John Hamilton Mortimer A.R.A.

STRUCTURE The canvas has been lined. PAINT SURFACE There are some minor specks of paint loss along the right vertical canvas edge. There is evidence of an area of old restoration to the upper left hand corner. ULTRAVIOLET Examination under ultraviolet light reveals two vertical surface scratches with associated repaint, one in the seated figure's sleeve (discoloured and visible under natural light), the second upper centre. There are also scattered retouchings to the right hand vertical edge, as well as to the aforementioned passage of damage to the figures and to the background. FRAME Held in a moulded gilt frame.
"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."

These three gentleman have positioned themselves on a prominent hill top in order to survey the landscape beyond. One might suggest that the figure wearing a hat on the right is a patron. It is possible that the man seated on the stone and holding a piece of paper is an architect holding designs, measurements, costs or plans, as he looks towards the gentleman who is presumably his patron in this instance almost as if in need of reassurance. The third figure points towards the landscaping excavations (possibly the construction of a lake) taking place in the middle distance, directing the viewer's attention to the scheme in which all three protagonists appear to be involved. 

This portrait recalls other Mortimer compositions such as the Self-portrait with Father and Brother, of the mid-1760s (Yale Centre for British Art, New Haven). In that painting as in this composition, there is a deliberate arrangement of figures beneath a tree, the standing father glances towards the viewer whilst the two younger sons, John being seated, gaze towards a scene takes place beyond. In both that painting and the present picture there also appears to be the definable form of a cliff which may in both be intended as Beachy Head.

This painting is a rare example of a picture by Mortimer left unfinished. Furthermore, he is not known to have worked with a student or studio to whom he might have left the details of dress to complete. We are grateful to John Sunderland for confirming the attribution to Mortimer.