Lot 371
  • 371

Sir William Blake Richmond, R.A.

Estimate
2,000 - 3,000 GBP
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Description

  • Sir William Blake Richmond, R.A.
  • STUDY FOR THE HEAD OF VENUS IN VENUS AND ANCHISES
  • Red chalk;
    bears inscription in pencil lower left: W. B. Richmond
  • 420 by 300 mm

Provenance

Bought in Kensington c.1965

Condition

Hinge mounted. There is a border to the upper and right edges of the sheet where the work has probably been previously mounted. This has resulted in some discolouration to areas of the sheet that were not previously covered by the mount. There are areas of minor surface dirt to the four edges. The red chalk medium is still fresh throughout.
"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 beautiful drawing was made as a study for the head of Venus in Richmond's painting Athwart the Wintry Wilderness of Thorns, better-known as Venus and Anchises (Walker Art Gallery, Liverpool) inspired by Shelley's Episychidion. On Mount Ida, the radiant figure of the Goddess of Love dressed in golden robes and accompanied by a pair of lions and a flock of birds, heralds the coming of spring and causes the trees around her to burst into blossom as she moves by them and enchants the shepherd Anchises with her beauty. When the painting was exhibited at the New Gallery in 1890 it was given the place of honour and was celebrated by the critics. It was bought by the Corporation of Liverpool for the Walker Art Gallery following its exhibition there in 1891; thus its fame was secured and it has become one of Richmond's best-known paintings.