Lot 117
  • 117

Florence Martin

Estimate
6,000 - 8,000 GBP
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Description

  • Florence Martin
  • finishing touches
  • signed and dated l.r.: FM 79; inscribed on reverse: 'Finishing Touches' / Florence Martin / 66 St George's Sq

  • oil on canvas

Provenance

Phillips, Son & Neale, 19 December 1981, lot 145;
Christopher Wood, London, where bought by Sir David Scott, 17 February 1982 for £1,500

Exhibited

Probably London, Royal Academy, 1879, no. 399 as The Art Student

Condition

STRUCTURE Original canvas in stable condition. PAINT SURFACE Some scattered fine craquelure in places and a stretcher mark visible along the upper border. Otherwise in good condition. ULTRAVIOLET LIGHT UV light reveals no visible retouching. FRAME Held in a decorative gold composite frame in fair 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."

Catalogue Note

This delightful subject shows the exotic interior of an artist's studio, piled with draperies and props and with a portfolio stand and drawings littered about and pinned to the walls. A young boy, dressed in velvet knickerbockers and a lace collar, audaciously takes a brush and mahl-stick to apply a dab of paint to a work which stands in its frame on a studio easel. The angle at which the painting in question is shown is too oblique to allow the subject to be seen. It seems likely, however, that it is in fact a portrait of the child, who appears to be dressed in 'Van Dyck' style to sit to the absent artist. The fact that the work is displayed in its frame indicates that it is finished, and awaits the inspection of the commissioner or buyer.

It seems likely that the painting is identical with Florence Martin's Royal Academy exhibit The Art Student (although that particular work is not described in the Art Journal review of the 1879 exhibition, so this remains a supposition).