Euan Uglow (British, 1932-2000) Night Scene 21 x 17.8 cm. (8 1/4 x 7 in.)

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Lot 7AR
Euan Uglow
(British, 1932-2000)
Night Scene 21 x 17.8 cm. (8 1/4 x 7 in.)

Sold for £ 23,812 (US$ 29,594) inc. premium
Euan Uglow (British, 1932-2000)
Night Scene
signed, inscribed and dated 'Night Scene 1995-1997/oil on board/Euan Uglow' (on a label attached to the backboard)
oil on board
21 x 17.8 cm. (8 1/4 x 7 in.)

Footnotes

  • Provenance
    With Browse & Darby, London, 1997, where purchased by
    Dr. Bruce Laughton, thence by family descent
    Private Collection, U.K.

    Exhibited
    London, Browse & Darby, Euan Uglow, 30 April-31 May 1997, cat.no.27 (col.ill)

    Literature
    Catherine Lampert, Euan Uglow, The Complete Paintings, Yale University Press, New Haven and London, 2007, p.189, cat.no.382 (col.ill.)

    'The pose described a girl unfastening a white bra that is only clearly visible at the back. The window setting and night-time solitude is evocative of Edward Hopper, in a work such as Morning in the City of 1944, while the colour and handling recall those of Richard Diebenkorn's figurative paintings of the 1960s. The anachronistic quality of her action and the turning away from the artist are also familiar from a number of Uglow's 'imagined' pictures'.

    This image appears to be one of those of which Uglow said 'stayed in the retina', and which he began to paint at least six years after the incident occurred:

    "I suppose one could say I don't want the sex to be explicit. I was thinking the other day one of the sexiest things I've ever seen was driving along the street and seeing a girl with a bra, putting a jumper on. Out of the side of my eye, it was just off the Fulham Rd...I've seen so many beautiful girls naked and all the rest of it. I don't think a person has to be up front to make a thing of some marvellous girl. You don't have to show her private parts to get the idea of what she's like." (Golding March 1989)

    (Catherine Lampert, Euan Uglow, The Complete Paintings, Yale University Press, New Haven and London, 2007, p.189)
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