Portrait of Joan Thornbury, Mrs Richard Wakeman | 《瓊・桑伯里，理查德・韋克曼夫人肖像》
Property from a British Private Collection
Antwerp 1515 - 1574 London
Portrait of Joan Thornbury, Mrs Richard Wakeman
signed with monogram, upper right: HE; and inscribed: MY CHYLDHODDE PAST THAT BEWTIFIID MY FLESSHE / AND GONNE MY YOVTH THAT GAVE ME COLOR FRESSHE / Y AM NOW CVM TO THOS RYPE YERIS AT LAST / THAT TELLES ME HOWE MY WANTON DAYS BE PAST / AND THEREFORE FRINDE SO TVRNES THE TYME ME / Y ONS WAS YOVNG AND NOWE AM AS YOV SEE / AETATIS XXXVI / M.D.LXVI.
款識：藝術家簽姓名縮寫HE（右上）並題款：MY CHYLDHODDE PAST THAT BEWTIFIID MY FLESSHE / AND GONNE MY YOVTH THAT GAVE ME COLOR FRESSHE / Y AM NOW CVM TO THOS RYPE YERIS AT LAST / THAT TELLES ME HOWE MY WANTON DAYS BE PAST / AND THEREFORE FRINDE SO TVRNES THE TYME ME / Y ONS WAS YOVNG AND NOWE AM AS YOV SEE / AETATIS XXXVI / M.D.LXVI.
oil on panel
92.4 x 70.7 cm.; 36 ½ x 28 in.
92.4 x 70.7 公分；36 ½ x 28 英寸
The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:
Hans Eworth Portrait of Joan Thornbury, Mrs Richard Wakeman Oil on panel, in a modern part wood and gilt frame, in good condition.
The oak wood support is in very good preserved condition, flat and without deformations. The panel has two stable vertical joins and has been reinforced top and bottom with 10cm additional strips of soft wood. The paint layer is in a good preserved state; minor loss has occurred along some of the raised vertical grain and down the joins. Very fine pitted loss has occurred to the sitter's dress, in particular, and some of the glazing to the fur edging has been slightly compromised. The skin tones to the sitter's face and hands are very well preserved and the impasted highlights and texture to the collar, cuffs and jewellery are in excellent original condition. Chromatic and tonal values are maintained and subtleties within the dress of the sitter are apparent.
"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."
Sold by order of his executors, London, Christie's, 7 July 1967, lot 63, for 12,000 guineas, where acquired by the present owner.
R.W. Goulding, ‘Notes on Additional HE Portraits’, in The Walpole Society, vol. III, 1914, p. 118;
V.J.W., A Catalogue of Pictures and Miniatures at Cornbury, 1915, p. 24 (82);
E. Auerbach, ‘Holbein's Followers in England’, in The Burlington Magazine, vol. XCIII, 1951, p. 48, reproduced fig. 14;
R. Strong, Hans Eworth. A Tudor Artist and his Circle, exh. cat., Leicester 1965, no. 18, p. 9, reproduced pl. 9;
R. Strong, The English Icon: Elizabethan & Jacobean Portraiture, New York and London 1969, p. 97, no. 41, reproduced;
L. Cowan Orlin, Locating Privacy in Tudor London, Oxford 2008, pp. 51–52, reproduced fig. 1.11;
T. Cooper and H. Walker, ‘Talent and Adversity. A reassessment of the life and works of Hans Eworth in Antwerp and London’, in T. Cooper et al., Painting in Britain 1500-1630, Oxford 2015, p. 238, reproduced.
H. Walker, ‘Hans Eworth Catalogue Raisonné’, p. 12, no. 37, in Hans Eworth & the London Stranger Painters, online.
Manchester, Coronation Exhibition, 1953, no. 45;
Leicester, City Art Gallery, Hans Eworth, A Tudor Artist and his Circle, 10–28 November 1965, no. 18 (lent by Oliver Watney);
London, National Portrait Gallery, Hans Eworth, A Tudor Artist and his Circle, 14 December 1965 – 9 January 1966, no. 18 (lent by Oliver Watney).