Tree In A Square
Tree In A Square
Signed Print
L. S. Lowry
£4,850-£7,000
$9,000-$13,000 Value Indicator
$8,500-$12,000 Value Indicator
¥40,000-¥60,000 Value Indicator
€5,500-€8,000 Value Indicator
$50,000-$70,000 Value Indicator
¥820,000-¥1,190,000 Value Indicator
$6,000-$9,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Lithograph
Edition size: 75
Year: 1964
Size: H 47cm x W 61cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2021 | Rosebery's Fine Art Auctioneers - United Kingdom | Tree In A Square - Signed Print | |||
| July 2017 | Bonhams Knightsbridge - United Kingdom | Tree In A Square - Signed Print | |||
| May 2016 | Christie's London - United Kingdom | Tree In A Square - Signed Print | |||
| February 2008 | Christie's London - United Kingdom | Tree In A Square - Signed Print | |||
| April 2006 | Bonhams Leeds - United Kingdom | Tree In A Square - Signed Print |
Meaning & Analysis
This simple town scene by L. S. Lowry is a lithograph from 1964 called Tree In A Square and is rendered exclusively in black and white, in the artist’s direct and distinct drawing style. The scene shows a square of a town, with a tree in the centre of the composition and people wandering throughout the foreground space.
Initially trained under the Impressionist master, Adolphe Valette, Lowry was interested in recording the nuances of everyday life and would sketch during the day to record his observations of the world around him. Tree In A Square is one such study, maintaining a sketchy quality as though executed quickly from life. During his prolific career, the artist produced over 8,000 drawings.
This print is exemplary of Lowry’s direct and distinctive style that led art critic Jonathan Jones to name the artist as a ‘modern primitive’. The scene is shown from an elevated view so as to give a holistic impression of the town and show the bustle of the crowds. Perfectly in line with Lowry’s stylised realism that he is so famed for, in this print the figures appear almost like silhouettes, dotted across the scene.
