The Notice Board 113/500
Laurence Stephen Lowry, R.A. (1887-1976)
The Notice Board, 1975
Offset lithograph on wove paper, after the original oil painting from 1971 of the same title (Collection: The Manchester Club)
Signed ‘L.S. Lowry’ lower right in pencil and numbered from the edition of 500
Stamped by the Fine Art Trade Guild
Published by the Adam Collection Ltd.
Printed by Chorley and Pickersgill Ltd.
Size: 15¾ x 19¾ in. (40 x 50 cm.)
(Please enquire for availability)
Lowry was a keen rambler all his life up until the late 1960s and he travelled all over the United Kingdom including to Ireland and Scotland, but it was only certain landscapes that spoke to him. He painted many rural scenes throughout his career, beginning with scenes of country lanes and farm cottages often inspired by the scenery around Lytham. But it was not until the 1930s that he found his distinctive voice in this genre with a series of surreal works loosely based on the Welsh lakes which are typified by deep green undulating hills often suggestive of female forms.
Rounded hills often appear Lowry’s landscapes, most notably an image which the artist Pat Cooke, whom Lowry befriended when she was fourteen years old, has suggested may have been inspired by his childhood memories of the hills around Macclesfield. However, given Lowry’s habit of providing varying explanations for his works, precise topographical connections are unlikely. The majority of these landscapes are empty, isolated, gloomy images of loneliness, but in The Notice Board the bleak empty hills of previous landscapes are now filled with Lowry’s familiar figures and the noise of the crowd fills the scene with a busy playfulness.
Painted five years before the end of his life, The Notice Board combines Lowry’s interest in the sea, the landscape and in people, with the obvious exclusion of the industrial imagery of the cities for which he had become synonymous.
Original: $10,722.00
-65%$10,722.00
$3,752.70The Notice Board 113/500
Laurence Stephen Lowry, R.A. (1887-1976)
The Notice Board, 1975
Offset lithograph on wove paper, after the original oil painting from 1971 of the same title (Collection: The Manchester Club)
Signed ‘L.S. Lowry’ lower right in pencil and numbered from the edition of 500
Stamped by the Fine Art Trade Guild
Published by the Adam Collection Ltd.
Printed by Chorley and Pickersgill Ltd.
Size: 15¾ x 19¾ in. (40 x 50 cm.)
(Please enquire for availability)
Lowry was a keen rambler all his life up until the late 1960s and he travelled all over the United Kingdom including to Ireland and Scotland, but it was only certain landscapes that spoke to him. He painted many rural scenes throughout his career, beginning with scenes of country lanes and farm cottages often inspired by the scenery around Lytham. But it was not until the 1930s that he found his distinctive voice in this genre with a series of surreal works loosely based on the Welsh lakes which are typified by deep green undulating hills often suggestive of female forms.
Rounded hills often appear Lowry’s landscapes, most notably an image which the artist Pat Cooke, whom Lowry befriended when she was fourteen years old, has suggested may have been inspired by his childhood memories of the hills around Macclesfield. However, given Lowry’s habit of providing varying explanations for his works, precise topographical connections are unlikely. The majority of these landscapes are empty, isolated, gloomy images of loneliness, but in The Notice Board the bleak empty hills of previous landscapes are now filled with Lowry’s familiar figures and the noise of the crowd fills the scene with a busy playfulness.
Painted five years before the end of his life, The Notice Board combines Lowry’s interest in the sea, the landscape and in people, with the obvious exclusion of the industrial imagery of the cities for which he had become synonymous.
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Description
Laurence Stephen Lowry, R.A. (1887-1976)
The Notice Board, 1975
Offset lithograph on wove paper, after the original oil painting from 1971 of the same title (Collection: The Manchester Club)
Signed ‘L.S. Lowry’ lower right in pencil and numbered from the edition of 500
Stamped by the Fine Art Trade Guild
Published by the Adam Collection Ltd.
Printed by Chorley and Pickersgill Ltd.
Size: 15¾ x 19¾ in. (40 x 50 cm.)
(Please enquire for availability)
Lowry was a keen rambler all his life up until the late 1960s and he travelled all over the United Kingdom including to Ireland and Scotland, but it was only certain landscapes that spoke to him. He painted many rural scenes throughout his career, beginning with scenes of country lanes and farm cottages often inspired by the scenery around Lytham. But it was not until the 1930s that he found his distinctive voice in this genre with a series of surreal works loosely based on the Welsh lakes which are typified by deep green undulating hills often suggestive of female forms.
Rounded hills often appear Lowry’s landscapes, most notably an image which the artist Pat Cooke, whom Lowry befriended when she was fourteen years old, has suggested may have been inspired by his childhood memories of the hills around Macclesfield. However, given Lowry’s habit of providing varying explanations for his works, precise topographical connections are unlikely. The majority of these landscapes are empty, isolated, gloomy images of loneliness, but in The Notice Board the bleak empty hills of previous landscapes are now filled with Lowry’s familiar figures and the noise of the crowd fills the scene with a busy playfulness.
Painted five years before the end of his life, The Notice Board combines Lowry’s interest in the sea, the landscape and in people, with the obvious exclusion of the industrial imagery of the cities for which he had become synonymous.
