L.S. Lowry
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L.S. Lowry




signed limited edition lithographs limited edition prints signed limited edition prints

L.S. Lowry

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Lowry Prints and Lithographs.


As the master of scenes depicting urban life in the North, the artist LS Lowry is best known for his trademark red-brick buildings and "matchstick men" figures, which feature in his most famous paintings. But previously unseen erotic drawings by the artist of partially-clad women are to be displayed for the first time, revealing a hidden passion to Lowry's work. Three sketches of ballerina-like figures with their breasts exposed, thought to have been drawn by Lowry when he was in his eighties, will be unveiled later this month The figures are dressed in tight and revealing corset-style bodices, with tutu shaped skirts decorated with bows. The sketches, which are thought to date from the early 1970s, show two of the figures standing in the ballet pose "en pointe". The drawings have since remained in the artist's private archive which, along with the rest of his estate, passed to Carol Ann Lowry, on his death in 1976.

lowry drawing erotic
Mannequin with Bows 1960s

Miss Lowry, who is no relation of the artist, had written to him, in 1957, when, aged 13, she was urged by her mother to ask for his advice on how to become a painter. After receiving the letter, Lowry made a surprise visit to Miss Lowry's home in Lancashire and their friendship was to last for the rest of his life. Miss Lowry has agreed for them to be displayed at a new exhibition dedicated to the Royal Ballet and its founder, Ninette de Valois, at The Lowry gallery in Salford.

A shy and secretive artist who remained unmarried until his death, at the age of 88, Lowry once admitted that he had "never had a woman". But as a keen ballet-goer who regularly attended performances by the Royal Ballet at Covent Garden and in his home city of Manchester, it appears the ballet and its dancers including Margot Fonteyn and de Valois, may have stirred a latent passion in the artist.

Claire Stewart, the curator of the LS Lowry collection at the gallery and co-curator of Invitation to the Ballet: Ninette de Valois and the Story of the Royal Ballet, said: "They are highly detailed works and he obviously took a lot of time and care over them. "Lowry particularly loved the ballet Coppelia, and the poses in the drawings appear to reference that work, although given the erotic undertones, it's unlikely that he ever intended to exhibit them publicly.

"They are very surprising images and could not be more different from the industrial scenes we associate with Lowry, but he was a mysterious, multifaceted man with complex human emotions, and these late works are an expression of some of these feelings." The exhibition, tells the story of the Royal Ballet from its foundations in the 1920s to the present day, highlighting Lowry's involvement in ballet and how his appreciation of art, music and dance affected his work. It will feature several of Lowry's portraits of "Ann", an enigmatic figure with stylised features whom he often spoke of as a real person, though speculation persists as to her identity.

Some Lowry experts argue that she was a figment of his imagination or composite of his ideal woman, while others believe that she is based on the character of Swanilda from Coppelia, which Lowry is thought to have first seen performed during the Second World War. The exhibition will also display costumes worn by some of the greatest names in ballet including Darcey Bussell, Rudolf Nureyev and Fonteyn, alongside costume and set designs by artists including Pablo Picasso and Rex Whistler.

A brief biography and history of the artist
Lowry Prints and Lithographs
There are approximately 54 signed prints and 17 lithographs;
Approximately 26 unsigned, Lowry limited edition prints;
and many open edition, poster prints of decorative value only.
The signed prints have an embossed stamp, by the Fine art trade guild, or that of the publisher;
Some titles are simply signed and numbered,
and several titles eg. 'Mill scene', 'Level crossing' and 'Market scene' are simply signed in pencil by Lowry,
but not stamped or numbered, although they are limited edition prints (editions of 750).
All LS Lowry enquiries:-administrator@lowry.co.uk
phone England 01623 799 309

L.S.Lowry
Laurence Stephen Lowry did not like to think about himself as an novice artist.
Individuals would occasionally accuse him of being self-taught and untutored. he commented,
"Started at fifteen years old. Don't know why?" My aunt stated "You seem to be no good for anything,
so you may as well go to Art School."
LSLowry started evening courses in antique art and free hand art drawing during 1905.
Later becoming a student in each the Manchester Academy of Fantastic Art and The Salford Royal Technical College at Peel Park.
College records present that Lowry attended art classes through the 1920's. Lowry had learnt from academics,
individuals such as the Frenchman Adolphe Valette.

This French Impressionist artist had made a huge impact on the artwork world.
He noticed from exhibitions in Manchester how the present developments in fashionable art were altering,
and had an affection for Pre-Raphaelite art, by artists similar to Rossetti and Ford Madox Brown.
A naive Sunday artist LS Lowry actually was not. Lowry strove for a particular method of painting and drawing, and for a topic Lowry might make unique.
Lowry ultimately selected the view from the Technical College window. Industrial scenes of Salford and Manchester, as opposed to that of a mannequin posing.
Throughout the early years L.S.Lowry lived in Victoria Park, the suburbs of Manchester.
As a result of lack of cash the household moved to Station Highway, Pendlebury.
There, the tree lined streets changed to manufacturing facility chimneys. Lowry recalled "At first I detested it, and then, after years,
turned pretty fascinated by it, ultimately obsessed by it".
He saw the topics for his work throughout him. In Lowry's later life, L.S.L. recalled a particular event. "One day after missing a train from Pendlebury
(a nearby town) I had ignored for seven years, and on leaving the station, noticed the Acme Spinning Firm's mill.
The large black framework of rows of yellow lit windows standing up against the unhappy, damp charged afternoon sky.
The mill was turning out. "Gazing at this scene, which I had looked at many occasions with out seeing, with rapture."

An author in The Guardian newspaper, Bernard Taylor, recognized the distinctive quality of Lowry's paintings, when he reviewed an early exhibition.
"Mr Laurence Stephen Lowry has a very attention-grabbing and individual outlook.
Lowry topics are Manchester and Lancashire avenue scenes, interpreted with technical means as yet imperfect, however with actual imagination.
We hear a terrific deal nowadays about recovering the simplicity of vision of primitives in art.
These pictures are authentically primitive, the true factor not an artificially cultivated likeness to it.
The issues of illustration are solved not by reference to established conventions, however by sheer willpower to express what the artist has felt.
Whether the result is in line with rule or not..."

Lowry laboured as rent collector for the Pall Mall Property Company, preferring to maintain his other work secret.
Lowry did not need the public to think about him as an amateur artist.
The job led to Lowry walking everywhere in the city offering L.S.Lowry with many sights and experiences.
Kids enjoying within the streets, people returning from work, going off to work, gossip on the entrance steps,
incidents, market places and Whit - processions.
But all this changed, the blitz and rebuilding, slum clearances and new housing, modified the face of town Lowry had observed so well.
"I saw the industrial scene and was affected by it.
Attempting to draw it all the time and trying to express the industrial scene as well as possible.
It wasn't easy, effectively, a camera may have performed the scene straight off".

Lowry felt that drawings were as labour intensive to do as paintings. Working the surface of the drawings by smudging, erasing and rubbing
the pencil lines on the paper to build the ambiance of the drawing.
This artist would typically make fast sketches on the spot on no matter what paper he had in his pockets.
L.S.Lowry carefully composed his drawings in a painting room at home and took nice care over placing each figure.
Late in life he would sit before a canvas or board on his easel and never know what was going to be in the painting until he started working.
He would call them them "dreamscapes".

Bernard Taylor made the suggestion that helped Lowry achieve the stark figures and the pallor of the industrial sky
that he desired.
Taylor prompt Lowry painted on a pure white background. He experimented with layers of white paint on boards, leaving them for a time until
the surface became creamy.
LS Lowry used a really fundamental range of colours, which he mixed on his palette and painted on the white background.
"I'm a simple man, and use simple materials: ivory, black, vermilion (crimson), Prussian blue, yellow ochre, flake white and no medium (e.g. linseed oil).
That's all I've ever utilized in my paintings. I like oils... I like a medium you'll be able to work into over a time frame".
Examining the surface of a Lowry painting reveals to us the variety of ways he worked the paint with brushes (using both ends),
together with his fingers and with sticks or a nail.
Some paintings are painted over the surface of different images.
The 1938 portray Head of a Man (Man with Crimson Eyes) when x-rayed confirmed a female portrait and probably a self-portrait underneath.
Someone once asked,"What do you do along with your outdated suits?" "Wear them", got the reply!
Lowry actually wore them for work, wiping the brushes on his lapels and sleeves.

In 1932 the father of Lowry died . For the following seven years, his 73 year old mother became ill and fully ruled the life of Lowry.
After she died in 1939, Lowry painted "The Bedroom Pendlebury" - in memory of those lengthy hours he spent there.
Demanding an excessive amount of his attention, Lowry would usually only be able to arrive at his studio after dark.
"My mother didn't understand my artwork, however she understood me and that was enough" Lowry said.
These have been years of isolation and rising despair, mirrored in the paintings of Lowry.
They depict derelict buildings and wastelands as mirrors of himself. As an official warfare artist - himself emotionally blitzed -
Lowry drew the ruined shells of bombed-out buildings. In 1939, the year Mrs Lowry died - the particular person he most wanted to please -
success came with the first London exhibition.

"When the mother of Lowry died, all interest in life was lost, continuing to paint was his greatest salvation".
Just when this northern artist began to have success, Lowry was changing from the subjects that everybody wished him to produce.
"If it were not for loneliness, none of my works would have occurred". A few of the most powerful paintings by Lowry are abandoned landscapes and seascapes.
A number of the most difficult pictures to take pleasure in are of solitary figures and tramps.
"These folks affect me in a method that the industrial scene by no means did.
They are actual individuals, unhappy people.

Sadness attracts me, and there are some very unhappy things. similar feelings in myself".
All the things came too late for Lowry, but the later years saw the British artist turn out to be a famous celebrity.
Lowry also grew to become preoccupied about whether his art would last.
"Will I be remembered", he asked time and again, just like the art of the Pre-Raphaelites Lowry collected and cherished, "I painted from childhood to childhood".
Lowry grew to become an previous man - typically protesting to interviewers that he had "given up, packed it in".
LSLowry died aged 88 in 1976 just months before a retrospective exhibition of his paintings opened at the Royal Academy.
It broke all attendance records for a twentieth century artist.

Salford Museum & Art Gallery started amassing the artist's work in 1936
and steadily constructed the collection which is now held at the centre of the award-winning contemporary buiding bearing the artist's name.
Celebrating his art and changing the cityscape again.
A small quantity of paintings by the artist l.s. lowry have been published as signed limited prints.
Several of the most well-known being, 'Going to the match', Man lying on a wall, Huddersfield, Deal, ferry boats,
Three cats Alstow, Berwick-on-Tweed, peel park, The two brothers, View of a town, Road scene.

25 years experience and widely regarded as the world's leading authority on paintings and prints by L.S.Lowry
The largest collection of signed, limited edition prints by ls lowry in the UK!
Visit the studio in Nottinghamshire, or arrange a private viewing of prints or original paintings in your home.
lowry signed limited edition print paintings studio 5
slowry igned limited edition print paintings studio 4

Signed, limited edition, prints and original paintings, drawings for sale.

EMAIL:-administrator@lowry.co.uk phone England 01623 799 309 or mobile 07974 371 255 Visa All major credit/debit cards accepted
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