Philip Mercier

According to Chalmer Smith, an impression of the mezzotint after this painting in Mr Warwick's collection was inscribed 'Hannah, Mercier's maid'. The tray she carries includes a Chinese Imari teapot with Café au lait ground, a silver mounted lacquered sugar bowl and ewer with tea bowls.

Hunter, Dublin;
Senator Edward Augustine McGuire (1932-86), Newtown Park, Co. Dublin, by 1969;
Anonymous sale ('The Property of a Gentleman'), London, Christie's, 13 March 1970, lot 92 (as signed: Phi. Mercier fecit), for 2,200 Guineas to Leggatts;
With Leggatt Brothers, London;
Dr D. McLean McDonald, purchased in 1970;
By whose Executors sold, London, Christie's, 10 June 2003, lot 33 (as signed lower left: Ph. Mercier. fecit.), where acquired by the present owner.

York, City Art Gallery, and London, Kenwood House, Philip Mercier, 1689-1760: an exhibition of paintings and engravings, 21 June - 28 September 1969, no. 59;
London, Leggatt Brothers, An exhibition of paintings from the collection of Dr D. M. McDonald, 16 October - 6 November 1970, no. 23.

J. Ingamells and R. Raines, Philip Mercier, 1689-1760: an exhibition of paintings and engravings, exh. cat., York 1969, p. 50, cat. no. 59, reproduced;
J. Ingamells and R. Raines, 'A Catalogue of the Paintings and Drawings and Etchings of Philip Mercier', in The Walpole Society, vol. XLVI, 1978, p. 44, cat. no. 168 (as signed: Ph. Mercier fecit.).

ENGRAVED:
John Faber II, mezzotint, 1744.

The painting is relined, the paint surface is relatively clean and the varnish is clear and even. There are areas of discoloured retouching, visible to the naked eye, to networks of craquelure in the background to either side of the lady in the lower half of the painting, the largest area measuring no bigger than 7 x 4 cm. There are likewise small areas in the upper corners and a line along the upper margin. Inspection under ultraviolet light reveals fine, sensitively-executed retouching to the network of craquelure throughout the flesh tones, and strengthening through the drapery, where the pigment has thinned over time. There is also some strengthening in the dark enamelled tea caddy, but none of these interventions are distracting to the naked eye. Offered in a carved and gilt wood frame in good condition, with some losses to the gilding, and one loss to a protruding part of the frame, 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."

This painting reportedly depicts Hannah, the artist’s maid, carrying a tray laden with fashionable Chinese export porcelain, including an Imari teapot with café au lait ground, a silver-mounted lacquered sugar bowl and small tea bowls.

Born in Berlin in 1689 to French parents, Philip Mercier spent most of his adult life in England. Having been recommended by the court in Hannover he was appointed court painter to the Prince and Princess of Wales in 1719 and painted their portraits and those of their children on many occasions. Ingamells and Raines date the painting to 1743-44 when Mercier was newly settled in York and enjoying a period of his greatest activity. During this time he produced some of his most original 'fancy' paintings and some of his most intimate and informal portraits which were new and engaging and marked change of direction from his portraits for the Royal Family. The identification of the sitter is due to an old handwritten inscription on a 1744 mezzotint by Faber (with whom Mericer worked closely and regularly) recorded in the collection of a Mr Warwick, that reads 'Hannah, Mercier's maid.'¹

1. J. C. Smith, British Mezzotinto Portraits, part 4, vol. II, London 1883, addition for p. 459, cat. no. 416a.