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Signed Limited Edition Prints and Original Paintings........bought and sold Specialist dealers to the trade and retail
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All limited editions shown below are in stock and well below gallery retail prices! Original paintings/drawings and Signed, Limited Edition Lowry prints
Industrial town A Hillside Peel Park Street full of people The Viaduct, Salford
by "Laurence S. Lowry" lithograph of 75 by Lowry lithograph of 75 by L.S.Lowry
Signed,Limited edition Signed,Limited edition Signed,limited edition Signed, limited edition S.L.E. Lithograph
Market scene His Family Man holding child "Industrial panorama" Man on the wall
Signed,Limited edition by Lowry "L. S. Lowry" Signed, limited edition Limited edition print
The Two Brothers The Noticeboard People standing about View of a town Sailing Boats
signed,limited edition signed,limited edition signed, limited edition by Lowry signed, print
Level Crossing with Train Station Approach Level crossing, Mrs Swindells Picture Our Town
Signed,limited edition Signed Limited edition Burton-on-Trent Signed Limited edition Signed print
On the sands Deal The Beach Ferry boats The Harbour
signed, limited edition by L.S.Lowry by L.S.Lowry signed,limited edition signed,print
by L.S.Lowry Signed,limited edition Signed Limited edition by Lowry by Lowry
St Lukes, London St. Simon's Church Burford Church Huddersfield The Fever Van
Signed limited, edition Edition of 300 by Lowry Lowry
L.S.Lowry (Signed, limited edition) L.S.Lowry signed, limited edition signed print
Landscape with Ferry Boats Crime Lake Three men and a cat Mother, Father, L.S.Lowry
Farm buildings by Lowry Signed, limited edition Lowry and medallion
by Lowry Signed Limited edition ls lowry Signed, limited editions
Britain at Play Meeting Point Woman with beard The Pond Mill scene
signed print Image size 18.5" x 28" by Lowry Signed, limited edition ls lowry
Group of Children Sketch for Group of children Sketch for woman Berwick-on-Tweed
Image size 7" x 8" Image size 23" x19" with beard ls lowry
Signed Limited edition Limited edition Limited edition Signed Limited edition print
Lonely House The Family Streetscene Industrial scene " Mrs Swindell's
signed,limited edition by L.S.Lowry by L.S.Lowry by L.S.Lowry picture"
by L.S.Lowry Signed,limited edition Signed print Signed Limited edition by L.S.Lowry
Great Ancoats street St. Mary's Beswick Reference library The Football match Mill Scene
signed,limited edition Signed,limited edition Signed Limited edition Signed Limited edition print by Lowry
(Unsigned) Limited Edition Prints by Lowry
Crowd around a The Football match The organ grinder Burford church St. Lukes church
cricket sight board by L.S.Lowry L.S.Lowry by Lowry LS Lowry
Limited edition print Limited edition print Limited edition Limited edition print Limited edition print
A River Bank A Salford Street scene 1928 The Auction Man looking out to sea The Lodging House
Limited edition print Limited edition print Limited edition Limited edition print Limited edition print
L. S. Lowry Price £98 inc. L. S. Lowry L. S. Lowry LS Lowry
Millscene The Tall Tower 'The Tramp' Family discussion On the promenade
Limited edition print Limited edition print (Limited edition) Limited edition print Limited edition print
by Lowry by Lowry by Lowry by Lowry by Lowry
Lowry Prints and Lithographs
There are approximately 54 signed prints (signed, limited edition print titles) and 17 lithographs;
Approximately 26 unsigned, limited edition prints;
and numerous open edition, poster type Lowry prints of decorative value only.
The signed prints usually have an embossed stamp, by the Fine art trade guild,
or that of the publisher;
Some titles are simply signed and numbered, eg..
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).
Lowry Signed limited editionPrints and Lithographs
There were over the years approximately fourteen different publishers of Lowry' paintings;
The Adam Collection Ltd.
Ainsworths Ltd.
Henry Donn Galleries
Frost and Reed Ltd.
Ganymed original editions Ltd.
Grove galleries Ltd.
Jupiter books (London) Ltd.
The Manchester club
Mainstone publications
The Medici society Ltd.
Gordon Mellor
Peinture Ltd.
Penrose Fine art Ltd.
The Sunday Observer
Each publisher used different printers, who in turn would use different quality inks and papers. (some better than others)
The prints would be published, sometimes using the Fine art trade guild as an independant stamp of authority,
eg. 'The reference library' and 'Ferry boats' and in other cases, the work would be signed, stamped by the publisher's
own embossed stamp and numbered, eg. 'The football match' and 'St. Luke's church' or sometimes, simply signed
by Lowry and numbered. eg. 'Burford church' and 'Man on the wall'
All major credit/debit cards accepted
England (0) 1623 799 309
or telephone 07974 371 255
Lowry's Life
1905 - Art School
Lowry disliked being classified as an amatuer or part-time painter, who had no formal teaching. "I started to paint at 15years old. why..Who knows.
My aunt said they might as well send me to Art School as I was no good for anything else, so ..." He began to take evening classes in 1905 'antique and freehand
drawing'.
"If people call me a Sunday painter I'm a Sunday painter who paints every day of the week!"
Later he studied in Salford Royal Technical College, and at Peel Parkthe Manchester Academy of Fine Art .
According to records in the 1920's, Lowry was still attending classes. Lowry was taught by highly respected proffessionals such as the
Frenchman Adolphe Valette - He saw how French Impressionism had changed the way modern art was perceived. Lowry knew from exhibitions
he had viewed in Manchester all the present day fashions in contemorary painting,
and loved the work of Pre-Raphaelites, eg. Rossetti and Ford Madox Brown.Not at all a 'naive part-time painter', Lowry was an artist who looked for his own
unique style of painting and drawing - and for a subject matter that would be his, the view from the Technical College
window was of much more interest to Lowry than a model posing.
Industrial Scenes late 1920s - 1930s
Lowry was a rent collector for the Pall Mall Property Company. He prefered not tell people about his work because he did not want them to think of him as
a spare-time painter. His job took to him walking all over the city. He saw...! Children playing in the streets, people returning from work,
going off to work, gossip on the front steps, incidents, market places and Whit - processions. But this all changed in his lifetime: the blitz and
rebuilding, slum clearances and new housing, changed the face of the city he had observed so accurately.
"I saw the industrial scene and I was affected by it. I tried to paint it all the time. I tried to paint the industrial scene as best I could.
It wasn't easy. Well, a camera could have done the scene straight off".
An Appreciation, 1921
Bernard Taylor,then a writer in The Guardian newspaper, recognised the true quality of Lowry's work, when he reviewed one of the artist's earliest
exhibitions.
"Mr Laurence S Lowry has a very interesting and individual outlook. His subjects are Manchester and Lancashire street scenes, interpreted with technical
means as yet imperfect, but with real imagination... We hear a great deal nowadays about recovering the simplicity of vision of primitives in art.
These pictures are authentically primitive, the real thing, not an artificially cultivated likeness to it. The problems of representation are solved not
by reference to established conventions, but by sheer determination to express what the artist has felt, whether the result is according to rule or not..."
The Desolation Row of 1930s - 1940s
In 1932 Lowry's father died.Tthe following seven years, his 73 year old mother became 'bed ridden' and completely dominated her son's life. After her death
in 1939, Lowry painted The Bedroom Pendlebury - in memory of those long hours he spent taking care of her.
She always demanded much of his attention. Lowry would only get to his painting room late at night after she had settled down. "She did not comprehend my paintings,
but she understood me and that was sufficient". These were years of isolation and growing despair, which reflected in Lowry's paintings. They show derelict
buildings and wastelands as mirrors of himself. As an official war artist - himself emotionally blitzed - he drew the ruined shells oF
bombed-out buildings. In 1939, (the year his mother died) - the person he most wanted to please - His first London exhibition was a great success.
"After she died, I lost all interest". Continuing to paint was his "salvation".
The Painter's Vision, 1920
In his early years Lowry lived in the leafy Manchester suburb of Victoria Park. Then lack of money obliged his family to move to Station Road,
Pendlebury, where factory chimneys were a more familiar sight then trees. Lowry would recall "At first I detested it, and then, after years I got
pretty interested in it, then obsessed by it". The subjects for his paintings were on his doorsteps. In later life he recalled this as a sort of vision.
"One day I missed a train from Pendlebury -(a place) I had ignored for seven years - and as I left the station I saw the Acme Spinning Company's mill..
The huge black framework of rows of yellow-lit windows standing up against the sad, damp charged afternoon sky. The mill was turning out... I watched
this scene, which I'd looked at many times without seeing - with rapture..."
Colours
Lowry's selection of colours were very basic, which were mixed and painted on the white background. "I am a simple man, and I use simple
materials: ivory, black, vermilion (red), Prussian blue, yellow ochre, flake white and no medium (e.g. linseed oil). That's all I've ever used in my
paintings. I like oils... I like a medium you can work into over a period of time". Looking closely at the surface of Lowry's paintings we see the
many ways he worked with the paint and brushes (using the brush at both ends), also sticks, nails and his fingers.
He would occassionally paint over images. When x-rayed, the 1938 painting Head of a Man (Man with Red Eyes) revealed a female portrait and maybe
a self-portrait beneath the surface.
Someone once asked him where his old suits were. "I wear them", came the reply! Indeed he did, as he would use them when paintinglike overalls, wiping
paint on the sleeves and lapels.
The Artist at Work
Lowry felt that drawings were as difficult to do as painting. He worked on the surface of his drawings by smudging, erasing and rubbing the pencil lines
on his paper to build the atmosphere of the drawing. He was always doing quick sketches spontaneously on whatever paper he had in his pockets.
Lowry carefully composed his pictures in a painting room at home and took great care over the placement of each figure. Late in life he would sit before a canvas
or board on his easel and not know what was going to be in the painting until he had started working. He would call them "dreamscapes".
Bernard Taylor suggested that Lowry painted on a pure white background. Lowry experimented with layers of white paint on boards, leaving them
for a time so the surface went creamy. This helped Lowry to get into his painting the stark figures and the pallor of the industrial sky that he wanted.
The reclusive Man and renowned artist 1950s - 1970s
As Lowry began to be successful he changed the subject matter of his paintings that everyone seemed to want. "Had I not been lonely none of my works
would have happened". Deserted seascapes and landscapes became some of his most powerful pictures. Solitary figures and tramps were amongst his later paiuntings
of . "I feel more strongly about these people than I ever did about the industrial scene. They are real people,
sad people.
I'm attracted to sadness and there are some very sad things. I feel like them".
Sadly, everything came too late for Lowry. But his late years saw him become a popular celebrity. He also became preoccupied about whether his art would remain.
"Will I live", he asked over and over again, like the art of the Pre-Raphaelites he collected and loved.
Lowry from Childhood to Childhood 1976
"I painted from childhood to childhood". Lowry painted and sketched into his old age - often complaining to interviewers that he had "given up",
packed it in". He died aged 88 in 1976 only a few months before a retrospective exhibition opened at the Royal Academy. The exhibition was an enormous success
crowds flocked to see the work of this great twentieth century artist. Critical opinion about The Lowry remains divided to this day. In 1936 the Salford Museum & Art Gallery
started a collection of Lowry's paintings culminating with the world's most prestigeous collection now held in 'The Lowry' at Salford Quays
Visit our studio in Nottinghamshire and view the largest collection of L-S-Lowry signed, limited edition prints in the UK. html Site map Site map
Trouble Ahead For Bury Art Gallery After Council Sale Of Lowry
courtesy of Graham Spicer| 20 November 2006
A Riverbank was painted in 1947 and bought by Bury Council in 1951 for just £175
Arts organisations have responded angrily to the news that Bury Council sold a LS Lowry painting in the town's collection
to help make up for the council's budget deficit.
The painting, titled A Riverbank, fetched £1.4m at Christie's in London on November 17, the second ever highest price
for a Lowry at auction.
Bury Art Gallery may face future funding difficulties because of the sale, said the Museums, Libraries and Archives
Council (MLA), the governing body for museums, libraries and archives in England.
"Bury Council should have taken all possible steps to ensure that the painting was kept within the public domain," said
MLA Chief Executive Chris Batt.
"The motives for the sale of this painting are in breach of the MLA Accreditation Scheme disposal policy, which now
threatens their status with us as a registered museum, loss of which is a significant risk to their future access
to funding opportunities."
Accreditation is the national standards scheme covering ethical and professional standards for the sector and the MLA's Accreditation Committee will meet
on December 15 2006 to decide if Bury Art Gallery should be stripped of its accredited status.
The gallery is part of the recently refurbished Bury Art Gallery, Museums and Archives. Photo Bury Museum & Archives
A Bury Council statement said that the sale was necessary to help solve their 2006/7 budget problems, "following the low settlement the council received
from central government."
Chief Executive Mark Sanders said: "Although the council regret having to realise funds from its art collection, the alternatives such as even more
redundancies and closure of values services were more disturbing. We are committed where possible to reinvesting money from the sale into cultural
projects such as the completion of the Ramsbottom Library and Adult Education Centre."
David Barrie, Director of The Art Fund, which works to help buy important works of art for the nation, condemned the decision:
"With the sale of A Riverbank, the town’s council has jeopardised Bury Museum’s future, just to balance the books. It’s a deplorably short term and
irresponsible approach, and Bury’s cultural heritage is the poorer for it."
The 1947 painting depicts a stretch of the River Irwell surrounded by factories and was sold to a private bidder for £1,408,000 including commission.
It had initially been expected to sell for between £500-800,000. Bury Council paid £175 for it in 1951.
Lowry (1887-1976) was born in Manchester and spent most of his life in Salford, and his famous paintings of matchstick men and industrial scenes depicted
the local area.
The most expensive Lowry to be sold at auction was Going To The Match, which the Professional Footballers’ Association bought for £1,926,500 in 1999.
01623 799 309 or telephone 07974 371 255
The signed prints usually have an embossed stamp, by the Fine art trade guild,
All major credit/debit cards accepted
England (0) 1623 799 309