Ian Davenport

Ingleby Gallery, Edinburgh, where acquired by the present owner in September 2006

The aluminium is sound. There is a very light surface mark along the bottom left edge and a small nick to the lower left edge, in line with the lower mirror plate, with some minor paint loss ; otherwise the work is in good overall condition. Under ultraviolet light, there do not appear to be any signs of retouching. This work is unframed. 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."

Poured Lines: Primer is a striking example of Davenport's distinctive technique of pouring paint directly onto a chosen surface. Initially working on canvas, Davenport developed his method to incorporate other materials and has taken to using aluminium as his surface of choice. Moreover, rather than a paintbrush, he applies his paint with a syringe, as it is 'an incredibly precise instrument for controlling liquid' (Davenport, quoted in The Observer, Sunday 20 September 2009, p58). His arrival at this technique is the result of years of experimentation and watering cans and high powered fans have featured amongst his previous methods. Since his work earned him a Turner Prize nomination in 1991, Davenport has refined his idiosyncratic technique and developed a brighter, more vibrant palette, clearly evident in the present work and in large scale public commissions such as Poured Lines: Southwark Street (2006, permanent installation on Southwark Street Western Bridge, near Tate Modern, London). The source of inspiration for his colour combinations is as wide-ranging as his experiments with technique; 'I might lift a palette from an old painting, or, as I recently did, from the opening sequence of The Simpsons...' (Davenport, ibid.).