Laurence Stephen Lowry, R.A. (1887-1976)
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Laurence Stephen Lowry, R.A. (1887-1976)

Fishing Boats at Lytham

Details
Laurence Stephen Lowry, R.A. (1887-1976)
Fishing Boats at Lytham
signed and dated 'L S Lowry 1915' (lower left), inscribed 'L.S. LOWRY 1915/Fishing Boats at Lytham' (on the backboard)
pencil and pastel
16 x 19½ in. (40.7 x 49.5 cm.)
Provenance
Mrs. Phyllis Bloom.
Literature
F. Spalding, Lowry, London, 1979, pl. 2.
Exhibited
Sunderland, Arts Council, Art Gallery, L.S. Lowry, August-September 1966, no. 116: this exhibition travelled to Manchester, Whitworth Art Gallery, September-October 1966; Bristol, City Art Gallery, October-November 1966; and London, Tate Gallery, November 1966-January 1967.
Southport, Atkinson Art Gallery, The Bloom Collection, 1967 (no catalogue produced).
London, Royal Academy, L.S. Lowry, R.A., September-November 1976, no. 20.
Salford, Art Gallery, L.S. Lowry Centenary Exhibition, October-November 1987, no. 22.
Middlesbrough, Arts Council, Cleveland Art Gallery, The Art of L.S. Lowry, December 1987-January 1988, no. 8, pl. 23: this exhibition travelled to Coventry, Herbert Art Gallery and Museum, January-February 1988; Stoke-on-Trent, Art Gallery, March-April 1988; Exeter, Royal Albert Memorial Museum, April-May 1988; and London, Barbican Art Gallery, August-October 1988.
Manchester, City Art Gallery (on loan).
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis

Lot Essay

Monty Bloom's passion for the work of L.S. Lowry began by chance when he caught the end of John Read's 1958 documentary for the BBC, Artist into film. A successful businessman from Southport, Lowry's industrials evoked Bloom's childhood home in the Rhondda Valley in Wales. He developed a life-long friendship with the artist and, at one time, owned over one hundred works by the artist.

Mervyn Levy remarked on the medium in the present work, an early pastel: 'the use of pastel was a vital step in the direction of oil painting as his ultimate medium of expression. More controllable than watercolour, it provided, as here, a bridge between drawing and painting that indicated that the artist needed a colour medium that could be worked into and developed over a period' (see L.S. Lowry, Royal Academy exhibition catalogue, London, 1976, p. 46).

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