John MacVicar Anderson

Probably purchased from the artist by John Gibson, by whom given to the great-grandfather of the present owner

This picture is in good un-restored condition. It is unlined and the paint surface is dirty with a few small splashes of paint - the picture would be greatly improved by cleaning. There is a fine craquelure pattern across the sky but this is only visible upon close inspection. UNDER ULTRAVIOLET LIGHT There are no signs of restoration. FRAME Contained in the original exhibition frame (with minor losses to the mouldings).
"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 not surprising that this architecturally detailed view was painted by an artist who had been trained and practiced as an architect. John MacVicar Anderson was born and studied in Glasgow, but moved to London around 1851 to work for his uncle William Burn, a respected architect working in the Scottish Baronial style. He became friends with fellow architects Richard Norman Shaw and William Eden Nesfield and was admitted as an Associate of the Royal Institute of British Architects in 1864. Throughout the late nineteenth and early twentieth century Anderson designed many important buildings in London and in Scotland and was elected President of the RIBA in 1891.

The view painted by Anderson celebrates arguably the most celebrated building of the nineteenth century. It is the view looking from the south-side of the Thames towards Charles Barry's Gothic Revival masterpiece the Palace of Westminster with Westminster Abbey beyond. Across the composition stretches Westminster Bridge crowded with pedestrians, omnibuses and carts which mirrors the crowded waterway below with laden barges and passenger steamers jostling for space. Anderson painted several views of the Palace including another of the same aspect entitled Westminster Bridge, Houses of Parliament and Westminster Abbey (London Museum) painted three years after the present view and View of Westminster from the River Thames (Christie’s, 10 June 2003, lot 77).

The Palace of Westminster from the Thames was owned by John Gibson (1817-1892), an architect working around the same time as Anderson who had been assistant to Charles Barry and was therefore personally associated with the creation of the Palace.