Works currently on display in collections
Victoria & Albert Museum, Young V&A, Bethnal Green, London
Tmith is a typical example of Sam Smith’s later work. He began making such sculptures around 1955, and by the 1970s they had become quite large, with unusual themes.
A rowing boat called Bevis, one of a ‘fleet’ of six boats made by Alan V. (Sam Smith). Painted and varnished wood with attachments of string and paper.
Crafts Council of Great Britain
The Crafts Council also have other materials in their archive collection:
Fragment of an envelope sent to Sam Smith from The Chair House, Ghirarbelli Square, San Francisco
Invitation to the opening of ‘Handmade in Britain: The Crafts Council Collection’
Further information about Craft For The People
Arts Council Collection, Southbank Centre, London
Manchester Art Gallery
Unaware, New York, 18 May ’22 A wooden tower or skyscraper construction on which are perched frightening fantastical beasts. The surface of the tower has been incised with vertical lines of squares, giving the impression of rows of uniform windows
London Borough of Camden Town Hall Extension
Argyle Street, London, Greater London WC1H 8EQ
Stradling Collection
48 Park Row, Bristol, BS1 5LH
The Stradling Collection have many Sam Smith pieces in their collection including:
Bristol Museum and Art Gallery
Southampton City Art Gallery
The Yale University Library
Collection Information (images on request)
The collection comprises original work by Sam Smith including ink drawings, mock-ups, hand-carved wooden boats, paper model sets, and typescripts for three unpublished works: Bioscope Palace, Edward and his marvellous telescope, and Trudi, Angela and John Darme.
One of these unpublished works, Bioscope Palace, illustrates Smith’s interest in toy theatre and silent cinema.
Also present is related correspondence, primarily between Smith and Max and Barbara Wilk. The letters cover many topics, including Smith’s unpublished works and his exhibitions. Letters in the collection are from the period of ambition and recognition that Smith enjoyed in the 1970s. The tone is personal and comical and it is obvious that Smith took great care in producing the letters, as they are always hand addressed and signed with love from Sam.
The collection also includes secondary material about Smith, including exhibition catalogues and magazine clippings.
There is also work at:
Plymouth Art Centre
Rochdale Art Gallery
