Julian Trevelyan, R.A.

The sheet appears sound. There is a pinhole in each of the upper corners of the sheet, thought to be in keeping with the artist's working method. There are a few creases and instances of slight wear and rubbing to the sheet and collaged elements in places. There is some lifting to some of the collaged elements in places, but otherwise they appear securely attached. There are some extremely fine lines of craquelure to the black ink in places, with one or two tiny possible specks of loss, visible upon extremely close inspection. There is some surface dirt and areas of discolouration to the work. The work is presented in a dark wooden frame, float mounted against a cream backing card and held behind 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 present work appears to borrow elements from the famous Harbour lithograph of 1945 which Trevelyan produced for the School Prints Scheme and which originated from Trevelyan's trip to Cornwall and the Isles of Scilly in 1945. Trevelyan was involved in a number of mural commissions for restaurants, schools, Charing Cross hospital and the Festival of Britain in 1951. Philip Trevelyan comments, 'they were mostly assembled from Julian's library of old images; industrial chimneys, lighthouses, harbours, black cats, beer and wine bottles' (Philip Trevelyan, Julian Trevelyan: Picture Language, Lund Humphries, Farnham, 2013, p.182).