James Ward, R.A.

Christie's, London, 27 September 1946 lot 155, where bought by Sir David Scott for 16 guineas

Possibly London, British Institution, 1809, no. 336 (as Wiltshire Sow and Pigs)

Possibly C. Reginald Grundy, James Ward R.A., 1909, p. 50, no. 654

The following condition report has been provided by Hamish Dewar, an independent restorer who is not an employee of Sotheby's. STRUCTURAL CONDITION The canvas is unlined. There is a vertical join to the canvas 10 cm from the left vertical framing edge. PAINT SURFACE The painting has numerous drying cracks particularly in the foreground. The heavy canvas weave is visible throughout the painting and a vertical crack to the paint surface running the length of the canvas corresponds to the join mentioned above. There is another crack running the width of the painting approximately 3 cm below the upper horizontal framing edge. The varnish layers have discoloured and yellowed considerably and this is confirmed by inspection under ultraviolet light. Some retouching is visible under ultraviolet light, particularly in the upper right corner. There is an area here in the blue pigments which measures approximately 12 cm x 3 cm. There is another triangular area of retouching above the pig's back and strengthening to the wooden post. SUMMARY The painting therefore is in stable condition but would benefit considerably from cleaning and I would expect a significant colour change. This would most likely also result in the drying cracks becoming more visually distracting and retouching may be required to cover these cracks and other areas of thinness to the paint surface. Hamish Dewar Ltd, 13 & 14 Mason's Yard, Duke Street, St James's, London SW1Y 6BU Tel: +44 (0)20 7930 4004 Fax: +44 (0)20 7930 4100 Email: hamish@hamishdewar.co.uk
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

'How comfortable and superbly contented the old sow looks with a tummy that I feel I should like to poke with my finger.' Sir David Scott

Throughout his long career Ward showed himself to be a master of almost every aspect of painting; an accomplished portraitist, a superb landscape painter and an ambitious history painter. He is now acknowledged as one of the greatest animal painters of the nineteenth century. This charming study of pigs, with its characteristic touches of humour and strong sense of atmosphere, is a fine example of his early abilities as an animal painter.

Ward was born and brought up in Thomas Street near Southwark Bridge but he felt no affinity with the city. One of his earliest memories was the thrill which he felt when, as small child, he was taken out to the country in Kent. He encountered for the first time the sound of animals - "the noise was so new and odd that I tumbled out of bed and clambered up the old-fashioned window step to see what it was, and when I looked out it appeared as if I had got into heaven itself." 

Amongst his earliest exhibits at the Royal Academy was Feeding Pigs, painted in the style of his brother-in-law George Morland. His skill in painting animals was rewarded in 1800 when he received the astonishing commission to paint two hundred portraits of cattle, sheep and pigs for the Board of Agriculture, to be engraved by Boydell. Ward threw himself into the project with tireless energy, travelling throughout the country in his enthusiasm to gather together all the relevant details of British livestock.  Numerous drawings and oil studies were produced during this period and were used by him in many of his later works. It is likely that this fine painting of a sow with her piglets dates from this period.

A second version of this picture, formerly in the collection of the artist Sir Frank Brangwyn is now in the collection of the Fitzwilliam Museum in Cambridge.