Mary Fedden, R.A.

Original canvas. The canvas is slightly loose on its stretcher. There is some wear to the canvas around the extreme edges in places where the canvas is wrapped around the stretcher only partially visible in the present frame, which has resulted in losses to the canvas in places, most apparent at the corners of the work, and there is some further minor frame abrasion. There is some scattered craquelure to the work and there are a couple of tiny instances of lifting apparent in the upper right quadrant. There are some light scratches towards to top of the left vertical edge. There is some surface dirt to the work. Subject to the above, the work appears in good overall condition. Ultraviolet light reveals no obvious signs of fluorescence or retouching. The work is presented in a simple dark wooden 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.
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 present work was one of the first Mary Fedden painted after the war, having moved in 1946 to Redcliffe Road, where she lived with her friend Maise Meiklejohn. Although she was involved in painting murals for propaganda exhibitions, Fedden did not paint for herself during the war. 1n 1944, she was called up and became a driver for the NAAFI, driving all over France, often in combat zones. It was at Radcliffe Road that Fedden first painted the subject that was to pre-occupy her for the rest of her life: the still life with a view beyond. Painted with sober colouring and in a naturalistic style showcasing her Slade training, this work along with Still Life with Staffordshire Zebra (see lot 521) conveys through her use of tone, shading and light, an atmosphere of theatrical drama, an almost sinister tension and melancholy which reflects the somber mood of post-war London. These paintings were a success and led to Fedden's first exhibition at the Mansard Gallery in Heals in 1947. At this time the editor of Woman magazine bought a work and then commissioned Fedden to produce front covers for her magazine which provided her with an income.