- 206
Sir William Rothenstein
Estimate
15,000 - 20,000 GBP
bidding is closed
Description
- Sir William Rothenstein
- Henry Tonks, John Singer Sargent and Philip Wilson Steer, study for a composition
- signed, titled and dated 1903 on a label attached to the reverse
- oil on canvas
- 76.5 by 63.5cm., 30ΒΌ by 25in.
Exhibited
Birkenhead, Williamson Art Gallery, Festival of Britain, 1951, Wilson Steer Exhibition, July - September 1951.
Literature
Robert Upstone, William Orpen, Politics, Sex & Death, Philip Wilson Publishers, London, 2005, illustrated fig.8, p.28.
Condition
Original canvas. There are some areas of craquelure about the canvas, most noticeable to the left hand figure's face and to a lesser degree about the seated figures' faces; the surface is dirty and should benefit from a light clean; otherwise it appears in good overall condition.
Under UV light there appears to be a very thin line of retouching along the left edge.
Held in a gilt plaster frame.
"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."
"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."
Catalogue Note
Depicting Tonks standing on the the extreme left, Sargent and Steer seated listening to an unseen figure away to the right, this important work groups together key figures in the exponents of modern French art in England at the turn of the twentieth century. Sargent was the leading champion of British Impressionism and Steer and Tonks controlled one of the most influential and effective schools of art in the Edwardian era - the Slade.
In 1909, William Orpen also played upon this idea in his work, Homage to Manet (Manchester City Art Galleries) in which he adds to the group other significant proponents of modern French art: George Moore, D. S. MacColl, Walter Sickert and Hugh Lane. This is executed at a more transitional period in terms of the impact of Impressionism in England, with Roger Fry's post-Impressionist exhibition the following year heralding a shift of emphasis of art towards Gaugin and Van Gogh. In this light, the present work offers a notable insight into Britain's relationship with French Impressionism. Here Sargent, Steer and Tonks stand as its principal proponents, but when viewed from the end of the decade, they come to represent a point of departure with the modernist developments that followed.
In 1909, William Orpen also played upon this idea in his work, Homage to Manet (Manchester City Art Galleries) in which he adds to the group other significant proponents of modern French art: George Moore, D. S. MacColl, Walter Sickert and Hugh Lane. This is executed at a more transitional period in terms of the impact of Impressionism in England, with Roger Fry's post-Impressionist exhibition the following year heralding a shift of emphasis of art towards Gaugin and Van Gogh. In this light, the present work offers a notable insight into Britain's relationship with French Impressionism. Here Sargent, Steer and Tonks stand as its principal proponents, but when viewed from the end of the decade, they come to represent a point of departure with the modernist developments that followed.