§ Magdalene Odundo O.B.E. (Kenyan 1950-) Millennium Cup And Stand, 1999
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Literature : Literature: Anthony Slayter-Ralph, Magdalene Odundo , London, 2004, cat.136, illustrated. Provenance: Collection of Barbara Ling. Note: BARBARA LING & THE CANDOVER GALLERY “ Barbara’s stewardship of the Candover Gallery in New Alresford over many years made it a widely recognised and respected centre for studio ceramics and glass, driven by her unwavering commitment to excellence in design and technique; the same qualities manifested by her private collection ” Martin Pearce, 2019 Barbara Ling, owner of The Candover Gallery, is considered a significant figure and gallerist in the contemporary ceramics scene throughout the 1980s, 1990s and early 2000s. The Candover Gallery operated from 1984 to 2007 to much acclaim, showing work by many of the leading names in the field before they rose to wider prominence. The gallery regularly featured noteworthy work from the likes of Jennifer Lee, Magdalene Odundo, Sutton Taylor, Abdo Nagi, John Maltby, Walter Keeler, Lucie Rie, David Roberts, Duncan Ross, Gordon Cooke, Peter Hayes, Michael Casson and David Leach. As such she can be considered one of a small group of ground-breaking British gallerists that supported contemporary ceramics throughout the late 20th and early 21st centuries. She was a potter herself and unusually did not obtain stock for her gallery on sale or return, but always insisted on choosing and paying for the work herself. Her eye for quality and detail ensured she made a profit from her very first exhibition. For the ceramicist Peter Lane, after a hiatus of three years and having sold and given away his kilns, glazes and materials, it was a chance meeting with Barbara that led him to change his mind and begin making pots again for a solo exhibition at the Candover Gallery in 1991, and when Barbara retired and closed the gallery in 2007, Walter Keeler made her a special commemorative mug celebrating Barbara Ling and the Candover Gallery and twenty-three Glorious Years! This carefully curated selection from her estate charts the thriving nature of British studio ceramics of this period, and Barbara’s significance in promoting and sustaining a number of artists, and thereby the whole British ceramic movement, during these critical years.
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