- 226
Henry Robert Morland
Estimate
20,000 - 30,000 USD
bidding is closed
Description
- Henry Robert Morland
- Portrait of a woman washing clothes, possibly Maria, Countess of Coventry
- oil on canvas
Provenance
Probably Mr. Asher Wertheimer, 1910;
Ogden Mills;
By whom sold, New York, Parke-Bernet Galleries, 12 May 1938, lot 46;
There acquired by Major Edward Bowles, New York;
By whom sold, New York, Parke-Bernet Galleries, 13 November 1943, lot 167;
There acquired by Schoenemann Galleries;
Private collection, U.S.A.;
By whom anonymously sold, New York, Sotheby's, 17 October 1997, lot 123;
There acquired by the Berger Collection Educational Trust.
Ogden Mills;
By whom sold, New York, Parke-Bernet Galleries, 12 May 1938, lot 46;
There acquired by Major Edward Bowles, New York;
By whom sold, New York, Parke-Bernet Galleries, 13 November 1943, lot 167;
There acquired by Schoenemann Galleries;
Private collection, U.S.A.;
By whom anonymously sold, New York, Sotheby's, 17 October 1997, lot 123;
There acquired by the Berger Collection Educational Trust.
Exhibited
Denver, The Denver Art Museum, 600 Years of British Painting: The Berger Collection at the Denver Art Museum, 10 October 1998 - 28 March 1999.
Literature
600 Years of British Painting: The Berger Collection at the Denver Art Museum, Denver 1998, p. 133, reproduced.
Condition
The painting overall is in lovely condition. The paint surface is well preserved beneath a fresh, clear varnish with a craquelure pattern that is consistent with its age but not distracting in any way. The canvas has old old but stable glue relining.
Inspection under UV reveals a line of restoration to a possible old scratch or tear of approx. 4 cm. and an old restored puncture of approx. 1 cm, both in the background, upper right. There is fine retouching to a scratch in the sitter's arm and otherwise only very minor cosmetic retouches here and there.
The painting requires no further work and is ready to hang in its present state, offered in an elaborately carved gilt wood 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Henry Robert Morland was well known for his series of servant maids, which were inspired by the 'fancy subjects' in domestic settings painted by Philippe Mercier. It has been suggested that Morland's paintings were in fact portraits of society ladies, and that the subject of this composition is likely the Countess of Coventry (1733 - 1760). Born Maria Gunning, daughter of a poor Irish squire, she married the Earl of Coventry and became a famous London beauty. Known for her vanity, it is said that she was poisoned to death by wearing too much lead-based makeup.
Morland painted this composition a number of times; the prime version, which does not include the back of the chair, is in the Tate Britain, along with a pendant of a woman ironing (inv. nos. N01402 and N01403, both oil on canvas, each 74.3 by 61.6 cm.).
Morland painted this composition a number of times; the prime version, which does not include the back of the chair, is in the Tate Britain, along with a pendant of a woman ironing (inv. nos. N01402 and N01403, both oil on canvas, each 74.3 by 61.6 cm.).