Provenance: Hanover Gallery, London Acquired from the above in 1966 Private Collection
Exhibitions: London, Hanover Gallery, William Scott, 1961, no. 8, illustrated Lisbon, Calouste Gulbenkian Foundation, and travelling, Arte Britanica no seculo XX, 1962, no. 63, illustrated in colour Eindhoven, Stedelijk Van Abbemuseum, Kompas 2. Contemporary Paintings in London, 1962, no. 74, illustrated in colour Bern, Kunsthalle, Victor Pasmore William Scott, 1963, no. 35, illustrated in colour Belfast, Ulster Museum, William Scott, 1963, no. 38, illustrated Southampton, Southampton City Art Gallery, 1966-1967, temporary loan, details untraced London, The Tate Gallery, and travelling, Recent British Painting. Peter Stuyvesant Foundation Collection, 1967, no. 17, pp. 54-55, illustrated.
Literature: Robert Melville, 'William Scott', Motif 8, Winter 1961, p. 43, illustrated in colour Alan Bowness, William Scott: Paintings, London 1964, no. 124, illustrated
Signed, titled and dated 1961 on the stretcher
The present work is registered with the William Scott Archive as no. 123. We are grateful for their help in cataloguing this work.
This painting characterises the increasing abstraction of Scott's work following the figures and table-top still lives of the 1950s. In 1959 Mark Rothko had stayed with the Scotts in Somerset, England, and large-scale paintings such as the present work suggest that Scott was competing with American Abstract Expressionism in the ambitions for his work.