- 213
Sir Joshua Reynolds, P.R.A.
Estimate
6,000 - 8,000 GBP
Log in to view results
bidding is closed
Description
- Sir Joshua Reynolds, P.R.A.
- A folio of figure studies after the Old Masters
- Eleven, ten pen and brown ink over pencil, one pen and brown ink and grey wash over pencil;
three signed with the artist’s monogram, seven inscribed with the artist’s notes - Various sizes
Provenance
Possibly The Breugh Collection;
possibly their sale, Leek, Staffordshire, 26 November 1918, unknown lot number
possibly their sale, Leek, Staffordshire, 26 November 1918, unknown lot number
Catalogue Note
Drawings by Reynolds seldom appear on the open market and this group has only recently become known to scholars. The majority appear to date to circa 1740 and therefore were made at around the time that Reynolds entered the studio of Thomas Hudson. Each sheet contains rapidly executed sketches and they provide a fascinating insight into the types of images that interested him as a young man. Not all the sources for the figure studies have been identified, however Reynolds himself makes reference to copies after Van Dyck’s portraits of the Viscount Chaworth and the Countess of Chesterfield,1 to Kneller’s portrait of Lord Villiers and to the portrait of the Prince of Orange by Giordano. There are many others besides that are inspired by Rubens, Poussin and Lely.
It is understood that one of Reynolds’ first tasks under the tutelage of Hudson was to copy his collection of Guercino drawings. Much later in his life, while serving as President of the Royal Academy, Reynolds himself stressed the importance of drawing, recommending ‘to every artist to look over his portfolio, or pocket-book, in which he has treasured up all the happy inventions, all the extraordinary and expressive attitudes that he has met with in the course of his studies.’2
It is understood that one of Reynolds’ first tasks under the tutelage of Hudson was to copy his collection of Guercino drawings. Much later in his life, while serving as President of the Royal Academy, Reynolds himself stressed the importance of drawing, recommending ‘to every artist to look over his portfolio, or pocket-book, in which he has treasured up all the happy inventions, all the extraordinary and expressive attitudes that he has met with in the course of his studies.’2
1. S. Barnes et al., Van Dyck, A Complete Catalogue of the Paintings, New Haven and London 2004, p. 489, IV.75
2. L. Herrmann , ‘The Drawings by Sir Joshua Reynolds in the Herschel Album’, The Burlington Magazine, December 1968, p. 657