拍品 148
  • 148

LAURENCE STEPHEN LOWRY, R.A. | Figures in the Street

估價
80,000 - 120,000 GBP
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招標截止

描述

  • Laurence Stephen Lowry
  • Figures in the Street
  • signed and dated 55
  • oil on board
  • 22.5 by 22.5cm.; 9 by 9in.

來源

Gifted by the Artist to the previous owner
Their sale, Sotheby's London, 3rd March 1999, lot 187, where acquired by the present owners

Condition

The board bows slightly but otherwise appears sound. There is one possible pinhole to the extreme upper edge towards the upper right corner with an associated pinhead sized speck of loss, only visible upon extremely close inspection. There is light surface dirt and one or two instances of very minor detritus. This excepting, the work appears in excellent overall condition. Inspection under ultraviolet light reveals no obvious signs of fluorescence or retouching. The work is housed in a gilt painted 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."

拍品資料及來源

'Until Samuel Beckett wrote Waiting for Godot nobody seems to have noticed that much of human life is to do with waiting, and until Lowry painted his crowds, no other artist had recorded how people (and animals) look and behave en masse. Each individual is on his/her own journey across the canvas yet leaning to form the crowd with its own collective identity. Once you have seen how Lowry saw us, you cannot ever see or be in a football crowd, nor watch kids playing, workers leaving the factory, queuing, or stopping to chat or hear the fairground barker, without saying, “Lowry! It’s just like a Lowry painting!” Going about our business or pleasure, we are all subjects of his vision.' (Sir Ian McKellen, ‘My Lifelong Passion for L.S. Lowry’, The Telegraph, 21st April 2011)