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The McClelland Collection
50
Frederick Edward McWilliam RA HRUA (1909-1992)
‘MATRIARCH’ 1935
cherrywood; (unique)
signed with initials
22 x 9 x 7in. (55.88 x 22.86 x 1
Provenance:
Collection of George and Maura McClelland
Acquired from McWilliam’s studio in the 1970s
McW records 35.07 (the seventh work sculpted in 1935). Renovated by McWilliam in 1984.
Exhibited:
Gothenburg 1947;
Waddington 1984;
Herbert Read Gallery, Canterbury, 1986;
Whitford & Hughes, London, 1988;
Tate Retrospective, 1989, catalogue no. 10 (illustrated p.39);
‘Irish Sculpture Exhibition’, Jerome Connor Arts and Sculpture Weekend, Annascaul, Co. Kerry, 26-28 June
1998, catalogue no. 31 (illustrated on catalogue cover)
F.E. McWilliam Gallery and Studio, Banbrdige, Co. Down, 2008, exhibition catalogue, illustrated .p.37;
Highlanes Gallery, Drogheda, Co. Louth, 2009
In 1931, F.E. McWilliam travelled to Paris on a Robert Ross Leaving Scholarship from the Slade with fellow
student Beth Crowther, from Golear, near Huddersfield, whom he was to marry in March 1932 at St. John’s
Presbyterian Church, Kensington, London. The McWilliams intended to live, study and work in Paris since:
‘it was the mecca, and the whole atmosphere testified to this; holy ground, full of memories of Cézanne
and the presence of Picasso.’ He met Zadkine and visited his studio and he also went to Brancusi’s studio
and was given an extensive tour by the Romanian sculptor with long discussions on his work practice.
However, in 1932/33 sterling collapsed against the French franc and both Beth and “Mac” (as he was
known affectionately by his friends) were forced to return to England where they rented a home
in Chartridge, Buckinghamshire set in a cherry orchard surrounded by sycamores. The couple only
produced paintings when in Paris as sculpture was taught as a secondary subject at the Slade when
McWilliam studied there and paintings were easier to sell, easier to execute and much easier to transport.
However, with the ready material of fallen cherry trees and the space available McWilliam began carving,
which was his first love. He had befriended the Belfast sculptor George MacCann (1909-67) as students
in London and through him was introduced to Henry Moore. MacCann had been a student of Moore’s at
the Royal College of Art. Moore was, at the time, a carver in stone and wood and his influence then was
enormous, not only in England but also internationally.
Matriarch, the present work, belongs to this period when McWilliam realised the possibility of the trunk
of a fallen cherry tree, to carve it into the recognisable form of a woman, yet creating an open space
between the enfolding arms and the crossed legs as Moore had extolled in 1932. Moore believed that
by opening up the sculpture it gave the work depth and the space creates a sense of volume, which
McWilliam referred to as ‘the 4th dimension.’
McWilliam has revealed the richness of the cherry wood in carving along the grain and then
painstakingly sanding it to smooth perfection. He never employed assistants or apprentices to finish
his work or in Henry Moore’s case to enlarge works from smaller maquettes. McWilliam’s love of natural
material is exemplified in this sensitive and timeless Matriarch.
Dr Denise Ferran
August 2016
€100000-€150000 (£85470-£128210 approx.)