Thomas Gainsborough, R.A. and another hand

Pierre Decourcelle (1856–1926), Paris;
His sale, Paris, Galerie Georges Petit, 29–30 May 1911, lot 54 (as English School, 18th century).

The canvas has been lined, the paint surface is clean and the varnish is clear and even. Inspection under ultraviolet light reveals spot retouching in the sky and in the girl's dress, particularly in the lower left corner. There is also retouching to old stretcher marks on the left and lower margins. There is an area of retouching in the girl's right arm, and delicate retouching in her neck and face to disguise the appearance of craquelure, particularly either side of her nose, below her mouth and in the centre of her forehead. There is also some strengthening in the hair either side of her face. In overall good condition.
"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."

We are grateful to Hugh Belsey for identifying the head alone in this painting as by the young Thomas Gainsborough, dating to circa 1745–46. The treatment of the face is comparable to several other early portraits: Portrait of Mr Clayton Jones, datable to circa 1744–45,¹ and Portrait of a man with a dog in a wood, circa 1746.² The portrait must also be considered in relation to the childrens' faces found in two fragments, which would originally have made up a double-portrait of a brother and sister, dating to circa 1744.³ The costume, hands, cherries and background of the present work have been painted by an as yet unidentified artist, possibly of French origin, who was most probably working within, or just beyond, Gainsborough's lifetime. The painting is to be included in Hugh Belsey's forthcoming catalogue raisonné.

1. Yale Centre for British Art, New Haven, Conneticut (inv. no. B1973.1.17); see J. T. Hayes, The landscape paintings of Thomas Gainsborough, London 1982, vol. I, pp. 34–35, reproduced pl. 36.
2. Private collection, on loan to Gainsborough's House, Sudbury, Suffolk; see M. Postle, Thomas Gainsborough, London 2002, p. 10, reproduced in colour p. 9, fig. 4.
3. Gainsborough's House, Sudbury, Suffolk (inv. no. 1984.005); see H. Belsey, Gainsborough at Gainsborough's House, exh. cat., London 2002, pp. 14–16, cat. no. 1, reproduced in colour.