Frederic, Lord Leighton, P.R.A.

Bought from the artist in 1859 by Lady Augusta Hoare;
Christie's, 11 March 1912, lot 107, bought 'Wood';
Possibly the Marquess of Lansdowne;
Thomas Agnew's, London;
Mr Denys Sutton, London 

Royal Academy, 1859, no.118;
London, International Exhibition, 1862

Leonee and Richard Ormond, Lord Leighton, 1975, p.152, cat.no.48 and possibly p.175 cat.no.440 A Lady;
Stephen Jones, Christopher Newall, Leonee Ormond, Richard Ormond and Benedict Read, Frederic, Lord Leighton - Eminent Victorian Artist, exhibition catalogue for the Royal Academy, 1996, p.113

STRUCTURE This picture is unlined and in good overall condition. The paint surface is dirty and the varnish is uneven - it would therefore benefit from a light clean and revarnish. Two narrow strips have been added to the top and bottom of the picture - this was probably undertaken by the artist to make the picture fit an antique frame. UNDER ULTRAVIOLET LIGHT The varnish appears opaque and uneven. There are retouchings to the strip described above - probably the work of the artist. FRAME This picture is contained in its original ornate moulded Renaissance-style frame bearing the remnants of the 1859 exhibition number label on the side.
"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."

Leighton painted at least five depictions of the beautiful Anna, or Nanna Risi in Rome in late 1858 and early 1859. She was a favourite artist's model of Leon Bonnat, Jean-Baptiste Clesinger and Emma Stebbins but she is best-known from a series of portrayals by Anselm Feuerbach with who she lived for a while from 1860. Leighton painted her as A Roman Lady (Philadelphia Museum of Art), and three pictures entitled Pavonia (Royal Collection, private collection and Leighton House, London). In all of these pictures, and the present portrait, Leighton depicted her dressed in a simple white blouse tied at the throat with a black ribbon and she is wearing a string of pearls (at her throat in A Roman Woman and decorating her hair in the other four). Sunny Hours displays Nanna's strong profile, glossy black hair and golden skin as she looks over her shoulder to a cornfield punctuated with poppies, beyond which are the mountains of the Roman campagna.

Sunny Hours was bought from Leighton by his friend Augusta Frances East, wife of Sir Henry Ainslie Hoare, 5th Baronet. Leighton had painted Lady Hoare in Paris when he was twenty-eight (National Trust, Stourhead). Lost for many years, the re-emmergence of the present work is an important addition to the group of studies of Nanna by Leighton.