Kim Lim (1936-1997)AbstractWoodcut in silver, 2004, with the stamped signature verso, on wove paper, with margins, sheet 150 x 148mm (5 7/8 x 5 7/8in) (unframed)
Kim Lim (1936-1997) Abstract Woodcut in silver, 2004, with the stamped signature verso, on wove paper, with margins, sheet 150 x 148mm (5 7/8 x 5 7/8in) (unframed) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
2025 stamped signature verso woodblock print on wove from the unnumbered edition of 200 published by UEA Editions, Norwich unframed ARR Size:(sheet 15 x 15cm)
λ KIM LIM (SINGAPOREAN/BRITISH 1936-1997)PADMA IIIPortland stoneSigned with monogram and dated '85 (to top of base); further signed with monogram (to underside of upper section)45 x 22cm (17½ x 8½ in.)This work is unique.Provenance:Bohun Gallery, Henley-on-ThamesAcquired from the above in 2001Exhibited:London, Camden Arts Centre, Kim Lim, September-November 1999Coventry, Mead Gallery, Warwick Arts Centre, November-December 1999 In 1953, Kim Lim travelled from Singapore to London to study wood carving at Central Saint Martins under the tutelage of Sir Anthony Caro. By 1956, Lim had enrolled at the Slade School of Fine Art, where she studied sculpture and printmaking. Her body of work explores two-dimensional design and its relationship to three-dimensional form, often beginning with etchings that later inspired sculptural works executed in a range of materials, including wood and metal. Lim held her first solo exhibition in 1966 at Axiom Gallery in London, showcasing a breadth of works that explored form, space, and tactility. Her working process allowed her to develop ideas on a small scale before translating them into large-scale installations. In 1972, Lim released her Ladder series, which comprised etchings of repeated patterns alongside large-scale wooden ladder sculptures. These works encouraged viewers to explore the negative space created through repetition in both printmaking and sculpture.I would like my work to be able to infer experiences beyond the piece itself. Infer rather than refer to something specific and particular. Kim Lim Rather than presenting immediately recognisable objects or forms, Lim invited viewers to find their own interpretations by projecting their emotions and personal responses onto the work. This approach to artistic practice is comparable to that of her husband, William Turnbull, whom she married in 1960. The work of which is also included in Dame Stephanie Shirley's collection. Turnbull and Lim travelled extensively together, sharing encounters with diverse cultures that ultimately influenced both of their artistic practices. Despite these shared experiences, the couple maintained separate studios at their family home in London and worked independently.Lim was a female sculptor working within an male-dominated artistic environment. Against this backdrop, her inclusion in the 1977 Hayward Annual exhibition, organised by the Arts Council of Great Britain, is particularly significant. Lim was the only female artist represented, exhibiting alongside male contemporaries such as William Turnbull, Anthony Caro, Frank Auerbach, Patrick Caulfield, and John Hoyland. However, the exhibition's selection committee included Lim's husband, Turnbull. Being female and foreign was never a problem as a student. Later, I realised that there was a difference, but what was important in the end was what I did and not where I came from. Race and gender were givens I worked from. Perhaps the work does reflect this- which is fine-but I did not want to make them an issue. The sense of not belonging felt a little isolating at times, but it had the compensating element of freedom, a certain feeling of detachment from which one could view both East and West. Kim Lim Lim actively resisted categorisation, particularly in relation to her heritage, and did not wish for her work to be interpreted primarily through the lens of foreignness or gender. In 1989, she declined an invitation to participate in The Other Story: Afro-Asian Artists in Post-War Britain at the Hayward Gallery, an exhibition intended to highlight artists overlooked due to Britain's colonial legacy. The exhibition featured artists such as Francis Newton Souza, Balraj Khanna, Anwar Shemza, and Aubrey Williams. Lim's refusal stemmed from her desire not to be othered.In 1979, the Roundhouse Gallery staged a retrospective exhibition of Lim's extensive body of work. Following this exhibition, Lim turned her attention exclusively to stone carving, inspired by the Taoist concept of Wu Wei, which simply encourages one to let nature to take its course without interruption. This philosophy became increasingly evident in her practice through references to the natural world and a celebration of elemental forces and their role in shaping society and culture.The present work titled Padma III sculpted from Portland stone was produced during this period in 1985. Lim carved each sculpture by hand using manual tools and without studio assistants. The stone has been gradually carved away to reveal every layer of its organic matter including the natural imperfections. Lim's emphasis on simplicity of form serves to highlight the power of the material itself, allowing viewers to reflect on their own responses.'There was nothing but her and her conviction' Bianca Chu, Sculpting Lives Podcast, 2020Lim frequently drew upon mythological and cultural references when titling her works providing an abstract narrative to each work of art, such as Pegasus (1962) and Kudah (1989). In this case Padma means lotus flower in Sanskrit and symbolises purity and enlightenment in Hinduism. The lotus is also associated with Hindu deities such as the goddess Lakshmi, who is often depicted standing on a lotus flower and symbolises wealth and purity.Following the 1979 retrospective at the Roundhouse Gallery, the next major exhibition of Lim's work did not take place until after her death, at Camden Art Centre in 1999. Although Lim's work entered national collections during her lifetime, following her death in 1997 her reputation required renewed recognition. Recent solo exhibitions at Tate Britain in 2020 and the Hepworth Wakefield in 2024 have helped to reignite critical discussion of Lim's work and reaffirm her significant position within the post-war British artistic canon.Additional QuoteRhythm is another preoccupation of mine - the physicality of the feeling of rhythm makes it very sculptural for me. Using it by repeating a form, a rhythm is built up which adds to the resonance of a piece... using rhythm as a pulse - like a bridge in space. Kim Lim
Kim Lim (1936-1997) Shaded Grey Lithograph, 1993, signed, dated and inscribed 'Lithograph' in pencil, numbered from the edition of 20, on wove paper, with full margins, sheet 528 x 564mm (20 3/4 x 22 1/4in) (framed)
Kim Lim, Singaporean/British 1936-1997, Abstract; woodblock with silver ink, stamped with signature to the reverse, sheet: 14.8 x 14.8 cm, (unframed) (ARR)
Kim Lim, Singaporean/British 1936-1997, Dunhuang Series 1, 1988; lithograph in colours on wove, signed, dated, titled and numbered 11/30 in pencil, image: 52 x 72 cm, (framed) (ARR)
§ Kim Lim (Singaporean/British 1936-1997) Kim Lim (Singaporean/British 1936-1997) III 1991 signed and dated in pencil verso from the edition of 40 woodcut in colours on wove from III-IV-V series sheet 35.5 x 32cm framed ARR Reference: see Tate Britain, London, accession number P78321 for another example of this edition
§ Kim Lim (Singaporean/British 1936-1997) Kim Lim (Singaporean/British 1936-1997) IV 1991 signed and dated in pencil verso from the edition of 40 woodcut in colours on wove from III-IV-V series sheet 35.5 x 32cm framed ARR Reference: see Tate Britain, London, accession number P78322 for another example of this edition
Kim Lim, Singaporean/British, 1936-1997 Relief 1993; lithograph on green/grey wove, signed in pencil and numbered 18/20, sheet 51 x 76 cm (unframed) (ARR)
JAUNE FONCE (Dark Yellow), 1972, color aquatint etching, signed and dated and numbered 26/30 in pencil, plate 17 ¼ x 17 ¼”, sheet 24 ¾ x 23 ¼”. From the Monterey Museum of Art.
RED, 1972, color aquatint etching, signed and dated and numbered 32/35 in pencil, plate 17 ¼ x 17 ¼”, sheet 24 ½ x 23 ½”. From the Monterey Museum of Art.
Kim Lim, Singaporean/British 1936-1997, Relief, 1993; lithograph on green/grey wove, signed in pencil and numbered 17/20, sheet: 51 x 76 cm, (unframed) (ARR)
Kim Lim, Singaporean/British 1936-1997, Shaded Grey, 1993; lithograph on wove, numbered 19/20 and signed in pencil, sheet: 53 x 56.5 cm, (unframed) (ARR)
Kim Lim, Singaporean/British 1936-1997, Relief, 1993; lithograph on green/grey wove, signed in pencil and numbered 18/20, sheet: 51 x 76 cm, (unframed) (ARR)
Kim Lim 1936 - 1997 RONIN bronze sculpture with wood base monogrammed Kim, numbered 1/1 and dated 63 overall: 38 by 76 by 31 cm. 15 by 29⅞ by 12¼ in. Executed in 1963. ---------------------------------------------- 林真金 1936－1997年 RONIN 銅雕 木質底座 款識 Kim，1／1，63 整體： 38 x 76 x 31 公分 15 x 29⅞ x 12¼ 英寸 1963年作 版數 1／1
Kim Lim Yellow Ochre Aquatint 1972 aquatint on paper image: 10.5 h x 11.5 w in (27 x 29 cm) sight: 11.125 h x 12.125 w in (28 x 31 cm) Provenance: Berry-Hill Galleries, Inc., New York | Private Collection This work will ship from Lambertville, New Jersey.
Kim Lim Jaune fonce aquatint 1972 etching in colors on paper image: 17.125 h x 17.125 w in (43 x 43 cm) sheet: 24.75 h x 23.125 w in (63 x 59 cm) Signed, dated, numbered and to lower edge '5/30 Kim Lim 1972'. This work is number 5 from the edition of 30. Provenance: Berry-Hill Galleries, Inc., New York | Private Collection This work will ship from Lambertville, New Jersey.
Kim Lim BX II 1975 screenprint in colors 16.125 h x 20 w in (41 x 51 cm) Signed, dated and numbered to lower edge '5/10 Kim Lim 1975'. This work is number 5 from the edition of 10. Provenance: Berry-Hill Galleries, Inc., New York | Private Collection This work will ship from Lambertville, New Jersey.
Kim Lim Miscellaneous Etchings 1969 etching 20.125 h x 20.125 w in (51 x 51 cm) Signed, dated and numbered to lower edge of each work '4/10 Kim Lim 1969'. This partial portfolio of five works is number 4 from the edition of 10. Sold with a portfolio case. Provenance: Berry-Hill Galleries, Inc., New York | Private Collection This work will ship from Lambertville, New Jersey.
K.K. Lim (20th Cent. Korean) ''Three Maidens II'' 1979 Oil on Canvas Board 20''x16'' Image. Signed l.l. with title label on verso. Gallery framed 28''x24''. Possibly the work of Kim Lim (1936-1997).
Kim Lim, Singaporean/British 1936-1997, Relief (a pair), 1993; each lithograph printed in colours on Somerset paper, each signed, numbered 19/24 and dated, 51.3 x 76 cm; 56 x 72.7 cm, (unframed) (ARR) (2) Please refer to department for condition report
Kim Lim, Singaporean/British 1936-1997, Relief, 1993; lithograph printed in colours on Somerset paper, signed, numbered 16/24 and dated, 49.5 x 67cm, (unframed) (ARR) Please refer to department for condition report
KIM LIM Two prints. Untitled (Gold Disk), color aquatint on white wove paper, 1971. 585x580 mm; 23 1/4x23 inches (sheet), full margins. Signed, dated, inscribed "aquatint" and numbered 13/20 in pencil, lower margin * Untitled, woodcut printed in white on greenish blue laid Japan paper, 1974. 480x540 mm; 19x21 1/4 inches (sheet), full margins. Signed, dated, inscribed "woodcut" and numbered 6/12 in pencil, lower margin. Both very good impressions.
Kim Lim, Singaporean/British 1936-1997- Relief, 1993; lithograph on wove, signed, dated and inscribed Curwen Chilford Archive in pencil; together with further lithograph by the same artist, signed, dated and numbered 11/20 in pencil mounted to board, sheet 67.4 x 49.2 and 56.5 x 53cm (unframed) (ARR) (2) Please refer to department for condition report
Kim Lim, Singaporean/British 1936-1997- Relief, 1993; lithograph in colour on wove, signed, dated and numbered 23/24 in pencil; together with two further lithographs by the same artist, each signed, dated and numbered in pencil, largest sheet 72.4 x 56.6cm (unframed) (ARR) (3) Please refer to department for condition report
KIM LIM (1936 – 1997). Fighting cockerels, drypoint print, artist proof 2/6, signed, inscribed to Malcolm, framed and glazed, 18.5 x 37.5cm. 林真金 《鬥雞》 銅板雕刻印刷，第2/6版 題名：致馬爾科姆。 Born in Singapore, Lim arrived in London in 1954 enrolling first at Saint Martin’s School of Art and later the Slade School of Fine Art where she took inspiration from Constantin Brancusi. She worked mainly in wood and steel in the 1960s, incorporating prints into her artistic practice in the 1970s. In 1979, the first retrospective of Lim’s work was held at the Roundhouse Gallery.
Kim Lim, Singaporean/British 1936-1997- Relief, 1993; lithograph in colour on wove, signed, dated and numbered 22/24 in pencil; together with two further lithographs by the same artist, one signed, dated and numbered, the other a printer's proof with inscription in pencil, largest sheet 72.4 x 56.6cm (unframed) (3) (ARR) Please refer to department for condition report
§ KIM LIM (SINGAPOREAN/BRITISH 1936-1997) UNTITLED (BLACK) - 1993 Lithograph, A/P, signed, dated and editioned in pencil (the sheet 52.5cm x 50cm (20.5in x 19.75in), unframed)
Kim Lim, Singaporean/British 1936-1997- Relief, 1993; lithograph in colour on wove, signed, dated and numbered 24/24 in pencil; together with two further lithographs by the same artist, each signed, dated and numbered in pencil, largest sheet 72.4 x 56.6cm (unframed) (3) (ARR) Please refer to department for condition report
Lithograph, A/P, signed, editioned and dated in pencil to margin (Dimensions: 55.2cm x 56.8cm (21.75in x 22.25in) unframed) (55.2cm x 56.8cm (21.75in x 22.25in) unframed)
Lithograph, signed, dated and inscribed 'Lithograph. Curwen' in pencil (Dimensions: 60.5cm x 56cm (23.75in x 22in) unframed) (60.5cm x 56cm (23.75in x 22in) unframed)
Kim Lim, Singaporean/British 1936-1997- Relief, 1993; three lithographs in colour on wove, each signed, dated and numbered respectively in pencil, largest sheet 76 x 51.2cm (unframed) (3) (ARR) Please refer to department for condition report
Kim Lim, Singaporean/British 1936-1997- Black Washes, 1993; lithograph on wove, signed, dated and numbered 19/20 in pencil; together with a further lithograph by the same artist, signed, inscribed and numbered 16/20 in pencil, sheets 56.1 x 56.3cm and 56.5 x 53cm (unframed) (2) (ARR) Please refer to department for condition report
Kim Lim, Singaporean/British 1936-1997- Dunhuang Series 3, 1988; lithograph in colours on wove, signed, dated, titled and numbered 4/10 in pencil, sheet 74.7 x 54.5cm (framed) (ARR) Please refer to department for condition report
Kim Lim (1936-1997) Untitled (Blue) Lithograph printed in blues, 1993, signed, dated, inscribed 'Lithograph Curwen Chilford Archive' and numbered from the edition of two in pencil, on wove paper, printed by The Curwen Studio, Cambridge, the full sheet, 600 x 565mm (23 1/2 x 22 1/4in) (unframed) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Kim Lim, Singaporean/British 1936-1997- Time Shift B, 1993; screenprint in colours on wove, signed, titled and dated verso, from the edition of 20, printed by Curwen Studios, sheet 39x52cm (framed)(ARR)
Kim Lim (1936-1997) Black Wash Lithograph printed in blacks, 1993, signed, dated, titled and numbered from the edition of 20 in pencil, on wove paper, the full sheet, 565 x 565mm (22 1/4 x 22 1/4in) (framed) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Kim Lim (1937-1997): Untitled (Red) Aquatint in red on wove paper, 1972, signed, dated, numbered 34/35 and inscribed ''aquatint'' in pencil. 18 x 17 3/4 in. (sight), 31 1/4 x 31 1/4 in. (frame). Property of Wilkes University
Kim Lim (1936-1997) British. Limited edition screen print on acetate. Numbered 1/15, all signed and dated 1972. Kim Lim was a well known British sculpture of the 20th century whose auction records have reached as high $29,000. Size 18'' x 18''.
