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Patrick Caulfield (b. 1936)
VAT rate of 5% is payable on hammer price plus bu… Read more Property belonging to the Collection of Mr and Mrs Frank H. Porter Trust Estate
Patrick Caulfield (b. 1936)

Window at Night

Patrick Caulfield (b. 1936)
Window at Night
stamped 'WINDOW AT NIGHT PATRICK CAULFIELD 69' (on the reverse)
oil on canvas
83¾ x 60 in. (203.6 x 152.4 cm.)
Painted in 1969.
Purchased by Mr and Mrs Frank H. Porter at the 1969 exhibition.
M. Livingstone, Exhibition catalogue, Patrick Caulfield, Paintings 1963 - 1992, Serpentine Gallery, London, 1992, p. 9.
Exhibition catalogue, Patrick Caulfield, London, Hayward Gallery, 1999, pl. 13.
London, Waddington Galleries, Patrick Caulfield, October 1969, not numbered.
Cleveland, Museum of Art (on loan).
Liverpool, Walker Art Gallery, Patrick Caulfield: Paintings 1963-1981, August - October 1981, no. 19: this exhibition toured to London, Tate Gallery, October 1981 - January 1982.
London, British Council, Hayward Gallery, Patrick Caulfield, February - March 1999, no. 13: this exhibition toured to Luxembourg, Musée National d'Histoire et d'Art, April - June 1999; Lisbon, Centro de Arte Moderna José de Azeredo Perdigão, Fundação Calouste Gulbenkian, July - September 1999; and Connecticut, Yale Center for British Art, New Haven, October 1999 - January 2000.
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Lot Essay

With the close of the Robert Fraser Gallery in New York Caulfield joined Waddington Galleries, London. His first solo exhibition with his new gallery was at Waddington Prints Gallery, Vigo Street, in December 1968. This was followed by his first solo exhibition at Waddington Galleries II in Cork Street which included the present work, five other oils and five screenprints. A number of pictures showed an increase in scale from previous works including Inside a Swiss Chalet (Waddington Galleries, London) and Inside a Weekend Cabin (Manchester City Art Galleries) which were both 109 x 72 in. (276.9 x 182.9 cm.)

In his essay in the 1999 exhibition catalogue Marco Livingstone discusses Caulfield's work from this period which Livingstone categorises as 'Retreat' pictures; '... he [Caulfield] had come to favour the depiction of familiar objects and invented places that draw the viewer into an illusion of three-dimensional space solely by means of two-dimensional forms and devices ... he dwelt on images that enabled him to contradict in a playful way the severely flat visual language that he had imposed upon himself: the modernist picture plane is visually stretched to the point of being pierced by the imagined holes and openings to which the viewer's gaze is so forcefully directed. The net effect is like a conjuring trick laid bare to the audience: even though there is no secret about how the effect has been obtained, it continues to weave it's magic so long as the spectator wishes to succumb to the illusion ... He felt it necessary to depict them the size that one would expect them to be ... and it is precisely because the motif is shown actual size that one responds to it viscerally as if it were the real thing, that the artist has the freedom to play on one's preconceptions.

The large works are much more extreme in their exclusive reliance on a black linear grid, so that the single underlying colour is charged not only with describing the look but also with creating the atmosphere and the emotional tone of the environment ... it is up to us to bring the place alive, and complete the work with our own response' (see M. Livingstone, Exhibition catalogue, op. cit, pp. 13-15).

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