Shapes And Sizes
POA
Laurence Stephen Lowry, R.A. (1887-1976)
Shapes and Sizes, 1969-70
Original lithograph in black with tinted ground on wove paper
Signed ‘L.S. Lowry’ lower left and numbered from the edition of 75 lower right i... Read More
Product Variations
Shapes And Sizes
POA
Laurence Stephen Lowry, R.A. (1887-1976)
Shapes and Sizes, 1969-70
Original lithograph in black with tinted ground on wove paper
Signed ‘L.S. Lowry’ lower left and numbered from the edition of 75 lower right in pencil
Printed from the stone by J.E. Wolfensberger AG, Zurich
Published by Ganymed Editions, London
Size: 19 x 24 in (476 x 606 mm)
(Please enquire for availability)
The present work – titled Shapes and Sizes and published between 1969 and 1970 – depicts a group of dark figures huddled together, with the backdrop of a church spire given as the only context to the scene. This is exemplary of his fascination with individual characters that inspired one critic to describe him as an entomologist, “stalking human insects with his butterfly net... Lowry has become a collector of people.” Here, Lowry is celebrating the ordinary, creating a cast of individual figures with distinctive, gritty, and real-life characteristics.
It is often noted that as Lowry’s occupation as a rent collector had him strolling the streets by day, and it was sketches and fragments of memory that would help inform the artist’s heavily layered oil paintings executed when back at home. Although it is perhaps the sweeping and gritty industrial panoramas that Lowry is best known for, he moved away from this subject-matter in the late 1940s and began focussing on those individuals that populated his urban landscapes. From the outset of his career, it was the combination of place and people that gave his paintings life, and thus the specific places where people gathered – the courts, alleys and street corners – became the core of Lowry's work. The artist was well aware that his occupation allowed him to pass into the poorer districts almost unnoticed, areas in which his presence without such a pretext would have been less than welcome.
Lowry once remarked on works of this nature: “All those people in my pictures, they are all alone, you know. They have all got their private sorrows, their own absorptions. But they can’t contact one another. We are all of us alone – cut off. All my people are lonely. Crowds are the most lonely thing of all. Everyone is a stranger to everyone else. You have only got to look at them to see that.”
Lowry’s original lithographs, of which the present work is an example of, were all purpose drawn and do not exist in any other form. Because of the incredibly hands-on process needed to create these lithographs, Lowry’s works of this kind are considered to be ‘original’ prints, as no two lithographs are identical. Impressions of this particular lithograph are currently held in the collections of Tate and the V&A.
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Laurence Stephen Lowry, R.A. (1887-1976)
Shapes and Sizes, 1969-70
Original lithograph in black with tinted ground on wove paper
Signed ‘L.S. Lowry’ lower left and numbered from the edition of 75 lower right in pencil
Printed from the stone by J.E. Wolfensberger AG, Zurich
Published by Ganymed Editions, London
Size: 19 x 24 in (476 x 606 mm)
(Please enquire for availability)
The present work – titled Shapes and Sizes and published between 1969 and 1970 – depicts a group of dark figures huddled together, with the backdrop of a church spire given as the only context to the scene. This is exemplary of his fascination with individual characters that inspired one critic to describe him as an entomologist, “stalking human insects with his butterfly net... Lowry has become a collector of people.” Here, Lowry is celebrating the ordinary, creating a cast of individual figures with distinctive, gritty, and real-life characteristics.
It is often noted that as Lowry’s occupation as a rent collector had him strolling the streets by day, and it was sketches and fragments of memory that would help inform the artist’s heavily layered oil paintings executed when back at home. Although it is perhaps the sweeping and gritty industrial panoramas that Lowry is best known for, he moved away from this subject-matter in the late 1940s and began focussing on those individuals that populated his urban landscapes. From the outset of his career, it was the combination of place and people that gave his paintings life, and thus the specific places where people gathered – the courts, alleys and street corners – became the core of Lowry's work. The artist was well aware that his occupation allowed him to pass into the poorer districts almost unnoticed, areas in which his presence without such a pretext would have been less than welcome.
Lowry once remarked on works of this nature: “All those people in my pictures, they are all alone, you know. They have all got their private sorrows, their own absorptions. But they can’t contact one another. We are all of us alone – cut off. All my people are lonely. Crowds are the most lonely thing of all. Everyone is a stranger to everyone else. You have only got to look at them to see that.”
Lowry’s original lithographs, of which the present work is an example of, were all purpose drawn and do not exist in any other form. Because of the incredibly hands-on process needed to create these lithographs, Lowry’s works of this kind are considered to be ‘original’ prints, as no two lithographs are identical. Impressions of this particular lithograph are currently held in the collections of Tate and the V&A.
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Pay Monthly
You can secure a piece of art from £425 with a payback term of between 5 to 20 months interest free.*
0% Interest Free Credit
Spread the cost over up to 20 months with absolutely no interest to pay across all artworks.
Pay in 3 installments with Klarna.
Pay a low deposit, then between 3 to 12 months interest free.*