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Artist's Resale Right ("Droit de Suite"). Artist's… 显示更多
Keith Vaughan (1912-1977)

The Mail Room

成交价 英镑 3,750
估价
英镑 1,000 – 英镑 1,500
估价不包括买家酬金。成交总额为下锤价加以买家酬金及扣除可适用之费用。
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Keith Vaughan (1912-1977)

The Mail Room

成交价 英镑 3,750
成交价 英镑 3,750
细节
Keith Vaughan (1912-1977)
The Mail Room
signed and dated 'Keith Vaughan/1942.' (lower right); inscribed 'mail.' (lower left)
ink and wash, unframed
7 x 11 1/8 in. (17.8 x 28.2 cm.)
来源
A gift from the artist to Dr John Gallwey, and by whom gifted to the present owner.
注意事项
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

拍品专文

During the war Vaughan served in the non-combatant corps. He and his fellow conscripts endured long periods of separation from family and friends. The only way they could maintain much-needed contact with home was through the medium of the handwritten word. To receive a parcel with much-needed goods, or a letter with longed-for news, both lifted the spirits and boosted moral. The mail room therefore held a special significance for the servicemen. It should be remembered that during the war all personal letters were subject to censorship. It was not uncommon for letters to arrive with line after line obliterated by dense black ink, rendering them illegible. It was important, therefore, that letters were carefully worded and phrased with caution. Vaughan, being highly literate, was in demand in his barracks and was called upon to compose letters for his comrades, phrasing them to get round the censor. The importance of the written wartime word is what Vaughan is celebrating in the present work.
The central figure, with his hands sunk despondently in his pockets, walks away from his luckier companions; unlike them, there is no post for him today. The sepia ink and wash conveys something of his cheerlessness. It also reminds us that Vaughan’s picture-making materials were sparse and basic, due to rationing and army restrictions.

We are grateful to Gerard Hastings for compiling the note for this lot; his new book, Behind the Locked Door: Keith Vaughan's Erotic Work, is to be published in the Spring of 2017, by Pagham Press (www.thekeithvaughansociety.com).

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