John Piper, C.H. (1903-1992)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
John Piper, C.H. (1903-1992)

Glyders Rocks

John Piper, C.H. (1903-1992)
Glyders Rocks
signed 'John Piper' (lower right)
oil on canvas
20 x 29 in. (51 x 73.7 cm.)
Painted in 1950.
with Marlborough Fine Art, London.
Mr and Mrs John Henry Macdonell, Sarasota, by 1955.
Their sale; Sotheby's, London, 10 March 1982, lot 173, as 'Rocks on the Glyders'.
with Thomas Agnew & Sons, London.
A gift to the present owner, circa 1985.
S.J. Woods, John Piper: Paintings, Drawings & Theatre Designs 1932 - 1954, London, 1955, n.p., pl. 120.
Exhibition catalogue, Artist and Macaenas: A Tribute to Curt Valentin, New York, Marlborough Fine Art, 1963, p. 109, no. 203, illustrated, as 'Glyder Rocks'.
A. West, John Piper, London, 1979, p. 136, no. 110, illustrated, as 'Rocks on the Glyders'.
Exhibition catalogue, The British Neo-Romantics 1935-1950, London, Fischer Fine Art, 1983, pp. 20, 31, no. 81, illustrated.
New York, Buchholz Gallery, Curt Valentin, John Piper: Recent Work, October - November 1950, no. 4.
New York, Museum of Modern Art, Europe: The New Generation, 1952 - 1953, catalogue not traced.
New York, Marlborough Fine Art, Artist and Macaenas: A Tribute to Curt Valentin, November - December 1963, no. 203, as 'Glyder Rocks'.
Edinburgh, Scottish National Gallery of Modern Art, 1972, catalogue not traced.
Sarasota, John and Mable Ringling Museum of Art, Florida Collects, May - August 1976, catalogue not traced.
London, Fischer Fine Art, The British Neo-Romantics 1935-1950, July - August 1983, no. 81: this exhibition travelled to Cardiff, National Museum of Wales, August - September.
Special notice
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.

Lot Essay

Glyders Rocks personifies Piper’s intuitive response to the rocky, wild landscape of Snowdonia. He first became captivated by the northern Welsh landscape in 1942 when he was commissioned to paint the Monod Mawr quarry by the War Artists' Advisory Committee. Instinctively he was drawn to the hills surrounding the quarry and soon began embarking on regular trips to the area.
His expressive response to the majestic landscape in Glyders Rocks recalls his abstract paintings of the mid 1930s with its black outlines and distinct forms. The rich, dark hues of grey, brown, green and black are characteristic of Piper’s gothic depictions of the landscape. This immersion in a romanticized gloom is lightened by areas of white, dispersed around the canvas. These areas of colour appear almost in blocks and construct an atmosphere that draws the viewer into the landscape, exemplifying his emotional attachment to his work and the topography he depicts.

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