Page 37 - Studio International - January 1970

5
Paul Huxley
Untitled No. 42 1965
Acrylic on canvas
80 x 80 in.
6
Bridget Riley
Cataract 1 1967
Emulsion on canvas
4 x 704 in.
7
Jeremy Moon
Orange Queen 1964
Acrylic on canvas
65 x 130 in.
8
Mark Lancaster
Third Spread 1966
Acrylic on canvas
60 x 84 in.
9
Mark Lancaster
Sixth Spread 1966
Liquitex and oil on canvas
48x 96 in.
10
Patrick Caulfield
The Well 1966
Acrylic on canvas
48 x 84 in.
extent the odd man out because it is the only partition walls two splendid large pictures in
figurative work, shares in the general qualities rich glowing colours by John Hoyland and
of precision and subtlety. Paul Huxley. The fact that some of these pic-
Hanging in the offices and corridors of the tures are so large that they fill an entire wall
Vickers building, these pictures look extra- adds to the grandeur of the effect.
ordinarily well and harmonize admirably with The collection is still incomplete. Mr Fer-
the bare white walls and large expanses of glass ranti intends to buy further paintings and he
and the very modern furniture. Indeed their may begin before long to buy sculptures as
sumptuous colours and bold compositions very well. If he can expand the collection while
greatly enhance what might otherwise have maintaining the same level of quality, his will
seemed to be a rather austere (albeit expen- certainly be one of the great collections of
sive and elegant) setting. The Board Room, British art of this period. q
which is set at one corner of the building with
glass on two sides, would not for instance look
nearly so distinctive without its luminous
yellow picture by Richard Smith on one wall
and a very fine cool grey and pink painting by
Mark Lancaster on another. Perhaps most
impressive of all is the entrance foyer where
the two Bridget Rileys hang as pendants and
where one can also see through the glass