Sir Winston Churchill, K.G., O.M., F.R.S., HON. R.A.

Collection of the Artist, The Studio, Chartwell
Sarah Lady Audley
Wilma Wayne Gallery, London, where acquired by the present owner circa 1982

London, Wilma Wayne Gallery, 1982 (details untraced);
Washington D.C., The Library of Congress, Churchill and the Great Republic, 5th February - 10th July 2004, with tour to Durham Western Heritage Museum, Omaha, and the Gerald Ford Presidential Museum & Library, Grand Rapids (ex. cat.);
Atlanta, Millennium Gate Museum, The Art of Diplomacy: Winston Churchill and the Pursuit of Painting, 3rd October 2014 - 1st February 2015, un-numbered catalogue, illustrated p.15.

David Coombs and Minnie S. Churchill, Sir Winston Churchill's Life through his Paintings, The World Publishing Company, Cleveland and New York, 2003, cat. no.C5, illustrated;
David Coombs and Minnie S. Churchill, Sir Winston Churchill His Life and His Paintings, Warehouse Publishing, 2011, cat. no.C5, illustrated p.128.

Original canvas. The canvas appears sound. There is an extremely small pinhole in the canvas towards the right of the upper horizontal edge. Generally the work is in excellent overall condition, with strong areas of impasto. There are one or two extremely minor tiny flecks of loss, one to the centre of the extreme right hand edge, one in the light brown pigment in the upper right quadrant, and another one to the petals of the pale yellow flower, and only visible upon close inspection. There appears to have been a very small scuff to the upper left vertical edge. There are some very fine lines of craquelure and reticulation in one or two small areas, only visible upon very close inspection. Ultraviolet light reveals an uneven varnish layer. There are a few small spots of fluorescence which suggest some minor retouching towards the left side of the lower horizontal edge, and a few possibly to the central red flower, which have been sensitively executed. The work is presented in an ornate gilt frame. Please telephone the department on +44 (0) 207 293 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.
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We are grateful to David Coombs for his kind assistance with the cataloguing of the present work.

Although best known for his landscape paintings which make up the vast majority of his oeuvre, Churchill was equally adept at still life, honing his ability through making a faithful replica of a John Singer Sargent painting lent from the collection of Philip Sassoon in the 1920s, and later from his close friend, the artist William Nicholson. Nicholson was a favourite visitor to Chartwell, Churchill’s much beloved home in Kent, and was referred to by the family as ‘our beloved cher maître’ (Mary Soames, A Daughter’s Tale, Doubleday, London, 2011, p.40). Originally commissioned by friends of Churchill to paint a conversational piece of Winston and Clementine for their silver wedding anniversary, Nicholson started coming to Chartwell in 1933 and was an immediate hit with the family who adored his charm and eccentricities. 

During his stays, Nicholson and Churchill would often paint side by side, Churchill particularly influenced by Nicholson’s subtle palette, and manner of composition. In the present work, Churchill’s delicate handling of the paint looks towards Nicholson, as he expertly captures the variance in texture between the antique green glass vase glinting in the light, the worn wooden boards, and the vivid petals which burst forth from the vase.  Churchill acknowledged years later to Sir John Rothenstein, ‘I think the person who taught me most about painting was William Nicholson…’ (Mary Soames, Winston Churchill His Life as a Painter, London, Collins, 1990, p.84).

Approaching the flowers with the same close attention to detail as he had the landscapes of the previous decade, the soft, delicate petals capture the sun in much the same way as the waves of the gently rolling Mediterranean waters. Not constrained by a hectic London schedule of appointments and meetings, the 1930s allowed Churchill time to turn his attention towards his painting, and at Chartwell he drew inspiration from the mallows, nasturtiums, tulips, daffodils and roses that filled the flowerbeds. Following in the world renowned tradition of the English country garden, Churchill had in fact designed and worked on the various plots himself, and the present work’s vibrant range of blooms - chrysanthemums, gladioli and gerbera - reflect his love of the wonderfully varied foliage which proliferated in the years the family counted Chartwell as their home. The house itself was often filled with masses of flowers, as Clementine always wanted fresh blooms in the rooms, not only for the family’s enjoyment, but also for the many visitors who passed through the doors, including major luminaries of the day such as Charlie Chaplin, T.E. Lawrence, Albert Einstein and Ethel Barrymore. 

When driven indoors by the English weather, Churchill would send members of his family round the house to compose his ‘paintatious’ group (Mary Soames, Winston Churchill, His Life as a Painter, Collins, London, 1990, p.105) - whether a Bottlescape (C177, 1926, Lady Spencer- Churchill, National Trust, Chartwell), a Silver Life (C175, sold in these rooms, Daughter of History, Mary Soames and the Legacy of Churchill, 17 December 2014, lot 256), or a floral still life such as Magnolia (Fig 1., C183, sold in these rooms, Daughter of History, Mary Soames and the Legacy of Churchill, 17th December 2014, lot 137) or the present work. These charming compositions were often given to family and close friends, including a small Study of Roses gifted by Churchill to the actress Vivien Leigh (C181, Private Collection).