Harold Harvey

Penzance, David Lay, 25 February 1988, lot 350:
London, Sotheby's, 9 November 1988, lot 35;
Private collection

Kenneth McConkey, Peter Risdon, Pauline Sheppard, Harold Harvey - Painter of Cornwall, 2001, p. 22, 79, 146, cat. no. 232

STRUCTURE The canvas is original and in good stable condition. PAINT SURFACE The paint surface is generally sound. There are some areas of craquelure in the upper half of the work to the areas of thick impasto. This is stable. ULTRAVIOLET UV light reveals infilling to craquelure in the pale wall in the background of the composition; there also a few lines of retouching to the lady's face and outline of her shoulders. Some further areas in the floor beneath her feet. FRAME Held in a plaster gilt frame in fair condition.
"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."

In 1917 Harvey painted at least two full length pictures of his wife Gertrude (née Bodinnar) dressed in a blue gown and with a scarf embroidered with roses over her shoulders. The Blue Gown (private collection) shows her pulling on her gloves and preparing to go outside while in the present picture she is casually plucking a grape from a fruit-bowl. Kenneth McConkey has described this series of interiors thus; 'Whitewashed parlours, containing a few common bits of Edwardian Hepplewhite, replace the humble cottages of the fisherfolk. Sunlight strikes the wall in the background and the simple objects of a dressing table radiate their presence to the spectator. Gertrude Harvey poses again and again, trying on her gloves or reading a letter.' (Kenneth McConkey, Peter Risdon, Pauline Sheppard, Harold Harvey - Painter of Cornwall, 2001, p. 23)