MARY BEALE | Portrait of the artist's son, Bartholomew Beale

Art market, Melbourne, Australia, 1968, when purchased by the present owner.

The canvas is lined, the paint surface is dirty and the varnish is thick and discoloured. Inspection under ultraviolet is almost entirely impeded by the varnish, which fluoresces completely opaquely, save for a line of retouching around the child's shoulders and the silhouette of his face. The painting appears to be in overall very 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."

The favourite pupil of Sir Peter Lely, Mary Beale had two sons, Charles and Bartholomew. Both boys worked in their mother's studio, assisting her with the painting of draperies, before Bartholomew graduated from Clare College, Cambridge, thereafter practicing as a physician at Coventry. This sketch relates to two similar studies at Tate Britain of Bartholomew dated circa 1660.¹ Both Tate pictures are also painted in oil on paper, and the treatment of the subject is comparable to this portrait, with the head and hair finely modelled. The Tate sketches are, however, more loosely painted in the bodies of the child, with a simple white collar, below which the area of the body is left unpainted, with the ground showing, and set against a dark background. It seems likely that the original appearance of the present work would perhaps have been more akin to the Tate sketches when finished by Beale – the rather more elaborate costume here is likely to be a later addition, executed at the same time as the strengthening visible throughout the background.

1 Inv. nos T13245 and T13246.