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Lot Essay
'The Berlin Blues series marks WS's confident arrival at a new way of painting and a new image. The grounds are white: a matt, receding white, a soft whiteness within which the motifs, usually in more than one blue, floats. At first their dispositions follow a vertical order: the motifs seem to be arranged in columns ... Before the end of 1964 blues became WS's main colours, usually in a field of white. The blue forms are given soft edges that melt slightly into the white ground, and the white is often given a blueish tinge' (see N. Lynton, William Scott, London, 2004, pp. 278-280).
It is interesting to note that Study for Berlin Blues I is close to Heron's way of using soft edges and in turn was chosen by Davenport at the 1966 Gimpel Hanover Gallery exhibition.
Sarah Whitfield is currently preparing the Catalogue Raisonné of works in oil by William Scott. The William Scott Foundation would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue or in future projected catalogues. Please write to Sarah Whitfield c/o Christie's, 20th Century British Art Department, 8 King Street, London, SW1Y 6QT.
It is interesting to note that Study for Berlin Blues I is close to Heron's way of using soft edges and in turn was chosen by Davenport at the 1966 Gimpel Hanover Gallery exhibition.
Sarah Whitfield is currently preparing the Catalogue Raisonné of works in oil by William Scott. The William Scott Foundation would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue or in future projected catalogues. Please write to Sarah Whitfield c/o Christie's, 20th Century British Art Department, 8 King Street, London, SW1Y 6QT.