Mary Fedden, R.A.

Original canvas. The canvas is slightly loose on the stretcher, and undulates very slightly in places, but otherwise appears sound. There is a pressure mark towards the left side of the lower horizontal edge, with a small associated scuff and loss, and there are a couple of further very small flecks of loss along the lower horizontal edge. There are some fine lines of craquelure apparent to the light purple pigment along the lower left vertical edge, with some further very fine lines visible in one or two spots. There are a couple of small scuffs towards the upper right vertical edge, with some small flecks of paint loss visible just above them in the diamond patterned area, with one or two further losses and scuffs visible elsewhere. There is some surface dirt across the work, and some speckles of studio detritus and mould apparent to the green pigments of the figure's clothing. Subject to the above, the work appears to be in good overall condition. Ultraviolet light reveals a small spot of fluorescence and probable retouching to the sitter's left foot and to the centre of the left edge, and one or two further minor signs of fluorescence elsewhere, probably in keeping with the Artist's materials. The work is presented in a simple wooden 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."

'Immediately after the war, I was painting rather heavy still lifes and flower paintings, and although I was to be influenced by Matisse and Braque, it was Julian Trevelyan who really changed the direction of my painting' (Mary Fedden, quoted in The Artist, March 1955, p.11).

Mary Fedden first came across Julian Trevelyan when she was still at the Slade: ' ... And I saw this great, six foot four man, coming up the Path with Polunin, who was very small. And I thought he looked wonderful. I rushed down to the porter, who was everybody's friend, and I said, "Connell, who is that man with Polunin?" He said, "Oh, he's Julian Trevelyan." And I said, "I am going to marry him!" ... Connell said "Bad luck, old girl, he's just got married." And I said, "Oh well, I'm only twenty, never mind!"' (Mary Fedden, quoted in Mel Gooding, Mary Fedden, Scholar Press, Aldershot, 1995, p.87). She was to help out with the catering at various parties at the Wharf and became close friends with both Ursula and Julian. When Ursula and Julian's marriage came to an end, Mary took Julian on holiday to Sicily where they fell in love: 'It was absolutely magical. It was the most wonderful thing that ever happened to me ... It was marvellous. And Julian was so happy. And so was I!' (ibid., p.91). On returning from Sicily, Mary moved into the Wharf and married Julian in 1951. They were to be close companions until Julian died in 1988. The present early and intimate portrait of Julian, painted four years after their marriage, captures his arresting gaze and the domestic bliss of their relationship together, complete with their cat which sits contentedly on Julian's knee.