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American Art and Pennsylvania Impressionists
|
- Sale 2780
Live
| Philadelphia
Dec 3 | 2:00 PM EST
Live
| Philadelphia
Sale 2780
| Philadelphia
| Philadelphia
Estimate$10,000 – $15,000
The present works are believed to be pendant portraits of Mr. and Mrs. Howard, a wealthy English couple who married in London in 1755 before moving to America at the invitation of Lord Botetourt, who associated them with the development of a large parcel in northern Virginia.
Judging from the models' classic pose, their lacy costumes, and Mrs. Howard's hairdo and flower motif, the paintings compare favorably to Copley's body of work from the 1760s, which is particularly noticeable in his careful attention to details. See for example the Portrait of Theodore Atkinson of 1757-1758 (Museum of Art, Rhode Island School of Design) and that of Woodbury Langdon from 1767 (Dallas Museum of Art).
Of special note are the beautifully preserved frames, both typical of the fine English 18th-century Rococo frames that can be seen on other similar portraits that Copley painted around the same period. Interestingly, Copley was known as one of the first fine American painters to be actively involved in the design, manufacture, and marketing of the frames destined to house his oils, prompting leading Copley expert Carrie Rebora Barratt to state: "It is hard to imagine Copley’s great portraits of the late 1760s and early 1770s in other than their glorious carved and gilded Rococo frames.”
Private Collection, California.
Her: the relined canvas in overall good condition. The work presents well, with apparent tacking edge along the top edge. Minor abrasions and white scuffs along the right outer edge of the canvas, due to frame rubbing. Faint hairline craquelure throughout, all stabilized. With apparent repairs in the sky, which is confirmed by two large patches verso, in the upper tier of the canvas. Examination under UV light confirms the tears: one on the tree at upper left, and another, complex ‘X’ shaped tear above the sitter's head, descending onto the tip of her hair. The rest of the composition presents remarkably well, with remnants of old greenish varnish shining sporadically along the outer edges and on parts of the woman's dress: a proof the work was selectively cleaned. Light fluorescent highlights on the woman's corsage, but due to pigments rather than a sign of restoration. See Specialist's pictures for more details.
Him: the relined canvas in overall good condition. The canvas is slightly sliding out of its frame, with tacking edge visible along the right outer edge. Minor crazing and hairline craquelure throughout, which is stable. Minor dust powder in some parts of the canvas, which might warrant a light cleaning. Examination under UV light reveals a thick layer of varnish throughout, mostly in the background as the figure itself appears cleaned, and stands out. While it is difficult to examine the painting and determine clear areas of restoration, we notice localized, very minor recent inpainting at bottom right, below the sitter's fingers and in the corner itself. The face is completely intact. The heavy varnish in the background seems to hinder what appears to be older restoration: small area at upper right, as well as at center left. We also seem to discern an old repair on the man's collar, and to his left (on his jacket, to the left of his top gold button). Otherwise presents well. See Specialist's pictures for more details.
In both cases, the frames have lost their gilding and part of their ornaments and volutes, but do present well.
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