Keith Vaughan

Peter Adam
Private Collection

Not examined out of the frame. The sheet appears to be attached to the backing card in several places, but does not appear to be laid down. There are a few very light handling marks to the sheet, but otherwise it appears sound. There is some slight rounding to the corners of the sheet at the upper and lower right corners. There is some discolouration to the sheet, most apparent to the upper and lower edges, and there are one or two tiny specks of foxing, only visible upon very close inspection. There are a few light specks of surface dirt. Subject to the above, the work appears to be in very good overall condition. The work is floated within a window mount and presented in a simple 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."

Drawing was an essential part of Vaughan’s creative process. While working at the Central School of Art (1948-58) and later at the Slade (1959 onwards) he made life-drawings, such as the present work, to assist in his teaching process. There were several exhibitions of his drawings during the 1960s: he exhibited some at the Biennale in Sao Paolo in 1963 and three further drawing exhibitions took place between 1967 and 1969 in London and Manchester. While teaching at the Slade (1959 onwards), Vaughan continued to make life-drawings with his students. Noel Barber noted that Vaughan “draws on the spot as an aid to concentrated observation. Even when he visits the National Gallery to look at an old master he takes a small sketch-book out of his pocket and makes diagrammatic memoranda. ‘How long can one look at a painting,’ he asks, ‘without one’s attention wandering to paintings nearby?’ And he himself answers, ‘About twenty seconds.’ Drawing memos enables one to look longer and more intensely. Likewise he paints nudes from memorised observation. Once or twice a month a model poses in his neat working-room…. The model’s appearance enters as it were the artist’s consciousness in the form of drawings.” (Noel Barber, Conversations with Painters, Collins, 1964).

We are grateful to Gerard Hastings for compiling these notes. His latest book, Awkward Artefacts: The ‘Erotic Fantasies’ of Keith Vaughan: 1940-1960, is published by Pagham Press in April.