York Festival Triptych

Details

Richard Eurich, R.A. (1903-1992)
York Festival Triptych
signed and dated 'R. Eurich.1956.' (lower right)
oil on canvas
51½ x 77¼ in. (130.8 x 196.2 cm.)

Provenance

Commissioned by the Lord Mayor of York in 1954.
On loan from the artist to the Vice Chancellor of York University until 1970.
with Ash Barn, Petersfield, where purchased by the present owner in 1970.

Literature

Exhibition catalogue, The Edge of All the Land: Richard Eurich 1903-1992, Southampton, City Art Gallery, 1994, pp. 28, 47-48, no. 54, illustrated, dated 1954-55.
M. Rogerson, 'Rediscovering Richard Eurich's "York Festival Triptych"', Medieval English Theatre, Volume Twenty-Three, Lancaster University, 2001, pp. 3-16.

Exhibited

London, Royal Academy, 1956, no. 329.
Southampton, City Art Gallery, The Edge of All the Land: Richard Eurich 1903-1992, January - March 1994, no. 54, dated 1954-55: this exhibition travelled to Manchester, City Art Gallery, March - May 1994; Bradford, Cartwright Hall, May - July 1994; and Ipswich, Christchurch Mansion, July - August 1994.
Southampton, City Art Gallery, on loan 1992-2005.

Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

Brought to you by

Anne Haasjes

ahaasjes@christies.com +44 (0)20 7389 2681

Lot Essay

York Festival Triptych is another of Richard Eurich's major works from the 1950s. The central 'panel' of the triptych shows a medieval mystery play in progress across a bridge, with Noah in his ark together with his family, and alongside there is the rainbow confirming God's renewed covenant with mankind. The Minster towers above all the other tall buildings of York, the people crowd the streets, chimneys pour out smoke, and in a cameo scene in the far distance a cricket match takes place. A cool grey northern sky tempers the exuberance and colour of the city below, while the aerial perspective suggests that the artist has used his imagination to bring together all the various elements that comprise the painting.

C.C.

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