William Scott, R.A.

Adrian Heath, and thence by descent to the present owner

Sarah Whitfield (ed.), William Scott Catalogue Raisonné of Oil Paintings Vol. 2, Thames and Hudson, London, 2013, cat. no.234, illustrated p.84.

Original canvas. The canvas undulates slightly in the lower left corner and in the centre, but otherwise appears sound. There are some light surface scratches, predominantly in the lower half of the work, most of which appear to be integral to the work. There is a very small pressure mark in the lower left quadrant. There are some very fine lines of craquelure to the green pigment, with one or two tiny flecks of associated loss and some minor lifting. There are one or two very small flecks of loss to the extreme edges of the canvas, only visible upon very close inspection. There is some very light surface dirt in places. Subject to the above, the work appears to be in very good overall condition. Ultraviolet light reveals some scattered flecks of retouching, which have been very sensitively executed. The work is float mounted and presented in a simple wooden box 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."

'The taut lines of his paintings refer sufficiently to objects to give an ominous evocative note to the minimal images, but not enough to impair the integrity of the canvas. By flattening form the picture plane is preserved as a continuous surface. Unlike Heath who elaborates paint sensuously and Hilton who is ascetic about it, Scott's paint skin is rich without being ornamental and space-making without being thin.' (Laurence Alloway, Nine Abstract Artists, Their Work and Theory, Alec Tiranti Ltd, London, 1954, p.12)