GRAHAM SUTHERLAND, O.M. | Final Study for Dark Entrance

Private Collection, UK
Sale, Sotheby's Olympia, 26th February 2003, lot 266, (as The Birdcage) where acquired by the present owners

The canvas has been lined and the canvas weave is uneven, most evident in the upper third of the work. There is a pinhead sized dent to the work towards the left edge in the lowest black semi-circular element. There is a layer of glossy varnish to the work and light surface dirt with a few instances of surface detritus. The varnish makes a clear reading under ultraviolet light difficult, however, there appear a couple of very small instances of fluorescence and possible retouching to the right hand edge. The work is housed in a painted canvas slip and in a stained 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."

The present work is a study for Dark Entrance (1959), which was exhibited at Paul Rosenberg, New York and seen by Kenneth Clark, who wrote to Sutherland on 14^th  November: 'I am back from New York and saw your pictures at Rosenbergs, and they looked magnificent. Everyone who had seen them was enthusiastic, including Duncan Phillips, who showed signs of buying the melancholy bird'. The painting was, in fact, purchased by Duncan Philips and currently resides in the Philips Collection, Washington D.C. The subject, a heron by the entrance to an abandoned shed for gondolas, is inspired by Sutherland’s trips to Venice, which began in the summer of 1950, and continued in the summer months for the remainder of his life.