John Piper

Spink, London, where acquired by the present owner 2nd April 1997

Durham, Grey College, University of Durham, John Piper: A Retrospective, 29th April - 15th May 1999, cat. no.21, illustrated p.11.

The sheet is sound, is not laid down but is attached to the backing in the upper corners. The right edge is deckled and the other edges are inherently uneven; this is not visible in the cureent mount. There are some very minor patterns of craquelure in the bright orange pigment near the right edge and some very minor paint separation to tiny isolated areas on the facing wall of the large building, centre-right, with one possible tiny fleck of paint loss to a spot of brown impasto near the roof. There are a few spots of possible foxing in the sky in the upper left quadrant. The sheet is very slightly discoloured, but otherwise the work appears in good original condition. Contained in a dark stained wood frame with a cream mount under glass. 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."

Higher Mill, Rawtenstall is interesting for two reasons; firstly the subject matter, and secondly, Piper is now using a much more colorful palette. Piper rarely painted in Lancashire and tended to avoid industrial scenery, but here he is recording a visit to David Whitehead Ltd, a textile mill, whose director John Murray, an architect, was a friend of Piper's. Textile designs were commissioned from outside designers and artists, such as Terence Conran and Piper. The wider use of colours coincides with Piper's first experiments with designing for stained glass. The fronts of the buildings are variously described including a mottled effect for one block, showing that Piper was, even here, keen to explore and depict the nature of architectural subject matter.