拍品 59
  • 59

PATRICK HENNESSY | Eros en Grece

估價
12,000 - 18,000 GBP
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招標截止

描述

  • Patrick Hennessy
  • Eros en Grece
  • signed l.r.: Hennessy; inscribed, numbered P.H.233, dated 1980 and titled on the reverse
  • oil on canvas
  • 61 by 96.5cm., 24 by 38in.

來源

The Robertson Craig Collection;
Christie's, London, 10 July 1986, lot 8, where purchased by the present owners

Condition

Original canvas, undulates slightly in the upper corners. A surface abrasion near centre of lower edge and some minor ones in upper left corner. Also two abrasions in the white fold of table cloth near upper right corner. There appear to be a few minor spots of retouching to the left of the fruit bowl. Held in a gilt wood frame.
"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."

拍品資料及來源

The present work belonged to Hennessy's partner Henry Robertson Craig and is recorded in Craig's journal as the first entry of his collection (made after Patrick died). It was painted in Portugal after Hennessy and Craig were forced to leave their home in Tangier and made in the last year of his life (he died in December 1980 in London). 'Éros en Gréce' was a book that Hennessy owned which discussed sexuality and the erotic in ancient Greek art in a scholarly manner, but would have been thought ‘unsuitable reading’ by more conservative types. As such, its inclusion here represents a subtle undermining of the conventional content of a still life painting. It was probably intended for the Guildhall Gallery in Chicago but that exhibition did not happen due to his untimely death.

We are grateful for Sean Kissane for his assistance with the cataloguing of the present work.