James Jebusa Shannon

Commissioned by the family and thence by descent

The following condition report was kindly provided by Hamish Dewar Fine Art Conservation: Unlined. The painting has an even varnish layer. There are some areas of dry craquelure which are a result of the artist's materials and natural drying process and are entirely stable. They are predominantly in the darker green pigments in the background and the dark red pigments of the flowers. There are very faint horizontal stretcher bar lines that run across the centre of the painting and are not visually distracting. Under UV: minimal retouching through inpainting to fine craquelure concentrated on the dog's collar and in the flowers in the background. There are other minimal retouchings, but none in the figure save a very small area in her hair and a spot on her dress.
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.

Shannon established a highly successful London portrait studio in the late nineteenth century and by the 1900s was considered by many a rival to John Singer Sargent. His expressive, painterly style and bold use of color effectively captured the personality and fashion of his sitters. Though a mirror was an object common to artist's studio, Shannon employed it to unusual effect: he placed the glass behind him so that sitters could watch the progress of the painting (Brian Stewart and Mervyn Cutten, The Dictionary of Portrait Painters in Britain up to 1920, Woodbridge, Suffolk, 1997, p. 418).