- 49
Jonathan Richardson
Estimate
4,000 - 6,000 GBP
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Description
- Jonathan Richardson
- Portrait of Alexander Pope
- transcribed on the stretcher: 'This picture Mr Pope sat(e) to my father for at my request for me 1742'
- oil on canvas, in a carved and gilt wood frame
Provenance
Probably Jonathan Richardson the Younger (1694-1771);
Probably his posthumous sale, London, Langford and Son, 18 February 1772, lot 46 ('Richardson Senior, Mr. Pope, from the life');
James Broun-Ramsay, 1st Marquess of Dalhousie (1812-60), before 1861;
Lady Susan Georgiana Broun Bourke (1837-98), by whom brought to Colstoun House, Haddington (according to an old handwritten label on the reverse)
Probably his posthumous sale, London, Langford and Son, 18 February 1772, lot 46 ('Richardson Senior, Mr. Pope, from the life');
James Broun-Ramsay, 1st Marquess of Dalhousie (1812-60), before 1861;
Lady Susan Georgiana Broun Bourke (1837-98), by whom brought to Colstoun House, Haddington (according to an old handwritten label on the reverse)
Literature
W.K. Wimsatt, The Portraits of Alexander Pope, New Haven and London 1965, p. 220, reproduced plate 55.1;
J. Kerslake, Early Georgian Portraits. National Portrait Gallery, London 1977, vol. 1, p. 220, under cat. no. 706.
J. Kerslake, Early Georgian Portraits. National Portrait Gallery, London 1977, vol. 1, p. 220, under cat. no. 706.
Condition
The canvas has a firm relining. The paint surface is secure and stable with an even and clear varnish. In seemingly nice condition. There are no major damages or restorations visible to the naked eye. The browns of the sitters fur lapels are painted in thin glazes and there is sign of some very minor wear in some of the shadows. The red highlight of the sleeve and flesh tones look to be well preserved. Inspection under ultra violet light reveals next to no restoration. The varnish does fluoresce somewhat opaque - there is a chance there is some wash strengthenings in the dark tones of the back ground.
Offered in a carved and gesso gilt wood frame in 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."
"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."
Catalogue Note
A version of the painting in the Fitzwilliam Museum, Cambridge, signed with monogram and dated 1742. Kerslake suggests that the prototype may be an earlier likeness of 1738, also by Richardson, formerly in the Storer collection, sold London, Christie's, 24 November 1972, lot 62 and now at Yale (Wimsatt, 56, p. 145).
It seems likely that this and the previous lot are the pair of portraits, of which at least this one appears to have been painted for Jonathan Richardson's son, which appeared together at Richardson the Younger's sale in 1772. According to Wimsatt, the transcription on the stretcher is derived from the original label, dated 1742, which was previously removed by a restorer.