Samuel John Peploe, R.S.A.

Alex, Reid & Lefevre, London;
Sotheby's, London, 29 August 1975, lot 362;
Private collection

The panel is in good stable condition. There are a few specks of surface dirt throughout. There is a small area of rubbing and abrasion to the upper centre of the composition. Otherwise the work appears to be in excellent overall condition. UV light inspection reveals an area of possible retouching to the aforementioned area of rubbing upper centre. Held in a decorative frame. Please note the work is held under glass.
"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."

In August 1920 Peploe was invited to join his friend Cadell on a visit to Iona. 'Like Cadell he [Peploe] found the island offered him a release from the tensions of life in Edinburgh; it also provided an opportunity to relax with his growing family while, at the same time, offering a totally different inspiration. Peploe treated Iona as systematically as he did his studio still-lifes. While Cadell found subjects wherever he looked on the island, Peploe was much more methodical and limited in his outlook. Most of his Iona paintings are of the island's many bays, particularly at the north end, with the pale sands and intense blues and greens of the sea usually seen under skies flecked with cloud.' (Roger Billcliffe, The Scottish Colourists - Cadell, Fergusson, Hunter, Peploe, 1989, p. 52) Peploe's pictures of Iona were immediately popular with collectors and he returned many times to the island: 'It was a sanctuary. He felt in tune with this place.' (Guy Peploe, S. J. Peploe 1871-1935, 2000, p. 65)

Different weather and lighting on the white sands, clear waters and architectural rock formations meant that Peploe never ceased to find new inspiration on the island. On sunny days the hue of the sea ranged from turquoise to peacock blue, whilst in stormier conditions it could be deep grey-blue or purple. The present picture depicts one of Peploe's favourite views, from the northeast shore on the beach known as Traigh Ban nam Manach (White Strand of the Monks) looking towards Cnoc an t’-Suidhe (Cow's Rock) and beyond to Mull.