Riveting analysis of how commercial representation worked for both artist and dealer. Includes details of their contractual arrangements, the type of support that Gimpel Fils offered beyond exhibiting and sales, and the warmth of the relationship. Hepworth is shown to be constantly preoccupied with acquiring a stable income, and enjoyed worse terms with the gallery than Nicholson, whom they also represented. The relationship soured as Hepworth felt the gallery did not forward her international career as she wanted. Concludes that Hepworth’s ‘ambitions were ultimately greater than Gimpel Fils could accommodate’.

Alice Correia
Tate Papers
1 October 2014

Read this article in Tate Papers, no 22: Barbara Hepworth and Gimpel Fils: The rise and fall of an artist-dealer relationship