Salford Street Scene

细节

Laurence Stephen Lowry, R.A. (1887-1976)
Salford Street Scene
signed and dated 'L.S. LOWRY 1928' (lower left)
oil on panel
16½ x 12¾ in. (42 x 32.4 cm.)

来源

with Lefevre Gallery, London.
The Late Mrs W. Denholm; Christie's, London, 13 November 1964, lot 105, as 'Dawn in an Industrial Town'.
Norman Satinoff.
with Crane Kalman Gallery, London, where purchased by the present owner in May 1994.

出版

M. Levy, The Paintings of L.S. Lowry, London, 1975, no. 24, illustrated.
Exhibition catalogue, L.S. Lowry, London, Crane Kalman Gallery, 1975, no. 2, illustrated.
Exhibition catalogue, LS Lowry R.A. 1887-1976, London, Royal Academy, 1976, p. 17, no. 80, illustrated.
Exhibition catalogue, L.S. Lowry R.A. A Selection of Masterpieces, London, Crane Kalman Gallery, 1994, no. 5, illustrated.
M. Howard, Lowry A Visionary Artist, Salford, 2000, p. 122, illustrated.

展览

London, Crane Kalman Gallery, British Paintings, December 1973 - January 1974, no. 39.
London, Crane Kalman Gallery, L.S. Lowry, November - December 1975, no. 2.
London, Royal Academy, LS Lowry R.A. 1887-1976, September - November 1976, no. 80.
Edinburgh, Scottish Arts Council Gallery, L.S. Lowry, December 1977 - January 1978, no. 15: this exhibition travelled to Hawick, Wilton Lodge Museum, January - February 1978; Aberdeen, Art Gallery, February - March 1978; Dundee, Museum and Art Gallery, March - April 1978; Inverness, Museum and Art Gallery, April - May 1978; and Perth, Museum and Art Gallery, May - June 1978.
London, Crane Kalman Gallery, A Collection of Masterpieces, June - August 1994, no. 5.

注意事项

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

荣誉呈献

Philip Harley

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拍品专文

Discussing his depiction of figures in his work, the artist commented 'I wanted to paint myself into what absorbed me ... Natural figures would have broken the spell of it, so I made my figures half unreal. Some critics have said that I turned my figures into puppets, as if my aim were to hint at the hard economic necessities that drove them. To say the truth, I was not thinking very much about the people. I did not care for them the way a social reformer does. They are part of the private beauty that haunted me. I loved them and the houses in the same way: as part of a vision' (see M. Howard, op. cit., p. 123).