George Richmond, R.A.

Mrs Miriam Hartley, great-great granddaughter of the artist, her sale in these Rooms, 16 March 1978, lot 55;
Agnew's, London

Raymond Lister, George Richmond, 1981, pl. 7, fig. 16

The medium has survived very well indeed. The paper has not discoloured. Located at the extreme bottom edge of the sheet is an area of skilful restoration. It appears as though a small paper loss has been replaced. This is barely noticeable. At the bottom left hand corner there is a very small repaired tear, measuring 0.9mm. The work has not been laid down. Overall the drawing has been very well preserved.
"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."

This small but powerful work is typical of Richmond's output during the 1820s. This was a period when he had made the acquaintance of William Blake, become close friends with Samuel Palmer and was an active member of the 'Ancients' (see lot 122).

In the present work, as with lots 122 and 123, Richmond appears to have turned to William Blake for inspiration. For example, the figure of the man, who is depicted wrapped over the tomb stone, is reminiscent of the figure of Eve in Blake's The Body of Abel found by Adam and Eve (Tate, London).

Raymond Lister suggests that the composition itself is likely to be derived from a print of Benozzo Gozzoli's fresco The Drunkenness of Noah (Pisa, Campo Santo) (Raymond Lister, George Richmond, 1981, p. 134).