William Leech, R.H.A.

Bought by the present owner circa 1969

STRUCTURE Original canvas. The surface may benefit from a light clean, otherwise it appears in very good overall condition with strong passages of impasto. ULTRAVIOLET LIGHT Under UV light there appear to be no signs of retouching. FRAME Held in a wooden frame. Please contact the department on 2027 293 5718 if you have any questions about 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."

During the Winter of 1917, Leech travelled from Concarneau to Les Martiques, a small fishing village close to Marseilles in the South of France to paint with fellow painters, the Australian S.L.Thompson (1877-1973) and Henry La Thangue (1859-1929) a Newlyn School artist. The colour and vegetation of the Mediterranean landscape inspired Leech to begin his Aloes series and this cactus theme dominated his oeuvre through-out the 1920s, most of which he exhibited at the Cooling Galleries, London in 1927. The Times reviewer, who recalled Leech’s pre-war paintings of snow in sunlight with shadows in subtle tones, now referred to the Aloes series as ‘more robust’ ..  ‘and his feeling for decorative pattern brings him into line with later developments.’  This post-impressionist work, now titled Midi Landscape, with its vibrant use of colour, in strong cobalt blues and viridian greens, and directional paint strokes depicting the arabesque forms of grasses, and trees against a cactus hedge, possibly belongs to this series. Signed simply Leech in grey, the signature Leech adapted from 1920 onwards.

Dr Denise Ferran