John William Godward, R.B.A.

Sale: Sotheby's, Belgravia, March 20, 1979, lot 36
Private Collection

Vern G. Swanson, John William Godward: The Eclipse of Classicism, Woodbridge, Suffolk, 1997, pp. 255-6, illustrated no. 2

STRUCTURE Original canvas. There are two small spots of paint loss along the upper edge near the right hand corner. There is also a small spot of paint loss in the arch of the background and another near the lower right corner with an area of unstable paint. There is a stain along the top of the arch and also in the sky between it. There is a faint pattern of craquelure across the surface. ULTRAVIOLET LIGHT Ultraviolet light reveals small areas of retouching about the edges and to the stain in the archway. The 'G' of the signature has been strenghtened and the last two digits of the date have been altered. There are a few small retouchings to the neck and hair of the lady and to the dark line left of the figure of the fountain. FRAME Held in a 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."

The painting has been reassessed and authenticated by Dr. Vern G. Swanson and will appear in his enlarged and revised second edition catalogue raisonné of the artist.

Dr. Swanson believes that the 1899 date was later added and, based on the style and subject, the work was likely painted circa 1887.