William Henry Margetson

Phillips, 14 November 1989, lot 12;
Private collection

STRUCTURE The canvas has been relined. There are a few faint signs of craquelure around the head of the figure and to the neck, only visible upon close inspection. There are also very faint signs of craquelure along the right hand edge and a small circle of craquelure to the left of the figure's legs. There are two or three minor stains in the upper right quadrant and the surface may benefit from a light clean. Otherwise the work appears in good overall condition. ULTRAVIOLET LIGHT Under UV there appear to be sweeping areas of retouching to the cloud immediately above the horizon. There are also scattered areas of flecked retouchings across the sky. Further minor flecks to the upper half of the figure and scattered flecks of retouching across the beach, with a larger area near the right side of the lower edge. FRAME Held in a large gilt plaster frame. Please telephone the department on 0207 293 5718 if you have any questions about the present work.
"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."

On a vast and deserted beach a beautiful young woman stands on the shore and watches the rising sun over the sea. She is dressed in a gown typical of the Arts-and-Crafts movement fastenend at the front with a large decorative brooch. This romantic image of quiet reflection is a particularly elegant painting by Margetson, a large and harmonius picture that captures the spirit of optimism at the turn of the twentieth century. Painted in 1900 it is an example of the subjects chosen that year by various artists that depict the subject of rejuvenation as the nineteenth century passed into history and a new century dawned. Herbert Draper painted The Gates of Dawn (Draper's Hall, London) for the Royal Academy exhibition of 1900, depicting the goddess Eos heralding a new age at her shining doors, whilst Henry la Thangue painted a rustic field worker picking mushrooms in a picture entitled Dawn (offered in these rooms, 10 March 2005, lot 257).

Margetson was one of the late nineteenth century artists who experienced a traditional Victorian art training at the South Kensington and Royal Academy schools and combined a sound knowledge of anatomical drawing with a rich and poetic style of painting based upon continental art. Thus his paintings have a fresh and modern colouring and subject-matter which is similar to French and Belgian artists and the contemporary painters of Scandinavia. His paintings epitomise the style of painting and design that The Studio magazine particularly favoured at this time.

In 1900 Margetson also painted Wild Flowers (sold in these rooms, 12 March 1997, lot 193) which probably depicts the same model as On the Sands. Both pictures contrast the beauty of women with nature like The Sea Hath its Pearls (Art Gallery of South Australia, Sydney) of 1897. Although Margetson lived inland at Wallingford in Berkshire, he painted several other pictures of women standing beside the sea, such as The Sea Hath its Pearls, Wonders of the Shore of 1899 and Who Strays into Love's Domain? of 1904 which depicts a group of women confronting a child-Cupid on the shore.