David McFall R.A. (1919 - 1988)

Sculptor

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1939/1 Kneeling girl

1942/1 Bull Calf

1948/2 "Mankind"

1949/2 Birth of Venus

1949/4 "Posthumous Portrait"

1949/5 Alabaster Hawk

1950/1 Susanna Observed

1950/4 Pair of Finials

1950/5 Zodiac

1950/5 Zodiac

1950/7 "Svea"

1950/6 Alabaster Salmon

1950/8 Torso of a girl

1951/1 Boy & Foal

1951/1 Boy & Foal

1951/1 Boy & Foal

1953/1 Matina

1954/1 Mrs. Louis Rose

1956/3 Mourning Figure

1956/9 Work on Epstein's statue at TUC

1957/2 Standing fragment of a child

1958/3 Air Ministry

1958/3 Air Ministry

1958/3 Air Ministry

1962/1 1st Earl of Balfour KG OM

1962/1 1st Earl of Balfour KG OM

1965/2 The Thames Ditton Crucifixion

1965/2 The Thames Ditton Crucifixion

1969/2 Stone Friezes (3)

1969/2 Stone Friezes (3)

1969/2 Stone Friezes (3)

1969/2 Stone Friezes (3)

1972/5 Oedipus & Jocasta

1972/5 Oedipus & Jocasta

1973/6 Memorial to Sir Gerald Festus Kelly KCVO

1984/1 Alabaster head of his daughter

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1942/1 Bull Calf 1948/2 Mankind 1948/2 Mankind 1949/2 Birth of Venus 1949/2 Birth of Venus 1949/4 Posthumous Portrait 1949/5 Alabaster Hawk 1950/5 Zodiac 1950/5 Zodiac 1950/7 Svea 1951/1 Boy & Foal 1951/1 Boy & Foal 1951/1 Boy & Foal 1951/1 Boy & Foal

“But the greatest satisfaction comes not in modelling but in carving stone direct. There’s nothing to compare with the act of cutting stone. You see in your mind’s eye what you’re going to cut and to achieve it, and the physical feeling of entering the stone and contact with it, really is the ultimate joy. When you carve a piece of stone it explodes ahead of the chisel and the form is cleared instantaneously, you just have to blow it with a bellows or sweep it with a brush. You find that people who work with stone are special types, there’s something reliable and peaceful about them. That’s true even now if you go into somewhere like a stone quarry. I caught the discipline of pierre- directe from Eric Gill, who taught me when I was a student at Birmingham. He was a great direct carver. He didn’t believe in working from a model which had been prepared from a soft material. He’d say you’ll lose the quality of hardness which comes from cutting with a sharp tool. Carving is the opposite to modelling – you can take months or years to carve a block. You dream about it in the bath the night before. It’s a contemplative act and at the same time it’s highly physical so that at the end of a day’s carving you feel well satisfied.”


From David McFall – The Art of Portrait Sculpture.


1950/1 Susanna Observed 1950/4 Pair of Finials 1950/6 Alabaster Salmon 1953/1 Matina 1950/8 Torso of a Girl 1954/1 Mrs. Louis Rose 1956/3 Mourning Figure 1956/9 Epstein's TUC 1957/2 Standing fragment of a child 1958/3 Air Ministry 1958/3 Air Ministry 1962/1 1st Earl of Balfour KG OM 1962/1 1st Earl of Balfour KG OM 1965/2 The Thames Ditton Crucifixion 1965/2 The Thames Ditton Crucifixion 1965/2 The Thames Ditton Crucifixion 1965/2 The Thames Ditton Crucifixion 1969/2 Stone friezes 1969/2 Stone friezes 1969/2 Stone friezes 1969/2 Stone friezes 1972/5 Oedipus & Jocasta 1972/5 Oedipus & Jocasta 1972/5 Oedipus & Jocasta 1973/6 Memorial to Sir Gerald Festus Kelly 1984/1 Laura-Jo

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1958/3 Air Ministry