Anna Louisa Swynnerton, 1844-1933

Sotheby's, 23 June 1981, lot 104;
Christie's, Rome, 4 December 1984, lot 51;
Private collection

Christopher Wood, Dictionary of British Art, Vol IV, illus. p. 422

Lot 130 STRUCTURE Relined SURFACE Paint loss appears in the lower right hand corner approximately 1 inch horizontally ¼ inch vertically. There are areas of surface craquelure which appears mainly to the left hand side of Joan's head and an area to the right of her head which is starting to lift. There is also evidence that the canvas has been extended by the artist and this is viewable in the catalogue illustration: a horizontal line at the top approx 3 inches from the edge and two vertical lines, one on the left hand side approximately 5 inches from the edge and on the right hand side approximately 6 inches from the edge, a horizontal line approximately 3 inches from the bottom edge. Some scuff marks appear along the edges where the frame has rubbed against the canvas. The picture appears dirty and should benefit from cleaning. UNDER ULTRA VIOLET There are some sweeps of restoration which appear around Joan's head and continue further down the left hand side. Some retouchings also appear along the lines where the canvas has been extended. FRAME Contained in a plain silver and gilt frame. COLOUR COMPARISON The colours are deeper and stronger than the catalogue illustration suggests.
"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."

Annie Louisa Swynnerton (née Robinson) is best-known for her sensitive portrayals of children and young women and her symbolist mythologies and allegories much influenced by George Frederick Watts. As the daughter of a Manchester solicitor she enjoyed a certain amount of financial stability and was able to attend art school at Manchester, Paris and Rome. She began exhibiting at the Royal Academy in 1879 and also showed pictures at the New Gallery and the Grosvenor Gallery. In 1883 she married the Manx sculptor Joseph William Swynnerton in Rome. In 1922 she became an Associate of the Royal Academy, the first female artist to be honoured by the Academy since 1768. Her work was greatly admired by John Singer Sargent who bought The Oreads and presented it to the Tate Gallery which holds three other works by Swynnerton.  

Swynnerton was probably aware of Millais' painting Joan of Arc of 1865 (offered in these rooms, 27 November 2003, lot 25) and possibly also Frank Dicksee's painting of the same subject exhibited in 1902 (present whereabouts unknown). Both these paintings share compositional similarities with the present work but the artist with whose work Swynnerton's is most akin is George Frederick Watts. Watts' ethereal vision and robust painting style is evident in the present picture and he is certainly known to have visited Swynnerton's studio and given her advise and criticism.