Julian Trevelyan, R.A.

Philip Trevelyan, Julian Trevelyan: Picture Language, Lund Humphries, Farnham, 2013, illustrated p.100.

Not viewed out of the frame. The sheet appears to be affixed to the backing card in several places, but does not appear to be laid down. The sheet consists of three sheets which have been adhered together to create one larger sheet. As a result, the join between the three sheets is visible in the lower half of the work, running the horizontal length of the sheet, with several associated creases and a possible old tear visible. The sheet undulates slightly. There is a very small crease at the lower right edge, and a few slight handling marks in places. The upper edge of the sheet is uneven, with one or two torn edges, possibly in keeping with the artist's materials. There is some discolouration to the sheet towards the edges, and some light surface dirt in places. Subject to the above, the work appears to be in good overall condition. The work is float mounted and presented in a simple gilt frame, held under glass. 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.
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 smoking furnaces of the potteries and the desolate landscape of slag heaps and derelict slums of Stoke-on-Trent made a deep impression on me. I became myself beside the murky canals, and from then on life was easier.'

(Julian Trevelyan, Private correspondence, quoted in Philip Trevelyan, Julian Trevelyan: Picture Language, Lund Humphries, Farnham, 2013, p.118)