.), British Art in the Nuclear Age, 2014, p.224; Gerald Laing, Aspen Notebook, 1966; Modern British and Irish Art Evening Sale, 2014, p.12-15, 122-125; Gerald Laing: Exhibition of Paintings and Drawings, 1963, p.[3]; John J. Curley, Global Art and the Cold War, 2019.
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Lolita Through the Keyhole
Artists CR 001
1962
Saint Martin's School of Art, London
Oil on canvas
48x42inches/122x107cm
Exhibitions: Gerald Laing: Exhibition of Paintings and Drawings, Laing Art Gallery, Newcastle upon Tyne, 1963; Paintings of Photographs/Photographs of Paintings, Saint Martin’s School of Art, London, 1963
Literature: Gerald Laing, Aspen Notebook, 1966; Gerald Laing: Exhibition of Paintings and Drawings, 1963, p.[3].
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Cléo from 5 to 7
Artists CR 002
1962
London
Oil on canvas
48x25inches/122x64cm
Collection: Artist's estate
Provenance: .
Exhibitions: Gerald Laing: Exhibition of Paintings and Drawings, Laing Art Gallery, Newcastle upon Tyne, 1963; Young Contemporaries 63, RBA Galleries, London, 1963; Paintings of Photographs/Photographs of Paintings, Saint Martin’s School of Art, London, 1963; When Britain Went Pop. British Pop Art: The Early Years, Christie’s King Street, London, 2013; Gerald Laing 1936–2011: A Retrospective, The Fine Art Society, London, 2016
Literature: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; David Mellor, The Sixties Art Scene in London, 1993, p.34; Marco Livingstone and Amanda Lo Iacono, When Britain Went Pop. British Pop Art: The Early Years, 2013; Gerald Laing, Aspen Notebook, 1966; Gerald Laing: Exhibition of Paintings and Drawings, 1963, p.[3]; Gerald Laing 1936–2011: A Retrospective, 2016.
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Bedroom BB
Artists CR 003
1962
Saint Martin's School of Art, London
Oil on canvas
33x41inches/84x104cm
Exhibitions: Gerald Laing: Exhibition of Paintings and Drawings, Laing Art Gallery, Newcastle upon Tyne, 1963; Paintings of Photographs/Photographs of Paintings, Saint Martin’s School of Art, London, 1963
Literature: Gerald Laing: Exhibition of Paintings and Drawings, 1963, p.[3].
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Roger & Annette Take Coffee
Artists CR 004
1962
Saint Martin's School of Art, London
Oil on canvases joined by aluminium
26x32inches/66x81cm
Exhibitions: Gerald Laing: Exhibition of Paintings and Drawings, Laing Art Gallery, Newcastle upon Tyne, 1963; Young Contemporaries 63, RBA Galleries, London, 1963; Paintings of Photographs/Photographs of Paintings, Saint Martin’s School of Art, London, 1963
Literature: David Mellor, The Sixties Art Scene in London, 1993, p.34; Gerald Laing: Exhibition of Paintings and Drawings, 1963, p.[3].
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Brigitte Bardot
Artists CR 005
1963
Saint Martin's School of Art, London
Oil on canvas
72x45inches/183x114cm
Collection: Private collection
Provenance: Collection of R. Maude-Roxby., 1963–2014; (Christie’s King Street, London) Private Collection, 13 February 2014;.
Exhibitions: Young Contemporaries 63, RBA Galleries, London, 1963; Paintings of Photographs/Photographs of Paintings, Saint Martin’s School of Art, London, 1963; 1971: Gerald Laing, Scottish National Gallery of Modern Art, Edinburgh, 1971; Gerald Laing: A Retrospective 1963–1993, The Fruitmarket Gallery, Edinburgh, 1993; The Sixties Art Scene in London, Barbican Art Gallery, London, 1993; Pop 60s: Travessia Transatlântica/Transatlantic Crossing, Centro Cultural de Belém, Lisbon, 1997; Les Sixties: Great Britain and France 1962–1973, Brighton Museum and Art Gallery, Brighton, 1997; Gerald Laing: Sculpture 1968–1999, The Fine Art Society, London, 1999; Global Village: The 60s (Village Global: Les Annees 60), Montreal Museum of Fine Arts, Montreal, 2003–4; British Pop, Museo de Bellas Artes de Bilbao, Bilbao, 2005–6; Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006; Pop Art! 1956–1968, Scuderie del Quirinale, Rome, 2007–8; When Britain Went Pop. British Pop Art: The Early Years, Christie’s King Street, London, 2013; The New Situation: Art in London in the Sixties, Sotheby’s, London, 2013
Literature: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; Gerald Laing, Gerald Laing: An Autobiography, 2011; Gerald Laing: A Retrospective 1963–1993, 1993; Gerald Laing: New Paintings for Modern Times, 2008; David Mellor, The Sixties Art Scene in London, 1993, p.34; John A. Walker, Art and Celebrity, 2002, p.96–7; David Mellor, Laurent Gervereau and others (eds.), The Sixties: Britain and France, 1962–1973: The Utopian Years, 1997, pp.6, 274; Marco Livingstone and Amanda Lo Iacono, When Britain Went Pop. British Pop Art: The Early Years, 2013; Gerald Laing and Alasdair Hamilton, 1971: Gerald Laing, 1971; Gerald Laing, Aspen Notebook, 1966; David Brauer, Jim Edwards, Christopher Finch, Walter Hopps, Pop Art: U.S./U.K. Connections, 1956–1966, 2001, pp.29, 33, 37, 40, 64, 72–3, 82–3, 128, 162–3, 182, 190–1, 239–41, 243–5, 247; Julia Bigham, Pop Art Book, 2007, pp. 29, 30,110–2, 174; Ian Carr, Gerald Laing, , Newcastle Life, 1963; Samantha Ellis, Top of the Pops, , Evening Standard, 2000, p.64; Iain Gale, The Great Survivor, , Caledonia, 2002, pp.38-40; Keith Bruce, All Fired Up Again, , Herald, 2004; Jeremy Watson, ‘Immoral’ War Inspires Art Legend, , Scotland on Sunday, 2004; Aspects of British Abstract Art (1959–1966), , Sur La Terre, 2005; Laura Gascoigne, [untitled], , Spectator, 2008; Marco Livingstone, British Pop, 2005, pp.220–30, 343-5; Walter Guadagnini, Pop Art 1956–1968, 2007; Gerald Laing, Apostasy, , Northern Review, 1998; Post-War and Contemporary Art Evening Auction, 2014, p.142-147; Gerald Laing 1936–2011: A Retrospective, 2016.
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Anna Karina
Artists CR 006
1963
Saint Martin's School of Art, London
Oil on canvas
144x84inches/366x213cm
Collection: Artist's estate
Provenance: .
Exhibitions: Gerald Laing: Exhibition of Paintings and Drawings, Laing Art Gallery, Newcastle upon Tyne, 1963; Paintings of Photographs/Photographs of Paintings, Saint Martin’s School of Art, London, 1963; Gerald Laing: Paintings and Sculpture 1963–1983, Herbert Art Gallery & Museum, Coventry, 1983; Gerald Laing: A Retrospective 1963–1993, The Fruitmarket Gallery, Edinburgh, 1993; Les Sixties: Great Britain and France 1962–1973, Brighton Museum and Art Gallery, Brighton, 1997; Gerald Laing: From 1963 to the Present, Bourne Fine Art, Edinburgh, 2004; Pop Art UK: British Pop Art 1956–1972, Galleria Civica di Modena, , 2004; Gerald Laing 1936–2011: A Retrospective, The Fine Art Society, London, 2016; This Was Tomorrow: Pop Art in Great Britain, Kunstmuseum Wolfsburg, , 2016–7
Literature: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; Lindsey Ingram and Rupert Halliwell (eds.), Gerald Laing Prints and Multiples: A Catalogue Raisonné, 2006; Gerald Laing: A Retrospective 1963–1993, 1993; David Mellor, The Sixties Art Scene in London, 1993, p.34; Gerald Laing: Paintings & Sculpture 1963–1983, 1983; Gerald Laing and Alasdair Hamilton, 1971: Gerald Laing, 1971; Gerald Laing, Aspen Notebook, 1966; David Brauer, Jim Edwards, Christopher Finch, Walter Hopps, Pop Art: U.S./U.K. Connections, 1956–1966, 2001, pp.29, 33, 37, 40, 64, 72–3, 82–3, 128, 162–3, 182, 190–1, 239–41, 243–5, 247; Ian Carr, Gerald Laing, , Newcastle Life, 1963; Clare Henry, Fruitful Transformation, , Herald, 1993; Marco Livingstone and Walter Guadagnini, Pop Art UK: British Pop Art 1956–1972, 2004; Marco Livingstone, British Pop, 2005, pp.220–30, 343-5; Marco Livingstone, Pop Art: A Continuing History, 1990, pp. 176-177, pl. 253; Gerald Laing: Exhibition of Paintings and Drawings, 1963, p.[3]; Gerald Laing 1936–2011: A Retrospective, 2016; Gerald Laing: Sculpture 1965–1978, 2008.
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Three Incidents from the Shock Film of the Year
Artists CR 007
1963
London (St. Martins)
Oil on canvas
68.5x54inches/174x137cm, Three panels
Collection: Private collection
Provenance: (Gerald Laing).
Exhibitions: Gerald Laing: Exhibition of Paintings and Drawings, Laing Art Gallery, Newcastle upon Tyne, 1963; Paintings of Photographs/Photographs of Paintings, Saint Martin’s School of Art, London, 1963
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Navy Pilot
Artists CR 008
1963
New York City
Oil on canvas
36x30inches/91x76cm
Private Collection, UK
Provenance: Private collection, New York;.
Exhibitions: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006
Literature: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; Gerald Laing, Aspen Notebook, 1966.
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Dragster I
Artists CR 009
1963
New York City
Oil on canvas
60x50inches/152x127cm
Collection: Private collection
Provenance: Private collection, -1965;Collection of Richard L. Feigen & Co., New York., 1965;Collection of John and Kimiko Powers., 1965-1979;Collection of Academy for Educational Development, Washington D.C.., 1979-2011; (Shannon’s, Woodmount Road, Milford, Connecticut, Milford) Private Collection, 28 April 2011;.
Exhibitions: Selections from the John G. Powers Collection, The Aldrich Contemporary Art Museum, Ridgefield, 1966
Literature: Gerald Laing, Gerald Laing: An Autobiography, 2011; Gerald Laing, Aspen Notebook, 1966.
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Starlet I
Artists CR 010
1963
New York City
Oil on canvas
50x20inches/127x51cm
Collection: Private collection
Provenance: (Richard Feigen Gallery, New York, NY) Private Collection, -1964;Collection of Julian Levy., 1964-2004; (Tajan Auctioneers, Rue des Mathurins, Paris, Paris) Private Collection, 5 October 2004;.
Exhibitions: New Images, Richard Feigen Gallery, New York, NY, 1964; British Pop, Museo de Bellas Artes de Bilbao, Bilbao, 2005–6; Source and Stimulus: Polke, Lichtenstein, Laing, Lévy Gorvy, London, London, 2018
Literature: Gerald Laing, Aspen Notebook, 1966; Marco Livingstone, British Pop, 2005, pp.220–30, 343-5; Tribute to Julien Levy, 5, 6, 7 October 2004, 2004, pp.124–5.
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Starlet II
Artists CR 011
1963
New York
Oil on canvas
50x20inches/127x51cm
Collection: Private collection
Provenance: (The Fine Art Society, London) Private Collection;.
Exhibitions: First International Girlie Show, Pace Gallery, New York, 1964; Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006; Source and Stimulus: Polke, Lichtenstein, Laing, Lévy Gorvy, London, London, 2018
Literature: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; Gerald Laing, Aspen Notebook, 1966.
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Starlet 1a (Head)
Artists CR 012
1963
New York
Oil on canvas
20x16inches/51x41cm
Collection: Private collection
Provenance: (Richard Feigen Gallery, New York, NY) Private Collection;.
Exhibitions: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006; When Britain Went Pop. British Pop Art: The Early Years, Christie’s King Street, London, 2013
Literature: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; Marco Livingstone and Amanda Lo Iacono, When Britain Went Pop. British Pop Art: The Early Years, 2013.
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Head
Artists CR 013
1963
New York City
Oil on canvas
18x14inches/46x36cm
Destroyed by artist
Provenance: .
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Ursula of Coenties Slip
Artists CR 014
1963
New York City
Oil on canvas
60x50inches/152x127cm
Destroyed by artist
Provenance: .
Literature: Gerald Laing, Aspen Notebook, 1966.
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Skydiver II
Artists CR 015
1963
New York
Oil on canvas
70x60inches/178x152cm
Private Collection, Italy
Provenance: Collection of Richard Feigen Gallery, New York, NY., -1974; (Sotheby’s, London) Private Collection, 4 December 1974;.
Literature: Gerald Laing, Aspen Notebook, 1966.
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Skydiver I
Artists CR 016
1963
New York City
Oil on canvas
36x40inches/91x102cm
Destroyed by artist
Provenance: .
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Four Events in the Experience of an Astronaut
Artists CR 017
1963
New York
Oil on canvas
48x40inches/122x102cm
Provenance: .
Exhibitions: Artist Collects, Richard Feigen Gallery, New York, NY, 1964; 1971: Gerald Laing, Scottish National Gallery of Modern Art, Edinburgh, 1971
Literature: Gerald Laing, Gerald Laing: An Autobiography, 2011; Gerald Laing: A Retrospective 1963–1993, 1993; Gerald Laing and Alasdair Hamilton, 1971: Gerald Laing, 1971; Gerald Laing, Aspen Notebook, 1966.
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Portrait of Robert Indiana
Artists CR 018
1963
New York City
Oil on canvas
24x16inches/61x41cm
Provenance: .
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Countdown
Artists CR 019
1963
London (St. Martins)
Oil on canvas
20x12inches/51x30cm
Provenance: .
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Welcome Back to Earth
Artists CR 020
1963
London
Acrylic and oil on canvas, in a 'diamond' orientation
60x60inches/152x152cm
Provenance: Private collection, 1964-2006;.
Exhibitions: Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964
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G Force
Artists CR 021
1963
London
Oil on canvas
36x56inches/91x142cm
Collection: Private collection
Provenance: (Richard Feigen Gallery, New York, NY) Private Collection, 1964;.
Exhibitions: Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964; New Images, Richard Feigen Gallery, New York, NY, 1964; Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006
Literature: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; Lindsey Ingram and Rupert Halliwell (eds.), Gerald Laing Prints and Multiples: A Catalogue Raisonné, 2006; Gerald Laing and Alasdair Hamilton, 1971: Gerald Laing, 1971.
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Astronaut I
Artists CR 022
1963
London
Oil and silver spray paint on canvas
72x64inches/183x163cm
Wolverhampton Art Gallery
Provenance: (Galerie Iris Clert, Paris) Private Collection, 1963-1964; Private Collection, 1964-2010; (Piasa, Rue du Faubourg Saint-Honoré, Paris, Paris) Private Collection, 20 October 2010;Private collection, 2010-2015;.
Literature: Gerald Laing, Aspen Notebook, 1966.
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Astronaut II
Artists CR 023
1963
London
Oil and silver spray paint on canvas
12x10inches/30x25cm
Collection: Artist's estate
Provenance: Private collection, 1995-2007;.
Exhibitions: Paintings of Photographs/Photographs of Paintings, Saint Martin’s School of Art, London, 1963; Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006; Source and Stimulus: Polke, Lichtenstein, Laing, Lévy Gorvy, London, London, 2018
Literature: Gerald Laing, Kinkell: The Reconstruction of a Scottish Castle, 1974; Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; Gerald Laing, Aspen Notebook, 1966.
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Astronaut III
Artists CR 024
1963
London
Oil on canvas
35x22inches/89x56cm
Collection: Private collection
Provenance: (Richard Feigen Gallery, New York, NY) Private Collection;.
Exhibitions: First Jump Course (One Man Show), Richard Feigen Gallery, New York, NY, 1964; Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964; Gerald Laing: Paintings, Drawings, Constructions, Prints, Richard Feigen Gallery, Chicago, IL, 1965
Literature: Gerald Laing, Aspen Notebook, 1966.
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Lotus I
Artists CR 025
1963
New York
Oil on canvas
45x56inches/114x142cm
Collection: Private collection
Provenance: (Richard Feigen Gallery, New York, NY) Private Collection, 1964; Private Collection, 1964-1973; (Pierre-Marie Rogeon, Rue Milton, Paris, Paris) Private Collection, 6 April 1973;.
Exhibitions: Young Contemporaries 1964, RBA Galleries, London, 1964; Stars for Freedom, Feigen-Palmer Gallery, Los Angeles, 1964; Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964; The New Generation, 1964, Whitechapel Gallery, London, 1964 (and touring)
Literature: Udo Kultermann, The New Painting, 1977, pp.24, 48; Lucy R. Lippard, Pop Art, 1966, pp.63–4.
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Dragster II
Artists CR 026
1963
London (St. Martins)
Oil on canvas
40x60inches/102x152cm
Destroyed by artist
Provenance: .
Exhibitions: Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964
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Astronaut IV
Artists CR 027
1963
London
Oil on irregular, shaped canvas
57x42inches/145x107cm
Provenance: Private collection, New York;.
Exhibitions: Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964; Gerald Laing: Paintings, Drawings, Constructions, Prints, Richard Feigen Gallery, Chicago, IL, 1965; Pop Art: U.S./U.K. Connections, 1956–1966, The Menil Collection, Houston, 2001; Pop Art Portraits, National Portrait Gallery, London, 2007–8
Literature: David Brauer, Jim Edwards, Christopher Finch, Walter Hopps, Pop Art: U.S./U.K. Connections, 1956–1966, 2001, pp.29, 33, 37, 40, 64, 72–3, 82–3, 128, 162–3, 182, 190–1, 239–41, 243–5, 247; Paul Moorhouse, Pop Art Portraits, 2007.
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Dragster III
Artists CR 028
1963
London
Oil on fan shaped canvas
60x120inches/152x305cm
Provenance: .
Exhibitions: Young Contemporaries 1964, RBA Galleries, London, 1964; Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964; The New Generation, 1964, Whitechapel Gallery, London, 1964 (and touring)
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Lotus II
Artists CR 029
1963
London
Oil on canvas
25x32inches/64x81cm
Collection: Private collection
Provenance: .
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Lincoln Convertible
Artists CR 030
1964
London
Oil on irregular, shaped canvas
73x111inches/185x282cm, irregular
Collection: Artist's estate
Provenance: .
Exhibitions: Young Contemporaries 1964, RBA Galleries, London, 1964; Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964; The New Generation, 1964, Whitechapel Gallery, London, 1964 (and touring); Gerald Laing: A Retrospective 1963–1993, The Fruitmarket Gallery, Edinburgh, 1993; Pop 60s: Travessia Transatlântica/Transatlantic Crossing, Centro Cultural de Belém, Lisbon, 1997; Gerald Laing: From 1963 to the Present, Bourne Fine Art, Edinburgh, 2004; Gerald Laing: Iraq War Paintings, Spike Gallery, New York, 2005; British Pop, Museo de Bellas Artes de Bilbao, Bilbao, 2005–6; Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006; Pop Art! 1956–1968, Scuderie del Quirinale, Rome, 2007–8; When Britain Went Pop. British Pop Art: The Early Years, Christie’s King Street, London, 2013; Gerald Laing 1936–2011: A Retrospective, The Fine Art Society, London, 2016; This Was Tomorrow: Pop Art in Great Britain, Kunstmuseum Wolfsburg, , 2016–7; Source and Stimulus: Polke, Lichtenstein, Laing, Lévy Gorvy, London, London, 2018
Literature: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; Lindsey Ingram and Rupert Halliwell (eds.), Gerald Laing Prints and Multiples: A Catalogue Raisonné, 2006; Gerald Laing, Gerald Laing: An Autobiography, 2011; Gerald Laing: A Retrospective 1963–1993, 1993; Gerald Laing: From 1963 to the Present, 2004; Marco Livingstone and Amanda Lo Iacono, When Britain Went Pop. British Pop Art: The Early Years, 2013; Julia Bigham, Pop Art Book, 2007, pp. 29, 30,110–2, 174; Keith Bruce, All Fired Up Again, , Herald, 2004; David Eb, Gerald Laing at Spike, , Art in America, 2005; Mark Sheerin, Pop Art, politics and painting the Iraq war: Culture24 interviews artist Gerald Laing, , Culture24.org.uk, 2010; Marco Livingstone and Walter Guadagnini, Pop Art UK: British Pop Art 1956–1972, 2004; Marco Livingstone, British Pop, 2005, pp.220–30, 343-5; Walter Guadagnini, Pop Art 1956–1968, 2007; Gerald Laing, Notes on “Lincoln Convertible”, 1993; Gerald Laing 1936–2011: A Retrospective, 2016; Marco Livingstone, Pop 60s: Travessia Transatlântica/Transatlantic Crossing, 1997; Gerald Laing, Notes for Wolverhampton Art Gallery, 2006.
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Panoply
Artists CR 032
1964
London/New York
Oil on cellulose paint on irregular, shaped canvas
44x66inches/112x168cm, irregular
The Ingram Collection of Modern British Art
Provenance: (Richard Feigen Gallery, New York, NY) Private Collection, 1964-1965;Private collection, -1973; (Sotheby’s, London) Private Collection, 5 July 1973;Private collection, 1973-2005; (Sotheby’s, London) Private Collection, 21 July 2005;.
Exhibitions: Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964; Gerald Laing: Paintings, Drawings, Constructions, Prints, Richard Feigen Gallery, Chicago, IL, 1965; Gerald Laing: A Retrospective 1963–1993, The Fruitmarket Gallery, Edinburgh, 1993; The Sixties Art Scene in London, Barbican Art Gallery, London, 1993; Gerald Laing: From 1963 to the Present, Bourne Fine Art, Edinburgh, 2004; Gerald Laing: Iraq War Paintings, Spike Gallery, New York, 2005; British Pop, Museo de Bellas Artes de Bilbao, Bilbao, 2005–6; Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006
Literature: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; Gerald Laing: A Retrospective 1963–1993, 1993; Gerald Laing: From 1963 to the Present, 2004; David Mellor, The Sixties Art Scene in London, 1993, p.34; Keith Bruce, All Fired Up Again, , Herald, 2004; David Eb, Gerald Laing at Spike, , Art in America, 2005; Marco Livingstone, British Pop, 2005, pp.220–30, 343-5; 20th Century British Art, 2005, p.115; Twentieth Century British Art, 2005; Gerald Laing, Notes on “Panoply”, 2005.
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Panoply (second version)
Artists CR 032a
1992
Oil on canvas
44x66inches/112x168cm
Collection: Private collection
Provenance: .
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Skydiver III
Artists CR 033
1964
London
Oil and cellulose paint on canvas
54x66inches/137x168cm
Collection: Private collection
Provenance: (Richard Feigen Gallery, New York, NY) Private Collection, 1964;.
Exhibitions: Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964; New Images, Richard Feigen Gallery, New York, NY, 1964
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Astronaut V
Artists CR 034
1964
London
Oil and cellulose paint on irregular, shaped canvas
17x20inches/43x51cm, irregular
Collection: Private collection
Provenance: (Feigen-Palmer Gallery, Los Angeles).
Exhibitions: Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964; Feigen-Palmer Gallery, Los Angeles, 1964–5
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Icon
Artists CR 035
1964
London
Oil on canvas
16x10inches/41x25cm
Collection: Private collection
Provenance: (Feigen-Palmer Gallery, Los Angeles) Private Collection, 1965;.
Exhibitions: Feigen-Palmer Gallery, Los Angeles, 1964–5
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AA D
Artists CR 036
1964
London
Oil and cellulose paint on canvas
55x83inches/140x211cm
Collection: Private collection
Provenance: (Richard Feigen Gallery, New York, NY) Private Collection;Collection of John and Kimiko Powers., 1964;Collection of Academy for Educational Development, Washington D.C..; (Shannon’s, Woodmount Road, Milford, Connecticut, Milford) Private Collection, 28 April 2011;Private collection, 2011-2012; (Christie’s King Street, London) Private Collection, 23 May 2012;.
Exhibitions: First Jump Course (One Man Show), Richard Feigen Gallery, New York, NY, 1964; New Images, Richard Feigen Gallery, New York, NY, 1964; Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006
Literature: Space, Speed, Sex: Works from the early 1960s by Gerald Laing, 2006; Mario Amaya, Pop as Art: A Survey of the New Super Realism, 1965, pp.126–130; Gerald Laing, Aspen Notebook, 1966; 20th Century British & Irish Art Evening Sale, 2012.
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Skydiver IV
Artists CR 037
1964
London
Oil on canvas
63.5x52inches/161x132cm
Provenance: (Richard Feigen Gallery, New York, NY) Private Collection;Collection of John and Kimiko Powers., 1964;.
Exhibitions: First Jump Course (One Man Show), Richard Feigen Gallery, New York, NY, 1964; Far Out, Paintings and sculpture from the Collection of John G. Powers, New Jersey, State University College at Plattsburgh, Plattsburgh, 1965
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Skydiver V
Artists CR 038
1964
London
Oil on canvas
62x75inches/157x191cm
Collection: Private collection
Provenance: (Richard Feigen Gallery, New York, NY) Private Collection, 1964;.
Exhibitions: First Jump Course (One Man Show), Richard Feigen Gallery, New York, NY, 1964; Gerald Laing: Paintings, Drawings, Constructions, Prints, Richard Feigen Gallery, Chicago, IL, 1965
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