Edward William Rainford

Thomas McLean, London;
Christie’s, 15 November 1902, lot 69, as Rosalind and Orlando by John Everett Millais (48 guineas to Shepherd);
James Gresham, Gallery House, Woodheys Park, Ashton-on-Mersey;
Christie’s, London, 12 July 1917, lot 97, as by John Everett Millais (100 guineas to Gooden & Fox on behalf of William Lever);
William Hesketh Lever, 1^st Viscount Leverhulme (1851-1925), ‘The Hill’, Hampstead and thence by descent to the 3^rd Viscount Leverhulme; Sotheby’s, Thornton Manor, Wirral, Merseyside, 26-28 June 2001, lot 397;
Christie's, 8 June 2006 lot 354

Royal Academy, 1853, no. 1288;
Port Sunlight, Lady Lever Art Gallery, Centenary Exhibition of Works by the Pre-Raphaelites – their Friends and Followers, 1948, no. 148, as by John Everett Millais (lent by Lord Leverhulme).

Athenaeum, no. 1333, 14 May 1853, p. 592;
Art Journal, 1853, p. 151

The panel appears sound. The work appears a little dirty otherwise in good overall condition. Ultraviolet light reveals an opaque varnish. There appears to be some minor cosmetic retouching to the girl's face. Held in a gilt plaster 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."

It is understandable that this picture was for many years thought to be the work of Millais, not only because the signature is similar to his but also the bright Pre-Raphaelite colouring and attention to detail. Little is known about Rainford’s career but as the present picture testifies, he was an artist of considerable talent. It is likely that he had contact with the original members of the PRB as in 1850 he had a studio at Charlotte Street close to Millais’ home. He only exhibited three pictures at the Royal Academy, the present picture being one, illustrating a scene from As You Like It. Of his known works, at least two more were of  Shakespearean subjects, his first exhibit at the Academy in 1850 was a scene from Cymbeline. Hotspur and the Courtier was exhibited at the British Institution in 1852 (Christie’s, 19 February 2003, lot 37).