Lot 144
  • 144

Patrick Heron

Estimate
40,000 - 60,000 GBP
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Description

  • Patrick Heron
  • Untitled (Still Life)
  • signed and dated 47; also signed and dated 1947 on the reverse
  • oil on canvas
  • 31.5 by 63.5cm.; 12½ by 25in.

Provenance

Sale, Sotheby's London, 1st December 1999, lot 52
David Messum, London
Sale, Sotheby's London, 26th May 2010, lot 56 where acquired by the present owner

Condition

Unexamined out of frame. The canvas appears to be original and sound. There are some spots of paint loss around the edges of the work, predominantly along the right edge. There are areas of reticulation scattered across the work including to the yellow, burgundy and black pigments. There is some light surface dirt to the work. Subject to the above the work is in overall very good condition. Inspection under ultra violet light reveals some small flecks of retouching apparent along the upper edge. The work is float mounted and held behind glass in a simple wooden frame. 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."

Catalogue Note

‘[In] all good visual art, however representational, what primarily and most immediately affects us is an underlying harmony of form and colour, a visual music of which the component notes and phrases are indeed abstract. It is by the very different quality of their underlying abstract rhythms, rather than by differences of subject, that we distinguish the great painters, one from another…’

(Patrick Heron, 'London - Paris', New Statesman and Nation, 25th March 1950, reproduced in Viven Knight (ed.), Patrick Heron, Lund Humphries, London, 1988, p.23.)