Studio of Richard Wilson, R.A.

With Anthony Mould, London, circa 1975;
From whom acquired by the present owner.

The painting is less acidic in tone than the catalogue illustration suggests. It has been relined and the paint surface is in good condition overall, although slightly pressed so that the pigments have suffered as a result – they are thin in places such as the sky (as shown in the catalogue illustration.) There is a thin spidery uneven craquelure. In the upper left there is evidence of old bitumising in darker pigments and the mottled varnish has slightly blanched. Inspection under Ultraviolet light confirms the presence of varnish which makes inspection difficult, however there is evidence of several campaigns of minor scattered cosmetic retouching. The canvas appears structurally sound and in good, ready-to-hang condition. The painting is offered in a gold painted wood and plaster frame in fair condition, but with a small horizontal crack in the lower left.
"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 present painting is a good studio version of one of the artist's most important early works, the prime version of which is a picture that was exhibited at the Society of Artists in 1762 (no. 132, Glynn Vivian Art Gallery & Museum, Swansea). The subject was engraved by Woollett and Ellis and published in 1778 with a dedication to Sir George Beaumont, together with lines from James Thomson's poem The Seasons (Summer, II.516-524).

As David Solkin has pointed out, the composition of the picture, and the theme of Solitude, was designed to appeal to contemporary aristocratic ideals, in particular the idea of the rural gentleman as the virtuous hermit, and the notion of rural retirement as a moral activity. We are meant to read a lesson from the juxtaposition between the monks and the ruined statue of a lion, which created a dialogue between the harmony of contemplative Christianity and the destruction of violence and aggression.¹

A number of versions of the composition are recorded, of varying quality, and with confused provenance (see W. G. Constable, Richard Wilson, London 1953, p. 169, under nos. 28a, b, 29a).


1. See D. H. Solkin, Richard Wilson, The Landscape of Reaction, London 1982, chapter III & p. 213, no. 101.