1951 - The Lake

The Lake 1951
Oil on Board

19.1 x 47.3 cm
The L.S. Lowry Collection

1951 - A Village Scene with Church and Figures

A Village Scene with Church and Figures 1951

Pencil on Buff Cardboard

35.5 x 28 cm

Sold for £6,600 including premium

Signed [November 2006] with Initials and Dated '1951' (lower left)

Provenance

with Capes Dunn & Co., Manchester, 2003, where purchased by the previous owner

1951 - Two Men

Two Men 1951

Pencil

21.6 x 19.7 cm

Sold [March 2006] for £14,400 including premium

Signed and Dated 1951 (lower right)

Provenance

Acquired directly from Laurence Ives by the previous owner in 1975

According to the inscription from Laurence Ives on the backboard and The Lowry, Salford who have viewed the drawing first hand, this work was signed and dated at the time of purchase by Ives from Lowry in 1964 and not at the time of execution. This work will accompanied by a letter of authenticity from The Lowry, Salford.

1951 - Yachts at Lytham St Anne's

Yachts at Lytham St Anne's 1951

Oil on Panel

21.5 x 34 cm
Sold [May 2012] for £133,250 inc. premium

Signed and Dated 'LS LOWRY 1951' (lower left)

PROVENANCE

With The Waddington Galleries, London

Lowry's paintings of pleasure boats at Lytham St. Anne's on the Lancashire coast form an important and well-documented aspect of the artist's oeuvre. It is well known that his mother favoured these over his darker industrial scenes, attracted, perhaps, to their cheerful palette and the nostalgic memory of holidays at the coast with her son. These works form an important aspect of the artist's output, from sketches made as early as 1902 to well into the 1970s, as Lowry relished in the painterly effects of depicting the character of the tranquil waters, dotted with pastel sails. 

T.G. Rosenthal writes 'it is not mere speculation to say that the sea, wherever he found it, gave him ample opportunity to work with his beloved, and so ingeniously exploited, white paint. More than the industrials, and more than his earth-bound landscapes the views of the sea had one overpowering component which existed on a much smaller - and frequently mostly hidden - aspect, namely an uninterrupted horizon where the preponderant white sky met the edge of the sea.' (T.G. Rosenthal, L.S. Lowry, The Art and the Artist, Unicorn Press, Norwich, 2010, p.208).

1951 - Landscape in Cumberland

Landscape in Cumberland 1951
Oil on Board

15.9 x 58.7 cm
The L.S. Lowry Collection