Derek Hill

STRUCTURE Original canvas in good overall condition. PAINT SURFACE The paint surface is in good overall condition. ULTRAVIOLET UV light reveals no sign of retouching. FRAME Held in a gilded wooden frame.
"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."

Derek Hill was educated at Marlborough College and then studied stage design in Munich, Paris and Vienna between 1933 and 1935. He began a career as a stage designer when he designed the sets and costumes for the ballet, The Lord of Burleigh, at Sadler's Wells in 1937. Later he devoted himself to painting, living for a period in Paris. Hill combined stage designing, painting and exhibition organisation. In 1943 he had his first solo show at Nicholson Gallery; he designed sets for Il Trovatore at Covent Garden in 1947, organised the Degas exhibition at the Edinburgh Festival in 1952, and was art director of the British School in Rome in the periods 1953 to 1954 and 1957 to 1958. Beyond this Hill painted portraits, such as this one, adopting the eighteenth century conversation piece to achieve the relaxed, informal atmosphere that characterises his work. He painted Sir David and Lady Scott in the sitting room of the Dower House (Fig 1). In the foreground Lady Scott is caught scribbling a note to herself whilst Sir David turns to the viewer. the setting is a corner of the sitting room at the Dower House with Etty's Portrait of Eliza Cook hanging to the right. The faded, peeling, patched wall is brilliantly caught.