William Scott, R.A.

Hanover Gallery, London
Jean-Yves Mock, London
His sale, Sotheby's, London, 7 February 2005, lot 98

The sheet is not laid down and appears to be in beautiful fresh original condition showing no signs of any damage or deterioration. Attractively presented floated against a cream mount in a smart black wooden box frame in excellent condition. Ready for the wall.
"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."

This work is registered in the William Scott Archive as no. 1890
Sarah Whitfield is currently preparing the Catalogue Raisonne of works in oil by William Scott.  The William Scott Foundation would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue or in future projected catalogues.  Please write to Sarah Whitfield c/o Sotheby's, 20th Century British Art Department, 34-35 New Bond Street, London W1A 2AA.

In the summer of 1952, Scott completed a series of small-scale gouaches that are crucial in marking his first venture into total abstraction. Taking their starting point from a studio melting pot, these works distort and stretch the subject beyond a point of recognition and become essays in the relationship of pure colour and form. Their importance to Scott's artistic development cannot be over-stated and these ground breaking gouaches were the subject of an exhibition at the Hanover Gallery in 1962.  The lessons learnt through this series of gouaches paved the way for further development in his abstract works from the 1952 -54 period.

The present work is an important study for Scott's seminal oil Figure into Landscape (fig 1, 1954, Private collection) and demonstrates the artist's ability and facility with his new abstract visual vocabulary. Although the title is suggestive of subject, the bold linear forms are confidently free from figuration and the title is more significant in highlighting that the starting point for Scott's pathway to abstraction lay in the traditional genre of figure and landscape.