Barry Flanagan
Yacht II 1983

Artwork details

Barry Flanagan 1941–2009
Yacht II
Date 1983
Medium Linocut on paper
Dimensions Image: 220 x 422 mm
Acquisition Presented by Sue Flanagan, the artist's former wife 1985
View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms

Catalogue entry

This catalogue entry discusses a group of works; details of the individual work are given at the end of the introductory text.

Barry Flanagan born 1941

P02723 - P02834 Group of 112 etchings and linocuts, various sizes. Presented by the artist’s former wife Sue Flanagan 1985

This group of prints represents nearly the entire printed output of the artist up to 1983 and is one of the largest public collections of his prints. The titles were all given by the artist. Those prints bearing the stamped monogram ‘f’ were stamped by the Tate Gallery at the artist’s request.

The artist has said that print-making represents for him a ‘traditional pursuit’. Flanagan began to make prints in 1970. His prints (and drawings) often have a very personal content and can be seen as akin to private memoranda. Sometimes used as gifts for friends, they record aspects of the artist’s personal life. He first published prints with the Rowan Gallery in 1972, a year in which his print-making was prolific. Thereafter he published series of prints with Bernard Jacobson Gallery in 1976 and Waddington Graphics in 1983.

In 1981 Flanagan exhibited a comprehensive range of his prints and drawings at the Mostyn Art Gallery, Llandudno. The exhibition travelled to Mold, Cardiff, Swansea, Southampton and London and then, in 1983, toured in Italy, France and Holland. In the early 1980s Colin Dyer, working with the artist in his studio, completed archival sets of prints using cream Vélin d’Arches paper. Those etchings in the Sue Flanagan donation printed on white paper are generally those which the artist printed at Petersburg Press, at Burleighfield Press (with David Harding) or in his own studio in the early and mid 1970s.

Many of the prints have a small dark rectangle at one of their edges which results from the etching process. David Brown explains:

In the preparation of etching plates, they are ‘smoked’ in a flame to produce a fine, even covering of wax, the plate being held by a pair of tongs and therefore unaffected by the ‘smoking’ process would be waxed later, but with these prints, Flanagan chose to eliminate this final stage leaving a small area etched by acid and absorbing the ink (Barry Flanagan: Etchings and Linocuts, exh. cat., Waddington Graphics 1984, [p.3]).

So characteristic of Flanagan’s etchings is this black mark, it can almost be seen as a second ‘signature’.

These entries are based on conversations with Sue Flanagan and Colin Dyer and have been approved by the artist.

P02834 Yacht II 1983

Linocut 220 x 422 (8 5/8 x 16 5/8) on cream Vélin d'Arches paper 385 x 569 (15 1/8 x 22 1/2); printed by Colin Dyer and published by Waddington Graphics; artist's proof aside from the edition of 48
Stamped with the artist's monogram ‘f' below image b.r.
Lit: David Brown, Barry Flanagan: Etchings and Linocuts, exh. cat., Waddington Graphics, 1984, [p.3], repr. [p.22] in col.; Elizabeth Knowles (ed.)], Barry Flanagan Prints 1970-1983, exh. cat., Tate Gallery, 1986, p.32

Made of torn pieces of lino, ‘Yacht' commemorates the death of the artist's brother, Mike Flanagan, in the 1976 Observer Transatlantic Singlehanded Race. The artist also made on this theme a sculpture entitled ‘Vessel, in memoriam', 1981 (repr. Barry Flanagan Sculpture, exh. cat., British Pavillion, XXXX Biennale, Venice 1982, p.68 in col.) which shows a partly gilded keel shape poised above what looks like twisted rope and sacking. Flanagan published this print in two editions, one of six in which he used Prussian blue ink printed solidly and one of forty-eight using a light blue ink. Contrary to what is stated in the Tate Gallery exhibition catalogue of 1986, P02834 is one of the edition of forty-eight.

Published in:
The Tate Gallery 1984-86: Illustrated Catalogue of Acquisitions Including Supplement to Catalogue of Acquisitions 1982-84, Tate Gallery, London 1988, pp.333 and 357

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