Contents

Peter Blake And Gavin Turk In ConversationNew TerritoryPlatesBiographyAcknowledgements

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sir Peter Blake and Gavin turk in ConversationMay 1st 2011 at sir Peter Blake’s Hammersmith studio, london

GT: The first question I want to ask is about what you are going to show in Hong Kong. Is it your first show there?PB: This is the first show in a commercial gallery. A few years back I showed the Alphabet Series (plates 17 to

43) at the British Council as part of a big tour we did. In this exhibition we are going to show the new prints

that I have been working on. The show will include found objects and completely new prints that are part

of A Hundred Matchbox Covers (plate 10). For instance, for the show in Hong Kong there is a Butterfly Man

series that I have made specifically (plates 1 to 4). I have postcards from Hong Kong that I have scanned into

the computer. I then use the Butterfly Man and his butterfly troupe to make the picture. I have had shows in

New York and Venice in the last two years and I have made special pieces for each. They were also from the

Butterfly Man series but placed wherever I was at the time. I would pick up postcards from wherever I went.

GT: So they are like your Duchamp painting series - always travelling around and existing in other people’s worlds?PB: Yes, and I printed them out and stretched them out on canvas so they are like paintings. Some of them

are unique.

GT: So who is the Butterfly Man?PB: I did a piece called Parade and found the Butterfly Man was on the cover of this 18th century music book.

He was actually a composer so his baton became a little stick for the butterflies. In Parade he was just one of

the characters and then he just developed into a separate star.

GT: Is he a self-portrait?PB: No

GT: So he is just a man who collects butterflies?PB: Well, they are performing butterflies. He travels with a troupe of performing butterflies. He was created

in homage to Damien [Hirst] (plates 5 to 8). I heard that Damien thought it was amusing at first. But I got the

impression from someone else that now he might think that I am milking it a bit. And to be honest I think I

was. So, the Butterfly Man is now dead!

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Image courtesy of Rob Carter, 2011 5

GT: This aesthetic of things fluttering around reminds me of the way that you see things that you like the look of, but you are not quite sure how you are going to use them. Something like the matchboxes for instance, have you been collecting matchboxes for years?PB: Sure, I collected a few initially and then at a fair I bought a book of the covers. On that same day there

was a man who had a great big suitcase full of them and he said I could have the lot for 10 quid, so I bought

an instant collection of a thousand matchboxes. The matchboxes series is from that. They are arranged in 10

rows of 10, so they look like a kind of weaving.

GT: Are they portrait or landscape?PB: Both. The top row is portrait and the next row is landscape, and so on. It creates a basket-weave effect.

GT: Are they all Swedish?PB: A lot of them are, but there are also Chinese and Japanese matchboxes. It is an incredible collection from

all over the world.

GT: The one that I am quite keen on is the ship. It seems somewhat romanticPB: Well, I used Captain Webb originally. I made a wooden sculpture in the sixties which was a Captain Webb

matchbox. He is one of the troupe of recurring characters that I use, which come and go.

I remember saying at the end of Ruralism [an artistic movement of which Blake was a member in the 1970s]

that although the pictures had changed it had become more and more romantic and fairy like, they are exactly

the same characters. In my head they are the same cast, but play various parts. Duchamp [the painting series]

was an important one and that is still ongoing. The next one will be when he meets Robinhood.

GT: Your paintings take quite a lot of time and there are several stages that they go through, aren't there?PB: Yes, they are made over a long period of time because I don’t work on them from start to finish. I put them

to one side and I work on other things. Some pictures can take many years to complete but that is what is so

exciting about some of the printmaking. The contrast is huge. I can go into Coriander studios with a pocket

full of postcards and come out with a work at the end of the day.

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GT: Printmaking is quite interesting as a stepping stone between finding something that captures your imagination and then taking that through into something you can make into an image.PB: I think what the Found Art series (plates 9 to 12) is really about is the technology. We took some pictures

and we scanned them and I was amazed at the accuracy of the scan. Because the camera is nearly touching

the object it is actually able to see more than the human eye. This is something quite different to most kinds of

printmaking which use something like an etching block. When you take it bigger you lose definition whereas,

with these, you can see more. It is almost like you see a universe of stuff. As you look closer, more is going to

appear. That is why I have continued with digital printmaking, because the more it is blown up the more you

can see.

GT: I have that with my apple cores. I paint them, then photograph them and blow them up so they are life-sized and you can see all the brush strokes, which is strange because when you see them with the naked eye, they look perfect.PB: Yes, you and I often do things that are similar, like taking an object and then changing its scale.

GT: I was thinking about the notion of you making these souvenirs with the postcards and the idea of visions of another place. How do you go about creating these? Do you think about tourism with regards to your work?PB: Well I suppose I have travelled quite a bit with work but I wouldn’t say I am a traveller. I don’t go on

holidays for example. The Marcel Duchamp's World Tour was about me saying 'thank you' for him saying

that 'whatever an artist says is art, is art', or whatever that saying is. So I sent him on a world tour. It was a kind

of fantasy world tour, and maybe, in a way, my characters are all on the world tour that I didn't do. I am not

saying that in a frustrated way, but in a way they are my alter egos going off and meeting strange people and

having strange things happen to them.

GT: And in a way your work is starting to travel in a real sense. You have a world tour at the moment with works showing all over the world. I think an important element of your collecting is your desire to gather things that attract you, not because they are the most valuable things of their period. Actually, the opposite as they are the most disposable things. They are lucky to have survived. One of the great things about these objects is that they exist at all and haven’t been destroyed. I think some of your things become treasure partly because you choose them to be so.PB: They are treasures by selection. The suitcase of matchboxes, for example - someone had collected them

from bars and railway stations, so in a way they are the product of someone else’s world tour.

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GT: It is new for you to be making big prints.PB: Very new. I have always been against gigantism, if there is such a thing. And now we are making prints

big, just for the sake of making them big.

GT: In a way making prints big tests the boundaries and tests your own ability.PB: I am anti the fascism of gigantism. I am anti the Richard Serra way of making something important simply

because it is heavy. I am not against size. I think size is interesting but I am against making a small block out

of iron so that it becomes important just because it is difficult to install.

GT: By taking something which you want to attribute value to, I think you also want to make something that has resonance and power.PB: What I have done previously is take something like Brancusi’s Endless Column, and by making it very small

you can make it far more endless because it has far more units. Brancusi’s Endless Column only had about

18 units and they were bigger than a man, whereas my endless column was much smaller so we were able

to make far more units. It is about size and sometimes it relates. Rob Carter was telling me about your work

- The Match?

GT: The Nail [a large public installation in London by Turk, recently unveiled]PB: Yes, and that is interesting because you have taken something that is usually small, and made it large.

Whereas I take something large and make it smaller.

At the moment I am working on a painting of St Martin that is going to go into St Paul’s Cathedral. It is the

first work that they have commissioned in a very long time which is rather extraordinary. St Paul’s has a parallel

Modern scheme going on where they commission modern art. We have been working on it for over two years.

8

GT: You have been investigating figurative works and images from life for sometime now.PB: I did a series called A Thousand Life Drawings. I kept everything and didn’t reject any drawings, so I

eventually had a thousand. I started it about 20 years ago and it went on until about three years ago.

GT: It seems, with your studio in particular, that it is all about things which in someway might become useful. They have that possibility.PB: It is like a big toy box or a big dressing-up box. If I am someplace I will pick up whatever I find and then I

won’t add to it in anyway. The selection is in picking it up and therefore the rejection. Some of the stuff just

sits around for a long time and some of it will develop into a series of sculptures. In the long term a lot of the

things that are around my studio will become part of pictures.

Another thing is the sense that time is running out. I am going to be 80 next year. I have ignored it for 20 years.

I have had my artificial retirement 15 years ago, and I entered into my late period consciously.

GT: I think your artificial retirement was a renaissance for you. That is when I first met you and you said that since you had retired everything was much easier. In a way you stopped being so worried about context.PB: It was a big psychological change. Since then I have worked easily and had the opportunity to curate a lot

of these shows as well which has been good.

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New TerriTory

kate BryanGallery director

Undoubtedly one of the most important exhibitions to ever be held in Hong Kong, the first major show in Asia

for Peter Blake, known as ‘The Godfather of British Pop Art’, is a celebration of an extraordinary career that has

spanned six decades. Peter Blake: New Territory is an enlivening print exhibition combining the distinguished

artist's iconic work of past decades with new artworks to mark the occasion.

Blake’s work has always had a universal appeal and is widely collected and exhibited internationally. He is one

of the best known British artists of his generation and has achieved the rare status of an artist who continues to

work as he approaches his eighties, with great commercial success, whilst simultaneously already having entered

the canon of art history as a master. In 1983, what was then The Tate Gallery in London, staged a retrospective

exhibition of the artist’s work. This was followed by a period holding the National Gallery’s prestigious position of

Associate Artist from 1994-1996. More recently, in 2007, Tate Liverpool held a major retrospective of the artist’s

work, further sealing his status as a British national treasure. Accordingly, Blake became a Royal Academician

in 1981, a CBE in 1983, was awarded an Honorary Doctorate from the Royal College of Art in 1998, and in

2002 Blake received a knighthood for his services to art.

Blake is most commonly known for creating the artwork for one of the most celebrated moments in twentieth

century music history, The Beatles' album ‘Sgt. Pepper’s Lonely Hearts Club Band’ of 1967 (plate 13). This one

work reveals many of Blake’s preoccupations; a key component is the desire to make art that could serve as

the visual equivalent of pop music. His unforgettable album cover features a strange and wonderful collection

of characters including Charlie Chaplin and Marilyn Monroe huddled around The Beatles in their memorable

uniforms. The juxtapositions formed by the cut and paste collage exemplifies Blake’s style; they are certainly

an unexpected motley crew but the assembly is not disconcerting or visually jarring. It is a piece that clearly

draws upon references from many periods and subcultures, yet done without irony or critical undertones. It

is a psychedelic celebration of icons of the past and present, a transcendental album design that became an

artwork in its own right residing in the homes of millions of music lovers the world over.

The artist has an innate fascination with popular culture and mass entertainment that clearly manifests itself in

his work. Blake’s inclusive and non-elitist approach to making fine art no doubt stems from the combination of

his period in art school with what the artist describes as the ‘working class pursuits’ of his family. Born in Kent in

1935, Blake attended the Gravesend Technical College and School of Art after wartime evacuation. There, he

was tutored not just in life drawing but typography, silversmithing and design. In addition to his well rounded

creative schooling, his teachers also gave the students a taste for high culture such as classical music and old

master painting. In contrast, at home Blake’s world was one of football matches, music halls, wrestling and jazz

clubs. As time passed he, like most of his generation, became increasingly caught up in the phenomenon of

the rock and roll music scene and also became a collector of discarded objects - he can still be found scouring

car boot sales to this day. In the mid 1950s, once accepted at The Royal College of Art in London, Blake began

to find a way to synthesise his interest in both high and low art forms. His success in doing so would mark him

out as key artist of his generation amidst an exciting wave of pop artists, both in Europe and the U.S.

10

Throughout his career Blake has appropriated motifs and influences from a myriad of cultural genres, including music,

fashion, magazines, sport and film. He is unlike his American Pop Art counterpart Andy Warhol, who also famously

appropriated from popular culture, but did so in a direct and cold manner, mostly rendering his subject as an empty

vessel. Blake shows nothing but a joyous admiration for his sources, positively venerating his carefully chosen subjects,

whether they are the Union Jack flag or James Dean. He has often been described as a ‘fan’, presenting the things he

admires or finds interesting in an uncomplicated fashion, clearly delighting in his subjects. This is perhaps best illustrated

by his iconic Alphabet Series of 1991 (plates 17 to 43), a hugely personal and witty work that shows the artist’s favourite

thing or a subject that he finds interesting for each letter of the alphabet. M is of course for Marilyn, K is for the King (Elvis

Presley) J for James Dean. A more obscure reference is O for Ornithology, a delightful insight into Blake’s diverse interests.

A perfect amalgamation is found in U, a photo collage of Unusual People, underscored by D for Dwarves and Midgets.

The Alphabet Series brings together much of the imagery that has attracted Blake since the 1960s. It is a cornucopia of

pop culture references that the artist has continued to return to, expand and reinvent throughout the past six decades.

Blake’s recent print series entitled Replay (plates 44 to 51) takes its cue from his collage paintings of the 1960s. These works

were a radical departure from the traditional parameters of painting still upheld by the conservative art establishment

of the time. Blake employed collaged components to his work, for instance adding a photograph of Marilyn Monroe

to the surface, or other pin-ups from mass-produced print materials. The works have brash, shiny surfaces as a result of

the decision to use ordinary gloss paint, therefore eliminating the artist’s hand. The pictures were treated in bold primary

colours, given sharp geometric patterns and form was treated with calculated simplicity. These pieces speak directly of the

aesthetic of pop art and show Blake lending his work a very literal quality. In many respects their bluntness and directness

remind us of how a teenager or serviceperson might cut out a pin-up or icon and roughly post them to their wall or locker.

It is important to recognise that though visually much of Blake’s work seems uncomplicated and simple, it is no way a

straightforward refashioning of existing images, devoid of conceptual potency or significance. Blake makes careful choices

in his subjects and perhaps more importantly he makes crucial compositional decisions, ordering the picture plane in an

incredibly specific way that ultimately results in the viewer being given direct access to the subject presented. The fact

that the pieces seem so simply put together lends them their power, they invoke an immediate relationship with their

audience, much like the pop music Blake admired and stated he was keen to emulate as a young artist. Blake may well

bask in the warm glow of popular culture and entertainment, but closer engagement reveals how his work goes much

deeper than this. In his visual references, sometimes obscure and sometimes incomparably iconic, Blake quietly translates

current cultural trends and attitudes in an understated, even poetic manner, deftly presenting social interests and concerns

to the contemporary audience experiencing them. Testament to his genius and the enduring success of his work is the

manner in which the appeal of his artwork continues to grow as time passes. In some respects they act as time capsules

for future generations looking back to these past eras. The silkscreen prints made in the last twenty years, such as the

Replay series, or Found Art series (plates 9 to 12), are at once contemporary and yet have a distinctly retro quality. The

duality persists when we consider how Blake manages to make work that has a lasting universal appeal, referencing and

celebrating mass culture, and yet there is something decidedly personal and intimate about the artist’s approach. First

and foremost these feel like pictures created by the artist. These are part of Blake’s world, and yet still feel part of ours.

11

The highly personal quality of Blake’s work is underscored by the fact that it is not simply icons of popular culture

that find their way into his inventory of appropriated imagery. Throughout his long career the artist has created

a visual dialogue with contemporary artists and old masters alike. In several key works Blake directly references

other artists or pays subtle homage to them. The First Real Target?, a painting dating from 1961 which was

revisited as a silkscreen print in 2008 and 2009 (plate 54), is an ordinary archer’s target with the questioning title

written across the top in collaged typeface. The work is in dialogue with the paintings of targets by the American

pop artist Jasper Johns and the abstract American painter Kenneth Noland, Blake’s transatlantic peers of the

time. Considered one of Blake’s most significant works, it is important as it shows the artist contemplating the

works being made in his time and taking them a stage further. Others painted targets, Blake employed a real

target in his piece, transforming something metaphorical to something with literal connotations.

An artist who is of key importance to Blake is Marcel Duchamp, whose pioneering work in the first decades of

the twentieth century would set the course for a whole generation of pop artists. Duchamp’s iconic sculptures

introduced the idea of the ‘ready made’ into art, that is the artist presented found objects as genuine works

of art. Urinals or bicycles could become artworks by virtue of the artist choosing them to be so. Nearly one

hundred years later, the revolutionary approach of Duchamp has resonance the world over. Always a Duchamp

admirer, Blake is still fascinated by the concept of the found object in art, which is no doubt what makes him

such an avid collector of discarded and seemingly valueless ‘things’. In recent years the increasing exactitude

of digital technology has allowed the artist to show these found objects in an entirely new way. In his ‘Found’

Silkscreen print series Blake directly scans his object of choice and prints it in an enlarged fashion, subsequently

showing every microscopic detail, for instance each individual thread of a flag that could not be seen with the

naked eye. Blake chooses things that we would otherwise overlook and with this process monumentalises the

discarded, such as matchboxes or cigarette packets. Unlike many of his pop artist peers, Blake is not an artist

who has ever worked on a grand scale, and yet in these works it is the manipulation of scale that underscores

the potency of the artist’s object selection.

Although he is at core a Pop Artist, Blake also displays a fundamental interest in figurative realism. His work often

explores and references Victorian imagery, illustrative art, folklore and myths. This is beautifully demonstrated

in his Venice and Paris Suites (plate 56 and 57). Blake combines vintage postcards and photographs of these

romantic locations and invents his own nostalgic scenes by adding collaged components. The imagery is

painstakingly sourced; images of Victorian dancers, musicians, elephants, figures of all ages and types, carriages

and even fairies are given a new lease of life in his whimsical scenes.

12

Another body of work that takes Blake’s collage work in a different direction to his bold pop work is The Butterfly Man

Series. The Butterfly Man is a Victorian character reminiscent of childhood picture books and vintage illustration. Seen

with a flock of multicoloured and individually collaged butterflies, the quirky eighteenth century protagonist has been

shown in Paris, London and Venice taking over familiar locations, conducting a wave of winged colour. To mark his

first solo show in Asia, Blake has created a new set of images that appropriate vintage Hong Kong Street scenes (plate

numbers 1 to 4). In some respects we cannot help but think of the artist himself when we see the familiar Butterfly Man

walking through Queen’s Road Central of decades past or navigating the rickshaws and flower markets. The Butterfly

Man is at the very least an alter ego of Blake’s, the quintessential Englishman abroad in an imagined, romanticised

environment. The scenes are cultivated from imagery that belongs to a distinctly past era, creating a sense of nostalgia

for the Hong Kong of the past, complete with European-style heritage buildings and colonial curiosities. However,

Blake’s very interest in what is now a bustling urban metropolis is a positive affirmation, in that it is a response to the

growing dynamism of the contemporary art market in the city and Asia more widely.

In its use of the butterfly, the series recalls the motif commonly employed by Damien Hirst, another key British artist

who has recently turned his attentions to Hong Kong with his first solo show in the city in January 2011. Hirst is a

leading figure amongst a generation of artists termed YBAs (Young British Artists) who owe Blake and his peers a debt

of gratitude for paving the way for their work of the 1990s. Blake is a known admirer of the YBA generation and since

their emergence has supported their work in his position as a curator and teacher. A direct dialogue between the two

generations is found in the engaging interview conducted by one of the most well known YBAs, Gavin Turk, with Sir

Peter Blake in Spring 2011 for this catalogue (pages 4 - 9). Another key figure of the YBAs, Tracey Emin, appears in

one of Blake’s most recent painting series, Marcel Duchamp’s World Tour. In showing Tracey Emin playing chess with

the early twentieth century master, Blake also points out the incredibly important role Duchamp played for Emin and

her generation too.

The art of Sir Peter Blake therefore has a distinct and charming cyclical quality, drawing attention to his peers, old

masters, modern art figureheads and also to the scores of artists who graduated in the decades after pop art and

who were propelled into a healthy British art scene that Blake and his generation helped to cultivate. In its constant

renewal of imagery, both cherished and newly appropriated, the artwork of Blake has continued to remain a vibrant

force on the international art scene, as the artist constantly creates new departures in his work, showing no signs of

fatigue. It is with great honour that The Cat Street Gallery welcomes this grandee of the art world to Hong Kong.

13

Plates

16

1

Plate 1: Dancing Over Hong Kong (HK Butterfly Man Series)Silkscreen collage on canvas (Edition of 10)152.4 x 91.4 cm2011

2

Plate 2: Main Street, Hong Kong (HK Butterfly Man Series)Silkscreen collage on canvas (Edition of 10)152.4 x 91.4 cm2011

1

2

17

18

1

Plate 3: Queen's Road Central, Hong Kong (HK Butterfly Man Series)Silkscreen collage on canvas (Edition of 10)152.4 x 91.4 cm2011

2

Plate 4: Flower Street, Hong Kong (HK Butterfly Man Series)Silkscreen collage on canvas (Edition of 10)152.4 x 91.4 cm2011

2

1

19

1

Plate 5: The Butterfly Man, Hollywood (Homage to Damien Hirst)

2

Plate 6: The Butterfly Man, Tunis (Homage to Damien Hirst)

3

Plate 7: The Butterfly Man, Venice (Homage to Damien Hirst)

4

Plate 8: The Butterfly Man, Eastbourne (Homage to Damien Hirst)

Silkscreen print (Edition of 100)58 x 68 cm

2011

1

3

2

4

20

21

Plate 9: 24 Flags (Found Art)Silkscreen print (Edition of 25)

101.6 x 122 cm2011

22

23

Plate 10: Matchboxes (Found Art)Silkscreen print (Edition of 100)

82 x 82 cm2011

24

25

26

Plate 11: Fifth Avenue (Found Art)Silkscreen print (Edition of 95)70 x 10.15 cm2004

27

28

Plate 12: Boule (Found Art)Silkscreen print (Edition of 95)76 x 101.5 cm2004

29

30

Plate 13: Sgt Pepper (Album Artwork)Silkscreen print (Edition of 500)49.5 x 49.5 cm2007

31

Plate 14: Band Aid (Album Artwork)Silkscreen print (Edition of 500)

48.5 x 49.5 cm 2005

32

33

Plate 15: Live Aid - The Global Jukebox (Album Artwork)Silkscreen print (Edition of 750)

48.5 x 51 cm2005

34

35

Plate 16: Pentangle (Album Artwork)Silkscreen print (Edition of 100)

48.5 x 48.5 cm2003

36

37

38

Plate 17: An Alphabet (A and Z Shown)A series of 26 silkscreens, embossed and glazed on Somerset Satin 300 gsm(Edition size 60, signed and numbered)52.2 x 37.8 cm2007

39

40

Plate 18: A is for AlphabetSilkscreen print (Edition of 95)51 x 72.2 cm1991

41

Plate 19: B is for BoxerSilkscreen print (Edition of 95)

51 x 72.2 cm1991

42

43

Plate 20: An Alphabet (C shown)A series of 26 silkscreens, embossed and glazed on

Somerset Satin 300 gsm(Edition size 60, signed and numbered)

52.2 x 37.8 cm2007

44

45

46

Plate 21: D is for Dwarves and MidgetsSilkscreen print (Edition of 95)78 x 102 cm1991

47

48

Plate 22: E is for Everly BrothersSilkscreen print (Edition of 95)51 x 72.2 cm1991

49

Plate 23: F is for FootballSilkscreen print (Edition of 95)

51 x 72.2 cm1991

50

51

Plate 24: G is for GirlSilkscreen print (Edition of 95)

51 x 72.2 cm1991

52

53

Plate 25: H is for HeartSilkscreen print (Edition of 95)

51 x 72.2 cm1991

54

55

Plate 26: I is for IdolsSilkscreen print (Edition of 95)

51 x 72.2 cm1991

56

57

Plate 27: J is for James DeanSilkscreen print (Edition of 95)

51 x 72.2 cm1991

58

59

60

Plate 28: K is for KingSilkscreen print (Edition of 95)51 x 72.2 cm1991

61

62

Plate 29: L is for LoveSilkscreen print (Edition of 95)51 x 72.2 cm1991

63

Plate 30: M is for MarilynSilkscreen print (Edition of 95)

51 x 72.2 cm1991

64

65

Plate 31: N is for NudeSilkscreen print (Edition of 95)

51 x 72.2 cm1991

66

67

Plate 32: O is for OrnithologySilkscreen print (Edition of 95)

51 x 72.2 cm1991

68

69

70

Plate 33: P is for PachydermSilkscreen print (Edition of 95)51 x 72.2 cm1991

71

72

Plate 34: Q is for QuartersSilkscreen print (Edition of 95)51 x 72.2 cm1991

73

Plate 35: R is for RainbowSilkscreen print (Edition of 95)

51 x 72.2 cm1991

74

75

Plate 36: S is for SumoSilkscreen print (Edition of 95)

51 x 72.2 cm1991

76

77

78

Plate 37: T is for The BeatlesSilkscreen print (Edition of 95)51 x 72.2 cm1991

79

80

Plate 38: U is for Unusual PeopleSilkscreen print (Edition of 95)51 x 72.2 cm1991

81

82

Plate 39: V is for ValentineSilkscreen print (Edition of 95)51 x 72.2 cm1991

83

Plate 40: W is for WrestlerSilkscreen print (Edition of 95)

51 x 72.2 cm1991

84

85

Plate 41: X is for XylophonistSilkscreen print (Edition of 95)

51 x 72.2 cm1991

86

87

Plate 42: Y is for YachtSilkscreen pint (Edition of 95)

51 x 72.2 cm1991

88

89

90

Plate 43: Z is for ZebraSilkscreen print (Edition of 95)51 x 72.2 cm1991

91

92

Plate 44: Wink (Replay Portfolio)Silkscreen print (Edition of 175)45.5 x 66 cm2008

93

94

Plate 45: La Vern Baker (Replay Portfolio)Silkscreen print (Edition of 175)45.5 x 66 cm2008

95

Plate 46: Marilyn's Door (Replay Portfolio)Silkscreen print (Edition of 175)

45.5 x 60 cm2008

96

97

Plate 47: Milkmaids (Replay Portfolio)Silkscreen print (Edition of 175)

45.5 x 66 cm2009

98

99

100

Plate 48: Kandy (Replay Portfolio)Silkscreen print (Edition of 175)45.5 x 66 cm2009

101

102

Plate 49: Marilyn Monroe Black (Replay Portfolio)Silkscreen print (Edition of 175)43 x 66 cm2009

103

104

Plate 50: Motif 10 (6) (Elvis) (Replay Portfolio)Silkscreen Print (Edition of 50)24 x 30.5 cm2003

105

Plate 51: I Love You (Replay Portfolio)Silkscreen print (Edition of 175)

45.5 x 60 cm2008

106

107

108

Plate 52: Some Sources of Pop Art VIISilkscreen print (Edition of 175)81.5 x 81.5 cm2009

109

Plate 53: Some Sources Of Pop Art IIISilkscreen print (Edition of 175)

50.5 x 50.5 cm2006

110

111

112

Plate 54: The Second Real Target 25 Years LaterSilkscreen print (Edition of 100)66.6 x 87.3 cm2009

113

114

Plate 55: Homage to SchwittersSilkscreen print (Edition of 175)40 x 48 cm2006

115

Plate 56: Eiffel Tower (Paris Quartet)Silkscreen print (Edition of 125)

44 x 67 cm2010

116

117

118

Plate 57: Four Man Up (Paris Quartet)Silkscreen print (Edition 125)44 x 67 cm 2010

119

120

Plate 58: Vichy - Butterfly Man (Vichy Trio)Digital print on canvas (Edition of 10)135 x 135 cm2011

121

122

Plate 59: Vichy - A Convention of Comic Book Characters (Vichy Trio)Silkscreen print (Edition of 125)39.3 x 38 cm2010

123

Plate 60: Vichy - Horseshow (Vichy Trio)Silkscreen print (Edition of 125)

39.3 x 38 cm2010

124

125

Plate 61: World Tour: Chicago BoatingSilkscreen print (Edition of 100)

22 x 30 cm2010

126

127

128

Plate 62: World Tour: London, Regatta ISilkscreen print (Edition of 100)22 x 30 cm2010

129

130

Plate 63: World Tour: London, Regatta IISilkscreen print (Edition of 100)22 x 30 cm2010

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Plate 64: World Tour: London, Multi-Ethnic CrowdSilkscreen print (Edition of 100)22 x 30 cm2010

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Plate 65: World Tour: Paris, MuggingSilkscreen print (Edition of 100)

22 x 30 cm2010

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Plate 66: World Tour: Paris, ParadeSilkscreen print (Edition of 100)

22 x 30 cm2010

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Plate 67: World Tour: Paris, Duel Giant PigSilkscreen print (Edition of 100)22 x 30 cm2010

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Plate 68: World Tour: Cannes, StatuarySilkscreen print (Edition of 100)22 x 30 cm2010

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Plate 69: World Tour: Nice, PromenadeSilkscreen print (Edition of 100)

22 x 30 cm2010

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Plate 70: World Tour: Paris DancingSilkscreen print (Edition of 100)

22 x 30 cm2010

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Born 25 June, Dartford, Kent

Gravesend Technical College and School of Art; Junior Art Department

Gravesend School of Art

Accepted by the Royal College of Art, London

National Service in the R.A.F.

Royal College of Art, London - First Class Diploma (1956)

Leverhulme Research Award to study popular art; travelled in Holland, Belgium, France, Italy and Spain

Featured in Ken Russell's B.B.C. 'Monitor' film, Pop Goes the Easel

First Prize Junior Section, John Moores Liverpool Exhibition

First one-man exhibition, Portal Gallery, London

Taught at Royal College of Art, London

Retrospective exhibition, Stedelijk Museum, Amsterdam touring to Hamburg, Brussels and Arnhem

Elected Associate Member of the Royal Academy of Arts, London

Founding member of the Brotherhood of Ruralists, with Jann Haworth, Ann and Graham Arnold, David Inshaw, and Annie and Graham Ovenden

Elected Member of the Royal Academy of Arts, London

Awarded C.B.E.

Retrospective exhibition, Tate Gallery, London touring to Kestner Gesellschaft, Hannover

Designed poster for Live Aid

Publication of Marina Vaizey's monograph Peter Blake

Third associate artist of the National Gallery

Made Honorary Doctor, Royal College of Art, London

Receives Knighthood

Designed poster for the Live 8 concert

Resigned from the Royal Academy of Arts, London

Judge of John Moores 24, Liverpool.

19321946 – 19491949 – 1951

19501951 – 19531953 – 19561956 – 1957

19611962

1964 – 1976

1973 – 1974

19741975

19811983

19851986

1994199820022005

2006

BioGraPHy

146

Image courtesy of Rob Carter, 2011 147

Book Acknowledgements

Peter Blake: New Territory Catalogue written in full by Kate Bryan

All images courtesy of Sir Peter Blake and CCA Galleries

Catalogue Design

The Antithesis

1 Pak Tze Lane, Central

www.theantithesis.net

Exhibition Acknowledgements

This book was published to accompany an exhibition of the same name

Peter Blake: New Territory Thursday 26th May - Saturday 25th June 2011

The Cat Street Gallery at The Space

222 Hollywood Road, Sheung Wan, Hong Kong 210 Hollywood Road, Hong Kong

T: +852 2291 0006 www.thecatstreetgallery.com T: +852 2361 1210 www.thespace.hk

Exhibition curated by Kate Bryan

Mandy d'Abo and Kate Bryan would like to thank:

Sir Peter Blake, Chrissy Blake, Gillian Duke, Lance Trevellyan, Rob and Nick Carter.