Philippe Mercier

Swiss private collection, by 1961;
Mr. and Mrs. Paul Mellon;
With Roy Miles, London;
H. Dorfman;
Anonymous sale, London, Sotheby's, July 13, 1988, lots 84-88, for the five: £167,250, to the present owner.

Richmond, Virginia, Virginia Museum of Fine Arts, Painting in England 1700-1850, from the collection of Mr. and Mrs. Paul Mellon, 1963, no. 205 (only Allegory of Hearing and Allegory of Smell);
New Haven, Yale University Art Gallery, Painting in England 1700-1850, from the collection of Mr. and Mrs. Paul Mellon, April 15 - June 20, 1965, no. 132 (only Allegory of Smell);
London, Royal Academy, Painting in England 1700-1850, from the collection of Mr. and Mrs. Paul Mellon, Winter 1964-5, no. 4 (only Allegory of Smell).

B. Taylor,  Painting in England, 1700-1850, from the collection of Mr. and Mrs. Paul Mellon, exhibition catalogue, Richmond, Virginia 1963, vol. I,  reproduced pp. 107-108, under nos. 204-205 (only Allegory of Hearing and Allegory of Smell);
R. Rains, J. Ingamells, Philip Mercier, 1699-1760, An Exhibition of Paintings and Engravings, exhibition catalogue, York and Iveagh Bequest, Kenwood 1969, p. 47, under nos. 47-52, reproduced nos. 48, 52 (all five allegories were lent by Mr. and Mrs. Paul Mellon but none were exhibited; subsequently withdrawn at the last minute);
J. Ingamells, R. Rains, "A Catalogue of the Paintings, Drawings and Etchings of Philip Mercier", in Walpole Society, vol. XLVI, 1976-78, p. 63, nos. 269-273.

Engraved:

J. Faber II (CS413), Mezzotint, 'Musical Family Concert of Ladies', 1744 (Ingamells and Raines, loc. cit., after 'Senses 1', now in the Yale Center for British Art)(only Allegory of Hearing);
J. Watson (see G. Goodwin, T. Watson, J. Watson, E. Judkins, by G. Goodwin; with six plates, 1904, no. 196) (only Allegory of Hearing);
Carrington Bowls (only Allegory of Hearing with variations);
J. Faber II (CS412a), Mezzotint, inscribed 'Damon and Sylvia' (Ladies and Gentleman seated at a table with wine glasses), 1745, "This composition closely resembles ' Allegory of Taste' (I & R nos. 267 and 272) except for the absence of the negro page. There are slight but significant differences in the action of the figures indicating that it might be a composite picture sense." (Ingamells and Raines, ibid., no. 243 Damon and Sylvia) (only Allegory of Taste).

Lot 329—Group of five pictures, all five pictures appear to have the same relining. All five pictures are also in the same carved and giltwood frame, which are in nice condition. Smell: This painting is in very good condition and may be hung in its current state. There are only a couple small retouches, and these are located on the seated lady at far right. A couple other very minor retouches scattered throughout, but overall in very good condition. Taste: This painting is in very good condition and may be hung in its current state. There are a few scattered retouches visible under UV, notably in the chest of the seated woman at far right, as well as beside her right hand. The standing male figure at far right also has some repair in his face. The darkest greens in the drapery of the seated male at front left has some small repairs, though none of these are overwhelming. The painting appears to have a varnish applied which may hide some older retouches but this is not clear. Again, in nice condition and may be hung as is. Sight: This painting is in very good condition and may be hung in its current state. There is only one notable area of retouch in this work, aside from a few very small scattered retouches. This is located in the map in the center of the composition. The retouch is a thin line which measures about four inches and runs vertically through the map, it is slightly visible to the naked eye. Otherwise, painting is in good condition. Touch: The painting is in good condition and may be hung in its current state. There are a few small retouches scattered throughout, these are located in the face and chest of the standing female at left, the left eye of the female at right, a small area of the back of the gentleman with the red shirt. Hearing: The painting is in very good condition and may be hung in its current state. There are only a couple very small retouches. These are under the chin of the standing figure with a violin, in the face and chest of the woman at the piano, and in the face of the woman with a flute. Even these however are quite minor. The group as a whole is in very good condition and may be a hung as is.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present series of Five Senses dates to the late 1740s, during Mercier's sojourn in York (1739-51).  George Vertue, the great historiographer of British painting, mentions in his Note-books for 1747 that in "April the beginning came to London Mr. Merciere painter from York... with him he brought to Town five pieces [sic] of paintings. About 5f square each representing the five Senses- by several demy figures, men & women, the whole well designed and composed agreeably as to the airs and graces of the reasons—or Times, the beauty & airs of the womens faces dresses etc, well & masterly drawing."   The present works were thought to be those described by Vertue until a larger set measuring closer in size to the "5 f square" given by Vertue appeared on the market in 1974.  Those were bought by Paul Mellon who at the time was the owner of the present pictures (see provenance) and are now all in the collection of the Yale Center for British Art, New Haven Connecticut.  Yet another group of pictures was formerly at Shute House, Devon (sold Christie's, London, February 3—4, 1922, lot 61).  It is not surprising that the artist may have produced more than one set of these images; depictions of the five senses had been popular with collectors for many years, and in fact Vertue notes that Mercier found success with his, noting that the ones he had seen in April 1747 were a hit, and that Mercier had "soon disposed of [those] here and sold for 100".  It has been suggested that the present canvases may be the collaborative work of Mercier and his second wife, Dorothy, herself a painter.