Samuel John Peploe, R.S.A.

Aitken Dott, Edinburgh;
Duncan R. Miller, London;
Private Collection;
Christie's, Edinburgh, 26 October 2006, lot 188;
Private Collection

The canvas is sound. There are some very fine and isolated areas of craquelure in all four quadrants. Otherwise the paint surface is stable and in good overall condition. Under ultraviolet light, there is some retouching across the upper left edge and some infilling to the above mentioned craquelure. Held in a gilt plaster frame under glass. Please telephone the department on 020 7293 6132 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."

Within Peploe's catalogue of works, his still lifes are arguably the most celebrated. In these vibrant and dynamic compositions, the full force of Peploe's control, vision and finesse as an artist is felt. Peploe held still life in the highest regard; they were paintings requiring a considered intellectual effort allied to a delicate touch and a sure sense of colour and pattern. For Peploe, they were to be approached in an analytical manner and were thus well suited to his meticulous temperament. This measured and purposeful approach is clear to see in the balance and harmony of Still Life of Fruit. A sense of rhythm is achieved in the broad, colourful and contrasting brushstrokes that lead the eye across the surface. Heavy lines encircle the fruit and bowl and boldly delineate the folds of the drapes. These lines and the flattened picture space create contrasting planes which add dynamism to the composition. In so doing, we see the enjoyment Peploe gains in exploring the juxtaposition of objects and their effects. In a letter to an artist friend Peploe wrote: 'There is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, and their relation – I can never see mystery coming to an end' (Stanley Cursiter, Peploe: An Intimate Memoir of an Artist and of His Work, 1947, p. 73).