Bryan Ingham

The Estate of the Artist

Not examined out of the frame. There is some slight lifting to some of the collaged elements in places, but otherwise the elements all appear sound and securely attached. There is some inherent wear, creases, tears, scuffs, scratches, dirt and detritus to the collaged and found objects, including rust to the metal elements and cracks to the glass elements, all of which are thought to be in keeping with the Artist's materials. There is a tear to one of the paper collaged elements at the left side of the upper edge. There are some minor instances of reticulation to the paint in one or two places, and there are some instances of craquelure in places, with some associated possible losses. There is some surface dirt, studio detritus, and scuffs to the work in places. Subject to the above, the work appears to be in very good overall condition. Ultraviolet light reveals no obvious signs of fluorescence or retouching. The work is float mounted and presented in the Artist's painted black wooden 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."

'Bryan Ingham's work in painting and collage – often combined – was thus marked by diversities of surface, by the overlap and juxtaposition of purely abstract elements of colour, texture and shape, with hints and intimations of actual objects, forms and figures. Ingham was preternaturally sensitive to objects, places and atmospheres: his collages were created out of expressive bits and pieces he found in the diverse worlds he inhabited with such vivid intensity of attention: Helston and the Lizard; the artists’ colony in Worpswede in Germany; Tuscany and Spain. They have the dislocated reality of memories and dreams.'
Michael Bird