Edward Seago, R.W.S.

Laing Galleries, Toronto

STRUCTURE The board is sound. There is some matter attached tot he surface of the board at the centre of the extreme edge which could be intrinsic to the work. The is a discoloured varnish and dirt to the surface of the work which would benefit from a light clean. Otherwise in good original condition. UNDER ULTRAVIOLET LIGHT There are no visible signs of retouching. FRAME Held in a decorative composite frame in fair 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."

Seago made several trips to France between 1951 and 1967 on board his boat Capricorn, exploring the French countryside on his journey up the Seine from Channel coast to Paris. 'Long before I ever went to France I wanted to journey up the Seine... preferably in my own boat' he wrote (James W. Reid, Edward Seago, The Landscape Art, 1991, p. 179). He particularly liked to paint the Seine barges and made them the subject of several works including The Lock at Amfreville and Barges on the Seine. Seago made friends with the bargemen who allowed him to moor the Capricorn beside them while he painted and he developed a fascination with the blue and white painted hulls and their reflections in the water. 'The river's mood seemed to inspire the artist to use livelier brushstrokes, a freer style and a palette of heightened intensity marked by a greater emphasis on pure colour.' (ibid Reid, p. 185)

Méricourt lies approximately halfway between the coast and Paris and in the present picture Seago delighted in painting the water traffic of the busy river, with the barges lined along it banks. Like the French Impressionists, he found much inspiration in these industrialised suburbs. When describing the river at the villages of Poses and Amfreville, the description could equally apply to the pictures he painted at Méricourt, 'For a long way the narrow path ran by a smooth grass bank where a string of barges gathered every evening after the lock had closed. Away from the river stretched the water meadows where cattle grazed.' (ibid Reid, p.184)