Henry William Banks Davis

Agnew's, London, November 1999

The board is slightly bowed otherwise appears sound. Some light surface dirt otherwise the work appears in good overall condition. Ultraviolet light reveals scattered flecks of retouching across the surface, but not to the shepherd. 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."

A London landscape and animal painter, like many artists of his generation, Davis was influenced by the Pre-Raphaelites in the 1850s and 60s, before his style broadened and he turned to more monumental works in the manner of Landseer. Here we have the unique opportunity to glimpse the artist’s working method. Davis has applied the Pre-Raphaelite method of painting his paint onto a white ground, instead of the traditional mid-tone or brown. The philosophy behind this was to provide a brighter surface which would shine through the thin glazes of paint applied on top, thus intensifying the colours and creating a more luminous, brilliant finish. Interestingly, rather than roughly blocking in the composition entirely, Davis has worked up in some detail the sky and sheep to the top of the painting, and also the figure, leaving us with very little idea of what else would have been in the painting. However it is fascinating to see from the outline of the figure how the shepherd would have been placed in long grass that obscures some of his boots and legs.