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SIR PETER BLAKE, R.A. (b. 1932)
SIR PETER BLAKE, R.A. (b. 1932)
SIR PETER BLAKE, R.A. (b. 1932)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more
SIR PETER BLAKE, R.A. (b. 1932)

The Deluge

Details
SIR PETER BLAKE, R.A. (b. 1932)
The Deluge
signed and inscribed 'THE DELUGE/PETER BLAKE' (on the reverse)
oil on board
13 ¾ x 18 in. (35 x 45.7 cm.)
Painted in 1953-54.
Provenance
Gordon and Jo House.
with Hazlitt Holland-Hibbert, London, where purchased by the present owner in 2008.
Literature
C. Grunenberg and L. Sillars (eds), exhibition catalogue, Peter Blake: A Retrospective, Liverpool, Tate Liverpool, 2007, pp. 14, 201, exhibition not numbered, illustrated.
Exhibited
London, Tate Gallery, Peter Blake, February - March 1983, no. 3.
Liverpool, Tate Liverpool, Peter Blake: A Retrospective, June - September 2007, exhibition not numbered: this exhibition travelled to Bilbao, Museo de Bellas Artes, March - June 2008.
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

In the 1983 Tate Gallery exhibition catalogue, in which The Deluge is the third work listed, the subject is described as 'from the Old Testament, imagined as a contemporary girl' (exhibition catalogue, Peter Blake, London, Tate Gallery, 1983, p. 74). Where Blake’s more mature output is associated with the celebration of pop culture, and venerates the icons or idols it creates, The Deluge abandons quasi-religious in favour of overtly religious overtones, referencing the flood myths of Christianity and many other religions where civilisation is destroyed by a vengeful god. Rather than cataclysmic, the landscape of Blake’s composition is strangely peaceful, but the expression visible on the girl’s face, looking straight at us, suggests the worst is far from over. The dark humour apparent here is accentuated by the deliberately archaic choice of title, which recalls the nihilist maxim, ‘aprés moi, le déluge’.

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