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)

Llyn-y-Gader, Cader Idris

Details
John Piper, C.H. (1903-1992)
Llyn-y-Gader, Cader Idris
signed ‘John Piper’ (lower right); inscribed 'Llyn-y-Gader/Cader Idris' (on the reverse)
ink, crayon, watercolour and gouache on paper
14 x 19 in. (35.6 x 48.2 cm.)
Executed circa 1943.
Provenance
with Spink, London, where purchased by the present owner in the early 1980s.
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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Albany Bell
Albany Bell

Lot Essay


John Piper's Snowdonia pictures, produced between 1943-1950 (the present is one of the earlier examples), 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). These paintings and drawings were first exhibited as a group at Curt Valentin's Buchholz Gallery, New York in 1948, with a second show in 1950. In the introduction to the catalogue which accompanied the Cardiff exhibition 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'. The Snowdonia works can easily be located within the continuum of the Romantic tradition of British landscape painting whose luminaries Richard Wilson, John Sell Cotman, David Cox and John Ruskin have been referred to by those who have described and commented upon them, including the artist himself in his own writings.

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

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