George Frederick Watts

STRUCTURE Original canvas. PAINT SURFACE There are scattered areas of craquleure around the sitter's head, also stretcher marks along the left hand border. ULTRAVIOLET UV light reveals an uneven varnish as well as retouching to the background, upper right and a few spots to frame abrasions along the right hand edge. FRAME Held in the original frame in good condition.
"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."

This sitter bears a resemblance to the handsome, aristocratic and raffish poet Wilfred Scawen Blunt (1840-1922). The 14-year-old Blunt was tutored in painting by Watts, who rarely took pupils. A portrait of Blunt painted by Watts in 1899 for one of his former mistresses Madeline Wyndham is known from a photograph by Frederic Hollyer. This portrait depicts Blunt with greying hair and beard and if the present lot does indeed depict Blunt it dates from an earlier decade when his looks were their most beguiling to the beautiful women that risked their reputation to be with him. The style is consistent with Watts' portraits of Millais, Morris, Rossetti, Leighton and Burne-Jones painted in the 1870s when Blunt was in his 30s.