Winifred Nicholson

Leicester Galleries, London, where acquired by Mrs Eric Kennington, July 1936
Sale, Phillips London, 17th July 2001, lot 70
Julian Lax, London, where acquired by the present owner in September 2003

London, Leicester Galleries, Winifred Nicholson, July 1936, cat. no.27.

Christopher Andreae, Winifred Nicholson, Lund Humphries, Farnham, 2009, p.19, illustrated pl.12 (as Vases from Brittany, 1975).

The board is sound. There is a faint repair mark near the upper left corner which appears to be the result of an impact from the reverse. There are lines of craquelure around this repair mark and in other isolated spots in the white pigment in the left half of the painting. There are one or two marks of surface matter in places across the surface. Otherwise the work appears in good overall condition. Ultraviolet light reveals small isolated areas of retouching along each edge and infrequent scattered flecks across the surface, mostly in the upper half. There is a small area of retouching which corresponds to the above mentioned repair. Held in a cream coloured wood frame. Please telephone the department on 0207 293 6424 if you have any questions about 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."

Winifred Nicholson was drawn to the theme of flowers throughout her career. She became entranced by the subject in the early 1920s, while living with her husband Ben in Lugano, Switzerland. By the time the present work was likely painted, Winifred and Ben were separated and they eventually divorced in 1938. They remained in touch throughout the remainder of their lives, frequently supporting and critiquing each others work.