Herman's 1943 work The Cobbler, ostensibly a portrait of the artist's father at work, is executed
in muted earthy tones and uncomplicated lines: the father's disproportionately large hands, together with the serene
expression on his face, conveys the kind of tenderness mixed with
contemplation the artist approaches his subjects with throughout his career.
But to place this car
in the gallery seems to miss the point, offering it as an object of aesthetic
contemplation and period design rather than the embodiment of a particular kind of fantasy that suffused»60s culture, that often found its
expression in a burgeoning ethos of conspicuous consumption.