Lot 40
  • 40

Sir Cedric Morris

Estimate
10,000 - 15,000 GBP
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Description

  • Sir Cedric Morris
  • flowers
  • signed and dated 1923
  • oil on canvas
  • 82 by 65.5cm.; 32¼ by 25¾in.

Provenance

The Adams Gallery, London
Probably purchased by the previous owner from Blond Fine Art, London in 1979 and thence by descent

Condition

The canvas is in good original condition. There are tiny spots of craquelure in infrequent places across the paint surface. Otherwise the impasto is thick and the paint surface is in good overall condition. There is no sign of retouching under ultra-violet light. Held in a painted composition frame. 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.
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 present work belongs to a small group of flower paintings that date to around 1923 which are quite remarkable in their presentation. The perfectly respectable flower still life was a mainstay of even the most conservative artistic establishment at the time, yet Morris' exuberant use of paint and apparently haphazard composition manages to achieve a sense of reality that is substantially divorced from the aims of the more conventional flower painter. Indeed, this ability to achieve an end that was unmistakeably 'like' without resorting to overwhelming pictorial detail was a hallmark of Morris' painting throughout his career, whether his subject be portrait, landscape or still-life.