Craigie Aitchison, R.A.

Timothy Taylor Gallery, London, where acquired by the present owner in January 2007

Original canvas. This work is in generally excellent condition. Ultraviolet light reveals no apparent signs of retouching. Held in a speckled black wood frame. Please telephone the department on 020 7293 6424 if you have any questions regarding the present work.
"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."

Aitchison was first introduced to the Ghanian sitter of the present work, Naaotwa Codjoe, in 1987. She had recently married his friend, the composer Giles Swayne, and she went on to become one of his favourite models. He had always favoured sitters with dark skin revelling in its dramatic contrast against the jewel coloured backgrounds that became his trademark style. In the present work, he has set Naaotwa against a scintillating pink backdrop that literally vibrates across the canvas; as his early champion Helen Lessore surmised, 'colour is his starting point' (Lessore, quoted in John McEwen, Craigie Aitchison, exh.cat., Timothy Taylor Gallery / Waddington Galleries, London, 1998, p.3).