- 203
Ford Madox Brown
Estimate
20,000 - 30,000 GBP
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Description
- Ford Madox Brown
- The Supper at Emmaus
- signed with initials and dated l.l.: FMB 76; further signed, dated, titled and inscribed with the artist's address on a label attached to the reverse
- watercolour with pen and ink
- 54 by 47cm., 21 by 18½in.
Provenance
Bought from the artist by Charles J. Pooley of Manchester in April 1876;
W.H. Wood by 1911;
D. Stoner Crowther;
Christie's, 2 May 1924, lot 75 bought Gooden & Fox for 130 guineas on behalf of William Lever, 1st Viscount Leverhulme;
Sotheby's, 'The Leverhulme Collection', 26-28 June 2001, lot 396;
Private collection
W.H. Wood by 1911;
D. Stoner Crowther;
Christie's, 2 May 1924, lot 75 bought Gooden & Fox for 130 guineas on behalf of William Lever, 1st Viscount Leverhulme;
Sotheby's, 'The Leverhulme Collection', 26-28 June 2001, lot 396;
Private collection
Exhibited
Manchester City Art Gallery, Loan Exhibition of Works by Ford Madox Brown and the Pre-Raphaelites, 1911, no.75 lent by W.H. Wood;
Bath, Victoria Art Gallery, Autumn Loan Exhibition of Works by Pre-Raphaelite Painters from Collections in Lancashire, 1913, no.31;
Port Sunlight, The Lady Lever Art Gallery, The Pre-Raphaelites, 1948, no.25
Bath, Victoria Art Gallery, Autumn Loan Exhibition of Works by Pre-Raphaelite Painters from Collections in Lancashire, 1913, no.31;
Port Sunlight, The Lady Lever Art Gallery, The Pre-Raphaelites, 1948, no.25
Literature
Ford M. Hueffer, Ford Madox Brown - A Record of his Life and Works, 1896, p.306;
A. Charles Sewter, The Stained Glass of William Morris and his Circle, 2 vols, 1975, Vol. I, p.190;
Teresa Newman and Ray Watkinson, Ford Madox Brown and the Pre-Raphaelite Circle, 1991, p.175
A. Charles Sewter, The Stained Glass of William Morris and his Circle, 2 vols, 1975, Vol. I, p.190;
Teresa Newman and Ray Watkinson, Ford Madox Brown and the Pre-Raphaelite Circle, 1991, p.175
Condition
STRUCTURE
The work has been executed on paper laid onto original panel, providing good support. The paint surface is clean with no visible damage.
FRAME
Held under glass in a pre-Raphaelite carved wood frame (possibly the original)
"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
The Supper at Emmaus was painted in four weeks in early 1876 and described by the artist's grandson; ‘Christ, seated at the centre of the table, offers the wine and bread to the Disciples seated with Him. They, recognising the sign, are struck with wonder and adopt attitudes of adoration. Round windows behind each of the figures’ heads form a kind of halo, but through them the sunlit landscape is to be seen.’ It was conceived for a stained-glass window made in 1871 for the Church of Jesus at Troutbeck in Westmorland, part of a scheme of decoration undertaken by Brown and Burne-Jones for Morris & Co.
This watercolour was commissioned by Charles J. Pooley, a cotton-mill owner from Manchester and was subsequently bought by the great collector William Hesketh Lever, who also owned Brown's Cromwell on his Farm, Windermere, Nosegay and Cordelia’s Portion (all bequeathed to the Lady Lever Art Gallery in Port Sunlight).
This watercolour was commissioned by Charles J. Pooley, a cotton-mill owner from Manchester and was subsequently bought by the great collector William Hesketh Lever, who also owned Brown's Cromwell on his Farm, Windermere, Nosegay and Cordelia’s Portion (all bequeathed to the Lady Lever Art Gallery in Port Sunlight).