1970 – 1979 >

Van Wieck, Marjorie Parr Gallery, London


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24 November 1972

Dear Mr. Van Wieck,

I enclose todays TRIBUNE, so that you can see the review on page 7 of your work in relation to the other reviews on the page and to the kind of weekly it is.

In the end, I cut the whole of a somewhat negative review of Larry Bells glass walls at the Felicity Samuel Gallery, for which I had been allocated 150 words, and used the whole lot on your show. It seemed waste to give space to something both better known and more trivial at the expense of work I think really should be seen.

The editor cut two sentences from my copy, to fit the thing into his layout. (a) From the end of para. 2: The total effect is elegant and taut, theatrical as a chameleon or a sunset. (b) From para. 4, before the last sentence: 48,000 people visited his recent Sheffield show.

I am optimistically hoping to visit your show tomorrow, but it is optimism not likelihood, so Im posting this while I have an address for reaching you.

At this distance in time, the one piece Id like to look at again because it sticks in my mind is Joldwyns. And Id like to see them all in daylight; specially the Sheet ones. Best wishes for selling some.

Yours sincerely,

Margaret Richards

Nigel Van Wieck,
c/o 4th Floor Exhibition,
Austin Reeds,
103, Regent Street,

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