GEORGE DUNLOP LESLIE, R.A. | Thames-side Conversation

With Elrick Galleries, London, by November 1958;
by whom sold to Sir John Smith

The canvas has been lined. Some localised areas of craquelure. Otherwise the work appears to be in good overall condition. UV light inspection reveals a heavy layer of opaque varnish. There are some old retouchings visible to the figures but further reading is obscured by the varnish. Held in a decorative gilt 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."

This painting by George Dunlop Leslie depicts an interaction between two groups of women and children on the banks of the River Thames. The central, well-dressed female figure leans down to give an apple to a baby, who is held by a woman on the boat. Two boys and another woman watch the scene unfold. The highly detailed background demonstrates meticulous close observation that is reminiscent of Pre-Raphaelitism, which heavily influenced Leslie’s early works. Figurative arrangements of women and children in domestic or out-door settings such as this are typical of Leslie’s oeuvre, particularly from the 1870s onwards. Leslie was an ardent lover of nature, and particularly of the River Thames. Concerning his early experiences of the river, Leslie wrote: ‘My experiences… gave me such strong feelings of affection for the river, that I do not think I have passed a year since then without spending one, two and sometimes three months on its banks.’ (G. D. Leslie, Our River, 1888, p. 7). He later lived on the Thames at “Riverside” in Wallingford between 1884- 1891, where he wrote and published ‘Our River’ and ‘Riverside Letters’, works that record his observations of life on the river and his local area.

The name ‘Pangbourne’ is painted on the side of the boat in the present painting, indicating that Pangbourne, or nearby, is the location depicted. Leslie wrote that he had ‘passed two very pleasant months at Whitchurch, opposite to Pangbourne’ (G. D. Leslie, Our River, 1888, p. 10), making it possible that painting was inspired by a scene observed while visiting this stretch of the Thames.