John Craxton, R.A.

Private Collection
Osborne Samuel, London, where acquired by the present owner

The sheet is sound and does not appear to be laid down, but appears to be attached to the backing in a few places about the edges. The sheet cockles slightly. The corners are slightly rounded and there is a tiny tear in the upper right corner. There is a minor crease in the lower left corner and the sheet is slightly discoloured. Otherwise in good overall condition. Held under glass in a metallic frame with a white mount and backing card; unexamined out of frame. Please telephone the department on +44 207 293 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."

We are grateful to Ian Collins for his kind assistance with the cataloguing of the present work.

 

As a young man, Craxton had been drawn to the work of Graham Sutherland and so was thrilled to be invited by him on a sketching visit to Wales, where they explored the dramatic landscape that for Sutherland had numinous, anthropomorphic qualities. This experience was hugely influential on Craxton, whose work, in turn, caught the eye of the patron and collector Peter Watson (the founder of Horizon magazine).

It was Watson who paid for Craxton and Freud to share a studio in London and who also supported their visit to Greece in 1946: a turning point for both artists. The landscapes Craxton painted in Greece, including Pastoral for P.W. (1948, Tate, London), whilst rich in a Mediterranean palette owe much to the influence of  Sutherland and the lessons learned in Pembrokeshire.