Edward Brian Seago, R.W.S.

STRUCTURE Original canvas. There are areas of craquelure, particularly a horizontal line across the top of the sky and through the clouds. There are spots of surface dirt and the work should benefit from a light clean overall. ULTRAVIOLET LIGHT UV light reveals no apparent signs of retouching. FRAME Held in a moulded plaster frame.
"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."

The voluminous clouds and the equestrian subject of October Sky reflects Seago's two primary influences, the cloud studies of John Constable and the paintings of horses by Alfred Munnings. Seago met Munnings in 1929 at the Arlington Gallery in Old Bond Street where Seago held his first solo exhibition which was almost a sell-out. 'Munnings' reputation, both as horseman and artist, made him a natural role model; the association was particularly significant in reinforcing Seago's commitment to painting equestrian themes' (James W. Reid, Edward Seago, The Landscape Art, 1991, pp.113-114). Munnings was greatly impressed by Seago's work and was instrumental in having a painting by him hung in the Royal Academy Summer Exhibition of 1931. He gave the young artist much encouragement and advice. In the same year, another painter of horses Lucy Kemp-Welch offered a note of caution when he applied for membership to the Society of Animal Painters, where she was President. She felt that his pictures lacked 'restraint, reticence, interest of tone or lighting or a sense of mass' and he worked upon these aspects of his art for the next decade as is demonstrated to much effect by October Sky.