JAMES CAMPBELL | Our Village Clockmaker Solving a Problem

Bought by a private collector from the Liverpool Academy in 1859;
Christie's, London, 24 November 1989, lot 127;
The Fine Art Society, London;
The Robertson Collection, Orkney

London, Royal Academy, 1859, no.14
Liverpool, Liverpool Academy, 1859;
London, The Fine Art Society, Paintings, Works on Paper, Sculpture, Furniture & Decorative Arts, 2005, no.6

Henry Currie Marillier, The Liverpool School of Painters, 1904, pp.81-85

The canvas has not been lined but is sealed with tape at the edges. Some ares of very fine craquelure, visible only upon close inspection. The work appears to be in very good overall conditon. UV light inspection reveals some minor flecked retouchings to the upper left hand portion of the work, with some minor touches to the framing edges. There are a few minor spots of retouching to the figure's lower half. Held in a decorative gilt 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."

Trained in London, Campbell later became one of the Liverpool Pre-Raphaelites. His minute attention to detail attracted Ruskin's praise and here it is apparent in the skill with which he has recorded his observation of the clockmaker and the workings of his trade. He showed only two pictures at the Royal Academy, of which this was the first. He was supported by the Pre-Raphaelite collectors John Miller, James Leathart and George Rae.