Roger Furse

Unexamined out of frame. At the left vertical edge a slight incisions is apparent to the edge of the sheet, most likely in keeping with the artist's materials and techniques. The sheet is slightly undulating, this is particularly evident towards the left edge. There are some very minor instances of light surface dirt in places. There is some discolouration apparent to the sheet around the edges. Subject to the above the work is in overall good condition. The work is window mounted and held behind glass in a moulded wooden frame. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding the present lot.
"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."

Roger Furse was one of the preeminent British theatre designers of the mid-20th Century, and was also a particularly close friend and colleague to both Vivien and Larry.  After studying fine art at both the Slade and in Paris, he then moved into theatre design in the 1930s, and achieved considerable success designing settings and costumes for both stage and screen. He often stayed with the Oliviers at Notley Abbey, and there exists in the Vivien Leigh Archive at the Victoria & Albert Museum a lively correspondence between Furse and Vivien detailing the many visits, gifts exchanged, and warm friendship that they shared.  Furse worked extensively with Olivier on a number of productions, including on the 1948 film Hamlet, which Olivier both produced and starred in the title role, for which Furse and Olivier both won two Oscars, Furse for the art direction and costumes in a black and white film, and Olivier best actor and best picture. Later on, in 1951, Furse did the set design for Olivier’s productions of Shakespeare’s Antony and Cleopatra and George Bernard Shaw’s Caesar and Cleopatra, a particularly complex production of the two plays which were performed on alternating nights, in which both Olivier and Leigh starred.