John William Waterhouse, R.A., R.I.

The artist's widow, Mrs Esther Waterhouse, by whom sold Christie's, 23 July 1926, 'The Remaining works of the Late J.W. Waterhouse, Esq., R.A.', part of lot 8 (with 20 other drawings), bought by Dr James Nicoll by whom gifted to the father of the present owner

The sheet has been laid down on card but in generally fair condition with no tears, creases or cockling. There are some minor foxing marks scattered throughout the sheet. There is a small graphite mark above the figure's right hand shoulder, likely a later addition which could be removed. The work may benefit from being examined by a paper restorer. The work is framed under glass and has been examined out of its frame.
"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."

This is a study for the head of the enchantress Circe in Waterhouse's painting of 1892 Circe Invidiosa (Art Gallery of South Australia, Adelaide), in which she is pouring a huge bowl of lurid green poison into the sea to transform her love-rival Scylla into a hideous monster.

This drawing and the following two studies by Leighton and Waterhouse were in the collection of Dr James Nicoll, medical superintendent of the Fountain Hospital in Tooting.  His obituary stated that ‘his principal interests were his collections of paintings and porcelain. He bought extensively and made a hobby of tracing the history of his best pieces, seeking documents authenticating each article.’ (British Medical Journal, 7 February 1959)