John William Waterhouse, R.A., R.I.

Sir Harry James Veitch
Royal Albert Memorial Museum, Exeter (bequest from the above in 1924); Sale: Christie's, London, 22 October 1954, lot 118
Williams & Son, Ltd. (purchased at the above sale)
Purchased by the family of the present owner from the above; thence by descent

London, Royal Academy of Arts, 1884, no. 559
London, Whitechapel (St Jude's), 1886, no. 78
Manchester, Jubilee Exhibition, 1887, no. 447
London, Royal Academy of Arts, Works by Recently Deceased Members of the Royal Academy, no. 166

Anthony Hobson, The Art and Life of J. W. Waterhouse RA, London, 1980, p. 182, no. 60, catalogued

The canvas has been re-lined. There are scattered minor flecks of retouching visible under ultraviolet light, notably a spot to the lower edge, along the upper edge, and some flecks to the upper right corner, partially obscured by a varnish. Apart from some light frame rubbing, visible notably to the upper edge, this work is in very good condition, with rich colours and fine detail, and ready to hang. Held in a decorative, gilt, moulded plaster and wood frame with a name plate.
"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."

In this replique of his 1884 Royal Academy entry (bought by Sir Henry Tate and now in the Tate Britain), Waterhouse depicts the moment of revelation in which a priestess calls for silence and leans forward to catch the uttered revelations from the oracle. 

Anthony Hobson writes of the picture: 'Its elaborate detail is balanced by strength of composition. The ryhthm of the window arches is echoed in the semi-circle of the marble step which brings the ring of seated figures into communion with that of the priestess. Boldly placing her in the shadows with only the glow of the lamp on her face, Waterhouse justifies this by silhouetting her outstretched hand, directing the message to her devotees, against the brilliant sunshine on the wall of the building outside. Heads and hands are full of expression: each figure is intent and individual in attitude, the two in the centre clasping each other in agitation' (Hobson, p. 42).