Lot 101
  • 101

David Jones

Estimate
5,000 - 7,000 GBP
Log in to view results
bidding is closed

Description

  • David Jones
  • Crucifixion
  • pencil and watercolour
  • 23.5 by 16.5cm.; 9¼ by 6½in.
  • Executed circa 1922.

Provenance

The Artist's family
Sale, Sotheby's London, 10th May 1989, lot 96
Sale, Christie's London, 23rd March 1995, lot 170, where acquired by David Bowie

Condition

The sheet appears to be laid down, at least around the edges. The sheet undulates slightly in places, but otherwise appears sound. The right edge of the sheet is slightly unevenly cut, thought to be in keeping with the artist's materials. There is a small loss to the sheet at the lower right corner. There are some very small spots of foxing and some surface dirt and staining to the sheet. Subject to the above, the work appears to be in good overall condition. Not examined out of the frame. The work is floated within a window mount and presented in a simple wooden frame, held under glass.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."

Catalogue Note

‘What concerns [David Jones] is the universal thing showing through the particular thing, and as a painter it is this showing through that he endeavors to capture.’

(Eric Gill, Eric Gill: Last Essays, Jonathan Cape, London, 1942, p.151-2)