Lot 22
  • 22

John Maclauchlan Milne

Estimate
15,000 - 25,000 GBP
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Description

  • John Maclauchlan Milne
  • A French Market
  • signed l.l.: Maclauchlan Milne; titled on the reverse
  • oil on canvas board
  • 37.5 by 45.5cm., 14¼ by 18in.

Provenance

Purchased by Frank More of Edinburgh, probably in the 1930s, and thence by descent to the present owners

Condition

The board is very slightly bowed in the centre but otherwise is in sound order. Overall the work appears to be in good condition and clean and ready to hang. Ultraviolet light reveals very minor flecks of cosmetic retouchings in parts of the upper half and a few minor flecks in the foreground. Also a small spot of retouching near the centre of right edge. Held in a simple painted wooden frame.
"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

As a contemporary of the Colourists it is not surprising that Milne’s attention was caught by the allure of European Modernism and indeed, by the landscape of France itself. After time spent in Paris after the war, Milne was drawn to the incredible light and scenic opportunities of port towns along the Mediterranean, where he worked alongside S.J. Peploe and Duncan Grant. A French Market reflects Milne’s particular interest in the work of Cézanne, in both palette and composition. The new styles encountered by Milne in France would later be skilfully adapted to landscapes in the West of Scotland after considerable experimentation on the continent during the period 1919-1932, resulting in the pronouncement that he was conscious of being ‘at once a Scotsman and a European’.