William Scott, R.A.

Martha Jackson Gallery, New York, purchased from the artist in 1972
John Ems, New York, purchased 1973
Sale, Sotheby's, New York, 3rd May 1985, lot 184

London, Tate Gallery, William Scott,: Paintings Drawings and Gouaches 1938-1971, 19 April - 29 May 1972, no.117, illustrated in the catalogue;
New York, Martha Jackson Gallery, John Hultberg and William Scott Paintings and Drawings, 29 September-27 October 1979.

The canvas is unlined. It is slightly loose on its stretcher and in the lower part, shows some signs of pressure having been applied to the canvas from the reverse: there are two horizontal scratches lower left just above the faint stretcher mark, while in the lower right quadrant three further scratches and small indentations are visible. The work would undoubtedly benefit from a restretch to minimise these areas. The paint surface is marked by a scattering of faint, pale blue spots - these may have occurred in the artist's studio. The surface otherwise appears to be in lovely original condition and stable throughout. However the work would undoubtedly benefit from a professional clean to remove accumulated surface dirt. Inspection under UV light does not reveal any later retouchings. Presented unglazed in a simple wooden baton frame in good condition. Please note that the blue is slightly more saturated than it appears in the catalogue photograph and the black pan more consistent in tone.
"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."

This work is registered in the William Scott Archive as no. 208.
Sarah Whitfield is currently preparing the Catalogue Raisonné of works in oil by William Scott.  The William Scott Foundation would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue or in future projected catalogues.  Please write to Sarah Whitfield c/o Sotheby's, 20th Century British Art Department, 34-35 New Bond Street, London W1A 2AA.

In contrast to the intense blue colour that characterised Scott's series of Berlin Blues in the mid 1960s (see lots 10 and 138), the 'pale blue' tones of the present work achieve a more serene effect.  In tune with the pared down palette, the forms in the present work have been reduced to their most fundamental states and offer an apt comparison to the cluttered exuberence of large scale canvases of the previous decade such as Berlin Blues I (1965, Coll. Bank of Ireland Group).  Above all, the prominent black shape of the long-handled frying pan resumes its place dominating the composition having been conspicuously absent from the artist's work from the mid 60s whilst he was living and working in Berlin.  Indeed, the pan has become one of the most recognisable leitmotifs of Scott's dynamic style and clearly acknowledges the path his work has taken towards abstraction whilst still maintaining a link to the recurring theme of still life that has been a pre-occupation since the 1940s.