Sir William Nicholson

Redfern Gallery, London, where acquired by Charles B. Cochran, 1943, and thence by descent to Lady Cochran
Browse & Darby, London
James Kirkman Ltd, London
Reginald Field Glazebrook
His sale, Sotheby's Brynbella, 2nd June 1994, lot 355 (as Chrysanthemums in a Blue Jug)
Private Collection, U.K.

London, Redfern Gallery, 1943, cat. no.132 (as Chrysanthemums in a Blue Jug).

Lillian Browse, William Nicholson, Rupert Hart-Davis, London, 1956, cat. no.377 (as Chrysanthemums in Blue Jug, dated circa 1925);
Andrew Nicholson (ed.), William Nicholson, Painter: Paintings, Woodcuts, Writings, Photographs, de la Mare Publishers Limited, London, 1996, p.207, illustrated (as Chrysanthemums in a Blue Jug);
Patricia Reed, William Nicholson, Catalogue Raisonné of the Oil Paintings, Modern Art Press, London, 2011, cat. no.582, p.462, illustrated.

The canvasboard is very slightly bowed, but appears sound. The varnish layer is slightly discoloured and there is some light surface dirt to the work, with one or two small spots of surface matter. Subject to the above, the work appears to be in good overall condition. Inspection under ultra violet light reveals some areas of retouching to the background, and a line of retouching to the handle of the jug. The work is held in a simple gilt wood frame. Please telephone the department on (+44) 0207 293 6424 if you have any further questions regarding the present lot.
"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."

Petunias and Chrysanthemums in a Mocha Jug exemplifies the dynamic treatment of the still life subject that Nicholson had developed during the early decades of the 20^th Century. The intricate interplay between the fluid bold impasto and the vivid and contrasting rich tones of the present work has become a defining characteristic of Nicholson's mature style.

Nicholson had always been fascinated by the play of light and shadow and, in particular, by the multifarious effects generated by the reflection and refraction of light caused by differing material properties. In Petunias and Chrysanthemums in a Mocha Jug, the dense yet delicate foliage of the bouquet is arranged to both counter-balance the shape of the jug and plate but also to contrast with the distinctive reflective properties of the glazed ceramic. The glistening qualities of the glaze undoubtedly provided an added dimension for Nicholson; the light caught the curves of the jug in a more interesting fashion allowing Nicholson multiple opportunities to show off his confident handling by capturing the highlights with simple yet bold strokes of impasto.

Nicholson had a particular eye for intriguing objects and his obsession with composing and creating the perfect still life provided a very necessary antidote to his hectic life as a fashionable society portraitist. Mocha decorated pottery, like the jug in the present work, was a form of utilitarian earthenware with coloured slip bands produced in the late 18^th, 19^th and early 20^th Centuries, which incorporated a tree-like form resembling the natural geological shapes to be found on moss agate stone, known as ‘mocha’ stone. Mochaware was a particular favourite in the Nicholson family and William’s son Ben also had his own collection with similar jugs, which feature in works such as 1911 (striped jug) (destroyed) and 1929 (still life with jugs and mugs) (Private Collection). Like all of William Nicholson’s works in this genre, whilst it appears at first to be quite spontaneous and informal, in reality, Nicholson was very careful in his consideration of each composition, with the choice of objects and textures balancing each other supremely well. The jug and plate are carefully positioned slightly off centre towards the right of the composition and this is discreetly offset by the position of the flowers and their shadows on the opposite side, resulting in a sophisticated simplicity that demonstrates Nicholson at his best.