Bibliography - Art and domestic crafts: Sculpture
Bibliography Home

The Ancient Sculptures in the South Aisle of the Choir of Chichester Cathedral, by Walter De Gray Birch, F.S.A., published September 1886 in Journal of the British Archaeological Association (first series, vol 42, issue 3, article, pp.255-262)   View Online

Sepulchral Effigies at Chichester, by M. H. Bloxam, published September 1886 in Journal of the British Archaeological Association (first series, vol 42, issue 3, article, pp.287-293)   View Online

On the sculptures of the Chalk Downs in Kent, Surrey, and Sussex, by George Clinch, published January 1909 in Quarterly Journal of the Geological Society (vol. 65, issue 1-4, article, pp.208-209)   View Online

The Author classifies the various forms of sculpture of the Chalk Downs under three heads, namely, (1) dry valleys of simple form, (2) dry valleys of complex form, and (3) wet valleys. He draws attention to the relatively small catchment-areas of the dry valleys, and to the large number of tributary valleys found in some districts, two points which he considers have not hitherto received entirely satisfactory explanation.

The sculpturings of the Chalk Downs of Kent, Surrey, and Sussex., by George Clinch, published February 1910 in Geological Magazine (vol. 7, no. 2, article, pp.49-58)   View Online

The aim of this paper is to offer an explanation of the phenomena intimately related to the sculpturings of the Chalk Downs in the district under review, namely:-

1. The Dry Chalk Valleys.
2. The River System of the Wealden area, as far as it relates to the Chalk Downs.
3. Incidentally, the Denudation of the Wealden area.

Ancient Sculptured Marbles at Bignor Park, Sussex, by S. E. Winbolt, published 1928 (Society for the Promotion of Hellenic Studies) accessible at: West Sussex Libraries

Reprinted from the Journal of Hellenic Studies Vol. 48, 1928, P.178-182

Ancient Sculptured Marbles at Bignor Park, Sussex, by S. E. Winbolt, published 1928 in Journal of Hellenic Studies (vol. 48, no. 2, article, pp.178-182)

Sculptured Pigs Heads [at Winchelsea], by W. Maclean Homan, published November 1938 in Sussex Notes & Queries (vol. VII no. 4, query, pp.124-125) accessible at: W.S.R.O. [Lib 12536][Lib 8864][Lib 2206] & The Keep [LIB/500209] & S.A.S. library

Roof Bosses in Medieval Churches: An Aspect of Gothic Sculpture, by C. J. Cave, published 1948 accessible at: West Sussex Libraries

Fifteenth-century sculpture from Lewes Priory, by W. H. Godfrey, published April 1955 in The Antiquaries Journal (vol. 35 issue 1-2, note, p.88)   View Online

The Tournai Marble Sculptures of Lewes Priory, by F. Anderson, published 1984 in Sussex Archæological Collections (vol. 122, article, pp.85-100) accessible at: W.S.R.O. [Lib 9140] & The Keep [LIB/500309] & S.A.S. library

The Romanesque sculptures of Lewes Priory, by Freda Elizabeth Mary Anderson, 1987 at University of London (Ph.D. thesis)

Fragments of 12th Century Sculpture in Bosham Church, by Kathryn Morrison and Ronald Baxter, published 1991 in Sussex Archæological Collections (vol. 129, article, pp.33-38) accessible at: W.S.R.O. [Lib 11694] & The Keep [LIB/500295] & S.A.S. library

Classical sculpture and the English interior, 1640-1840: purpose and meaning, by Ruth A. Guilding, 2000 at Bristol University (Ph.D. thesis)

The 2nd Earl of Arundel was the first English collector to imitate directly Italian Renaissance collections, creating sculpture displays in Arundel House and its gardens in the 1640s which became famous throughout Europe . Translated into the quasi-domestic context, classical sculpture represented the veneration of the cultural and political mores of ancient Rome and Greece, the props and justification of political power, but could also be portrayed as an inspirational 'body of history' augmenting civic culture, as 'national treasure' and exemplars for the improvement of the arts, carrying the onus of granting opportunities for their public consumption . Arundel's displays were piously recreated, at Wilton House, Easton Neston and the University of Oxford, but subsequent collectors adopted the Palladian format, based on Roman architectural vocabulary, as the convention for display until c.1760 . Dependent on symmetry and niche architecture, Palladian displays required full-length statues, or copies and casts of the best works in the antique canon. Outside the context of the 'atrium'/entrance hall. where busts and statues could stand as putative ancestors, sculpture continued to hold the same resonances, but in these controlled and formalised settings its significance could be diminished to that of grand furniture. The more intensive antiquarianism of the Enlightenment gradually eclipsed such resonances. From the 1760s, tastes broadened to encompass the works of Piranesi, inscriptions, funerary sculpture, and non-classical antiquities, placed in 'Museum' room displays . In the last full-blown aristocratic galleries, at Castle Howard, Woburn, Petworth and Chatsworth, between 1800-c.1840, marble antiquities were juxtaposed with modern sculpture, to convey a political message, or as antique exemplars. The cachet of ownership increased: Charles Townley's reputation was entirely vested in his antique marbles; his housemuseum at Park Street acquired a quasi-public status, becoming the model for the first public sculpture galleries, when his marbles were bought by the British Museum.

The 2nd Earl of Egremont's sculpture gallery at Petworth: a plan by Charles Townley, by Ruth Guilding, published 2000 in Apollo : the international magazine of art and antiques (vol. 151, issue 458, article, pp.27-29)

Eric Gill: The Sculpture, by Judith Collins, published 29 June 2006 (240 pp., A. & C. Black Publishers, ISBN-10: 0713679271 & ISBN-13: 9780713679274) accessible at: West Sussex Libraries

This beautifully illustrated book is the first ever complete survey of Eric Gill's sculptural work. With an extensive essay and 300 detailed catalogue entries, this book is the major title on the subject and a must for anyone interested in Gill's work and where to view it. Gill was one of the major artists of the 20th century and this book gives a fascinating insight into the creativity of this eccentric genius.

Scandinavian influences in the Late Anglo-Saxon sculpture of Sussex, by Elizabeth Norton, published 2009 in Sussex Archæological Collections (vol. 147, shaort article, pp.215-217) accessible at: W.S.R.O. [Lib 17254] & The Keep [LIB/500365] & S.A.S. library   View Online

"The Happy Preserver of his Brother's Posterity": From Monumental Test to Sculptural Figure in Early Modern Sussex, by Nigel Llewellyn, published 17 September 2014 in Art, Literature and Religion in Early Modern Sussex: Culture and Conflict (Chapter 9., Routledge, ISBN-10: 1409457036 & ISBN-13: 9781409457039)

Public Sculpture of Sussex, by Jill Seddon, Peter Seddon and Anthony McIntosh, published 1 November 2014 (xviii + 222 pp., Liverpool University Press, ISBN-10: 1781381259 & ISBN-13: 9781781381250) accessible at: The Keep [LIB/508708] & R.I.B.A. Library & West Sussex Libraries & East Sussex Libraries

This is the 17th volume in the series the Public Sculpture of Britain, part of the PMSA National Recording Project, which will eventually cover the whole of the country. The introduction considers the ways in which the rural and urban landscapes of Sussex, from market town, rural village and country estate, to city, major seaside resort and new town development, are reflected in the county s public sculptures. The historical period covered ranges from the allegedly pre-historic (the Long Man of Wilmington) to the present day (the most recent entry is Maggi Hambling s The Resurrection Spirit, 2013). There is a high proportion of nineteenth- century sculptures, including significant works by John Flaxman, Michael Rysbrack, Frances Chantrey and John Edward Carew; the statuemania that characterised the last part of this century is well illustrated by Thomas Brock s imposing statue celebrating Queen Victoria's Diamond Jubilee on Hove seafront. The achievements of major twentieth and twenty-first century sculptors are represented by Elisabeth Frink and William Pye among others. Many works from this period are the result of public art initiatives by local councils, often as part of more wide-ranging regeneration schemes for Sussex towns. The patronage of health authorities, influenced by new thinking about the calming and healing qualities of art in public places has also benefitted both local sculptors and those based elsewhere in the country. Each individual work is catalogued, with precise details of location, condition and history, including commissioning, opening ceremonies and re-siting. Most are individually illustrated in black and white. Biographies of local and less well-known sculptors, together with a selected bibliography are included at the end of the volume.

A South Downs Year: Creation of the Slindon Stone: The Sculptor's Journal, by John Edgar, published 5 December 2016 (76 pp., Hesworth Press, ISBN-10: 0955867525 & ISBN-13: 9780955867521) accessible at: West Sussex Libraries

The diary of an artistic process behind a stone sculpture worked on site over 14 months. Old maps and local history pertaining to Arundel, Slindon and the wider South Downs National Park.