- 25
Sir Joshua Reynolds P.R.A.
Estimate
40,000 - 60,000 GBP
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Description
- Sir Joshua Reynolds P.R.A.
- portrait of a Naval Officer
- bears inscription on the stretcher: Lieutenant St Leonard (?) R.N. painted by his school fellow and friend Sir Joshua Reynolds
- oil on canvas, held in a William Kent frame
three quarter length, standing, wearing naval uniform and holding a telescope, naval action taking place at sea beyond
Provenance
with Spinks, London, by 1952;
Sir Ian Horobin;
His sale Sotheby's London, 14th March 1962, lot 174 (bt. Ross Wilson);
from whom acquired by the present owner
Literature
W. Cotton, Sir Joshua Reynolds and his Works. Gleanings from his diary, unpublished manuscripts and from other sources, 1856, p. 58;
E.K. Waterhouse, "Additions to the list of pre Italian portraits by Reynolds", Minneapolis Institute of Arts Bulletin, 1968, p. 167;
D. Mannings and M. Postle, Sir Joshua Reynolds: A Complete Catalogue of his Paintings, 2000, vol. I p. 130, no.354, vol. II, fig. 42
Condition
STRUCTURE
The canvas has been lined.
PAINT STRUCTURE
The picture appears to be in good condition. There are two very small areas of paint flaking, one in the upper right of the canvas and the other to the lower left.
ULTRAVIOLET
Ultraviolet light reveals re-touching to the hair, shoulder, waistcoat and lower right and edges of the canvas where there has been some frame abrasion.
FRAME
Held in a gilt carved wood 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."
"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."
Catalogue Note
The inscription dated 1882 transcribed onto the stretcher of this painting suggests that the sitter was a school fellow of Reynolds. However, the details of this name are now illegible and it is not possible to confirm his precise identity.
The sitter's identity has long been the object of some confusion. It was first suggested as 'Captain Chaundy' by Cotton on the basis that a 'Captain Chaundy' was recorded on board HMS Ripon at the taking of Guadaloupe in 1759 (though he could have been in the Royal Artillary) and a pair of portraits by Reynolds of a 'Captain Chaundy and his wife,' painted in 1744 were recorded in the collection of a 'Mrs. Duins' of Plymouth in 1856. Mannings then lists this portrait as 'not identified' and suggests that a previous inscription which identifies the sitter as 'Schomberg' is no longer visible and dates this portrait to c. 1747/9.
Despite the discrepancy regarding the sitter, stylistically this portrait appears less confident than the comparable Portrait of Richard, 2nd Lord Edgcumbe dated c.1740 (destroyed, see D. Mannings, lit.op.cit., p. 176, no. 559, fig.5). It might therefore be suggested that this is a rare and important surviving example of Reynolds' earliest endeavours into the art of portrait painting whilst still living in Plympton. At this time in a letter dated 1740 Reynolds' father wrote to a friend that 'Joshua has a very great genius for drawing, and lately, on his own head, has begun even painting.' Shortly afterwards the seventeen year old Reynolds was sent to be an apprentice to Thomas Hudson in London.
The sitter's identity has long been the object of some confusion. It was first suggested as 'Captain Chaundy' by Cotton on the basis that a 'Captain Chaundy' was recorded on board HMS Ripon at the taking of Guadaloupe in 1759 (though he could have been in the Royal Artillary) and a pair of portraits by Reynolds of a 'Captain Chaundy and his wife,' painted in 1744 were recorded in the collection of a 'Mrs. Duins' of Plymouth in 1856. Mannings then lists this portrait as 'not identified' and suggests that a previous inscription which identifies the sitter as 'Schomberg' is no longer visible and dates this portrait to c. 1747/9.
Despite the discrepancy regarding the sitter, stylistically this portrait appears less confident than the comparable Portrait of Richard, 2nd Lord Edgcumbe dated c.1740 (destroyed, see D. Mannings, lit.op.cit., p. 176, no. 559, fig.5). It might therefore be suggested that this is a rare and important surviving example of Reynolds' earliest endeavours into the art of portrait painting whilst still living in Plympton. At this time in a letter dated 1740 Reynolds' father wrote to a friend that 'Joshua has a very great genius for drawing, and lately, on his own head, has begun even painting.' Shortly afterwards the seventeen year old Reynolds was sent to be an apprentice to Thomas Hudson in London.