GERALD LAING

Print

Catalogue raisonné no. 92

Artist's CR 089

Ingrams and Halliwell no. 50

July - September, 1965

London

Oil on aluminium and chrome on brass, irregular, hinged and boxed

Edition of 46

6 x 17 inches / 0 cm

Exhibitions:
• 1971: Gerald Laing, Scottish National Gallery of Modern Art, Edinburgh, 1971
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• Gerald Laing: A Retrospective 1963–1993, The Fruitmarket Gallery, Edinburgh, 1993
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• Gerald Laing: Sculpture 1968–1999, The Fine Art Society, London, 1999
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• Gerald Laing: From 1963 to the Present, Bourne Fine Art, Edinburgh, 2004
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• Space, Speed, Sex: Prints and Multiples 1965–1976, Sims Reed Gallery, London, 2006
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• Gerald Laing: Prints and Multiples, Sims Reed Gallery, London, 2012
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• Lyndsey Ingram at the Armory Show, Lyndsey Ingram at the Armory Show, New York City, 2019
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Literature:
• Gerald Laing and Alasdair Hamilton, 1971: Gerald Laing, exhibition catalogue, Scottish National Gallery of Modern Art, 1971
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• Gerald Laing: A Retrospective 1963–1993, exhibition catalogue, The Fruitmarket Gallery, 1993
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• Gerald Laing: Sculpture 1968–1999, exhibition catalogue, The Fine Art Society, 1999
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• Gerald Laing: From 1963 to the Present, exhibition catalogue, Bourne Fine Art, 2004
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• Lindsey Ingram and Rupert Halliwell (eds.), Gerald Laing Prints and Multiples: A Catalogue Raisonné, Sims Reed Ltd, London, 2006
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• Gerald Laing, 'Gerald Laing: An Autobiography', unpublished manuscript, 2011
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• Gerald Laing: Prints and Multiples, exhibition catalogue, Sims Reed Gallery, 2012
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Selected Citations and Comments

I had brought the prototype of my first multiple with me [to London in 1965] from New York. Although it was made of aluminium and brass sheet, I called it Print, with the deliberate and challenging intention of proposing that a multiple art object might be made of something other than paper, the medium always used in lithographs, silkscreens and etchings. Clerkenwell Green nearby, not yet gentrified, was at that time still filled with small workshops, most of which seemed to be devoted to activities associated with the manufacture of clocks. There I found a man who specialised in cutting out, from sheet metal, elaborate and decorative fingers for long case clocks. I employed him to cut out, in brass and aluminium, the basic parts for Print, which I had decided to make in an edition of 46. In the workshop next door to the clock hand maker they painted the numbers and decoration on clock faces; painting my 46 multiples was easy for them. Further down the street a small engineering shop carried out the engine turning on part of the aluminium section.

Gerald Laing, 'Gerald Laing: An Autobiography', unpublished manuscript, 2011, ch.21