Philip Hermogenes Calderon, R.A.

Purchased from the artist by Agnew's, Manchester, on behalf of Sam Mendel Esq., Manley Hall, Manchester;
His sale, Christie's, 24 April 1875, lot 413
Mr Ephraim Hallam, Oakwood Hall, Romiley, Cheshire by 1887

Royal Academy, 1867, no.356;
Manchester, Royal Jubilee Exhibition, 1887, no.274

Art Journal, 1867, p.139

STRUCTURE Original canvas. There are minor frame abrasions along the upper edge. There is some light craquelure to the garments of the two women standing left of the knight and a few other very minor areas in isolated areas about the canvas. There is a small spot of paint loss and lifting paint along the right side of the lower edge; otherwise the work appears in good overall condition. ULTRAVIOLET LIGHT UV light reveals some areas of retouching along the lower edge and a minor area to the base of the tunic of the central figure with raised arms. FRAME Held under glass in a large gilt plaster frame; unexamined out of 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."

'P.H. Calderon, A.R.A., this year, at last, gives to the Academy one of its chief attractions. 'Home after Victory' (356) is a picture marked throughout by the painter's characteristic cleverness. The incident is the return of a soldier - a fine noble fellow - from the wars, to the home of his father, his wife, and his family. They are, of course, all brimful of joy to see him. His wife, hands on his arms, is on tiptoe of delight. The old father, with outstretched arms, as it were cries and screams for gladness. The artist has the knack of seizing action, and motion at the right moment, just at the point when most may be implied or expressed. The present picture is somewhat panoramic, though not so directly processional as that of last year. This form of composition requires that the figures shall be linked together so that the continuity shall not at any point fall asunder. This difficulty the artist has met with his usual skill and cool calculation. The colour shows equal deliberation, yet the picture carries the appearance of accident or extemporaneous action in nature. The colour, like the occasion that brings the figures together, is made joyous: there has been gained by blues, yellows and reds, a pleasant cheefulness. Pigments are thrown together with sportive diversity, and yet are apportioned and meted out as with the certitude of science. The background assumes an unobtrusive tone, which serves to bring the compostion into quiet unity. The execution and treatment seem to have fallen under Flemish influence. The servants, who stand as spectators, specially recall figures in the pictures of the school of Van Eyck. Yet Mr Calderon has little in common with Leys: the one goes to nature, the other is enslaved to precedent and tradition.' (Art Journal, 1867, p.139

The picture was owned by Sam Mendel a wealthy Manchester cotton merchant, whose 80 acre estate, Manley Hall was built at an expense of £120,000 and contained a magnificent art collection including J.M.W. Turner's Venice, from the porch of Madonna della Salute and William Holman Hunt's Il Dolce far Niente. The sale of his collection was conducted over 21 days at Christies following the collapse of his business in 1875.