Ben Nicholson

Acquired directly from the artist by the father of the present owner circa 1937

The board is stable. Apart from two nailhead-sized spots of retouching above the lip of the jug, some small spots of retouching to all four corners and a nailhead-sized spot of retouching towards the upper right corner, all visible under UV light, this work is in good condition.
"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."

Without question, the apogee of Nicholson's career came during the decade preceding the Second World War – a period which saw the creation of some of his most complex and striking works. The present painting, executed circa 1932, is a testament to Nicholson's unique appreciation of form, which is here combined with sumptuous textures and subtle colouration to dramatic effect. Still life with Jug and Profile shares many of the elements which feature in Nicholson's other works from this year. One painting, in particular, stands out for its remarkable similarity to the present work – 1932 (Profile - Venetian Red) (fig. 1).

The two principal still-life elements, the jug and the mug, are common to both works and in each example the composition features a set of six bisected circles. Also characteristic of the two paintings is the rich and earthy palette. Subtle variations on grey, brown and ochre are used for each of the oblong shapes which comprise the geometric background. Most significant, however, is the presence of the profile of Nicholson's then future wife, Barbara Hepworth. The silhouette has been reduced to a single elegant line which appears almost abstract in the context of Nicholson's aesthetic. In 1932 (Profile - Venetian Red), Hepworth's profile occupies a distinct pictorial space, whereas in the present work it has been superimposed over the other objects in the still life. This method of superimposition is highly characteristic of Nicholson's works and demonstrates the complexity of the artist's visual conception.

Nicholson's pre-war oeuvre has become associated with the small town of St Ives in Cornwall – a place which witnessed the stylistic genesis of much of his work. He first visited the area in 1928 and subsequently divided much of his time between Hampstead and Cornwall. The artistic community in St Ives nurtured the talents of Hepworth, Naum Gabo and Piet Mondrian. Here, Nicholson developed a great appreciation for the work of a local fisherman, Alfred Wallis – a self-taught naive painter. There is certainly an element of Wallis' demure line evident in the present work, particularly in the contours of the still life objects. Here Nicholson is moving towards a more essential, abstract style.

Nicholson's gift was his ability to synthesise the most important artistic developments of his day, from the Neo-plasticity of Mondrian to the Constructivism of Gabo, with his own sensibility. Indeed, Still-life with Jug and Profile is a perfect example of Nicholson at his inspired artistic summit.

FIG. 1. Pablo Picasso, Les Déjeuners, 10th July 1961, oil on canvas, Staatsgalerie Museum, Stuttgart