WILLIAM SCOTT, R.A. (1913-1989)
WILLIAM SCOTT, R.A. (1913-1989)
WILLIAM SCOTT, R.A. (1913-1989)
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WILLIAM SCOTT, R.A. (1913-1989)

Untitled (Composition no. 30)

细节
WILLIAM SCOTT, R.A. (1913-1989)
Untitled (Composition no. 30)
signed 'W. SCOTT' (lower left)
oil on canvas
34 x 44 in. (86.4 x 112 cm.)
Painted in 1959.
来源
with Galleria Lorenzelli, Milan.
with Galleria Blu, Milan.
Private collection, Milan.
Anonymous sale; Il Ponte, Milan, 11 June 2019, lot 69.
with Richard Green, London, where purchased by the present owner.
出版
O. Patani (intro.), exhibition catalogue, Maestri Inglesi Moderni. Bacon, Nicholson, Pasmore, Scott, Sutherland, Milan, Galleria Lorenzelli, 1965, no. 15, illustrated, catalogue not traced.
Enciclopedia Universale SEDA della Pittura Moderna, SEDA, Milan, 1969, p. 2530, illustrated, as 'Brown'.
S. Whitfield (ed.), William Scott: Catalogue Raisonné of the Oil Paintings, Vol. 2, London, 2013, p. 301, no. 425, illustrated.
展览
Milan, Galleria Lorenzelli, Maestri Inglesi Moderni. Bacon, Nicholson, Pasmore, Scott, Sutherland, October 1965, no. 15.
Bergamo, Galleria Lorenzelli, W. Scott, February 1978, catalogue not traced.
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.

荣誉呈献

Alice Murray
Alice Murray Head of Evening Sale

拍品专文

Scott had been the first of the British artists to encounter the exponents of the New York School of Abstract Expressionists, Mark Rothko; Willem de Kooning; Franz Kline; Jackson Pollock; and James Brook, after an introduction from his dealer, Martha Jackson in 1953 when he spent the summer teaching at Banff School of Art at the University of Alberta. At first he registered: ‘Bewilderment, it was not the originality of the work, but it was the scale, audacity, and self-confidence - something had happened to painting’ (William Scott, quoted in interview with A. Bowness, exhibition catalogue, William Scott: Paintings, Drawings and Gouaches 1938-71, Tate Gallery, London, 1972, p. 71). It changed Scott’s previously European approach to painting for a time and he became a bridge between his British peers, Nicholson, Heron and Hilton, and their American counterparts, extolling the concepts of Abstract Expressionism and channelling it into his work.

The present work was previously recorded as Brown when it was published in SEDA in 1965, before reverting to Composition No. 30, a title which may have been given by Scott himself as it was used for other paintings from this period. It is a composition handled with great confidence, as a soft brown background is enriched by black, orange and ochre shapes, with white and black outlines, which float across the thickly handled paint surface. As Sir Alan Bowness commented of Scott’s work, ‘it is the texture and paint quality that carry the picture’ (William Scott: Paintings, London, 1964, p. 11).

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