- 91
Graham Sutherland, O.M.
Description
- Graham Sutherland, O.M.
- the lamp
signed, titled and dated 1944 on the reverse
- oil on canvas
- 63.5 by 61cm.; 25 by 24in.
Provenance
Buchholz Gallery, New York
Andrew C. Ritchie, New Haven, Connecticut
Marlborough Fine Art, London
Marlborough Galleria d'Art, Rome
Private Collection
Exhibited
New York, Buchholz Gallery, Graham Sutherland, February - March 1946, no.6.
Literature
Douglas Cooper, The Work of Graham Sutherland, Lund Humphries, London, 1961, no.61d, illustrated p. 97;
John Hayes, Graham Sutherland, Phaidon, Oxford, 1980, no.60, illustrated p.97;
Ronald Alley, Graham Sutherland, exh.cat., Tate Gallery, London, 1982, p.105;
Roger Berthoud, Graham Sutherland, A Biography, Faber and Faber, London, 1982.
Condition
"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 Lamp is one of two representations of the same subject painted in 1944 when the Sutherlands were staying in a small cottage in Sandy Haven, Pembrokeshire. Seen from opposite sides, both versions employ a brighter palette than is usual for Sutherland at this time, and in the present painting the warm yellows and green help to create an air of peace and security, as does the reassuring Victoriana of the lamp itself. Sandy Haven was the source for Sutherland’s most successful pre-war work, including the Entrance to a Lane series, and thus this air of calm may well be a reflection of an escape from the scenes of heavy industry and urban devastation that had been the focus of his work as an official war artist.