Maxie Lane (1910–2014) Monumental Elm Sculpture

Carved and polished elm Maxie Lane (1910–2014) was a British artist, author, and sculptor whose life and work were marked by resilience, craftsmanship, and a profound engagement with the natural world. Born the son of an "Irish Tinker", Lane was abandoned in early childhood and raised by an aunt in Bristol—a formative experience that instilled both independence and creative determination. He later served in the Army and the Navy, experiences he vividly recounted in his two autobiographical works, Running and Sea Running, which chronicle his itinerant youth and maritime life with candour and lyricism. Lane’s most celebrated work, The Last Supper Table, a monumental carved elm sculpture, is on permanent display at Furzey Gardens in the New Forest and is believed to be the largest English elm sculpture in existence. Over the course of his career, Lane exhibited widely, presenting his work in venues across Britain and internationally, including New York and London. His artistic legacy endures through his sculptural practice, which fused craftsmanship, organic abstraction, and a deeply personal connection to his materials. This substantial carved elm sculpture exemplifies the mature style of Maxie Lane, a British artist and sculptor active during the mid- to late twentieth century. Lane’s practice was distinguished by his sustained exploration of natural form and his sensitive engagement with the expressive potential of wood. Working principally in native hardwoods—elm, yew, and oak—he produced a distinctive body of sculptural furniture and organic abstractions that blur the boundaries between functional design and fine art. Carved from a single block of elm, the present work embodies Lane’s characteristic dialogue between material vitality and human intervention. The artist retained the inherent irregularities of the timber, allowing the growth patterns, voids, and knots to determine the sculpture’s eventual configuration. The result is an architectural, almost totemic structure whose flowing contours evoke both geological and arboreal processes. The surface, meticulously hand-finished and waxed, reveals the rich tonal variation and intricate figuring of aged elm—from golden sapwood to deep umber heartwood. Lane’s approach reflects affinities with post-war British organic modernism, sharing a conceptual kinship with sculptors such as Henry Moore and David Nash in his emphasis on truth to materials and the expressive force of natural form. Yet his work remains singular in its merging of sculptural and functional sensibilities: the present piece suggests a throne-like chair or ritual seat, poised between object of use and object of contemplation. Although Lane’s oeuvre remains relatively under-documented, examples of his sculpture and carved furniture have been exhibited in regional galleries and private exhibitions across Britain and abroad. It has been reported by several dealers and collectors that his work was represented at the Tate Modern, though this has not been formally verified in the museum’s published records. Archival materials relating to Lane’s practice—including correspondence, sketches, and photographs—are preserved in the University of Reading Special Collections, providing valuable insight into his working methods, artistic philosophy, and enduring fascination with the organic vitality of wood.