Acquired in the 1970s by the father of the 𝄹present owner

The canvas is in good original condition. There are some small areas of craquelure in the upper two quadrants, and particularly in the area along the upper edge of the canvas. In one or two very small spots in the upper two quadrants, some flecks of paint are beginning to lift very slightly. There is no sign of retouching under ultra-violet light. Held in a gilded composition frame. Please telephone the department on 020 7293 5381 if you have any questions regarding the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In the late 1950s Lowry began to produce a number of paintings and drawings which brought a small number of large-scale figures right up in front of the viewer. The usual street background is hugely reduced, as here, becoming just a vestige of the level of detail one might have previously expected, and these groups are frequently centred around a single figure who confronts us directly. The central figure will often display some oddity, either physical or behavioural, and, coupled with the air of isolation they often emit, it has been suggested that such characters may represent a form of self-portrait for the artist. The surrounding figures often appear to either mock or threaten the cent⛄ral figure, yet they themselves are frequently less than normal in appearance.

Painted in 1961, Street Corner als𝓀o demonstrates the increasingly flexible painting technique that Lowry was employing. Having always used a relatively limited range o꧑f pigments, the combination of colours and the means of usage and treatment develops further at this time, and on close inspection we can see how the paint is manipulated, scraped back and mixed on the canvas to create a dense texture of colours. It is even possible to discern fingerprints in the paint where the artist has discarded the brush and used his fingers to smooth the colours into each other.