Follower of Sir Joshua Reynolds
Description
Follower of Sir Joshua Reynolds
The Infant Saint John the Baptist
oil on canvas
85.5 x 66.5cm
Provenance:
Acquired by the owner's father from a private collection in Hythe, Kent circa 1960
Footnote:
The present composition is clearly influenced by Reynolds' St John the Baptist in the Wilderness in the Wallace Collection and by the other, probably earlier, version of this subject, now at the Minneapolis Institute of Arts, USA.
Condition report:
100 x 81cm (framed)
The painting is executed on a coarse weave canvas support which has been lined. The canvas tension is slightly slack and there are minor undulations at the corners. The paint layers have a slightly cupped surface texture but is stable overall. There are a few localised areas of loss and impact damage. The painting appears to have been partially cleaned with thicker varnish present in the darker paint passages. Areas of overpaint have darkened overtime. This is particularly noticeable in the figure’s face which has a slightly mottled appearance. There are areas of wear present across the surface. The varnish is glossy but has a slightly milky, opaque appearance in some areas.
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Description
Follower of Sir Joshua Reynolds
The Infant Saint John the Baptist
oil on canvas
85.5 x 66.5cm
Provenance:
Acquired by the owner's father from a private collection in Hythe, Kent circa 1960
Footnote:
The present composition is clearly influenced by Reynolds' St John the Baptist in the Wilderness in the Wallace Collection and by the other, probably earlier, version of this subject, now at the Minneapolis Institute of Arts, USA.
Condition report:
100 x 81cm (framed)
The painting is executed on a coarse weave canvas support which has been lined. The canvas tension is slightly slack and there are minor undulations at the corners. The paint layers have a slightly cupped surface texture but is stable overall. There are a few localised areas of loss and impact damage. The painting appears to have been partially cleaned with thicker varnish present in the darker paint passages. Areas of overpaint have darkened overtime. This is particularly noticeable in the figure’s face which has a slightly mottled appearance. There are areas of wear present across the surface. The varnish is glossy but has a slightly milky, opaque appearance in some areas.