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  • Literature

    Anne Bony, Furniture & Interiors of the 1970s, Paris, 2005, p. 169 for a similar example; Nina Stritzler-Levine, ed., Sheila Hicks: Weaving as Metaphor, exh. cat., Bard Graduate Center for Studies in the Decorative Arts, Design and Culture, New York, New Haven, 2006 for further reading

  • Catalogue Essay

    The 1960s ushered in a revolution in the area of textiles with a surge of fiber artists creating woven works of fabric in a sculptural context, taking textiles from the floor to the wall.  On the forefront of this movement was the American textile designer Sheila Hicks.  A former student of Josef Albers, Hicks left the United States to learn weaving in South America and Mexico, at the urging of Albers and his wife Anni.  In the 1960s, Hicks moved to France where she began work for the furniture manufacturer Knoll designing upholstery fabrics inspired by her journeys, and opened her own studio as well.  Beginning with small scale works, Hicks gradually moved to producing art on a larger scale by employing industrial methods to accommodate heavier textiles which had been embedded with cotton to create a more sculptural effect.  Known for her adeptness in producing fiber art of any size, ranging from miniatures to site-specific installations, it is the scale and style seen in the present lot that is exemplary of Hicks’ best known work. 

29

Important double wall hanging

1972
Linen, silk.
Each 147.3 x 94 cm. (58 x 37 in) high
Back of each panel signed in pencil ‘SHEILA HICKS/OCTOBRE ‘72’.  Comprising two panels (2).

Estimate
£30,000 - 40,000 

Design

24 Apr 2008, 2pm
London