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Lord and Lady Edward Hulton


London, Hanover Gallery, Contemporary Sculpture, 24 July - 14 September 1956, cat no.46, illus b/w
London, Hanover Gallery, Paolozzi, 11 November - 31 December 1958, cat no.36, illus b/w
Wuppertal, Kunst-und Museumsverein, Sammlung Sir Edward and Lady Hulton, London, opened 13 June 1964, cat no. 40, this cast, touring to:
Rotterdam, Museum Boijmans Van Beuningen
Frankfurt, Kunstverein
Munich, Städtische Galerie im Lenbachhaus, 10 April - 16 May 1965
Dortmund, Museum am Ostwall
Humblebæk (Denmark), Louisiana Museum of Modern Art, Samlungen Sir Edward and Lady Hulton, December 1965, cat no.40, this cast
Zurich, Kunsthaus, Sammlung Sir Edward and Lady Hulton, 3 December 1967 - 7 January 1968, cat no. 41, this cast
Hanover, Kestner Gesellschaft, Eduardo Paolozzi, 6 December 1974 - 19 January 1975, cat no.8, illus b/w p69
Berlin, Nationalgalerie, Eduardo Paolozzi, 5 February - 6 April 1975, cat no.15, illus b/w p77, Tate Gallery cast
Edinburgh, Royal Scottish Academy, Eduardo Paolozzi, Recurring Themes, Summer 1984, cat no. A1.4, illus b/w, p22, touring to:
Munich, Stadtische Galerie im Lenbachhaus, Autumn 1984
Cologne, Museum Ludwig, 1985
Breda, De Beyard Centrum Voor Beeldende Kunst, 1985


John Rothenstein, Om Hulton - Samlungen, Louisiana Revy, Louisiana Museum of Modern Art, Humblebaek, December 1965, pp2-11, issue 3, cat no.40
Diane Kirkpatrick, Eduardo Paolozzi, Studio Vista, London, 1970, p35, illus b/w, pl 26
Winfried Konnertz, Eduardo Paolozzi, Du Mont Buchverlag, Cologne, 1984, pp82-85, 87, 270, illus b/w pl. 161
Bryan Robertson, Elisabeth Frink, Sculpture, Catalogue Raisonné, Harpvale Books, Salisbury, 1994, illus b/w p52
Robin Spencer (ed.), Eduardo Paolozzi: Writings and Interviews, Oxford University Press, Oxford, 2000, p148, 150n


'...Shattered Head and Damaged Warrior are direct and concentrated expressions of the damaged man. As such, they are related to the sculpted hosts of battered but defiantly alive figures which were created by many European and American artists in the late 1940s and in the 1950s. The brutal grotesqueness of Paolozzi's pieces makes them appropriate symbols for an age in which man cannot escape awareness of death and destruction because mass communication systems instantly relay the gruesome details of horrific catastrophes wrought by man and nature in all parts of the globe. Yet these works are not wholly morbid images. Although they are grotesquely anti-beautiful, they retain a spark of hope-filled life. Their whole compositions work to express this spirit. Shattered Head, for example, seems to show the aftermath of a total fragmentation. The head is made of irregular pieces which do not quite fit together. Some gaping fissures seem left by missing slivers that were lost when the shattering took place. But much of the awkward fit appears to have come through a hasty reassembly which patched the body miraculously together again into the container of a human presence. One senses that the vital spirit might have escaped if more time had been taken in rebuilding the physical shell....' Diane Kirkpatrick, Eduardo Paolozzi, New York Graphic Society Ltd, Connecticut, 1969, pp35, 38 In the late 1950s Paolozzi made a handful of works whose titles indicated some kind of damage. There was 'Wounded Animal', 'Damaged Warrior' and this work 'Shattered Head'. These works were made up from sheets of wax and often had holes or parts missing. At this time Paolozzi was living in London and decided that he wanted to try casting his own small bronzes, of which this is an example. He set up a small foundry in the Hampstead back garden of a friend and cast a few works, using the lost wax method. The bronze master of this was cast in the garden foundry, but an edition of nine was cast by professional founders. Tate Gallery caption, September 2004 In this head Paolozzi creates a brutal vision of the empty shell of humanity confronting the uncertainty of existence. Like a number of very different artists in Britain and France, he investigates the theme of the 'damaged man', built up from a formless base material. It is as if the body has been broken and pieced back together. Parts are missing; wound-like gashes and holes gape. What is left is the body’s damaged armour-like husk. The head still grimaces, but whether in pain or hope we do not know' Tate Gallery caption, December 2009 Collection history: Nina Yourevitch, daughter of the sculptor Prince Serge Yourevitch, married the newspaper magnate Sir Edward Hulton (1906-88, marriage dissolved 1966), and owned a drawing and two sculptures by Paolozzi, one of which was His Majesty of the Wheel, 1958 (they also owned Electra, 1960) - Robin Spencer, Writings and Interviews.