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

Snowdon from Capel Curig

Details
JOHN PIPER, C.H. (1903-1992)
Snowdon from Capel Curig
signed 'John Piper' (lower right), inscribed and dated 'Snowdon from Capel Curig/1950' (on the reverse)
pen, ink, coloured chalk and watercolour on paper
6 1⁄4 x 10 1⁄4 in. (15.9 x 26 cm.)
Executed in 1950.
Provenance
Acquired directly from the artist by the previous owner.
Their sale; Sothebys, London, 11 October 1989, lot 232, where purchased for the present collection.
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.

Brought to you by

Amelia Walker
Amelia Walker Director, Specialist Head of Private Collections

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Lot Essay


John Piper's Snowdonia pictures, produced between 1943-1950, have found more universal and consistent acclaim than works characterising any other single period of the artist's varied career. The series was the focus of an important 2012 exhibition, John Piper: The Mountains of Wales (National Museum, Cardiff). In the introduction to the catalogue which accompanied the Cardiff show, David Fraser Jenkins writes 'It was in Snowdonia in the years after the war that John Piper made what many people have thought were the best of all his paintings, in a series that became a graphic exploration of the mountains ... Most of his pictures were drawings rather than paintings, and began as notes in a sketchbook made on the spot in ink with pen and brush'.

This comparatively late, and in some ways modest, example from the series is particularly interesting as the appearance of the colour green (almost completely absent from John Piper's works throughout the 1940s, including the other Snowdonia drawings) marks the very beginning of an evolution of the scope and expressiveness of the artist's palette, an evolution which would be fully manifested by the mid-1950s.

We are very grateful to Rev. Dr Stephen Laird FSA for preparing this catalogue entry.

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