George Frederic Watts, O.M., R.A.

Sotheby's, Belgravia, 23 March 1981, lot 82

The canvas is lined. There are some faint signs of craquelure by her face and neck which appear stable; otherwise the work appears in good overall condition. Ultraviolet light reveals a few spots of retouching in the background upper right. Also some retouching near her right elbow and underneath her waist band which may relate to a repaired tear. Small retouching under her chin and in background near lower left edge. Held in an attractive Watts-style frame (in excellent 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."

Around 1889 the artist and his wife Mary became the legal guardians of a ten-year-old girl named Lilian Macintosh, after the death of her father. Mary and George had no children of their own and 'Lily' was a great blessing to the couple, remaining with them until her marriage to Michael Chapman. Several portraits by Watts of Lilian are known to exist including a delicate head at the Walker Art Gallery in Liverpool painted in 1895 and a late work painted in 1904 which was one of Watts' last portraits. The present picture was probably made as a study for a portrait completed in 1897 (Sotheby's, Olympia, 14 May 2007, lot 29). It has an atmospheric and ethereal quality that recalls the figurative work of Whistler and the French Impressionists and demonstrates how advanced Watts' artistic ideas about representation of the human form were in his later years.