▲ Gary Hume RA (British, b.1962) 'Magnolia Door Twenty One', 1990

signed and dated 'HUME 1990' and inscribed with title verso, signed and dated 'HUME 1990' and inscribed with title verso, household gloss on canvas, 162 x 254cm; unframed, Property from the Estate of Doris Lockhart Saatchi. Pl, Please note this work is to be offered with no reserve. One of the core group of artists who graduated from Goldsmiths' College and who would become known as the YBAs, Gary Hume is best known for his figural and abstract depictions which often feature striking colour combinations on aluminium. The art world's first introduction to his work was through Damien Hirst’s now legendary ', Please note this work is to be offered with no reserve. One of the core group of artists who graduated from Goldsmiths' College and who would become known as the YBAs, Gary Hume is best known for his figural and abstract depictions which often feature striking colour combinations on aluminium. The art world's first introduction to his work was through Damien Hirst’s now legendary 'Freeze' exhibition in July 1988, in an empty London Port Authority building at Surrey Docks, and his inclusion in the 1990 'British Art Show' at the South Bank. His early critical and commercial acclaim came in large part from his series of ‘Door Paintings', which were inspired by an advertisement for BUPA health insurance featuring a hospital waiting room. Depicted using high-gloss industrial house paint on a variety of surfaces, including canvas, aluminium and MDF, the works were modelled after the actual dimensions of double-swing doors at St Bartholomew’s Hospital, as Hume stated: 'I went to St Bartholomew's Hospital with a tape measure and a piece of paper, measured numerous doors and made schematic copies of them...I used house paint in an institutional colour, magnolia, which is a colour of no choice…it was about democratic use of the symbol of the door.' (Gary Hume, quoted in 'Brilliant', New Art from London, exh. cat., Walker Art Center, Minneapolis, 1995, p. 45). The details of the doors themselves, such as the kickplates and porthole windows, are only made visible through the delineation of brushstrokes and the build-up of the paint surface into a subtle relief. The use of flesh tones in many of the works and the twin staring orbs suggest an anthropomorphic quality, and the shiny freshness of the surface and the pleasing colour palette set the works in contrast to their sombre source material. To Hume the door as a concept held endless possibilities: '...they remain an empty sign, a door motif in a potentially endless series - simultaneously spacious and oppressive.' (Gary Hume, quoted in Adrian Searle, 'Shut That Door', Frieze, 5 June 1993) In the end, the series encompassed approximately 50 works, and by the early 1990s, he had moved on towards a style centred on figurative, image-based subjects, reducing photographs or found images to simplified outlines and blocks of colour. exhibition in July 1988, in an empty London Port Authority building at Surrey Docks, and his inclusion in the 1990 ', at the South Bank. 'I went to St Bartholomew's Hospital with a tape measure and a piece of paper, measured numerous doors and made schematic copies of them...I used house paint in an institutional colour, magnolia, which is a colour of no choice…it was about democratic use of the symbol of the door.' (Gary Hume, quoted in ', I went to St Bartholomew's Hospital with a tape measure and a piece of paper, measured numerous doors and made schematic copies of them...I used house paint in an institutional colour, magnolia, which is a colour of no choice…it was about democratic use of the symbol of the door.', , , New Art from London, exh. cat., Walker Art Center, Minneapolis, 1995, p. 45). '...they remain an empty sign, a door motif in a potentially endless series - simultaneously spacious and oppressive.' (Gary Hume, quoted in Adrian Searle, 'Shut That Door', Frieze, 5, ...they remain an empty sign, a door motif in a potentially endless series - simultaneously spacious and oppressive, June 1993), In the end, the series encompassed approximately 50 works, and by the early 1990s, he had moved on, towards a style centred on, figurative, image-based subjects, reducing photographs or found images to simplified outlines and blocks of colour. Condition Report, Condition Report, We have been advised that some restoration to repair to a small impact measuring 3-4cm to the paint and canvas, centre right, was undertaken by Philip Young Conservation in 2009. Please contact the department to receive a copy of the examination report. It appears the restoration has discoloured and the cracks have re-opened slightly, but are not lifting. The painting has a glossy surface which is patchy is places with some unenvenness to the texture and colour. There is a small area where there are some small impact cracks in the lower left, to the left of the central seam in the paint. Light surface dirt. Not examined under UV light, for a full report please contact the department. Request A Condition Report, Request A Condition Report

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