P07936 Welsh Cob
Linocut 14 1/4 × 10 (358 × 254) on Velin Arches paper 22 3/8 × 15 1/8 (568 × 384), printed by the artist and Colin Dyer, published by Waddington Graphics
Inscribed ‘B F’ b.r. and ‘2/50’; impressed with the publisher's stamp b.l.
Purchased from Waddington Galleries (Grant-in-Aid) 1983
Lit: David Brown, Barry Flanagan Etchings and Linocuts, exhibition catalogue, Waddington Galleries, May 1984 (n.p. repr. in col.); also repr. Barry Flanagan Prints 1970–1983, exhibition catalogue, Tate Gallery, May–August 1986, p.27
The following entry is based upon a conversation between the artist and the compiler held on 21 August 1985 and has been approved by the artist. Flanagan's interest in depicting horses was sharpened by the ‘Horses of San Marco’ exhibition held at the Royal Academy, London in 1979 and he has executed a number of sculptures and prints on this theme since then. He stated that ‘a Cob has a certain stocky nature, it's a nice little work horse. The Morgan horse is the closest survivor to the San Marco horse other than a cart horse. A Welsh Cob is a similar sort of horse.’
‘Welsh Cob’ was cut direct before the model (see entry for P07935) but unlike the other prints in this series contains a reference to the landscape. Referring to the manner in which he executed the print Flanagan stated that ‘making prints concentrates the mind. It is a commitment. It is intractable to a degree and requires a lot of attention. Pencil and paper I'm not really comfortable with ... I like to go into something and finish it.’ He also remarked ‘I like carving into lino, I like the challenge of achieving fluency of line and clarity of subject, the subtle variations of depth and wrist.’ He regards printmaking as more suited to his ‘sculptor's temperament’ than drawing.
The Tate Gallery 1982-84: Illustrated Catalogue of Acquisitions, London 1986