Sir David Wilkie, R.A.

William Drummond, London
Acquired from the above, 1999

Morgan 2001, no. 66

The sheet has been carefully preserved and presented. The work has not been laid down but is hinged in two places on the upper sheet edge. There are two vertical folds running vertically down through the sheet, centre right. At the extreme upper edge there is a small area of discoloration, which appears to be related to old adhesive tape. There is minor surface dirt and discoloration overall. The medium remain clear and strong. The condition above relates to the front of the sheet however, the same condition defects are obviously also related to and visible from the reverse of the sheet. For further information on this lot please contact either Mark Griffith-Jones (mark.griffithjones@sothebys.com - 0044207 293 5083), Emmeline Hallmark (emmeline.hallmark@sothebys.com - 0044207 293 5407) or Nancy Bialler (nancy.bialler@sothebys.com - 001 212 606 7222).
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.

This double-sided sheet is a preparatory study for Wilkie's oil painting The Duke of Wellington, Representing His Grace Writing to the King of France on the Night Before the Battle of Waterloo (Aberdeen Art Gallery). Commissioned by Sir Willoughby Gordon (1772-1851), the painting was begun in 1830 but not completed until 1835 and later exhibited at the Royal Academy in 1836.

The painting shows Wellington seated at a table, writing a letter by lamplight, with a uniformed attendant standing behind. The present drawing depicts Wilkie's ideas for the details of the composition. The recto includes two studies of the table, a study of the duke's legs and a study for his hat. On the verso is a study of the duke's hand holding a quill, a study of the tabletop, the lamp and possibly the duke's hat or satchel. The verso also includes a design for a piece of furniture that does not appear in the finished oil painting. In addition to the present sheet there are three other known preparatory drawings for the finished painting (see Aberdeen City Art Gallery, Nottingham Castle Museum and the Scottish National Portrait Gallery).