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  • Violin Plates (Pink), Michael Craig-Martin - CultureLabel
  • Violin Plates (Pink), Michael Craig-Martin - CultureLabel
  • Violin Plates (Pink), Michael Craig-Martin - CultureLabel
Violin Plates (Pink), Michael Craig-Martin - CultureLabel
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Violin Plates (Pink), Michael Craig-Martin - CultureLabel Violin Plates (Pink), Michael Craig-Martin - CultureLabel Violin Plates (Pink), Michael Craig-Martin - CultureLabel

Michael Craig Martin

Violin Plates (Pink)


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Fine Bone China Plates


Michael Craig-Martin was invited to design the programme for the Glyndebourne 2013 season. He decided to accompany the project by creating a limited edition set of plates as part of the series. In 2016, Craig-Martin has worked with Plinth to produce a new colour-way for an unlimited edition based on this first – ‘Violin Plates (pink)’. He says:

“I wanted to do something more than just reproduce one of my images on a plate. The surface area of a plate is comparatively small so I started thinking of making an image larger than the plate, showing only a fragment. Playing with this idea, I suddenly realized that because of its length and the fact it tapers towards the top, I could accommodate the entire image of the violin on a graduated sequence of 3 plates. It was an extraordinary coincidence it fit so perfectly.

I am happy that the plates can be used to eat from in an ordinary way, displayed on a table or a wall to re-assemble the violin, placed in an orderly stack from large to small, be used singly or simply mixed up in a group.“

About the Plates

Michael Craig-Martin, 'Violin Plates (pink)', 2016

Bone china, made and hand decorated with ceramic transfers in Stoke on Trent.

3 plates, 17cm, 21cm and 27cm in diameter

Click and Collect

Due to the value we advise this specific item is collected from Bedford House, 125–133 Camden High Street, London NW1 7JR. 

However additional shipping arrangements can be made by emailing isabelle.goelet@culturelabel.com

About the Artist

Michael Craig-Martin's first solo exhibition was at the Rowan Gallery, London, in 1969. He participated in the definitive exhibition of British conceptual art, The New Art at the Hayward Gallery in 1972. His best known works include An oak tree of 1973, in which he claimed to have changed a glass of water into an oak tree; his large-scale black and white wall drawings; and his intensely coloured paintings, installations, and commissions, including the European Investment Bank in Luxembourg, the Laban Dance Centre in London (in collaboration with Herzog and deMeuron), the DLR station at Woolwich Arsenal, and, most recently, the HDI Gerling Headquarters in Hannover.

Over the past forty-two years he has had numerous exhibitions and installations in galleries and museums across the world, including the Centre Pompidou, Paris, and MoMA, New York, the Kunstvereins in Dusseldorf, Stuttgart, and Hannover, at IVAM in Valencia, and Kunsthaus Bregenz. He represented Britain in the 23rd Sao Paulo Biennal. A retrospective of his work was presented at the Whitechapel Art Gallery, London, in 1989, and a second at the Irish Museum of Modern Art in Dublin in 2006, and a third at the Serpentine gallery, London, in 2015.

Recent solo exhibitions include Less is still more at Krefeld Museum Haus Esters, Sculpture at Chatsworth House in association with Gagosian Gallery, Objects of our time at Alan Cristea Gallery, and NOW, a touring exhibition in China. Craig-Martin is well known to have been an influential teacher at Goldsmiths College, London. He was a Tate Trustee from 1989 to 1999, was awarded a CBE in 2000 and was elected an RA in 2006. He is represented in London by Gagosian Gallery and Alan Cristea Gallery.


If you would this item to be sent to you please email isabelle.goelet@culturelabel.com

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