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拍品专文
Vaughan made this drawing at his cottage in the heart of the Essex countryside while recuperating from operations for both liver and kidney problems. He remained extremely sick since persistent pain incapacitated him and he was physically unable to engage in painting. As a result he turned to drawing as a means of expression since the materials suited his predicament and were easier to handle: 'The thing about drawing is that it requires no special situation and the interruption between the activity of the imagination and the act of drawing is at a minimum. It is the nearest possible extension to one's natural faculties. You can draw anywhere; you can draw in the open, in the back of a car, in bed or in an armchair.' (Keith Vaughan: Interview with Dr. Tony Carter, 1963).
The present work is one of several drawings, taken from Vaughan's final sketchbook, made within a space of a few days; each is dated in his hand. The unidentified, handsome youth was almost certainly drawn from the artist's imagination and not before the sitter. Several variations of this head exist, each one delineated in Vaughan's characteristically jagged, incisive line.
Two days after making this drawing Vaughan confided in the last volume of his journal: 'A dull ache at the bottom of my spine continues all day & every day for the past month or so. It is worse in the morning. I can not sit for long or lie on my back without the pain becoming tiresome.' (G. Hastings, Drawing to a Close, The Final Journal of Keith Vaughan, West Sussex, 2012). This was the first time that Vaughan noticed the symptoms of his terminal cancer.
We are very grateful to Gerard Hastings, author of Keith Vaughan, Lund Humphries, 2012, for his assistance in cataloguing the present lot and lots 236 and 239.
The present work is one of several drawings, taken from Vaughan's final sketchbook, made within a space of a few days; each is dated in his hand. The unidentified, handsome youth was almost certainly drawn from the artist's imagination and not before the sitter. Several variations of this head exist, each one delineated in Vaughan's characteristically jagged, incisive line.
Two days after making this drawing Vaughan confided in the last volume of his journal: 'A dull ache at the bottom of my spine continues all day & every day for the past month or so. It is worse in the morning. I can not sit for long or lie on my back without the pain becoming tiresome.' (G. Hastings, Drawing to a Close, The Final Journal of Keith Vaughan, West Sussex, 2012). This was the first time that Vaughan noticed the symptoms of his terminal cancer.
We are very grateful to Gerard Hastings, author of Keith Vaughan, Lund Humphries, 2012, for his assistance in cataloguing the present lot and lots 236 and 239.