Laurence Stephen Lowry, R.A.

Acquired directly from Rev. Geoffrey S. Bennett by the previous owner
Private Collection

The sheet is fully laid down to a backing card, with pin holes and associated loss in the top and bottom left and bottom right corners. There is very minor, slight scuffing to the extreme edges of the card in the top right and left corners, not visible in the present frame. There are two vertical creases running down the extreme left and right edges. There is very minor surface dirt and slight staining to the sheet, including a fine line of time staining down the extreme left and right hand edge. This excepting the work appears in excellent overall condition, with fresh and strong charcoal throughout. Housed behind glass in a thick dark wood frame. Please telephone the department on +44 (0) 207 293 6424 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."

In Large Figure Group humanity confronts the viewer in all its hilarity and ungainliness. Fourteen awkward figures, from the beady-eyed to the cross-eyed, from the wizened to the sprightly, and from the lanky to the squat, are arranged into two fairly balanced rows. Despite the implied orderliness of this frieze-like composition, Lowry’s drawing is abuzz with movement - some men appear to be lurching onto the page while others are slouching off the scene; one old man trembles with trepidation while another man bursts with irritation. Each character is unique in their grotesqueness and independent in action and yet there is an undeniable sense of cohesiveness, as if mankind’s multitude of imperfections were also our single most unifying force.

Each foible and flaw is captured with velvety, elegant lines and is a testament to Lowry’s mastery of pencil and charcoal. Texture, shade, and depth are implied with smudges and highlights, not through shadow or setting. The only backdrop for Lowry’s band of motley figures is the creamy page and here, as in the majority of his drawings, the white space is as important as the rich, smoky lines and hazy shading. Lowry has been praised for creating an orchestra with his pencil and in Large Figure Group the viewer is presented with an exemplary toccata, displaying his virtuosity in gently mocking life’s crudeness and absurdity.

Lowry was particularly fascinated with the inherent sadness and loneliness of human life and often reflected on this in his drawings with cool detachment. Large Figure Group, sketched in 1955, the year Lowry became an associate of the Royal Academy, captures the artist at the height of his artistic prowess and curiosity with the human condition.