Meeting Point
POA
Laurence Stephen Lowry, R.A. (1887-1976)
Meeting Point, 1973
Offset lithograph on wove paper, after the original oil painting from 1965 of the same title (Collection: Sheffield Museums)
Signed ‘L.S. Lowry’ low... Read More
Product Variations
Meeting Point
POA
Laurence Stephen Lowry, R.A. (1887-1976)
Meeting Point, 1973
Offset lithograph on wove paper, after the original oil painting from 1965 of the same title (Collection: Sheffield Museums)
Signed ‘L.S. Lowry’ lower right in pencil and numbered from the edition of 600
Stamped by the Fine Art Trade Guild
Published by the Adam Collection Ltd.
Size: 19 x 28 in. (49 x 72 cm.)
(Please enquire for availability)
Trundling into work in two separate gendered lines, heads bowed and briefcases in hand, L.S. Lowry effortlessly captures the banality of the everyday arrival at work in Meeting Point, bestowing upon the figures a tenderness that renders the ordinary, fascinating. Typical of Lowry, he has managed to both convey the commonality of the commuters, whilst also retaining an interest in the individuality of each character. On first viewing, the figures are barely distinguishable, but under closer inspection reveal their varied appearances, from outfits and accoutrements to hairstyles and facial expressions. On each side, a figure turns their head towards the viewer betraying the voyeuristic nature of the work.
The present work, an offset lithograph after the original painting of 1965, is exemplary of Lowry’s 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”. People watching was one of Lowry’s favourite pastimes, but it landed him in trouble from time to time. On one occasion, a figure whom Lowry had been following, fascinated, reportedly stopped abruptly and shouted: “What the bloody hell are you following me about for?”
A painter best-known for his cityscapes that captured the industrialisation of Northern England, the present work is indicative of his ability to focus on the characters that inhabited the cities and towns that he frequented, from his beloved Salford to Burton-on-Trent and Berwick-upon-Tweed. The symmetrical composition is typical of his work, as is the idiosyncrasy of the central tower, which appears utterly impractical as a meeting point and incapable of containing the various figures queuing to get in. Despite the often-sombre nature of his work, Lowry had a wicked sense of humour, taking great pleasure in the ridiculous and impossible, and Meeting Point is a great example of this.
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Laurence Stephen Lowry, R.A. (1887-1976)
Meeting Point, 1973
Offset lithograph on wove paper, after the original oil painting from 1965 of the same title (Collection: Sheffield Museums)
Signed ‘L.S. Lowry’ lower right in pencil and numbered from the edition of 600
Stamped by the Fine Art Trade Guild
Published by the Adam Collection Ltd.
Size: 19 x 28 in. (49 x 72 cm.)
(Please enquire for availability)
Trundling into work in two separate gendered lines, heads bowed and briefcases in hand, L.S. Lowry effortlessly captures the banality of the everyday arrival at work in Meeting Point, bestowing upon the figures a tenderness that renders the ordinary, fascinating. Typical of Lowry, he has managed to both convey the commonality of the commuters, whilst also retaining an interest in the individuality of each character. On first viewing, the figures are barely distinguishable, but under closer inspection reveal their varied appearances, from outfits and accoutrements to hairstyles and facial expressions. On each side, a figure turns their head towards the viewer betraying the voyeuristic nature of the work.
The present work, an offset lithograph after the original painting of 1965, is exemplary of Lowry’s 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”. People watching was one of Lowry’s favourite pastimes, but it landed him in trouble from time to time. On one occasion, a figure whom Lowry had been following, fascinated, reportedly stopped abruptly and shouted: “What the bloody hell are you following me about for?”
A painter best-known for his cityscapes that captured the industrialisation of Northern England, the present work is indicative of his ability to focus on the characters that inhabited the cities and towns that he frequented, from his beloved Salford to Burton-on-Trent and Berwick-upon-Tweed. The symmetrical composition is typical of his work, as is the idiosyncrasy of the central tower, which appears utterly impractical as a meeting point and incapable of containing the various figures queuing to get in. Despite the often-sombre nature of his work, Lowry had a wicked sense of humour, taking great pleasure in the ridiculous and impossible, and Meeting Point is a great example of this.
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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.*