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Keith Vaughan (1912-1977)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Keith Vaughan (1912-1977)

Study of Woodman in a Clearing

Details
Keith Vaughan (1912-1977)
Study of Woodman in a Clearing
signed 'Keith Vaughan' (lower left)
ink and gouache on paper laid on card
6 ½ x 5 ¼ in. (16.5 x 13 cm.)
Executed in 1955.
Provenance
with J. Addy.
Purchased at the 1959 exhibition by Roland, Browse and Delbanco, London.
Anonymous sale; Bonhams, London, 5 November 1992, lot 63, as 'Study for Woman in a Clearing', where purchased by the present owner.
Literature
Exhibition Catalogue, Keith Vaughan: Retrospective Exhibition, London, Whitechapel Gallery, 1962, n.p., pl. XXXIV.
Exhibited
London, Leicester Galleries, Recent Gouaches and Drawings by Keith Vaughan, October 1959, no. 10, as 'Study for woman in a clearing'.
London, Olympia, Keith Vaughan, February - March 2002, no. 461.
Chicester, Pallant House Gallery, Keith Vaughan Centenary Exhibition, March - June 2012, exhibition not numbered.
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

Philip Harley
Philip Harley Head of Sale

Lot Essay


There is an oil of this work from 1955 of the same title in the collection of the Laing Art Gallery, Newcastle-Upon-Tyne.

This powerful, abstracted figure of a woodman in a clearing is a typical Vaughan gouache study of a figure in the landscape, taking both man and setting merely as starting points in the process of making a memorable image. The whole composition is dominated by black ink lines and areas of light and dark. What might be a tree and a fence (or perhaps some other structure of lopped and hewn wood; even a crucifix) are interpreted as areas of intermittent darkness forming a potent fretwork in the bottom left hand corner, reaching towards and balancing the cloud of dark foliage at top centre and right. But what these patterns may represent is actually of less importance than the succession of shapes disposed across the paper which somehow seem to suggest a map of the woodman’s inner life. The painting is as much about emotion as it is about observation — perhaps the artist’s more than the woodman’s.

A.L.

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