Edward Henry Corbould

Nicholas Woodbridge;
Sotheby's Belgravia, London, 14 June 1977, lot 18;
J.S. Maas & Co., London, where bought by Lady Scott, 27 July 1977 for £575

STRUCTURE There is a tear to the paper (approx 2 in.) in the upper right corner and the sheet is undulating down the right side of the upper half. Otherwise the sheet is in good overall condition. Small artist pinhole to the upper right and left corners. PAINT SURFACE In good overall condition with good colours. FRAME Held in a decorative gold composite frame with backboard attached. Under glass and unexamined out of frame. For more information regarding this picture please contact the Victorian & Edwardian Pictures Department on +44 (0)207 293 5718.
"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."

The artist was born into a family of distinguished illustrators, beginning with his grandfather Richard Corbould and continuing through his father Henry.

Prince Albert first noticed Corbould in 1842 when he bought his Woman taken in Adultery for the Royal collection and from 1851 he worked as instructor in Historical Painting to the Royal Family. In 1861 he sketched the head and shoulders of the Prince following his untimely death. A number of his finest works were acquired for the Royal Collection. Most of his work is in watercolour, but there are some notable exceptions, such as his oil painting, The Canterbury Pilgrims, exhibited at the Royal Academy in 1874.

This fine work depicts the triumph of love over a military man. He is seated patiently and sedately beside a beautiful young woman who is leaning over a balcony to view guests arriving at a social event. He is contrasted with the statue of St George, the potent symbol of military masculinity.