EUAN UGLOW (1932-2000)
EUAN UGLOW (1932-2000)
EUAN UGLOW (1932-2000)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM AN AMERICAN ESTATE
EUAN UGLOW (1932-2000)

Girl with White Tree

Details
EUAN UGLOW (1932-2000)
Girl with White Tree
signed twice, inscribed and dated 'EUAN UGLOW 1986/GIRL WITH WHITE TREE/Euan Uglow.' (on the artist's label attached to the reverse)
oil on canvas-board
10 x 20 in. (25.4 x 50.8 cm.)
Painted in 1986.
Provenance
with Browse & Darby, London.
with Archeus Fine Art, London.
Literature
C. Lampert, Euan Uglow: The Complete Paintings, New Haven and London, 2007, p. 160, no. 329, illustrated.
Exhibited
London, Bernard Jacobson, The Battle for Realism, September - October 2001.
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. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Sale room notice
Please note that the medium of the present work is canvas-board and not as stated in the printed catalogue.

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Lot Essay

Catherine Lampert describes the controlled composition of Girl with White Tree: 'Lines and brushstrokes overlap and intersect the tree and figure. A line 3.2 cm from the bottom runs across the head, the green from the grass enters the foot, the blue goes into the branches and white lines are in the sky' (C. Lampert, loc. cit.).

The branch of the white tree dissects the composition, providing a strong vertical element in contrast with the figure's horizontal form. Uglow found the tree branch in the street and he set it up 'in the studio like a stage prop or the Giacometti tree in Beckett's revival for Waiting for Godot in 1961' (ibid.). He used it in a larger oil of 1993-95, Articulation, inspired by a recent visit to Romania where he had seen Brâncuși's Endless Column. The tree's positioning within the painting reinforces the form of the nude figure, 'a dancer who could get into the most extraordinary poses' (Uglow, quoted in C. Lampert, ibid.).

We are very grateful to Catherine Lampert for her assistance in cataloguing this lot.

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