Edward Burra

Lefevre Gallery, London
Sale, Christie's, London, 8 November 1985, lot 258, whence purchased by the present owners

There is a 2cm. tear at the top edge, just to the left of the centre point. Otherwise the sheet appears to be in beautiful original condition. The colours remain fresh and vibrant throughout. Presented behind glass in a characteristic gilt wood frame in good sound condition. Ready for the wall.
"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."

In a departure from pure figurative work, Burra's turned to still life and flower painting in the 1950s. These often large and lavish compositions demonstrate an incredible aptitude for imbuing his paintings with the eccentric vision so typical of his work. Filling the picture plane with luminous colour, Burra shows a remarkable ability to evoke the individual characteristics of his subjects without having to revert to an overly realistic manner. 

Although Burra was steadfastly urban in his youth, as he got older he found that he became more and more interested in the countryside and at this time he was making frequent visits with his sister Anne. This dislike of modernity begins to become more pronounced in the paintings of the early 60s where vehicles and roads are often depicted with suspicion if not outright antagonism.

The present work is simple in the extreme, using few colours and apparently informal composition. However, the artist provides wonderful contrast between the hard and shiny surface of the pot in which the laurel branches are presented and the waxy and reflective leaves of the plant.