Circle of George Romney
Emma, Lady Hamilton, as a bacchante, dancing on a heath
oil on canvas
canvas: 56¼ by 45⅛ in.; 142.9 by 114.6 cm.
framed: 69¼ by 57⅞ in.; 175.9 by 147 cm.
Condition Report
Provenance
Thomas William Anson (1795-1854), 1st Earl of Lichfield;
Thomas Challinor;
By whom anonymously sold, London, Christie's, 10 July 1897, lot 21 (as G. Romney), to Agnew, for 1,900 gns;
With Thos. Agnew & Sons, London;
Charles J. Wertheimer (1842-1911);
E.G. Raphael, Esq.;
With Duveen, before 1926 and until at least 1940;
Norton Simon Foundation;
By whom sold, London, Sotheby's, 27 June 1973, lot 16 (as George Romney, and with incorrect early provenance);
There acquired by R. Jacob;
Anonymous sale, London, Christie's, 26 June 1981, lot 130 (as George Romney, and with incorrect early provenance);
Private collection, New Jersey, until 1991;
Acquired by the present owner, 1991.
Literature
T. H. Ward & W. Roberts, Romney: A Biographical and Critical Essay with a Catalogue Raisonné of his Works, vol. II, 1904, p. 181, version f;
A. Chamberlain, George Romney, London 1910, p. 314;
J. Frankau, The Story of Emma, Lady Hamilton, London 1911, vol. 2, p. 95;
J. Watson, The Paintings of Emma Hart (Lady Hamilton) by George Romney: A Study of their Significance in Relation to his Historical Works, M.A. Thesis, Oberlin College, 1974, appendix nos. 23b, 23e (these two entries, according to Kidson, refer to the same canvas);
A. Kidson, George Romney: A Complete Catalogue of His Paintings, New Haven and London 2015, vol. III, p. 673, cat. no. 1486a, reproduced (as a good quality replica, possibly by Romney).
Exhibited
London, Agnew's, Tenth Annual Exhibition on Behalf of the Artists General Benevolent Fund, 1904, no. 20;
Detroit, Detroit Institute of Arts, Second Loan Exhibition of Old Masters: British Paintings of the Late 18th and Early 19th Centuries, January 1926, no. 43 (as Lady Hamilton as a Bacchante);
Toronto, Art Gallery of Toronto, Paintings by Old Masters, 1929, no. 14;
Providence, Rhode Island School of Design, Museum of Art, English Portraits of the Eighteenth Century, 1932, no. 13 (lent by Duveen);
San Francisco, Palace of the Legion of Honor, English Painting of the Late Eighteenth and Early Nineteenth Centuries, 1933, no. 56 (lent by Duveen);
New York, Duveen Galleries, Forty British Portraits, 1940, no. 38.
Catalogue note
Renowned internationally for her beauty and classical features, Emma Hamilton served as a popular model for artists, foremost among them being George Romney, who painted over seventy portraits of her over a nine-year period. These portraits, some of which combined classical poses with modern allure, helped form the basis of Emma's famous Attitudes, soundless performances that could be likened to a form of tableaux-vivants.
The prime version of this composition, which shows Emma as a bacchante dancing on a heath, was painted by George Romney in about 1791. It was acquired from Romney by John Christian Curwen, later passed through the collection of Oscar B. Cintas, and is today in a private collection, Sweden.1 The present canvas, which is of slightly smaller dimensions, faithfully follows the original, differing primarily in the rendering of the details of the sky.
1. Kidson 2015, p. 672, cat. no. 1486, reproduced.
Circle of George Romney
Emma, Lady Hamilton, as a bacchante, dancing on a heath
oil on canvas
canvas: 56¼ by 45⅛ in.; 142.9 by 114.6 cm.
framed: 69¼ by 57⅞ in.; 175.9 by 147 cm.
The canvas has an old glue lining and is stable on its stretcher. The overall image presents well beneath a slightly discolored but relatively clear varnish, and the painting can certainly hang in its present condition. A faint pattern of stable craquelure throughout and a faint horizontal stretcher bar mark through center, although neither are not distracting. The thick canvas weave more prominent in some passages than others. Some minor lifting to the paint surface in the fabric and foliage in the lower right corner, with one small associated loss and some scattered retouches. A small area of restored repair near the center of the lower edge, and two small spots of repair near the upper left edge. Inspection under UV reveals a slightly milky varnish. Some isolated strokes of cosmetic retouching scattered only here and there in the figure and the background, with some touches of strengthening in her hair, in the shadows of her neck, and in and around some folds of her costume (ie: near elbow at left and in shadows near the lower edge). There may be retouching to her forearm at left. Offered in a decoratively carved giltwood frame.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Thomas William Anson (1795-1854), 1st Earl of Lichfield;
Thomas Challinor;
By whom anonymously sold, London, Christie's, 10 July 1897, lot 21 (as G. Romney), to Agnew, for 1,900 gns;
With Thos. Agnew & Sons, London;
Charles J. Wertheimer (1842-1911);
E.G. Raphael, Esq.;
With Duveen, before 1926 and until at least 1940;
Norton Simon Foundation;
By whom sold, London, Sotheby's, 27 June 1973, lot 16 (as George Romney, and with incorrect early provenance);
There acquired by R. Jacob;
Anonymous sale, London, Christie's, 26 June 1981, lot 130 (as George Romney, and with incorrect early provenance);
Private collection, New Jersey, until 1991;
Acquired by the present owner, 1991.
T. H. Ward & W. Roberts, Romney: A Biographical and Critical Essay with a Catalogue Raisonné of his Works, vol. II, 1904, p. 181, version f;
A. Chamberlain, George Romney, London 1910, p. 314;
J. Frankau, The Story of Emma, Lady Hamilton, London 1911, vol. 2, p. 95;
J. Watson, The Paintings of Emma Hart (Lady Hamilton) by George Romney: A Study of their Significance in Relation to his Historical Works, M.A. Thesis, Oberlin College, 1974, appendix nos. 23b, 23e (these two entries, according to Kidson, refer to the same canvas);
A. Kidson, George Romney: A Complete Catalogue of His Paintings, New Haven and London 2015, vol. III, p. 673, cat. no. 1486a, reproduced (as a good quality replica, possibly by Romney).
Renowned internationally for her beauty and classical features, Emma Hamilton served as a popular model for artists, foremost among them being George Romney, who painted over seventy portraits of her over a nine-year period. These portraits, some of which combined classical poses with modern allure, helped form the basis of Emma's famous Attitudes, soundless performances that could be likened to a form of tableaux-vivants.
The prime version of this composition, which shows Emma as a bacchante dancing on a heath, was painted by George Romney in about 1791. It was acquired from Romney by John Christian Curwen, later passed through the collection of Oscar B. Cintas, and is today in a private collection, Sweden.1 The present canvas, which is of slightly smaller dimensions, faithfully follows the original, differing primarily in the rendering of the details of the sky.
1. Kidson 2015, p. 672, cat. no. 1486, reproduced.
