Benjamin Ferrers

John William Robert Kerr, 7th Marquess of Lothian (1794–1841), by at least 1833;
Thence by descent.

London, Sotheby's, The Glory of the Garden, A Loan Exhibition in Association with The Royal Horticultural Society, 2 January 1986 - 28 January 1987, no. 42.

Newbattle Abbey inventory, March 1833, no. 476;
C. Hofstede de Groote, 'Hollandsche Kunst in Schotland', in Oud Holland, 11, 1893, p. 216 (as signed and dated 'B FERRERS Pynx 1697');
Newbattle Abbey inventory, 21 May 1900, no. 476 (Front Stairs);
E. Waterhouse, Dictionary of the 16th and 17th Century British Painters, Woodbridge 1981, p. 125, (as signed and dated '169(?5');
J. Harris and A. Huxley, The Glory of the Garden, exh. cat., London 1986, cat. no. 42;
Monteviot House inventory, 14 July 1989, no. 476 (Study);
J. Woudstra, 'The Use of Flowering Plants in Late Seventeenth- and Early Eighteenth-Century Interiors', in Garden History, vol. 28, no. 2, Winter 2000, p. 196, reproduced p. 197, fig. 1.

The picture appears to be in very good condition, with no apparent extant damage or loss of paint. The canvas has an old relining which is still sound. Examination under ultraviolet light reveals that the canvas is made up of two pieces, with a canvas join running vertically about 10 cm. in from the left hand side. There is an opaque and discoloured varnish overall and two old minor damages that have been repaired. These consist of a repaired old damage ca. 9 by 5 cm. in the bottom left corner and an old repaired tear ca. 21 cm. with a 3 by 3 cm. area damage just above the right handle of the vase. The background behind the blooms, foreground ledge and the inside of the vase have been strengthened but the vase itself, although a little worn, is in tact and the majority of the leaves of the plant are similarly undisturbed. Some of the flowers have been strengthened. The restoration is not overly obtrusive and the picture would respond well to a light clean and sensitive restoration. Sold with a later plain gilt wood frame, some losses to the gilding.
"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."

Ferrers was a deaf and dumb painter mainly of portraits. This painting is presumed to be an early work and its date (now somewhat illegible, was in fact noted by Hofstede de Groot in 1893 as '1697'. It is of a genre that the artist later deserted in favour of more lucrative portraits. It has been suggested that the present picture was once mounted to be placed in an empty fireplace during the summer months. The pot itself is also interesting as Nevers pottery was rarely found in this country. The double ogee form and heavy coiled handles are typical of Nevers faience of the late 17th century, although one would expect the figures to have been painted in manganese and cobalt blue, and not in the present palette.