John Evan Thomas

Over all the condition is excellent with some minor dirt and wear to the surface consistent with age.There are some minor inclusions in the marble consistent with the material and a few minor nicks and scratches.
"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."

Chantrey's portrait of Scott is unique in that the sculptor himself requested the sitting (the only time he recollected doing so) and later presented it to Scott as a token of esteem. A plaster cast of it was exhibited at the Royal Academy in 1821, while the finished marble, dated 1822, remains at Abbotsford. A replica of it was purchased by the Duke of Wellington for £157 10s.

At a second sitting in 1828, Chantrey executed a third bust of Scott, making only minor modifications of detail to the Abbotsford version. He kept it in his studio until 1837, when he gave it to Sir Robert Peel. That version is now held in the collection of the Philidelphia Museum of Art.

The present bust is taken from the original version. Other versions are known, including copies in the National Portrait Gallery, London and the Kelvingrove Art Gallery, Glasgow. However, this is the only other version which can conclusively be shown to have been carved within Chantrey's lifetime. John Evan Thomas entered Chantrey's studio in 1824 at the age of fourteen. By 1834 he had left the studio, but this bust must have been produced with the master's authorisation and some involvement seems likely. The discovery of this bust suggests that Thomas may also have worked on the Wellington and Peel busts during his tenure in Chantrey's studio.

RELATED LITERATURE
A. Potts, Sir Francis Chantrey 1781-1841: Sculptor of the Great, ex. cat., National Portait Gallery, 1961, p.21; I. Roscoe, A Biographical Dictionary of Sculptors in Britain 1660-1851, London, 2007, pp. 249 & 1249-52