JOAN KATHLEEN HARDING EARDLEY, R.S.A.
oil on board
25.5 by 26.5cm., 10 by 10½in.
Painted in 1961.
The board appreas to be in good conditon and providing a stable support. The work is in good overall condition. There are some areas of very fine craquelure in the upper right and lower left hand corners. Some surface dirt.
UV light inspection reveals no evidence of any retouhcing or restoration.
Held in a painted wooden frame with gold trim.
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.
Aitken Dott & Son, Edinburgh, where purchased by the present owner
Edinburgh, Aitken Dott & Son, Festival Exhibition, 1964, no.57
Joan Eardley first visited the small Aberdeenshire fishing village of Catterline in the early 1950s. Her friend, Annette Stephen, helped her buy her first cottage in the remote and peaceful village allowing her to spend some time away from the urban bustle of Glasgow. In 1954 Eardley moved to Catterline permanently and bought her own cottage which lacked many basic utilities. Catterline though provided Eardley with a powerful artistic stimulus and her works from this period are amongst some of the most expressive and experimental painting produced in Britain during this period.
The present work was painted in 1961 and depicts a small white-washed cottage which appears to almost dissolve into the stormy blue-grey sky. There are small punctuations of colour set against the grey, notably touches of cornflower blue, a hallmark of her Catterline paintings. Whilst Eardley often worked on a large scale during this period her smaller boards are both succinct and spontaneous and demonstrate the captivating quality of her brush work and handling.