**** PLEASE NOTE NO LIVE ONLINE BIDDING ON THIS LOT - PLEASE...

Hammer

£25,000

**** PLEASE NOTE NO LIVE ONLINE BIDDING ON THIS LOT - PLEASE CONTACT THE AUCTIONEERS TO BID ON THIS LOT **** James Sharples (1751-1811) 
Pastel drawing
Head and shoulders portrait of George Washington (1796-1801), in profile, 23cm x 18cm

Provenance: this picture was formerly at Bowden Hall in Upton St Leonards, near Gloucester, and has remained in the family collection.  It is believed that the portrait was once owned by 19th century British collector Jeffery Whitehead and was exhibited in London twice while in his possession - in 1889 in 'A Century of British Art (2nd series) from 1737 to 1837', London, Grosvenor Gallery, incorrectly attributed to John Russell.  A fragment of this catalogue is attached verso.  Then in 1891 it was exhibited in 'The Royal House of Guelph, London, the New Gallery', correctly attributed to James Sharples (known at the time as 'Sharpless'), there is a handwritten note on the reverse of the pastel dated 1889 confirming the correct attribution in this second exhibition - 'Portrait of George Washington. Sharpless was a crayon draughtsman who came to this country (America) in 1794 and made profile portraits in pastel of many provincial men.  In 1796, being in Philadelphia, Washington sat to him, and Sharpless's portrait of Washington is the best known profile likeness of the subject.  The artist made many copies of the original and sold them for $15 apiece.  Century Magazine April 1889'.  It is thought that the picture then sold in the Christie's auction of Jeffrey Whitehead's collection in London, 1915 (lot 57 for 15 guineas) and was bought by Schroeder, most likely a picture dealer.  It then found its way to the family collection in the Cotswolds.  From this same collection, and also with an American theme, earlier this year The Cotswold Auction Company sold the first African-American published book of poetry by a slave girl, Phyllis Wheatley, 1773, for £16,500. (see Books and Works on Paper Antiques Trade Gazette No.2504). 

Please see Neil Jeffares 'Dictionary of Pastellists' entry J.675.697.

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More Information

Generally in good condition, requiring very little or no conservation treatment.
? The pastel was in direct contact with the glass; some off-setting of pigment onto glass, however this slight tansfer has not detracted from the clarity of the drawing.
? The pastel drawing was backed with cotton wool, which was stained and dirty.
? The pastel paper displays some rough cut edges.
? Very slightly worn corners, and a tiny edge tear in the middle of the right hand edge.
? Two very small pin-prick holes – generally inperceptible.
? Slight scuffing to pastel surface to the top right in the blue background.
? Some fiberous fluff on the surface, detached from the cotton wool backing.
? Small spot in the sitter’s hairline area – possibly flecks in the paper or slight oxidized lead white.
? Other non-detracting small flecks, probably due to loose pigment transfer.
? Loose fibres from the cotton wool backing are deposited on the verso. The cotton wool has formed a protective barrier, saving the portrait from becoming acidic due to direct contact with the wooden backing board.
Remedial treatment carried out on 11 October:
? The portrait was carefully removed form the frame for assessment.
? Labels removed due to brittle & failing tape.
? Lables encapsulated in inert Mylar sleeves to protect them from physical damage.
? Archival double-sided tape has been added to the sleeves in order to attachment them to back of the frame as required. ? The old cotton wool backing was stained and dirty. It was removed & retained in a Mylar sleeve.
? Loose particles of dirt were removed from the surface of the portrait.
? The pastel portait was mounted onto backing card to provide a stable, protective barrier from the wooden backing board. Materials: 100% cotton acid-free museum mount board; Removeable archival mounting strips to hold the pastel to the backing, without adhesive on the verso of the drawing. N.B. these mounting strips are visible in the frame on 2 edge of the pastel.
? The inside of the frame was dusted to remove extensive loose dust.
? A thin fillet spacer mount was made to keep the drawing spaced away from the glass to avoid any further pigment transfer. Acid-free museum board was used.
? The inside of the glass has not been cleaned, so the minimal extent offset on the glass remains in evidence.