Edward Brian Seago, R.W.S.

STRUCTURE Original canvas. There is craquelure to the sky and some localised spots to the field. The paint surface is dirty and may benefit from a light clean, otherwise in good overall condition with a rich impastoed surface. ULTRAVIOLET LIGHT UV light reveals no apparent signs of retouching. FRAME Held in a gilt plaster frame.
"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."

'Red-roofed farmsteads, too, shone under the sun for a moment like precious jewels, blazed and went out again.' (Edward Seago, Peace in War, 1943, p.16)

Although Seago was widely-travelled he is probably best-known for his paintings of East Anglia. The sweeping vistas of Norfolk and Suffolk were a great inspiration to him and he painted innumerable views under different weather conditions. This large painting of the red-roofed cottages of the Norfolk village of Brancaster, is typical of Seago's compositions, with the dramatic cloudy sky and the fields in the foreground sloping down to an expansive view of the sea looking towards the horizon. A description given in James W. Reid's book could be applied to this painting; 'a cloudy sky above a vast stretch of grey sea or river acquires a totally different physionomy in a Seago painting when sunlight suddenly breaks through to illuminate segments of cloud and send shimmering gleams of silver shafting across the water.' (James W. Reid, Edward Seago, The Landscape Art, 1991, p.161)