Huddersfield
POA
Laurence Stephen Lowry, R.A. (1887-1976)
Huddersfield, 1973
Offset lithograph on wove paper, after the original oil painting from 1965 of the same title
Signed ‘L.S. Lowry’ lower right in pencil and numbered f... Read More
Product Variations
Huddersfield
POA
Laurence Stephen Lowry, R.A. (1887-1976)
Huddersfield, 1973
Offset lithograph on wove paper, after the original oil painting from 1965 of the same title
Signed ‘L.S. Lowry’ lower right in pencil and numbered from the edition of 850
Stamped by the Fine Art Trade Guild
Published by Henry Donn
Size: 17½ x 22½ in. (44.5 x 57 cm.)
(Please enquire for availability)
The original painting from which the present offset lithograph was produced was commissioned by the Huddersfield Corporation in 1965. It was one of the few official commissions accepted by the artist. The painting now hangs, fittingly in the Huddersfield Gallery. Lowry once remarked about the area: “For a great many years, when I was very active, I used to visit all the industrial towns and stop a couple of nights in each. Huddersfield in particular I’d go back to.”
The present work depicts a view of Chapel Hill, a view that is still mostly recognisable today. A local resident recently commented, “If he was at that spot today Wilkos would be behind him and he could pop to the Rat & Ratchett just down the hill on the right for a pint.” This factor makes the work significant as many of Lowry’s urban landscapes are usually a ‘composite’ of the actual and the imaginary, incorporating a variety of elements from the stock mythos of Lowry's imagery and not resembling a singular real location.
The industrial landscape was a theme that provided a constant, binding thread throughout Lowry’s life and career: “My ambition,” the artist once remarked “was to put the industrial scene on the map, because nobody had done it, nobody had done it seriously.” Lowry’s engagement with industry and the urban landscape is what makes his practice unique, a focus that the great critic Herbert Read found “quite extraordinary… [that]… in an industrial country like this, no-one…no painter of any significance has ever taken the industrial landscape as a subject, and what you might call industrial art doesn’t exist.” For Read and many other critics, this fixation is precisely what makes Lowry’s body of work so original.
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Laurence Stephen Lowry, R.A. (1887-1976)
Huddersfield, 1973
Offset lithograph on wove paper, after the original oil painting from 1965 of the same title
Signed ‘L.S. Lowry’ lower right in pencil and numbered from the edition of 850
Stamped by the Fine Art Trade Guild
Published by Henry Donn
Size: 17½ x 22½ in. (44.5 x 57 cm.)
(Please enquire for availability)
The original painting from which the present offset lithograph was produced was commissioned by the Huddersfield Corporation in 1965. It was one of the few official commissions accepted by the artist. The painting now hangs, fittingly in the Huddersfield Gallery. Lowry once remarked about the area: “For a great many years, when I was very active, I used to visit all the industrial towns and stop a couple of nights in each. Huddersfield in particular I’d go back to.”
The present work depicts a view of Chapel Hill, a view that is still mostly recognisable today. A local resident recently commented, “If he was at that spot today Wilkos would be behind him and he could pop to the Rat & Ratchett just down the hill on the right for a pint.” This factor makes the work significant as many of Lowry’s urban landscapes are usually a ‘composite’ of the actual and the imaginary, incorporating a variety of elements from the stock mythos of Lowry's imagery and not resembling a singular real location.
The industrial landscape was a theme that provided a constant, binding thread throughout Lowry’s life and career: “My ambition,” the artist once remarked “was to put the industrial scene on the map, because nobody had done it, nobody had done it seriously.” Lowry’s engagement with industry and the urban landscape is what makes his practice unique, a focus that the great critic Herbert Read found “quite extraordinary… [that]… in an industrial country like this, no-one…no painter of any significance has ever taken the industrial landscape as a subject, and what you might call industrial art doesn’t exist.” For Read and many other critics, this fixation is precisely what makes Lowry’s body of work so original.
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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 20 months interest free *pay in full over 5 years