Julian Trevelyan, R.A. and Mary Fedden, R.A.

Not examined out of the frame. The work consists of two sheets which have been laid on two pieces of card, joined together in the centre. The edges of the sheets are uneven, in keeping with the artists' technique. The sheets undulate slightly, most apparent at the central join and at the right edge, and there is also some lifting to the sheet at the lower right corner and right edge. There is a diagonal crease to the left sheet at the upper centre. There is a spot of craquelure to the sea and to the bird on the left hand sheet. There are a few scattered spots of light foxing to the sheets and some general minor dirt and studio detritus. Subject to the above the work appears to be in very good overall condition, with strong, vivid colours throughout. The work is float mounted and presented in a painted wooden frame, held behind glass. Please contact 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."

This work is a collaboration between Fedden and Trevelyan as a proposed mural commission for Bristol, the city in which Mary lived for many years and with which she had life-long connections. The design celebrates Bristol's traditional association with maritime trade and its role as England's second most important port in the Elizabethan age. Mary assisted with the figures and costumes and the design reflects Mary's experience as a costume and stage set designer. 

The famous 'Procession Portrait' of Elizabeth I, by an unknown artist and now hanging in Sherborne Castle, Dorset, is here reconfigured in playful, bold colours, stressing the city's strong link with 'Gloriana', as Elizabeth came to be known after the defeat of the Spanish Armada in 1587. Bristol, famously, was also a point of departure for many mercantile expeditions to develop trade with Spain and its American colonies, reflected here in the sailors mapping out their voyage and in the tall-sailed galleons setting off on a journey. The date of the proposed commission, 1953, is perhaps of further significance as this was the year of Elizabeth II's coronation. This work very clearly aligns Bristol with an Elizabethan past, especially through the roughly centralised title 'Gloriana'. The festive, celebratory choir and players make the mural not only a celebration of Bristol, but of Bristol's links to Elizabeth in the year of her namesake's coronation.