SAN FRANCISCO ART · PDF fileFloyd’s Animals LP, ... SAN FRANCISCO ART EXCHANGE LLC Original Artwork for Pink Floyd The Wall From The Private Collection Of Gerald Scarfe

SAN FRANCISCO ART EXCHANGE LLC

Original Artwork for Pink Floyd The Wall From The Private Collection Of Gerald Scarfe

Image © Gerald Scarfe

The Scream – 1981

Watercolour on paper Approx. 30 ½” x 38 ½”

Framed

One of the most memorable single images from the entire The Wall project, this reached a global audience when it was used to promote the film, on both posters and billboards and it is the only piece to be used, in projected form in the film itself.

In the film, this actual image merged with the live battlefield action footage when it was projected over the face of Pink’s soldier father, played by James Laurenson. [See page 125 The Making Of Pink Floyd The Wall]. The animators’ version of Scarfe’s Scream featured in film’s Trial sequence pushing out of the wall as the judge calls “Tear Down The Wall”. This Scream image reached a global audience when it was used to promote the film around the world, most notably on cinema posters and huge billboards, concert programmes, and all manner of souvenirs.

PLEASE NOTE: These pieces are being offered for sale without copyright or reproduction rights



Gerald Scarfe: “This drawing symbolises the mood of the album, show and film. The whole piece is a scream – Roger’s scream. One of the key inspirations for the entire project was the pain that Roger experienced growing up without his father, who was killed at Anzio in World War II when he was very young.

I made this watercolour in my studio in London and packed the painting with as much angst as I could muster to reflect the pain. When Alan Parker, the film’s director, saw it he said ‘That’s the fucking poster for the film!’ I also designed an animated version of the image for the MGM film.” The buyer will receive a letter from Gerald Scarfe and a paperback edition of his book, The Making Of Pink Floyd The Wall, to accompany the artwork. This work is illustrated on page 124 of the above book, and can also be seen in photographs of Gerald Scarfe in his studio surrounded by artwork and artefacts from Pink Floyd The Wall on the Contents page and page 248.


The US One Sheet Movie Poster




The Gross Inflatable Pig – 1990

Pen and ink on paper, signed by the artist Approx. 26 ½” x 33 ½”

Unframed

Scarfe adapted one of Pink Floyd’s most iconic visual images in preparation for the event on July 21, 1990, when Roger Waters staged his memorable performance of The Wall in Berlin. The famous inflatable pig that appeared on the London skyline in late 1976, to mark the impending release of Floyd’s Animals LP, was transformed into something altogether more menacing.

Gerald Scarfe: “To mark the demolition of the Berlin Wall, Roger staged an epic concert at Potsdamer Platz in Berlin. There, supported by the German Army and the Russian Army, he put on a gigantic version of The Wall. Actors were employed as characters in the story and the wall itself stretched across the whole of Potsdamer Platz. We needed a much more evil and gross incarnation of the famous Pink Floyd pig, which had originally escaped over Battersea Power Station, so I made this drawing in my London studio.” The buyer will receive a letter from Gerald Scarfe and a paperback edition of his book The Making Of Pink Floyd The Wall, to accompany the artwork.





Education For What? No Jobs! - 1981

Gouache on black paper, signed by the artist Approx. 23 ½” x 33”

Framed

Scarfe’s pedigree as a political cartoonist was apparent in the creation of this image, which – like The Teacher – was intended to reinforce the jaundiced view of the education system that is central to The Wall.

Gerald Scarfe: “This was one of a series of chalk and Caran D’Ache drawings that I made for a sequence in the film which illustrated the plight of certain schoolchildren in council schools, who were being educated for the lower rungs of society. I made drawings showing them being herded through a maze onto conveyor belts, and eventually into a mincer where they would be ground out into worms - yes, I know, it’s weird!” The buyer will receive a letter from Gerald Scarfe and a paperback edition of his book, The Making of Pink Floyd The Wall, to accompany the artwork.

This artwork is illustrated on page 186 of the above book in a montage with other pieces in the series, and can also be seen in a photograph of Gerald Scarfe with Nick Mason on page 12 and with Alan Parker on page 217.





The Teacher Walls Up The Innocent Children - 1979

Pen, ink, watercolour and gouache montage, cut-out and mounted on abstract original background

Approx. 39” x 43 ½” Framed




The Teacher Walls Up The Innocent Children - 1979

Another of the major figures in The Wall animations, The Teacher was immortalised in the video for the single from the project, ‘Another Brick in the Wall (Part Two)’. Significantly, this artwork was projected on stage during the live shows when Pink Floyd performed Another Brick in The Wall. and Scarfe created several versions of The Teacher during The Wall project, but this particular piece is unique.

Gerald Scarfe: “The Teacher is a creature who can breach the wall with his sarcasm towards the children in the classroom. ‘We don’t need no education’, sing the kids, meaning ‘we don’t need this kind of education’.

I realised from the start my designs had to be memorable – not realistic, but inventive, to make them timeless. Roger and I agreed that all the characters should have a backstory. So I imagined that the Teacher was hen-pecked at home and unleashed his bitterness on the innocent children, whom he put through the mincer. I dressed him in a school blazer with a badge on his pocket and grey flannel trousers. Roger and I then decided he was Scottish, and went around talking to one another in thick Glaswegian accents for several months!

This particular piece was projected onto the famous, iconic Pink Floyd circular screen while the band played ‘Another Brick in the Wall’. I went on to design 30ft high inflatables of the Teacher, the Wife and the Mother, which slowly inflated and then stalked the stage during the concerts.” The buyer will receive a letter from Gerald Scarfe and a paperback edition of his book, The Making Of Pink Floyd The Wall, to accompany the artwork.

This artwork is illustrated on page 109 of the above book; see also page 111 for a photograph of the piece projected on stage during a live performance of Pink Floyd The Wall.





The Wife’s Shadow Looms Large Over A Terrified Pink – 1981

Watercolour, gouache and ink on paper Approx. 23 ½” x 33”

Framed

Some of the most harrowing sequences of The Wall involved the central character, a rock star portrayed by Bob Geldof, becoming isolated, disturbed and alienated from the outside world. This image epitomises the increasingly dysfunctional relationship between ‘Pink’ and the Wife.

Gerald Scarfe: “When we were trying to interest MGM, and various investors, in making the film, I designed a luxurious ‘black book’ with a number of exclusive paintings and text by Roger Waters. These paintings were also used by Alan Parker and the set designer to give ‘my look’, as Parker called it, to the film.

This illustration imagined the scene where Pink (played by Bob Geldof, and loosely based on Roger’s experiences) is drugged up and hallucinating in his hotel room. He imagines he sees his wife in the room and her shadow on the wall becomes a monstrous beast. It was my task as director of animation to make her real-life shadow become that monster on screen.”

The buyer will receive a letter from Gerald Scarfe and a paperback edition of his book, The Making of Pink Floyd The Wall, to accompany the artwork that is illustrated on pages 198 and 199.





The Wife With Flaming Hair – 1979

Pen, ink and watercolour on paper, with an applique flame above the forehead Approx. 39 ½” x 59”

Framed

This is the original design for one of the iconic six characters from The Wall [the Wife, the Mother, Pink, the Teacher, the Judge and the Hammers]. This image was used around the world during the marketing of the album and film. It was used most prominently on the promotional poster for the album, and on the concert program for the London Earls Court shows in August, 1980 and June, 1981, and has consequently become the best-known image of the Wife, a character who quickly mutates from a love object into a figure of hate and disgust.

This striking image is also included in what Gerald Scarfe refers to as “the black book”, a printed ring-bound book, of which only a handful were made, featuring reproductions of key artwork, to be sent to executives at MGM Studios to give them a feel for the look of the film. In the process of working on the long and involved project that became The Wall, Scarfe created slight variations of




The Wife With Flaming Hair – 1979 (continued)

this character which were needed for different purposes, but this, in the artist’s opinion, is the most important of them all, his favorite, and the only one on this scale.

Gerald Scarfe: “When Roger Waters and I were designing The Wall at my house in Chelsea, one of my first tasks was to design the main characters from Roger’s dramatic story. I began with the Wife, the Mother and the Teacher, because they would be shown on the album cover.

I saw the Wife as a predatory, praying mantis-like figure with harmful claws and flaming hair (misogynist – moi?!). I gave her menace and vitality. After I drew the Wife for the album, this was the first large-scale painting I did and it was used on the publicity material, posters, t-shirts, etc. Roger was completely on board with this concept. He and I had regular meetings when I was designing The Wall, played snooker weekly and went on skiing holidays together, and we constantly discussed the designs and concepts.” The buyer will receive a letter from Gerald Scarfe and a paperback edition of his book, The Making Of Pink Floyd The Wall, to accompany the artwork.

This piece is illustrated on pages 60 and 61 of the above book, and can also be seen in photographs of Gerald Scarfe in his studio surrounded by artwork and artefacts from Pink Floyd The Wall on the Contents page and page 248.

Gerald Scarfe with “The Wife”





One Of The Frightened Ones – 1981

Crayon and Caran D’Ache on black paper Approx. 23 ½” x 33”

Framed

This chilling drawing was one of a series that Scarfe prepared when he was designing the animation to accompany ‘Goodbye Blue Skies’ in The Wall movie. It demonstrates how the artist was able to channel traumatic experiences from his own childhood into a defining image in the equally horrific landscape of the film.

Gerald Scarfe: “It depicts one of The Frightened Ones, the troglodyte figures who live below ground in corrugated-iron air-raid shelters, venturing out only when the all-clear siren sounds.

Having lived, as a small child, through the horrors of the London bombing during WW II, I had clear memories of those times. I had to run for the cellar of our house in Hampstead when the siren sounded, and had the claustrophobic experience of having to put on a gas mask. As an asthmatic I found it hard enough to breathe as it was, without having to struggle for breath in a rubber mask.




One Of The Frightened Ones – 1981 (continued)

In order to make these ghastly masks more palatable for children, they stuck Mickey Mouse ears on both sides to make it seem like ‘fun’. It certainly didn’t work on me. To make it worse, someone had told me that there was a wolf in the cellar, and as a six-year-old I was far more frightened of the wolf than I was of Hitler’s falling bombs, which were flattening London around me.

I was able to draw on this experience when I wanted to create a vulnerable, naked creature with a gas-mask head to represent the Frightened Ones. This is one of the prototypes for that figure.”

Scarfe included an image from “The Frightened Ones” sequence in what he refers to as “The black book”, a printed, ring-bound book, of which only a handful of copies were made, featuring reproductions of key artwork, to be sent to executives at MGM Studios to give them a feel for the look of the film.

The buyer will receive a letter from Gerald Scarfe and a paperback edition of his book The Making Of Pink Floyd The Wall, to accompany the artwork.





Comfortably Numb - 1980

Black Crayon and Watercolour Approx. 23 ½” x 33”

Framed

Gerald Scarfe’s unique interpretation of ‘Comfortably Numb’- one of the key songs in The Wall. This is the only version of this mesmerizing image. It represents in chilling form a nightmare shared by both animator and composer which triggered the creation of this macabre image and inspired the visual accompaniment to the song in both the stage show and the film of The Wall.

Gerald Scarfe recalled: “Roger and I discovered we had the same dream, or nightmare, as children. We dreamed that our hands grew larger and thicker and numb.” Scarfe’s recurring horror was “…the feeling that my hands were swelling and growing, becoming thicker and clumsier as they lay on the counterpane before me…Roger suffered…from exactly the same dream as a child. Hence the lyric ‘My hand felt just like two balloons’”.

The original treatment for the film provides a vivid description of how the image of the inflated hands would fit into the narrative: ‘As the car doors lock automatically, the dummy Pink feels trapped, and starts to react. His hands swell to enormous proportions filling the rear of the car. He twists and turns from one window to another, seeking the way out, but is confronted on all sides by nightmare spectres from his past. Bits of his massive pink exterior begin to peel away. His mother grabs his hand, and the surface of the arm comes away in one piece, like a ladies evening glove,




Comfortably Numb - 1980 (continued)

to reveal a black shirt and armband underneath. In flashback, the dummy is subjected to violence - cuffed by the schoolmaster, scratched and spat upon by the wife, kneed in the balls by anonymous people on tube trains.’

The final script of the film built upon this idea, in a scene which featured Bob Geldof, as ‘Pink’, being given intravenous injections of drugs which have a savage effect upon his awareness of himself and his surroundings. The film moved away from the ‘inflated hands’ image, to allow Pink’s entire body to mutate into grossly distorted form.

In Scarfe’s words…”Comfortably Numb, the brilliant piece written by Roger and played on guitar by David Gilmour on top of the wall in concert… tells of that drugged state of drifting in and out of consciousness. A similar image was used in the stage show for this song.”

This artwork is illustrated on pages 202 and 203 of the book The Making of Pink Floyd The Wall [the title Comfortably Numb seen on the illustration in the book was added for explanatory purposes and is not present on the original artwork].






As The Hammers March, The Gigantic Judge Dwarfs a Terrified Pink - 1981

Watercolour and Gouache on Paper Approx. 34 ½” x 81”

Framed

This enormous painting was designed for the film of The Wall and has been exhibited worldwide. It is a significant work which for Scarfe defines the essential atmosphere of the film. It shows one of the most enduring and terrifying characters, the Giant Judge, set against a stunningly beautiful lowering streaked sky. The Judge, accompanied by ranks of fascistic marching Hammers, dwarfs the terrified Pink. The mesmerising marching Hammers have become the instantly recognisable emblem of the project. They feature most memorably in the sequence that accompanies Waiting for the Worms.

The original storybook for The Wall explains the sequence involving the Judge in graphic terms: ‘The worm judge rears up over Pink and rants at him. We see that he is a huge asshole on legs wearing a judge’s wig. Walking ponderously backwards, he approaches Pink, who is now walled in so tightly that he lies at the bottom of a cylinder formed by the wall, which completely surrounds him. But there is no escape from his own conclusions about himself. The judge squats on the cylinder and shits images of his past life on him, whilst screaming at him to tear down the wall.’

Gerald Scarfe: “To my mind, this is one of the best pieces in the collection, showing the fascist Hammers watched over by the huge fat backside of the Judge. The Hammers were originally my idea, not Roger’s: they just came into my head one day as the most unrelenting, cruel piece of machinery, and I imagined them marching like Nazi Stormtroopers as a symbol of tyranny.”


This artwork is illustrated on pages 86 and 87 of the above book, and was also used for a promotional poster and postcard sold at the concerts, see page 81.





A Terrifying Mother - 1980

Pen, Ink and Watercolour Appliqued to Celluloid Approx. 23 ½” x 33”

Unframed




A Terrifying Mother - 1980

This early painting of ‘The Mother’ is Gerald Scarfe’s favourite depiction of one of the most significant characters from the narrative of The Wall. An animation of this character was used to accompany ‘The Trial’ in Pink Floyd’s 1980 live performances of the album, and then carried forward into the sequence which illustrated the same song in the 1982 movie version. The Mother character was also transformed into one of the inflatables that towered over the band’s stage set.

From the original treatment for the film onwards, the Mother was always regarded as a key figure in the life of Pink, the person around whom The Wall was constructed. As this first storyline explains, ‘His mother devoted herself to him in a suffocating way’, after the death of his father. Scarfe describes how he created the character using information he had gleaned from Roger Waters regarding his childhood ‘…amalgamated…with my own memories and experiences. Roger’s father was killed in the Second World War which obviously had a cathartic effect on him, and a single parent mother played both roles and perhaps overcompensated.’ Scarfe met Water’s mother once ‘…She was, as I remember, nothing like the Mother I designed and created for The Wall. I have memories of a small aesthetic woman. I think he told me she was a communist…’

In this vivid painting of Scarfe’s symbolic over-protective Mother cradling tiny Pink close to her bosom, the artist subtly defines the Mother’s lower arm as bricks. Scarfe reflected that Roger’s wrote about his Mother’s smothering love in the song The Trial – “Mama's gonna put all her fears into you”. The film version of ‘The Trial’ contains a memorable animated sequence in which the Mother emerges out of the wall as a jet plane, and goes through a series of terrifying mutations. Finally, she becomes the very wall that encircles her helpless son. Scarfe: ‘I always drew ‘our' Mother for the concert and film with arms that turned into walls and enclosed our main character, Pink. Roger tells me that as I continued to draw the Mother down the years, she grew more and more like me. Make of that what you will!’

The buyer will receive a letter from Gerald Scarfe and a paperback edition of his book, The Making of Pink Floyd The Wall, to accompany the artwork.

This artwork is illustrated on page 66 of the above book; examples of the inflatables based on this artwork and used for the stage shows are illustrated on pages, 104, 106 and 107.

Each of the pieces in this offering have been carefully selected by Gerald Scarfe from his archive. Despite numerous requests for him to sell works from this period, it is the first time Mr Scarfe has considered parting with this artwork that is so close to his heart, and presents a rare opportunity to acquire an original Scarfe design from this oeuvre.

Thank you for your interest!


Pink Floydʼs The WallPrice list

Wife with Flaming Hair"" " " " " $ 925,000

Teacher" " " " " " " " $ 925,000

Scream" " " " " " " " $1,850,000

Wifeʼs Shadow" " " " " " " $ 235,000

Education For What" " " " " " $ 92,500

Gross Inflatable Pig" " " " " " $ 46,500

Comfortably Numb" " " " " " $ 280,000

The Mother"" " " " " " " $ 375,000

One of The Frightened Ones"" " " " $ 280,000

Giant Judge and Hammers" " " " " $1,850,000

The Wall original Movie Storyboard" " $1,600,000"

Documents

SAN FRANCISCO ART · PDF fileFloyd’s Animals LP, ... SAN FRANCISCO ART EXCHANGE LLC Original Artwork for Pink Floyd The Wall From The Private Collection Of Gerald Scarfe