Landscape With Farm Buildings
POA
Laurence Stephen Lowry, R.A. (1887-1976)
Landscape with Farm Buildings, 1974
Offset lithograph on wove paper, after the original oil painting from 1954 of the same title (Collection: Norwich Castle Museum)
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Product Variations
Landscape With Farm Buildings
POA
Laurence Stephen Lowry, R.A. (1887-1976)
Landscape with Farm Buildings, 1974
Offset lithograph on wove paper, after the original oil painting from 1954 of the same title (Collection: Norwich Castle Museum)
Signed ‘L.S. Lowry’ lower right in pencil
Stamped by the Fine Art Trade Guild and numbered from the edition of 850
Published by Venture Prints Ltd.
Size: 17 x 21 in. (43.5 x 52.5 cm.)
(Please enquire for availability)
The original painting Landscape with Farm Buildings from which this offset lithograph was produced is currently on view at the Norwich Castle Museum who acquired it in 1955, which is the same collection that also includes Lowry’s Industrial Scene 1953. These two works were acquired for the gallery through the assistance of the Norfolk Contemporary Art Society co-founded in 1956 by Lowry’s artist friend and Norfolk local, David Carr, who was the society’s first president and a major collector of Lowry’s work.
Lowry was fascinated with how the industrial revolution had altered the face of Victorian Britain. The gates and fences often found in his paintings of farms in the countryside around Lytham and Fylde in Lancashire often resurface in the more well-known industrial paintings (for example River Scene 1935 with its rows of paling fences amid the industrial waste land), which reminds us that many of the small towns which had become fully industrialized in the nineteenth century had often grown from small rural communities.
Lowry biographer Shelley Rohde quotes a 1929 letter from Lowry to Harold Timperley in her biography of the artist: 'Lowry indeed had made no secret of his inability to appreciate conventional beauty. "To my loss, country lanes have been foreign to me somewhat for quite a while past – for alas my recreation seems to have developed into drifting amongst all the back streets etc, I can come across. I don't know what your Naturalistic Nature will think of an outlook like that!"' .
Welsh critic and historian Mervyn Levy also discusses Lowry’s penchant for countryside scene which is a theme that runs through his career: “Landscape was one of Lowry’s first passions. Long before he discovered the industrial scene, he was recording in pencil and in pastel, country scenes from the environs of Lytham St Annes and Fylde. It is a passion to which he has returned time and again for spiritual refreshment. Had he not discovered the industrial prospect there is little doubt that he would still have made his mark, but as a major painter of nature. In later years he has used landscape, empty and bleak, as a foil to intensify hiss sense of the ultimate loneliness of man.”
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Laurence Stephen Lowry, R.A. (1887-1976)
Landscape with Farm Buildings, 1974
Offset lithograph on wove paper, after the original oil painting from 1954 of the same title (Collection: Norwich Castle Museum)
Signed ‘L.S. Lowry’ lower right in pencil
Stamped by the Fine Art Trade Guild and numbered from the edition of 850
Published by Venture Prints Ltd.
Size: 17 x 21 in. (43.5 x 52.5 cm.)
(Please enquire for availability)
The original painting Landscape with Farm Buildings from which this offset lithograph was produced is currently on view at the Norwich Castle Museum who acquired it in 1955, which is the same collection that also includes Lowry’s Industrial Scene 1953. These two works were acquired for the gallery through the assistance of the Norfolk Contemporary Art Society co-founded in 1956 by Lowry’s artist friend and Norfolk local, David Carr, who was the society’s first president and a major collector of Lowry’s work.
Lowry was fascinated with how the industrial revolution had altered the face of Victorian Britain. The gates and fences often found in his paintings of farms in the countryside around Lytham and Fylde in Lancashire often resurface in the more well-known industrial paintings (for example River Scene 1935 with its rows of paling fences amid the industrial waste land), which reminds us that many of the small towns which had become fully industrialized in the nineteenth century had often grown from small rural communities.
Lowry biographer Shelley Rohde quotes a 1929 letter from Lowry to Harold Timperley in her biography of the artist: 'Lowry indeed had made no secret of his inability to appreciate conventional beauty. "To my loss, country lanes have been foreign to me somewhat for quite a while past – for alas my recreation seems to have developed into drifting amongst all the back streets etc, I can come across. I don't know what your Naturalistic Nature will think of an outlook like that!"' .
Welsh critic and historian Mervyn Levy also discusses Lowry’s penchant for countryside scene which is a theme that runs through his career: “Landscape was one of Lowry’s first passions. Long before he discovered the industrial scene, he was recording in pencil and in pastel, country scenes from the environs of Lytham St Annes and Fylde. It is a passion to which he has returned time and again for spiritual refreshment. Had he not discovered the industrial prospect there is little doubt that he would still have made his mark, but as a major painter of nature. In later years he has used landscape, empty and bleak, as a foil to intensify hiss sense of the ultimate loneliness of man.”
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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.*