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細節
SASSOON,Siegfried (1886-1967). Six pen and watercolour sketches, comprising:
[Landscape with reclining figures], pen and grey ink and blue wash on lined paper, laid down on card, 198 x 270mm; [Ruins in a landscape with figures], pen and red ink and watercolour on paper, laid down, 147 x 203mm; [two nude male figures], pen and brown ink and blue wash on paper, verso with autograph manuscript prose (cancelled in pencil), 265 x 200mm; 'Love's Golgotha' [showing three abstract figures], blue ink, crayon and blue wash on paper, laid down, 205 x 188mm; 'Mors Janua Vitae', black ink and wash on paper, laid down, with accompanying verse from C.G. Rossetti's 'The Convent Threshold' copied out by Sassoon in lower margin, 145 x 208mm; 'Poème de L'extase' [a small figure with outstretched arms in large skyscape], black ink and grey wash on paper, laid down on card, 200 x 300mm. All in portfolio labelled on upper cover, 'Studies by Augustus E. John', cancelled and superscribed 'H. Lamb'.
SIEGFRIED SASSOON AS ARTIST: Miranda Seymour has described Sassoon as a 'talented painter', citing an instance when he returned a book to Ottoline Morrell, having added his best poems in manuscript, 'illustrating each one with a full-page pen-and-ink drawing, coloured in with a black and grey wash. The first of the poems, 'The Mystic as Soldier', was one which he knew would appeal to her; the drawings showed a naked young man stretching up the sky, towards woods or towards a naked female figure.' (Seymour, Ottoline Morrell, Life on the Grand Scale, 1992, p.273). The present drawings, presumably remaining with Ottoline Morrell through similar circumstances, appear to be similar in thought and style. The prose on the verso of one appears to be a draft of a passage of prose, opening 'From the fire-escape balcony of a certain building just off Times Square the eye of an afternoon observer travels easily down to the Cathedral'. Sassoon went to New York in 1920 where he met Sam Behrman, a writer and dramatist who encouraged Sassoon to explore the possibilities of fictional prose. (6)
[Landscape with reclining figures], pen and grey ink and blue wash on lined paper, laid down on card, 198 x 270mm; [Ruins in a landscape with figures], pen and red ink and watercolour on paper, laid down, 147 x 203mm; [two nude male figures], pen and brown ink and blue wash on paper, verso with autograph manuscript prose (cancelled in pencil), 265 x 200mm; 'Love's Golgotha' [showing three abstract figures], blue ink, crayon and blue wash on paper, laid down, 205 x 188mm; 'Mors Janua Vitae', black ink and wash on paper, laid down, with accompanying verse from C.G. Rossetti's 'The Convent Threshold' copied out by Sassoon in lower margin, 145 x 208mm; 'Poème de L'extase' [a small figure with outstretched arms in large skyscape], black ink and grey wash on paper, laid down on card, 200 x 300mm. All in portfolio labelled on upper cover, 'Studies by Augustus E. John', cancelled and superscribed 'H. Lamb'.
SIEGFRIED SASSOON AS ARTIST: Miranda Seymour has described Sassoon as a 'talented painter', citing an instance when he returned a book to Ottoline Morrell, having added his best poems in manuscript, 'illustrating each one with a full-page pen-and-ink drawing, coloured in with a black and grey wash. The first of the poems, 'The Mystic as Soldier', was one which he knew would appeal to her; the drawings showed a naked young man stretching up the sky, towards woods or towards a naked female figure.' (Seymour, Ottoline Morrell, Life on the Grand Scale, 1992, p.273). The present drawings, presumably remaining with Ottoline Morrell through similar circumstances, appear to be similar in thought and style. The prose on the verso of one appears to be a draft of a passage of prose, opening 'From the fire-escape balcony of a certain building just off Times Square the eye of an afternoon observer travels easily down to the Cathedral'. Sassoon went to New York in 1920 where he met Sam Behrman, a writer and dramatist who encouraged Sassoon to explore the possibilities of fictional prose. (6)
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