Francis Hayman, R.A.

full length, seated wearing a blue dress and white cap, a bust of Shakespeare behind 

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in to be in fairly good condition. ULTRAVIOLET Examination under ultraviolet light reveals scattered minor retouching and infilling to craquelure overall. There is also a layer of opaque varnish overall. FRAME The painting is unframed.
"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."

We are grateful to Dr Brian Allen for pointing out that the presence of the bust of Shakespeare in this portrait might suggest that the sitter was a member of the Shakespeare Ladies Club. Set up late in 1736, at a time when the popularity of pantomine and foreign opera was threatening to almost banish Shakespeare's works from the London stage, the aims of the club was to persuade theatrical managers to bring to the stage many more of the bard's plays. The club was astonishingly active in the next couple of years. In February 1737 King John and Much Ado About Nothing were re-introduced to Covent Garden and in March a letter from the ghosts of four great dramatists including Shakespeare, in the Grub Street Journal proclaimed; "Tis a Great Pleasure for us to hear, that the Ladies have begun to encourage Common Sense; which makes us hope that the theatres will follow their example." The result of their efforts was to make Shakespeare fashionable and thus to prepare the ground for Garrick's debut in 1741 as Richard III.