Charles Lucy

Commissioned by George Lucy (c.1714-1786) of Charlecote Park, Warwickshire, in Rome circa 1758;
Thence by direct family descent

"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's. Both canvases are lined and the paint layer is stable but a little raised in some areas. Both paintings have prominent raised stretcher marks. Apart from some minor restorations scattered across the surface the paintings are in good original untouched condition. The varnish is lightly discoloured and its removal would benefit both paintings. Offered in original 18th century Roman carved gilt wood frames in good condition."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Born in London, Charles Lucy studied painting in Italy with both Pietro Dandini, in Florence, and then, for eight years, with Carlo Cignani in Forli.  After this apprenticeship he appears to have settled in Bologna where he worked as a portrait painter.  He returned to England in the 1730s and 40s when he painted a number of portraits including that of his kinsman George Lucy (c1714-1786) of Charlecote Park, Warwickshire in 1746.¹  George Lucy, second son of Fulke Lucy, succeeded his brother Thomas in 1744. 

In 1753 Charles was back in Bologna but, struggling to find work, he was reduced to pleading with his "generous humain compassionate" kinsman for a pension of £125 per annum which he believed would "hardly be missed in your [George's] ample fortune".²  It seems this pension was forthcoming and that the men again met in Rome in 1758.  Following a dissipated youth, George Lucy was sent to Europe to recuperate, departing for his Grand Tour in October 1756.  He sat to Batoni in 1758 (fig. 1) and commissioned from Charles a number of paintings including the present pair, a Holy Family, The Gamesters, Adam and Eve, Tobit and a variety of copies after Italian masters: St Michael Overcoming Satan after Guido Reni, La Musica and La Poesia after Guercino, a Madonna after Correggio and a Chastity and Cupid and Cupid and Satyr after Francesco Mancini.³  Charles had a number of problems in obtaining permission and access to copy these paintings and had to wait until the death of Mancini to copy the last pair.  George returned to Charlecote Park later that year and over the next decade there survives a number of letters between him and Charles discussing the various commissions and their delivery to Charlecote.

Although the present paintings undoubtedly date to Charles Lucy's time in Rome in the 1750's and 60's the legacy of his training with Cignani can be clearly seen, especially in the torsos, which can be compared to the now damaged Salamacis and Hermaphroditus in the Pinacoteca, Bologna. Apart from the remaining paintings at Charlecote no other works by Charles Lucy survive although several portraits are known through engravings.

 

1. This portrait is referred to in a letter from Charles to George dated 17 January 1753, Lucy of Charlecote Mss, L6/1378.
2. Ibid.
3. The Bacchus is mentioned, as a previously completed work, in a letter from Charles to George 13 April 1765, Lucy of Charlecote Mss, L6/1391.