Classical Head on Black Plinth FACE CREAM drawn in the same flat

drawn in the same flat knife strokes as the buildings

The second volume takes up tumescence — the charge that builds and asks to be met rather than discharged

The band is not a solid shank but a few flowing lines of silver

Vintage condition: a hairline crack in one front leg and light finish wear at the arms and legs

sitting long and low like it has nowhere else to be

Classical Head on Black Plinth FACE CREAM drawn in the same flatA quiet face, carved in the classical manner and set on a black plinth. The kind of object that steadies a room without ever raising its voice. The stone reads cream going to bone, smooth across the brow and the long line of the nose, then breaking into tight carved curls at the temples and the nape. A plain fillet band runs over the crown. Small chips and pits sit where the years have touched her, and they are the best part of her. She is heavier