Lot 247
  • 247

Sir Robin Philipson, R.A., P.R.S.A., R.S.W.

Estimate
20,000 - 30,000 GBP
bidding is closed

Description

  • Sir Robin Philipson, R.A., P.R.S.A., R.S.W.
  • Mexican Retable
  • signed l.r.: R. Philipson
  • watercolour with bodycolour
  • 132 by 78cm., 52 by 30¾in.

Provenance

Aitken Dott & Son, Edinburgh, 1969;
Roland, Browse & Delbanco, where purchased in 1970 by the present owner

Exhibited

Edinburgh College of Art, Robin Philipson Retrospective, 1989, no.68;
London, Browse & Darby, Sir Robin Philipson, 1993, no.10;
Edinburgh, National Galleries of Scotland, Sir Robin Philipson, 1999, no.48

Literature

Victoria Keller, Robin Philipson 1912-1992, National Galleries of Scotland, 1999;
Bill Smith and Selina Skipwith, A History of Scottish Art: The Fleming Collection, 2003

Condition

The sheet appears to be sound, laid on card, and in good overall condition. Held under glass in a gilt wood frame with a linen inset; unexamined out of frame. Clean and ready to hang.
"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."

Catalogue Note

In the summer of 1963 Philipson travelled to the University of Colorado at Boulder to act as ‘visiting artist’. He became interested in American Indian culture and made a trip to New Mexico during which the mission churches in some of the villages, built very simply of mud (adobe) or logs and grass, left a strong impression on him: ‘the altar ... had no gold, only yellow paint and simple, modest drawing, but it was majestic, magnificent.’ Over the following years he sought to recreate the primitive dignity of such churches in a whole series of Mexican altarpieces and interiors, using different colours and media to capture their extraordinary grandeur.