- 32
Joseph Wright of Derby, A.R.A.
Description
- Joseph Wright of Derby, A.R.A.
- Portrait of John Atherton (d.1785)
- inscribed verso; Mr Atherton
- oil on canvas, held in a British Baroque carved and gilded frame
Literature
E.E. Barker & A. Kidson, Joseph Wright of Derby in Liverpool, 2007, p. 54
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."
Catalogue Note
During Wright's twenty-five months in Liverpool he secured commissions from many of its leading citizens including; Thomas Parke, a linen merchant, Thomas Staniforth a merchant and later Mayor and John Atherton a merchant with investments in the Greenland fisheries.[1] This portrait of 'Mr Atherton' is recorded but hitherto has been untraced.
John Atherton was a member of the Liverpool Library which was housed in a building owned by William Everard. Wright rented a studio and public reception place from Everard in the same building at 30 John Street. This clearly presented Wright with an opportunity to meet potential patrons. At least five Library members are recorded sitting to Wright including Thomas Parke and Thomas Staniforth mentioned above.[2]
Close comparison of this portrait and the Portrait of Thomas Staniforth, 1769 (Tate Gallery) in particular demonstrate the similarity of Wright's approach to portraying his male sitters at this time. Portrayed sitting within intimate proximity to the viewer, the sitters look directly but informally towards the viewer. A dramatic dark background is softened by the use of a paler area behind the sitter's head which serves to heighten the facial features and lifelike appearance of the character.
[1] see G. Williams, History of the Liverpool Privateers and Letters of Marque with an Account of the Liverpool Slave Trade, 1744-1812, 1897, p. 82 as quoted in E. Barker & A. Kidson, op.cit, p. 54, ff. 69.
[2] E. Barker & A. Kidson, op.cit., 2007, pp. 45,46.