Keith Vaughan

Acquired directly from the artist by Dr Patrick Woodcock
Sale, Christie's London, 4 June 2004, lot 52

The board is in good overall condition. The paint surface is intentionally uneven and textured and is in good overall condition. Examination under ultra-violet light reveals spots of retouching in the corners and along the edges of the board. Held behind glass in a painted rectilinear 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."

The present work is typical of the bold abstract style Vaughan developed in the 1950s. During that decade, he became particularly interested in the surrounding landscape and roughly half of his output during the 50s were landscape subjects. He travelled extensively around Great Britain, to Cornwall, around the Home Counties, Ireland and as far afield as Spain and to America in 1959, providing him with no shortage of inspirational subject matter.

Crucial to the development of Vaughan's mature abstract style was a visit to Mattiesen's Gallery in 1953 to see an exhibition of works by Nicholas de Staël. He was instantly captivated by de Staël's dynamic application of paint in bold impastoed strokes most likely applied with a palette knife. Vaughan developed this influence into his own unique visual language evident in the present work which captures both the natural underlying forms of the surrounding landscape as well as the mood and atmosphere of a Harbour with Grey Stone.