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拍品專文
Painted in the 1930s, before his appointment as British Prime Minister, The Canal at St-Georges-Motel captures Churchill’s escapism through painting during his many visits to the region. Aged 40, Churchill turned to painting following the unsuccessful Dardanelles Campaign of 1915 which saw him step down from his positions in both the admiralty and government. At the suggestion of his family, he began to paint as an outlet to distract himself from the growing uncertainty of the tumultuous political scene. He stated, ‘Just to paint is great fun. The colours are lovely to look at and delicious to squeeze out. Matching them, however crudely, with what you see is fascinating and absolutely absorbing.’ (W. Churchill quoted in C. Eade, Churchill by His Contemporaries, London, 1953, p. 19). Churchill and his wife Clementine would regularly frequent the historical St-Georges-Motel in Normandy throughout the 1930s as guests of his former cousin-in-law, Consuelo Balsan (née Vanderbilt) and her husband Jacques, the French aviator and industrialist, who purchased the property as a summer house in 1922.
One of a number of paintings produced of the estate, the present work demonstrates his joy of painting and Churchill’s great affinity for the landscape. Here, gentle ripples and reflections in the water immediately draws one’s gaze, while passages of warm oranges and bright yellows dramatically illuminate the scene, alluding to the heat of the day that would have been felt by Churchill while painting this composition en plein air. Rich colours are layered together and applied with bold, textured brushstrokes presenting a feeling of true vigour and excitement. Consuelo Balsan fondly recounted Churchill experimenting with his technique within the gardens of her summer home, ‘… after careful thought he made up his mind that he preferred the water rough to smooth. Sending to Dreux for a photographer, he placed two gardeners in a boat and told them to create ripples with their oars ... With characteristic thoroughness Winston persisted until all possibilities had been exhausted ...' (C. Balsan quoted in D. Coombs & M. Churchill, Winston Churchill: His Life and His Paintings, Lyme Regis, 2011, p. 148).
Further influence came from Churchill’s London neighbours, Sir John and Lady Lavery. In May 1915, Sir John Lavery was commissioned to paint a portrait of Churchill and, as a consequence, became a regular visitor to his studio at 5 Cromwell Place, often painting together. This contact deepened Churchill’s artistic impulse, with Lavery encouraging him to visit the French Riviera and embrace bright colour palettes to capture the intensity of the Mediterranean light. These frequent visits forged Churchill’s passion for painting the water, and particularly the reflections of the Côte d’Azur landscape and boats in the harbour. This location was frequented also by Sir Anthony Eden, Churchill’s Conservative political ally who held the position of Secretary of State and Foreign Secretary before, during and after the Second World War. Churchill gave The Canal at St-Georges Motel to Eden in August 1958, in whose collection it has remained until today. Upon receiving the painting, Eden wrote to Churchill to express his gratitude ‘The picture has arrived and we are both delighted with it. It is hung in the drawing-room and looks very well, all in its shimmering green’ (A. Eden quoted in a letter to Churchill, 3 August 1958).
The St-Georges-Motel became host to a number of artists during Churchill’s visits including Post-Impressionist Paul Lucien Maze (see also lot 20, Maze, Figures by the water, Tuilleries Gardens), who lived and worked nearby in Moulin de Montreuil. Having first met in the trenches during the First World War, Churchill and Maze developed a lifelong friendship, often painting together and fuelling their artistic passion. Churchill strongly admired Maze’s ability, writing the foreword to his first New York exhibition in 1939 and Maze too became mentor to Churchill, supporting him throughout his artistic and political career. While at the château in 1939, Maze recorded Churchill’s worries of approaching war, stating they would not paint again in peace for a long time.
One of a number of paintings produced of the estate, the present work demonstrates his joy of painting and Churchill’s great affinity for the landscape. Here, gentle ripples and reflections in the water immediately draws one’s gaze, while passages of warm oranges and bright yellows dramatically illuminate the scene, alluding to the heat of the day that would have been felt by Churchill while painting this composition en plein air. Rich colours are layered together and applied with bold, textured brushstrokes presenting a feeling of true vigour and excitement. Consuelo Balsan fondly recounted Churchill experimenting with his technique within the gardens of her summer home, ‘… after careful thought he made up his mind that he preferred the water rough to smooth. Sending to Dreux for a photographer, he placed two gardeners in a boat and told them to create ripples with their oars ... With characteristic thoroughness Winston persisted until all possibilities had been exhausted ...' (C. Balsan quoted in D. Coombs & M. Churchill, Winston Churchill: His Life and His Paintings, Lyme Regis, 2011, p. 148).
Further influence came from Churchill’s London neighbours, Sir John and Lady Lavery. In May 1915, Sir John Lavery was commissioned to paint a portrait of Churchill and, as a consequence, became a regular visitor to his studio at 5 Cromwell Place, often painting together. This contact deepened Churchill’s artistic impulse, with Lavery encouraging him to visit the French Riviera and embrace bright colour palettes to capture the intensity of the Mediterranean light. These frequent visits forged Churchill’s passion for painting the water, and particularly the reflections of the Côte d’Azur landscape and boats in the harbour. This location was frequented also by Sir Anthony Eden, Churchill’s Conservative political ally who held the position of Secretary of State and Foreign Secretary before, during and after the Second World War. Churchill gave The Canal at St-Georges Motel to Eden in August 1958, in whose collection it has remained until today. Upon receiving the painting, Eden wrote to Churchill to express his gratitude ‘The picture has arrived and we are both delighted with it. It is hung in the drawing-room and looks very well, all in its shimmering green’ (A. Eden quoted in a letter to Churchill, 3 August 1958).
The St-Georges-Motel became host to a number of artists during Churchill’s visits including Post-Impressionist Paul Lucien Maze (see also lot 20, Maze, Figures by the water, Tuilleries Gardens), who lived and worked nearby in Moulin de Montreuil. Having first met in the trenches during the First World War, Churchill and Maze developed a lifelong friendship, often painting together and fuelling their artistic passion. Churchill strongly admired Maze’s ability, writing the foreword to his first New York exhibition in 1939 and Maze too became mentor to Churchill, supporting him throughout his artistic and political career. While at the château in 1939, Maze recorded Churchill’s worries of approaching war, stating they would not paint again in peace for a long time.