George Romney

N.A. Hanemaayer, The Netherlands, by 1982;
His sale, Christie's London, 16 April 1982, lot 89;
Anonymous Sale, Christie's London, 12 July 1991, lot 144;
Anonymous sale, Sotheby's London, 25 November 2004, lot 56

STRUCTURE The canvas has been lined. PAINT SURFACE The picture appears to be in good condition. There is characteristic cracquelure throughout the picture. ULTRAVIOLET Ultraviolet light reveals minor scattered re-touching. FRAME Held in a carved and gilded continental Salvator Rosa 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."

Romney's gigantic depiction of the action of the first act of Shakespeare's The Tempest, was as Alex Kidson explains, 'an extraordinary and visionary conflation of the first two scenes of the play.'[1] However, Romney's contribution of this painting for the Boydell Shakespeare Gallery was to cause him much consternation and deliberation on the manner of it's final composition.

According to a report in The World, 9 June 1787, 'Romney has determined on his ideas for his first picture in the Grand Shakespeare of Messrs Boydell and Nicol.' This oil study must have been carried out around this time. Other studies for the final composition as well as for the expressions of individual mariners exist, for example the pencil study at the Folger Shakespeare Library, Washington. A comparison with the figures in the other oil sketch (National Gallery of Art, Rome) suggests that this painting is a study for the lead mariner who reaches out towards Ferdinand as he leaps off the ship. The spontaneous and impulsive brush strokes of this study create a dramatic and moving portrayal of an anguished soul.

[1]  A. Kidson, George Romney, 2002, p. 195.