Sir William Nicholson

A.D. Peters
Margot Grahame
Sale, Christie's London, 12 March 1982, lot 145
The Fine Art Society, London
Private Collection

Lilian Browse, William Nicholson, Hart-Davis, London, 1956, no.255.

The canvas is in good original condition. There are scattered areas of craquelure in all four quadrants of the paint surface. The paint surface is intentionally uneven and thick with paint. Examination under ultra-violet light reveals areas of fluorescence across the paint surface. Most of these areas appear to be conistent with the artist's use of varying pigments. The only retouching appears to be a small spot in the lower right quadrant and a line along the left edge in the upper left quadrant. Held behind glass in a painted composition frame. The reverse of the canvas is protected by a perspex sheet. Please telephone the department on 020 7293 5381 if you have any questions regarding the present work.
"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.
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Painted in the 1930s, Sweet Sultanas and Other Flowers in a Glass Vase exemplifies the dynamic treatment of the still life subject that Nicholson had developed during the early years of the First World War (see lot 19). The intricate interplay between the fluid bold impasto and the vivid and contrasting rich tones of the present work has become a defining characteristic of Nicholson's mature style.

Nicholson had always been fascinated by the play of light and shadow and in particular, by the multifarious effects generated by the reflection and refraction of light caused by differing material properties. In Sweet Sultanas and Other Flowers in a Glass Vase, the dense yet delicate foliage of the bouquet are arranged to both counter-balance the shape of the vase but also to contrast with the distinctive reflective properties of the crystal glass. The translucent qualities of the glass undoubtedly provided an added dimension for Nicholson; the light caught the facets of glass in a more interesting fashion allowing Nicholson multiple opportunities to show off his confident handling by capturing the highlights with a simple yet bold stroke of impasto and the translucent nature of the glass introduced an intriguing dialogue between the elements of the still life that lay within the glass and those that were either reflective or occupied the space outside the glass.   

We are grateful to Patricia Reed for her kind assistance in providing the following additional information:

In Lilian Browse's catalogue of Nicholson's oil paintings published in 1956 there is some confusion between the present work (Browse 255) and a painting of sweet sultanas in a nailsea jug standing on a mantelshelf beside an organdie glove, or gloves (Browse 145).There are errors in dating, exhibition history and titles which have been transposed however the provenance of both works is now clear.

The present work was first recorded in the collection of the well-known literary agent A.D.'Pete' Peters (1893-1973) in Browse's catalogue under the title Sweet Sultanas. At his death it passed to his long-time companion, a celebrated British film star of the 1930s, Margot Grahame (1911-1982). Sold at Christies on 12 March 1982, lot 145 as Sweet Sultanas and other flowers in a glass vase, the work was illustrated in the catalogue.

No record has been found of the work being exhibited prior to 1956. On stylistic grounds it can be dated to the early 1930s, probably around the time Nicholson painted Poppies and Pewter (Coll. Scottish National Gallery of Modern Art, Edinburgh). A.D.Peters also owned another Nicholson, Harbour in Snow, La Rochelle (Tate Collection), which had never been exhibited prior to the work entering his collection between 1939 and 1941. There are various possible links but since both collector and artist belonged to the Savile Club and it seems likely that Peters acquired the works directly from Nicholson (thereby saving them both the gallery commission).

There remains the problem of the title as none of these summer flowers appear to be sweet sultanas.  Sweet sultanas centurea moschata have cornflower-like heads; the red-pink flowers on the perimeter are the only possibility but they are thought to be sedum spectabile. On balance it seems reasonable to maintain the title under which the work was first seen in public in 1982 when it was sold at Christie's.