Reginald Arthur

Sotheby's, 1 October 1986, lot 404, where purchased by the present owner

The canvas has not been lined. There is some fine craquelure, notably in the figure and to the right hand stretcher edge. Overall in good condition. UV light inspection reveals no evidence of any retouching or restoration. Held in an attractive gilt frame with decorative mouldings, probably the original.
"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."

Reginald Arthur lived at 47 Bedford Square, very close to the British Museum and was greatly inspired by its classical treasures; one of his earliest exhibits was entitled A Bit from the British Museum. Egyptian subjects seem to have been his speciality and among his finest works are The Death of Cleopatra (Christie's, 12 June 2002, lot 48) and Joseph Interpreting Pharaoh's Dream (Christie's, 25 October 1991, lot 65).

Pharaoh's Daughter appears to depict the un-named heroine of Exodus who discovered the infant Moses among the bulrushes when she was fetching water from the Nile. It was a popular subject in the nineteenth century and the most famous depiction of her was painted by Lawrence Alma-Tadema, The Finding of Moses (sold Sotheby's, New York, 4 November 2010, lot 56 for almost $36,000,000 the highest price for any Victorian painting at auction). Arthur's picture was painted eight years before Alma-Tadema's but has the same exotic glamour that inspired the early pioneers of cinema and may have been inspired by contemporary opera or theatre.

'The comparison between these late classical works and the Hollywood epic is not a false one. Cecil B. de Mille is known to have admired the works of some Victorian artists...' (Christopher Wood, Olympian Dreamers, 1983, p.248-253)