- 104
John Piper, C.H.
Estimate
30,000 - 40,000 GBP
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Description
- John Piper, C.H.
- Dungeness
signed
- oil on masonite
- 38 by 61cm., 15 by 24in.
Provenance
Buchholz Gallery, New York, whence purchased by Mrs B Watson, Connecticut
A gift from the above to the present owner on the occasion of her 21st birthday, 1975
A gift from the above to the present owner on the occasion of her 21st birthday, 1975
Literature
S. John Woods (intro.), John Piper: Paintings, Drawings and Theatre Designs 1932-1954, Curt Valentin, New York, 1955, illustrated plate 131.
Richard Ingrams & John Piper, Piper's Places: John Piper in England & Wales, Chatto & Windus, The Hogarth Press, London, 1983, pp.25 and 118.
Richard Ingrams & John Piper, Piper's Places: John Piper in England & Wales, Chatto & Windus, The Hogarth Press, London, 1983, pp.25 and 118.
Condition
The board has expanded causing the paint to separate slightly in the lower left quadrant as is visible in the catalogue illustration.
Under ultra-violet light no retouching is evident.
Held in a wooden frame with a canvas and gilt slip. The wood has suffered from woodworm and the frame has some minor abrasions.
The colours are true to the catalogue illustration.
"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 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
The current work was painted in 1947 and depicts one of Piper's continuing themes; Dungeness. Dungeness was a wilderness of shingle littered with cottages and huts against the backdrop of the wreck of a nuclear power station. It remained an inspirational scene for Piper.
Prior to painting this particular scene Piper had been through a transition of experimentation in the mid-1930's where he repeatedly used this same subject. During this time he turned towards abstraction and incorporated collage in much of his work. In his collages of Dungeness he used materials such as paper, newspaper, sheet music, ink, blotting paper creating semi-abstract shapes to depict the beach scene. This technique produced a mix of abstraction and reality. By 1938 Piper returned to realistic representation as is evident in the current work, largely under the influence of Turner although his past abstract practice continued to inspire him.
Prior to painting this particular scene Piper had been through a transition of experimentation in the mid-1930's where he repeatedly used this same subject. During this time he turned towards abstraction and incorporated collage in much of his work. In his collages of Dungeness he used materials such as paper, newspaper, sheet music, ink, blotting paper creating semi-abstract shapes to depict the beach scene. This technique produced a mix of abstraction and reality. By 1938 Piper returned to realistic representation as is evident in the current work, largely under the influence of Turner although his past abstract practice continued to inspire him.