Lot Content

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LUCIAN FREUD, O.M., C.H. (1922-2011)
LUCIAN FREUD, O.M., C.H. (1922-2011)
LUCIAN FREUD, O.M., C.H. (1922-2011)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more
LUCIAN FREUD, O.M., C.H. (1922-2011)

Annabel

Details
LUCIAN FREUD, O.M., C.H. (1922-2011)
Annabel
pencil, watercolour and gouache on paper
13 x 9 ½ in. (33 x 24.1 cm.)
Executed circa 1961.
Provenance
with Marlborough Gallery, London.
Lady Epstein.
with Little Gallery, London.
with James Kirkman, London, where purchased by the present owner on 26 June 1974.

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.

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Pippa Jacomb
Pippa Jacomb Modern British & Irish Art

Lot Essay

The present watercolour depicts Annabel, one of Lucian Freud's daughters with his second wife Kitty Garman. Freud rarely worked in watercolour, but Annabel is among a small group of watercolours depicting his children, which he made when on a trip to Greece with them in 1961. These include Annie Reading, Child Resting and Child Reading, as well as Sleeping Girl (Garman Ryan Collection, The New Art Centre, Walsall). Each shows them in varying states of repose, and allows us an insight into very private and tender moments with his children. It is particularly poignant that this painting was previously owned by Lady Epstein, Annabel's maternal grandmother.

Freud's use of watercolour, by its nature fluid and spontaneous, lends this series of pictures an informal and intimate quality. His use of the medium coincided with the looser style that he was introducing into his work at the time. Sebastian Smee explains, 'Far from buttoning down the freedoms he was battling to achieve in paint, the ensuing works loosened things up further - which was of course their point. These images, splayed diagonally across the page in an array of subtle flesh tints, blues and greys, recall the watercolours of Rodin, and, as with Rodin, the faces and full bodies they depict seem untethered from any supports' (S. Smee (intro.), Lucian Freud on Paper, London, 2008, p. 11).
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