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Founded in 1994, Galeria Aniela won the trust of some of the most important Australian artists from the post WWII until today. Galeria Aniela built a reputation in Australia and the wide world, coup the front page of Sydney Morning Herald, Australian National NEWS ABC TV|BOYD, Australian National NEWS ABC TV|Perceval, SBS TV|Charles Blackman, ABC TV Sunday Afternoon|BOYD.  We are experienced in the International Art Markets and privileged to offer for acquisition museum-quality art from the artists such as Arthur Boyd, Jamie Boyd, Lenore Boyd, Charles Blackman, John Perceval, John Olsen, Garry Shead and many more.  We recognize the importance of the buyer's confidence secure genuine art of impeccable provenance, shipping Worldwide. Whether you are a first time buyer, a keen collector or an astute investor, our people focused approach ensures an enjoyable and rewarding experience. m Investment  m Resources m Videos m

If you LOVE quality art of impeccable provenance the ART you want is at Galeria Aniela Testimonials

Robin Holliday (1932-2014)

Awards   q Biography  q Bibliography   q Collections   q Exhibitions

 Robin Holliday PhD, FRS, FAA (1932-2014) was one of World’s greatest molecular biologists as well as a renowned sculptor. As an artist Holliday was influenced by the British school of abstract.  Two of Holliday's instructors were famous sculptors Jesse Watkins and Mark Harvey and others had worked as assistants to Henry Moore, Barbara Hepworth, Eduardo Paolozzi, also Lynn Chadwick, Jesse Watkins and Reg Butler. Holliday's exquisite contemporary sculptures exemplify Modernism in  modern art. Robin Holliday's work is represented in many significant collections around the world: The  Royal Society in London, Institute Laboratory of Molecular Biology in Cambridge, Children Medical Research Institute Sydney, University of Sussex in UK, Rockefeller University New York, Macquarie University Sydney and many others.

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Artist: Robin Holliday
 (1932-2014)
DUAL Mobile (rotates)
Medium: Bronze
Size: 54 x 75 x 75 cm

Price:  Enquire

Artist: Robin Holliday (1932-2014)
Title: Tetrad
 
Medium: Bronze
Size: 38 x 25 x 15 cm
Price: Enquire

Robin Holliday kinetic and mobile bronze sculptures consist of a sculpture base on which one or two pieces rotate. The principle is based on the fact that the centre of gravity of the top piece that is below the point of rotation, so that it (they) is balanced. A gentle push to the top piece (s) sets it in motion and momentum takes over. Some will rotate for several minutes. Robin Holliday kinetic or mobile bronze sculptures pay homage to Isaac Newton in exploiting gravity and angular momentum.


Artist: Robin Holliday (1932-2014)
Homage to Newton
(rotates)

Medium: Bronze
Size: 60 x 40 x 36 cm

Price: Enquire

Artist: Robin Holliday (1932-2014)
Title:
Obelisk 
Medium: Bronze

Size: 90 cm
Price: Enquire
an opportunity to acquire authentic art of impeccable provenance

Artist: Robin Holliday
(1932-2014)
Synapse

Medium: Bronze
Size: 40 x 36 cm

Price: Enquire

Artist: Robin Holliday (1932-2014)
Lacunae
Medium: Bronze
Height: 60 cm

Price:
Enquire

Synapse: a junction between two nerve cells, consisting of a minute gap across which impulses pass by diffusion of a neurotransmitter. Synapse: A specialized junction at which a neural cell (neuron) communicates with a target cell. At a synapse, a neuron releases a chemical transmitter that diffuses across a small gap and activates special sites called receptors on the target cell. The target cell may be another neuron or a specialized region of a muscle or secretory cell. Neurons can also communicate through direct electrical connections (electrical synapses).


Artist: Robin Holliday (1932-2014)
Title: Hollow Form 
Medium: Bronze
Size: 35 x 50 cm

Price: Enquire

Artist: Robin Holliday (1932-2014)
Bird 
Medium: Bronze
Size: 27 x 75 x 62 cm

Price: Enquire

Robin HOLLIDAY contemporary sculpture of great significance that exemplify Modernism


Artist: Robin Holliday (1932-2014)
Mobile Single (rotates)
Medium: Bronze

Size: 37 x 68 x 68 cm

Price: SOLD

Artist: Robin Holliday (1932-2014)
Title: Triad
 
Medium: Bronze
Size: 22 x 22 cm

Price: SOLD
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Artist: Robin Holliday (1932-2014)
Dual Knife  Edge
Medium: Bronze 6/6
Size: 54 x 34 cm

Price:
SOLD

Artist: Robin Holliday (1932-2014)
Dyad
Medium: Bronze 3/6
Size: 72 cm
Price
SOLD

Once-in-a-lifetime experience! Artist: Robin Holliday Exhibition 6 June - 30 September 2015


Artist: Robin Holliday (1932-2014)
Triple Interchange
Medium: Bronze
Size: 70 x 70 x 33 cm

Price
SOLD

Artist: Robin Holliday (1932-2014)
DNA Double Helix
Medium: Bronze
Size: 50 x 20 cm

Price
SOLD

An eminent sculptor, Robin Holliday (1932-2014) PhD, FRS, FAA was one of the World’s greatest molecular biologist. Holliday art exemplify Modernism in modern sculpture. Holliday was influenced by the British school of abstract particularly Henry Moore, Barbara Hepworth, Lynn Chadwick and Reg Butler. Robin Holliday created bronzes using the ancient form of Lost-wax casting (also called "investment casting", "precision casting) method that produce museum quality fine art castings.


Artist: Robin Holliday (1932-2014)
Fish
Medium: Bronze 6/6
Size:
Price: 
SOLD

Artist: Robin Holliday (1932-2014)
 Endless Mobius Strip
Medium: Bronze
Size: 150 x 40 x 20 cm

Price:
 
SOLD

Robin Holliday bronze sculpture exemplify Modernism


Artist: Robin Holliday (1932-2014)
Dual Knife
Medium: Bronze 5/6
Size: 54 x 34 cm

Price: SOLD

Artist: Robin Holliday (1932-2014)
DIMORPHISM
Medium: Bronze on Wood
Height: 50 cm

Price: SOLD

Robin Holliday sculptures are of great importance in the World's modern art


Artist: Robin Holliday (1932-2014)
Crossing Over
Medium: Bronze
Size: 27 x 46 x 35 cm

Price:
SOLD
Robin Holliday, Obelisk, Bronze, Size: 90 cm
Artist: Robin Holliday (1932-2014)
Obelisk
Medium: Bronze
Size: 90 cm
Price: SOLD
 

Artist: Robin Holliday
(1932-2014)
Manta Ray
Medium: Bronze
Size: 60 x 50 x 20 cm

Price: SOLD

Artist: Robin Holliday (1932-2014)
Mobile Mask 1/1(rotates)
Medium: Bronze
Height: 50 cm

Price:
 SOLD

 prices may change without a prior notice

 
Artist: Robin Holliday (1932-2014)
Title: Mobile Double
Medium: Bronze
Size: 40 x 60 cm

Price:
 SOLD
Click to Enlarge: Robin Holliday, SINGLE mobile No.2  Bronze 5/12, Size: 37 x 68 x 68 cm
Artist: Robin Holliday (1932-2014)
SINGLE mobile No.2
Medium: Bronze 5/12
Size:
Price:
SOLD

an opportunity to purchase museum-quality original art of impeccable provenance

Robin Holliday Biography (1932-2014)

Robin Holliday PhD, FRS, FAA (1932-2014) obtained a Ph.D. in Genetics from Cambridge University in 1953. One of the world’s greatest molecular biologists Holliday made significant contributions to genetic research.

Holliday was elected Fellow of the Royal Society in 1976, a Foreign fellow of the Indian National Science Academy in 1995 and a Fellow of the Australian Academy of Science in 2005 and he was a member of the European Molecular Biology Organization. He was awarded the Lord Cohen Medal for Gerontogical research in 1987 and received the Royal Medal for his research on recombination and epigenetics in 2012.

In 1964, Holliday proposed a mechanism of DNA strand exchange that became known as the Holliday Junction. For more information on the artist scientific work please visit: Robin Holliday - Wikipedia.

 

 

As an artist, Robin Holliday was influenced by the British school of abstract.

 

Robin Holliday interest in sculpture dates back to the l960s and l970s when the artist attended classes at an Art School in Hertford, Herts, UK, and also at the Camden Arts Centre, Finchley in London.

 

Two of Robin Holliday's instructors were the established sculptors Jesse Watkins and Mark Harvey and three others had worked as assistants to Henry Moore, Barbara Hepworth and Eduardo Paolozzi. Robin Holliday mentors also include: Lynn Chadwick, Jesse Watkins and Reg Butler.

From l998 Holliday has worked in Sydney in bronze and mixed media. Robin Holliday modern sculpture is of great importance in modern art, the artist contemporary bronze sculpture exemplify Modernism.

 

Robin Holiday Life's twisty journey, Professor Holliday at the Children's Medical Research Institute. Photo: Robert Pearce

 

DNA
Robin Holliday (1932-2014) Title: DNA Double Helix Bronze Size: 50 x 20 cm PriceSOLD

The Double Helix is a description of the molecular shape of a double-stranded DNA molecule. In 1953, Francis Crick and James Watson first described the molecular structure of DNA, which they called a "double helix," in the journal Nature. For this breakthrough discovery, Watson, Crick, and their colleague Maurice Wilkins won a Nobel Prize in Physiology, or Medicine, in 1962. However, a crucial contribution that enabled this discovery was made by Rosalind Franklin, who was not acknowledged at that time. After her death, Crick said that her contribution had been critical.

Robin Holiday Life's twisty journey, Professor Holliday at the Children's Medical Research Institute. Photo: Robert Pearce

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Robin Holliday bronzes can be described as organic and abstract especially Diad. The title of the abstract bronze sculpture Diad has a double meaning. It refers to the two parallel pointed forms, and also to the fact that the sculpture contains two contrasting components: the pointed forms and the rounded one encircling the hole.

 

Other Holliday's bronzes are stylized representations of animals, such as Fish, Bird and Manta-Ray and other have scientific symbolism Homage to Newton, Triad, Triple Interchange and DNA Double Helix.

 

The artist was able to bridge the gap between representational forms and abstract especially visible in: Lacunae, Dual Knife Edge, Crossing Over and Synapse.

 

Robin Holliday Möbius Strip bronze sculpture is a mathematician confided a Möbius band is one-sided.
The artist said: 'you'll get quite a laugh, if you cut one in half, for it stays in one piece when divided'.

 

Robin Holliday was also creating kinetic sculpture constructed to take advantage of the principle of equilibrium. Holliday mobile sculptures pay homage to Isaac Newton in exploiting gravity and angular momentum especially in Homage to Newton, Double Mobile no. 4, Single Mobile no. 1 and Single Mobile no. 2

The mobile principle is based on the fact that the centre of gravity of the top piece is below the point of rotation, so the sculpture is balanced. These consist of a sculpture base on which one or two pieces rotate. The principle is based on the fact that the centre of gravity of the top piece's is below the point of rotation, so the sculpture is balanced. A gentle push to the top piece's sets it in motion and momentum takes over. Some will rotate for several minutes.

The meaning of the term "mobile" as applied to sculpture has evolved since it was first suggested by Marcel Duchamp in 1931 to describe the early, mechanized creations of Alexander Calder. At this point, "mobile" was synonymous with the term "kinetic art", describing sculptural works in which motion is a defining property. While motor or crank-driven moving sculptures may have initially prompted it, the word "mobile" later came to refer more specifically to Calder’s free-moving creations.

Influenced by the abstract work of Piet Mondrian, Joan Miró and Sophie Taeuber-Arp, Calder in many respects invented an art form where objects (typically brightly coloured, abstract shapes fashioned from sheet metal) are connected by wire much like a balance scale. By the sequential attachment of additional objects, the final creation consists of many balanced parts joined by lengths of wire whose individual elements are capable of moving independently or as a whole when prompted by air movement or direct contact. Thus, "mobile" has become a more well-defined term referring to the many such hanging constructs Calder produced in a prolific manner between the 1930s until his death in 1976. A succinct definition of the term "mobile" in a visual art sense could be a type of kinetic sculpture in which an ensemble of balanced parts capable of motion are hung freely in space but which never come into contact with each other.

 

COLLECTIONS:

The  Royal Society London

Institute Laboratory of Molecular Biology Cambridge

Children Medical Research Institute Sydney

University of Sussex UK

Rockefeller University New York

Macquarie University Sydney and many others

 

AWARDS

1976   Elected a Fellow of the Royal Society

1995   Foreign Fellow of the Indian National Science Academy

2005   Member of the European Molecular Biology Organization

2005   Elected to the Australian Academy of Science for fundamental contributions to molecular genetics, epigenetics & cell biology

2005   Member of the European Molecular Biology Organization

2011   Awarded the Royal Medal, the Royal Society’s premier award in excellence in science

 

BOOKS
Bibliography

Holliday was an authored and he edited numerous books including:

1981   The Science of Human Progress, Oxford University Press

1986   Genes, Proteins and Cellular Aging, Van Nostrand Reinhold, New York

1995   Understanding Aging, Cambridge University Press

2000   Slaves and Saviours, Blackwall Books

2007   Why We Age, Springer Science + Business Media

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an opportunity to acquire authentic art of impeccable provenance

ARTIST STATEMENT

My interest in sculpture dates back to the l960s and l970s when I attended classes at an Art School in Hertford, Herts, UK, and also at the Camden Arts Centre, Finchley in London.

 

Two of my instructors were the established sculptors Jesse Watkins and Mark Harvey and three others had worked as assistants to Henry Moore, Barbara Hepworth and Eduardo Paolozzi.

I have worked with stone, wood, clay and plaster. I also obtained instruction in art metalwork, and I have experimented with mixed media.

 

My work is mainly abstract, but I sometimes bridge the gap between  representational forms and abstract ones. This is in part due to the influence of organic shapes on my sculpture. Working mainly in plaster, I can built up on wire armatures.

 

By a combination of adding plaster and carving or wearing it down I achieve the final form. This is then finished with a bronze patina, or caste in bronze.

 

One of my abstract pieces, known as "Diad", has been caste in bronze at Alan Crawford's foundry in Sydney . The title of the abstract bronze sculpture "Diad" has a double meaning. It refers to the two parallel pointed forms, and also to the fact that the sculpture contains two contrasting components: the pointed forms and the rounded one encircling the hole.

 

I have been influenced strongly by the established British school of abstract sculpture, particularly Henry Moore and Barbara Hepworth, but also Lynn Chadwick, Jesse Watkins and Reg Butler. My interest in organic forms can be related to the paintings, drawings and prints of Graham Sutherland.

 

As well as a sculptor, I am also an author, and I earned my living until retirement in l997 as a scientist, specialising in genetics and cell biology. I now have much more time available to involve myself in sculpture. I have joined the Sculpture Society and plan to exhibit pieces for sale at the various exhibition organised by the Society or by others.

 

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making bronze sculptures

 

Making bronzes is highly-skilled and costly work as the process involves an expert fine art foundry using high-priced ingredients and a number of distinct casting procedures including the lost-wax casting (called investment casting) and also a team of extremely competent and experienced professionals are employed.

 

To start with, the artist made sculpture in plaster, he used non-drying oil-based clay such as Plasticine, built up wire armatures and a combination of adding and carving, he would create a full-sized model of the sculpture.

 

A wax (hollow for larger sculptures) is taken and a mould-model form created and cast in bronze at Alan Crawford's foundry in Sydney. Taking a Wax form from the mould form was the first step of the Lost-wax casting process in Bronze.

 

Then the full-size model of sculpture was cast at a fine art bronze foundry, using the ancient form of Lost-wax casting (also called investment casting, or precision casting).

 

The Lost-wax casting method produce museum-quality fine art bronze castings. Depending on the artist decision making, the outcome finish was different. By applying various chemicals the method produced sculptures with very different patinas (surface finishes).

 

After a bronze was made final polishing with corrosive materials was applied, to form a patina, a process that allows the artist to control the colour and finish.

PHOTO: Robin Holliday in Galeria Aniela

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Casting Sculpture in Bronze

 

Making fine art bronze sculpture, the artist is using the ancient form of Lost-wax casting (also called investment casting or precision casting) method to produce it's museum quality fine art bronze castings.

 

The "Lost Wax Casting Method" is an incredibly accurate process for reproducing sculpture in metals such as bronze. The method developed thousands of years ago, and although modern techniques have improved the process, still remains very expensive and labour intensive as skilled craftspeople are needed every step of the way.

The process begins by taking the initial-original sculpture, which might be made of materials such as clay, plaster, wood, and making a "negative" wax then rubber impression of it. This negative rubber mould is used to produce a replica of the original sculpture, with the properties and thickness of the wax capturing all of the detail of the design. The wax pattern is removed from the negative mould and a skilled artisan retouches the seams and any imperfections. Often the artist will review and approve or decide to touch up the wax pattern further themselves.

 

Once the wax pattern is approved, a "circulatory system" of wax tubes, often referred to as sprues, vents, and/or gates is attached to the wax pattern. This system will allow all the wax (in the soon to be made casting mould) to melt out of the casting mould, and for the metal to be poured in, and gas to escape. once gated, the wax pattern will be encased or what's called "invested" in either a traditional or solid investment molud or ceramic shell casting mould.
 

Both of these methods use refractory materials to encase the wax pattern and can withstand the temperature of the de-waxing process and the molten metal. The casting mould is placed in an oven or furnace and the wax is melted away leaving the negative impression in the casting mould. For the next step, bronze is melted to approximately 2000 degrees Fahrenheit (various alloys have slightly different melting points and ideal pouring temperatures), and when ready, the bronze is poured into the casting mould.

This is a particularly exciting and dramatic moment at the foundry. After the metal cools, the metal finishers will clean and chase the metal surface using a number of tools, from hand held chasing tools, to air powered grinders, and welding. Work is done until the cast meets the qualities of the original model.

 

At this point, if it is bronze cast, the artist will often want to further the color or patina from the natural metal color achieved during the metal finishing. The patina process is the application of chemicals to the surface of the bronze that changes the chemical composition of the metal so that it takes on a different or varied color.
 

This process is truly limited only by ones imagination and time. Many great patinas have been achieved simply by allowing the bronze to sit in nature and change with the air and moisture around it. In most cases at the foundry, we are required to make this process happen quickly and this is done by heating the metal and applying chemicals such as copper nitrate or ferric nitrate. It can also be done without heat: a cold patina. Either way, the patina process brings with it the many wonderful qualities that make bronze so luminous. Aluminium or other metal casts may be treated to achieve various results, highlighting the metal. Most casts are waxed for protection from the elements before they leave the foundry.

 

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