John Brett, A.R.A.

Sotheby's, London, 10 January 1968, lot 161 (bought Patch);
M. Newman, London, 1968;
Christie's, London, 6 March 1970, lot 24 (bought Know);
Christopher Wood, London;
Private collection

Birmingham, Royal Birmingham Society of Artists, 1875, no. 253 (priced at £150)

STRUCTURE The canvas has been lined. PAINT SURFACE There is very minor craquelure to the paint surface. There is some extremely light surface dirt in places. Otherwise in good condition. UNDER ULTRAVIOLET LIGHT There is light spot of retouching in the upper left section, on the horizon line and towards the right hand edge and some very light flecks elsewhere. FRAME Held in a gold painted composite frame with minor losses to the beading upper left and to the extreme upper right corner.
"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 view of Saints Bay on Guernsey was made following Brett's first visit to the Channel Islands in 1874. He and his wife Mary had travelled by public steamer from Weymouth to St Peter Port. Saints Bay is on the island's south coast close to its eastern tip, in the parish of St Martin. The rock headlands that meet the sea along this shoreline seem to have been of particular interest to the artist, who remained fascinated by the conjunction of geology and the mechanisms of physical geography.

It seems likely that the subject was worked up from a smaller sketch, now unlocated but last recorded in the collection of W. G. Constable. It was presumably painted, on Brett's most favoured double square format, the following winter or early in 1875, and therefore allowing it to be sent to that year's exhibition of the Royal Birmingham Society of Artists.

Brett was not to return to Guernsey until 1884, on that occasion taking passage in his own yacht.

Sotheby's is grateful to Charles Brett for kind assistance in the preparation of this catalogue entry.
CSN