George Henry Harlow

half length, standing in an archway, wearing a red dress and cap with lace ruff, playing a harp lute

Paris, Sedelmeyer Gallery, 1907, no. 80

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in good condition. There are some minor abrasion marks around the edges of the canvas where it meets the frame. There is some extremely minor rubbing in the lower left of the canvas aswell as three small hairline cracks emanating from the edge of the canvas in this area. ULTRAVIOLET Examination under ultraviolet light reveals areas of retouching predominantly in the body of the lute harp, in the foilage upper left and to the sitters cap. Aswell as smaller areas of retouching in the upper and lower right and minor retouching scattered overall. FRAME Held in a gilded wooden 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."

Born in 1794 Catherine 'Kitty' Stephens was the daughter of Edward Stephens (c.1768-1827), a carver and gilder. Following the example of her sister Elizabeth, who had performed in Liverpool and at Drury Lane from 1798, she made her débute on the London stage with musical recitals at the Freemason's Tavern (The Museodeum). Having been articled to Gesualdo Lanza, a respected singing-master since 1807, she caught the public imagination and rose to become one of the most popular English singers of her generation.

In 1812 she was transferred to the custody of Thomas Welsh, who had heard her at a private concert and launched her at concerts in Manchester.  Stephens made her Covent Garden début as Mandane in Arne's Atraxerxes (the first attempt to set a full-blown opera seria libretto in English) on 23 September 1813 and the great success with which she was received invited comparison with Angelica Cantalani and Elizabeth Billington. She continued to sing in leading roles at Covent Garden until 1824 when she transferred to Drury Lane and the English Opera House, later returning to Covent Garden, as well as touring the British Isles out of season.

Stephens had a penchant for Mozart and often selected numbers from his operas as concert pieces, as well as singing Zerlina and Susanna in the first English adaptations held at Covent Garden of Don Giovanni in 1817 and Le nozze de Figaro in 1819. Her reputation throughout her career was one of purity and chastity, though both Lord Milton and the Duke of Devonshire were said to have been amongst her suitors. In 1835 Kitty retired from the stage having amassed a considerable fortune.