Adrian Heath

Private Collection circa 1990
Paisnel Gallery, London, where acquired by the present owner in May 2000

The following condition report has been prepared by Hamish Dewar, Fine Art Conservation, 13 & 14 Mason's Yard, Duke Street, St James, London, SW1Y 6BU: Structural Condition The canvas is unlined and securely attached to a wooden keyed stretcher. This is providing an even and secure structural support. the canvas is inscribed on the reverse. Paint Surface The paint surface has what would appear to be the artist's original unvarnished surface. Inspection under ultra-violet light shows extensive areas that fluoresce darkly, particularly in the pale pigments in the upper left quadrant, but on closer inspection these would appear to be the artist's re-workings, rather than retouchings, covering the vertical drip lines that presumably occurred during the painting process. There are a number of drip lines, surface stains and deposit spots over the paint surface. Summary The painting would therefore appear to be in good and stable condition and no work is required for reasons of conservation.
"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."

Heath's position as a crucial figure in the growth of abstraction in Britain in the 1950s has only lately attracted the wider awareness that it deserves, something that has been much aided by recent publications and exhibitions on the period.

His move towards abstraction was much influenced by his friendship with Victor Pasmore who was making his own shift away from figuration from about 1948, and his first exhibited abstract painting was Rotating Rectangles (Private Collection), shown at the London Group in 1949. Heath also met Kenneth Martin in that same year, and through the next couple of years further bonds with other artists whose interests lay away from representation were formed.

Heath was also a vital figure in his role as organiser of a number of key exhibitions that provided a forum for the showing of new abstract art, and the surviving photographs of exhibitions such as Abstract Paintings, Sculpture, Mobiles at the A.I.A.Gallery in 1951 demonstrate the breadth of artists included. In addition to Heath, Pasmore, the Martins, Hill and Adams, pieces from the St. Ives and Corsham circles by Nicholson, Hepworth, Frost, Scott and Hilton also feature prominently, although the exhibitions Heath staged in his own studio at 22, Fitzroy Street the following year and in 1953 tended to keep to a more constructivist brief. The parallel development of the different strands of abstraction was made clear in the important 1954 publication Nine Abstract Artists, commissioned by Heath and written by Lawrence Alloway, and the attendant Redfern Gallery exhibition in January 1955. The nine artists were Adams, Frost, Hill, Hilton, Kenneth Martin, Mary Martin, Pasmore, Scott and Heath himself, and in addition to the essay by Alloway, each artist provided a statement about their art and intentions. Heath's own statement stressed the almost organic development of the ideas within each piece, and of the recognised core of the 'constructivist' group, was the only artist to retain the painted surface as his prime medium throughout the decade.