George Elgar Hicks 1824-1914

London, Royal Academy, 1899, no.670

STRUCTURE: The canvas has been heavily relined and has warped in the upper section of the work. SURFACE: The paint surface is very flat, there is extensive craquelure throughout. Otherwise the paint surface is clean. FRAME: Held in a plaster gilt frame in fair condition. ULTRAVIOLET LIGHT: UV reveals retouching to frame abrasions on the upper and side borders. There are also spots of retouching to the figures and infilling to the aforementioned craquelure. COLOUR COMPARISON: The catalogue illustration is broadly representative.
"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."

A plaque attached to the frame explains the subject of the present picture; 'Queen Matilda and her Norman and Saxon maidens working the Bayeaux Tapestry, 67. yards long, to illustrate the Norman Conquest, and to prove William's title to the Throne of England.'

Queen Matilda, dressed in golden robes holds one of the designs for a scene from the projected work that the various maidens gathered around her are preparing to undertake. A young page lays out dyed threads which one of the weavers selects, whilst the other women gain inspiration from the melodic tales recited to the tune of a lute by a radiant blonde musician. The dusky girl seated beside Matilda, was one of Hicks' favourite models and whose head appears in an almost identical pose in a small painting of the same year The Gypsy Girl (sold in these rooms, 1 July 2004, lot 312) which may have begun its existence as a study for The Bayeaux Tapestry. This painting is among Hicks' most important historical pictures but also shows his ability to capture the varying beauties of womanhood.