GEORGE RICHMOND, R.A. | The Witch

By descent within the artist's family until his great-great granddaughter;
her sale, London, Sotheby's, 4 July 2001, lot 128 (£80,000)
with Hazlitt, Gooden & Fox, London
by whom sold to the present owner

London, Royal Academy, 1830, no. 458

R. Lister, George Richmond, A Critical Biography, London, 1981, pp. 21, 129-130, pl. IX, no. 19

There is some minor pigment separation and slight craquelure in some of the dark areas, but overall in the work is in very good condition.
"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."

George Richmond’s painting illustrates the witch Maudlin from Ben Jonson’s unfinished play The Sad Shepherd or A Tale of Robin Hood, first published in the folio of 1641. In Jonson’s tale, Robin Hood invited the shepherds and shepherdesses of the Vale of Belvoir to a feast in Sherwood Forest. The evil witch Maudlin, however, assumed the guise of Maid Marion and caused much confusion, abusing Robin Hood and sending away the venison that had been prepared for the feast. These acts and her other malicious deeds were discovered and she was then pursued by huntsmen. Richmond chose a moment when the witch sits in the forest myopically reading a book by the light of a glow-worm. Beyond, through the trees of the forest are distant mountains with a dramatic sunset. Around her are several fairies, goblins and an owl, and hovering in front of her appears to be the Puck-hairy, her demon spirit, whose words from the play explained his role:

This Dame of mine here, Maid, growes high in evill
And thinkes shee doe’s all, when ‘tis I, her Divell That both delude her, and must yet protect her…

George Richmond enjoyed a sparkling career as a portrait painter and could count amongst his sitters some of the most notable names in Victorian England. As a young man, however, he had been far from conventional and during the late 1820s and early 1830s he associated himself with a small group of artists, including Samuel Palmer (see lot 5), who were known as the ‘Ancients’ and were heavily influenced by William Blake.

The present work, which was exhibited at the Royal Academy in 1830 and descended within the artist’s family until 2001, is a particularly rare and intense image from this important period.