signed and dated 1968 (lower right)
oil on canvas
81 by 111cm., 31¾ by 43¾in.
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Structure: Canvas appears to be original and stable.
Surface: Appears to be in very good condition.
UV Light: Inspection under UV light reveals some uneven fluorescence, indicating areas of possible retouching, particularly within the right hand side of the work.
Summary: Overall, the work appears to be in very good condition.
Please note this work is framed
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The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
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London, Museum of London, Uzo Egonu's London, 23 September 2004-9 January 2005
London, Guildhall Art Gallery, Architecture of London, 31 May 2019–1 December 2019
Olu Oguibe, Uzo Egonu: An African Artist in the West, Seattle, 1995, illustrated p. 113
Eddie Chambers, Black Artists in British Art: A History from 1950 to the Present, London, 2014, illustrated p. 59, 60
Olu Oguibe, The Culture Game, 2004, illustrated p. 67
Kwesi Owusu, Black British Culture and Society: A Text Reader, 2000, p. 553
London played a principal role in the subject matter of Uzo Egonu’s work. Through his artwork, the artist depicted many facets of the city with particular focus on landmarks and monuments such as St Paul’s Cathedral, Westminster Abbey and Piccadilly Circus. Egonu’s work incorporates an arresting colour palette of vibrant, bold hues within a fusion of abstract, caricature and photo-realistic styles.
Trafalgar Square is emblematic of Egonu’s ‘Landmark’ series, presenting a kaleidoscopic vision of London through both a humorous and emotional lens. The image depicts Nelsons column, the central fountain at Trafalgar square, comprised of mermaids and dolphins, around which buses, and traffic swirl. Egonu depicts a birds-eye view of the lively and restless permeated with culture.
The Landmark Series was pivotal for Egonu. The artist’s work harmoniously combines aesthetic traditions of both the West and Africa, reshaping the definition of Modernist art. Trafalgar Square exemplifies these stylistic components and echoes the Cubist movement, Nigerian ornamentation and 1960s British pop-art, all of which greatly inspired Egonu's work.