Lot 280
  • 280

William Leech, R.H.A.

Estimate
10,000 - 15,000 GBP
bidding is closed

Description

  • William Leech, R.H.A.
  • Window Sill
  • signed l.l.: Leech
  • oil on board
  • 45.5 by 38cm., 18 by 15in.

Provenance

The Dawson Gallery, Dublin;
Private collection

Condition

The board appears to be sound and the work in very good overall condition. Under ultraviolet light there appear to be no signs of retouching. Held under glass in box wood frame; unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

From the pattern of diamond leaded lights, the present Windowsill belongs to the latter period of Leech's painting life when he had moved to Candy Cottage, Off the Street, West Clandon, Surrey in 1958. "It was an idyllic Tudor-style cottage with diamond-paned mullioned windows with climbing roses over the trelliswork, and the bird bath, from Steele's Studios was given pride of place in the garden. Leech spent his days either outside in the garden or inside in a new studio he had built onto a corner of the house." When the weather prevented painting en plein air, Leech worked in his new studio and continued the practice first begun when he lived in Abbey Road and painted in Steele's Studio, Haverstock Hill, London, from 1928 until 1942. Here he painted bunches of flowers in a vase on the window sill, capturing light and colour and the present work is similar to The House Opposite or Still-life with Chinese Lanterns all painted during this period, 1958-1963.

We are grateful to Dr Denise Ferran for kindly preparing this catalogue entry.