Lot 44
  • 44

Samuel John Peploe, R.S.A.

Estimate
25,000 - 35,000 GBP
bidding is closed

Description

  • Samuel John Peploe, R.S.A.
  • Dean Village, Edinburgh
  • signed l.r.: Peploe; titled and signed on the reverse: Dean Village/ Edinburgh/ Peploe
  • oil on board
  • 24 by 16cm., 9½ by 6¼in.

Provenance

Ian MacNicol, Glasgow;
The Hon. James Bruce, thence by descent

Exhibited

Edinburgh, Aitken Dott & Son, Peploe Exhibition, 1947, no.39

Condition

The board appears sound, slightly bowed. One or two minor surface abrasions visible upon close inspection; otherwise the work appears in good overall condition. Utraviolet light reveals some flecks or retouching in the sky. Held in a gilt plaster frame with a canvas inset.
"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

The Colourists painted remarkably few pictures of Edinburgh and the present work is a rare example from Peploe's early period when he was living in a rather gloomy studio at 7 Devon Place close to Haymarket Station. Dean Village, Edinburgh was painted only a few streets away from Peploe's studio and the house where he was born. Painted c.1902, it is reminiscent of the small, freely-painted Impressionistic pictures of Barra, Comrie and North Berwick made by Peploe around the same time. The picture shows the backs of houses, looking up from Leith Water towards Dean Parish Church from Hawthornbank Lane with washing fluttering on a clothes-line in the foreground. It is this choice to depict a less obvious view than the post-card images of Edinburgh that has been noted in his pictures from this period; 'Peploe was never attracted to the obvious subject, seeing the selection of what to paint as a vital part of the creative act, often preferring the town to the profusion of nature...' (Guy Peploe, S.J. Peploe, 2012, p.40)