Richard Wilson, R.A.

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in good overall condition with no apparent damage or loss of paint. Under a raking light there are minor flecks of cosmetic retouching visible throughout the background as well as some minor scattered spots of retouching to the flesh tones of the neck and upper chest which includes retouching to a small L-shaped area of damage in the neck measuring approx. 1 cm. by 1 cm. There also appears to be a thin varnish overall. The picture is a richer and brighter than the catalogue illustration would suggest. ULTRAVIOLET Examination under ultraviolet light confirms the presence of the varnish and the aforementioned retouching. It also reveals further minor scattered flecks of retouching throughout the background, particularly to old horizontal lines of craquelure centre left as well as scattered throughout the costume There is also what appears to be an older campaign of retouching concentrated in the background of the oval, particularly the right hand edge and also in the sitter's hair. There is also some minor, scattered cosmetic retouching to the sitter's forehead, nose and eyes. FRAME Held in a carved gilt wood frame with very minor losses. To speak to a specialist about this lot please contact Julian Gascoigne on +44 (0)207 293 5482, or at julian.gascoigne@sothebys.com, or Ludo Shaw Stewart on +44 (0)207 293 5816, or at ludovic.shawstewart@sothebys.com.
"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."

A variant of this picture by Wilson, signed and dated 'R.Wilson / 1747' centre left, and of almost identical dimensions, is housed in the Scottish National Portrait Gallery. According to family tradition and an inscription on the reverse, that work was a direct gift from Flora MacDonald to Nigel Gresley, a volunteer of rank who was serving on the Eltham and Bridgewater, two ships that were charged with ferrying her to London following her arrest. Painted after her release from the Tower of London on 4 July 1747, the Edinburgh picture was supposedly a belated gift to Gresley in gratitude for safe passage south. Another theory speculates that the picture was instead intended for Thomas Smith, Commodore, Captain of the Bridgewater and Commander in chief at Leith 1745-7, who then passed it to Gresley. It is however also conceivable that Wilson portraits of Flora MacDonald went to both Gresley and Smith, and given the present picture's similarity in format to the Edinburgh portrait, we can speculate that this was the one given to Smith.