Lot 127
  • 127

Keith Vaughan

Estimate
40,000 - 60,000 GBP
Sold
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Description

  • Keith Vaughan
  • Two Figures (Damson)
  • signed, titled, dated 1966 and inscribed on the reverse
  • oil on canvas
  • 102 by 91.5cm.; 40 by 36in.

Provenance

Marlborough Fine Art, London
Brian Bedford
Austin/Desmond Fine Art, London, where acquired by Professor John Ball
The Hargreaves and Ball Trust

Exhibited

London, Marlborough Fine Art, Keith Vaughan: New Paintings, 1968, cat. no.13;
Hamburg, Kunstverein, Britische Kunts Heute, 30th March - 12th May 1968, cat. no.68;
London, Austin/Desmond Fine Art, Keith Vaughan, 21st November - 19th December 1989, cat. no.94, illustrated p.30; 
London, Olympia Fine Art and Antiques Fair, Keith Vaughan: Paintings and Drawings, 26th February - 3rd March 2002, cat. no.KV 457;
Bath, Victoria Art Gallery, Keith Vaughan: Figure and Landscape, 3rd February - 25th March 2007, cat. no.34, illustrated p.36;
Bath, Anthony Hepworth, The Hargreaves and Ball Trust: Selected Works, 2010, illustrated. 

Literature

Anthony Hepworth and Ian Massey, Keith Vaughan: The Mature Oils 1946-1977, a Commentary and Catalogue Raisonné, Sansom & Company Ltd, Bristol, 2012, cat. no.AH472, illustrated p.166;
Philip Vann and Gerard Hastings, Keith Vaughan, Lund Humphries in association with Osborne Samuel Limited, Farnham, 2012, illustrated p.18.

Catalogue Note

We are grateful to Gerard Hastings for his kind assistance with the cataloguing of the present work, and preparing the below essay.

In Two Figures (Damson) tilted heads, pink, fleshy torsos and outstretched limbs are set off against a darkened background, while accents of neutralized sap green subtly harmonize the effect. Vaughan has brought the male subjects into a harmonious coalescence, whereby the two figures interpenetrate one another to such a degree that it is difficult to disentangle them. Prunella Clough – perhaps Vaughan’s closest friend – discussed this particular painting at length with Professor John Ball and Dr. Gordon Hargreaves while it was in their collection. She pointed out that it was primarily for formal reasons that Vaughan represented his figures reaching out to the edges of the canvas, saying it locked them in and held them tightly within the confines of the composition ‘just like guy ropes’. This, of course, is one of Vaughan’s characteristic compositional habits. Having initially worked the image up to, what he first thought was, a satisfactory stage, Vaughan returned to it two years later to reconsider these formal considerations. According to Clough, he was much pleased at having resolved his early apprehensions in this final version.

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