George Richmond, RA, British 1809-1896- Portrait of a gentleman, seated half-length in a chair, clasping his hands; pencil and watercolour heightened with touches of white and gum arabic on paper, signed 'G Richmond' (to the chair arm, lower centre), 41 x 27.9 cm. Provenance: Anon. sale, Christie's, London, 9 October 2003, lot 1035; where purchased by the present owner (A Distinguished British Private Collection). Note: Richmond was a member of 'The Ancients', a group which was inspired by the artistic output of William Blake (1757-1827). He worked largely as a portraitist, producing likenesses of many of the most prominent figures of the 19th century, including Charlotte Brontë (1816-1855), Michael Faraday (1791-1867), George Gilbert Scott (1811-1878), and Queen Adelaide (1791-1849). Similar compositions by the artist include his works on paper which sold at Woolley & Wallis on 4 March 2020, lot 67 (£1,100 hammer), and at Bonhams, London, on 15 June 1994, lot 44 (£1,300 hammer).
GEORGE RICHMOND, R.A. (LONDON 1809-1896). Recollection of a Sunset. watercolour, heightened with bodycolour, and with gum arabic on blue oatmeal paper5 1/8 x 10 ¾ in. (12.9 x 27.3 cm.).
George Richmond RA (British, 1809-1896) Portrait of a girl with a bow in her hair, possibly one of the artist's daughters pencil and coloured chalks heightened with white on buff paper, oval 54 x 44cm
Portraits of Mr. Hedley Vicar and Elizabeth Vicar.1832. Pencil, watercolor htnd w/white. (i) Signed and dated lower left edge. (ii) Apparently unsigned. Provenance: Christies, London, 'British Watercolors'. June 8, 2000. (lot 46); David M. Daniels and Stevan Beck Baloga; Sothebys, NY. 'The Estates of David M. Daniels and Stevan Beck Baloga' October 29, 2002 (lot 122). Property of a Manhattan, NYC collection. Dimensions: (i) 13.25" h x 9.50" w. (ii) 12.625" h x 9.50" w. Frame: (i,ii) 21" h x 17.50" w.
Attributed to George Richmond (1809-1896) Portrait of a gentleman, perhaps Rev. Charles Burney (1815-1907) Archdeacon of Kingston on Thames, the subject with brown top coat and white stock, pastel (58cm x 44cm) in gilt frame See letter regarding attribution pasted verso from John Kerslake of The National Portrait Gallery to J.R.G Comyn dated 8/8/1979 .
GEORGE RICHMOND (BRITISH 1809-1896)SELF PORTRAIT, HALF LENGTHOil on canvas 61 x 51cm (24 x 20 in.)Provenance: By descent from the artist until Sale Sotheby's, London, 28 November 2002, lot 191, where acquired by the present owner. Exhibited:Venice, XIX Biennial International Art Exhibition, 1934, lent by Mrs Alice Richmond. George Richmond is perhaps best known for his portraits and figurative drawings, but he was a key figure in the annals of Victorian Art. He exhibited at the Royal Academy in 1825 aged only 16 the same year he met the visionary artist and poet William Blake. Blake was to become his lifelong inspiration and Richmond, like Samuel Palmer (1805-1881), was one of the devotees of Blake, who formed themselves into a loose group around Palmer at Shoreham and called 'The Ancients' -young men who shared Palmer's vision of pastoral and bucolic happiness who immersed themselves in the romantic visions of the past. Richmond's thriving portrait practise, through which he supported his large family, has been described as 'a little national portrait gallery of the period' and as the Times wrote '... in beauty of draughtsmanship and in subtle indication of expression few have passed him'.
GEORGE RICHMOND RA (BRITISH 1809-1896) FIGURE FROM SCENES FROM THE LIFE OF NOAH, BY PAOLO UCCELLO IN THE GREEN CLOISTER OF SANTA MARIA NOVELLA, FLORENCE signed with initials and dated 1839 lower right; inscribed The figure driven by the force/ of the wind against the ark/ in a fresco of Paolo Uccello's in the great court of the/ monastery of Sta Maria Novella, Florence./ Most of the works in this court have been retouched or unpainted/ and the rest are nearly obliterated. lower centre pencil on wove paper 23.5 x 16.5cm; 9 ¼ x 6 1/2in unframed Together with five further sketches including a figure of Christ at Église Saint-Michel, Villefranche-sur-Mer; Young Slave, The Fallen Martyr, S. Maria Novella, and a group of apostles gesticulating each signed with initials and variously inscribed mounted on four sheets of paper, one with three drawings on one sheet each pencil on paper various sizes (6) Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners Richmond and his wife Julia left Rome for Florence arriving on 1st June 1839. Richmond made the most of the four months he stayed there, studying the great works of art and making sketches and notes in his diary, returning to Rome in early October. The sketch of the Young Slave is after Michelangelo's carving of 1530-34 in the Accademia, Florence, one of four such marbles all in the Accademia collection.
GEORGE RICHMOND RA (BRITISH 1809-1896) SIX DRAWINGS INCLUDING STUDIES OF WORKS BY TITIAN, MICHELANGELO, ANNIBALE CARRACCI AND LUDOVICO CARRACCI, TAKEN IN THE CASA BUONARROTI, FLORENCE; PALAZZO SAMPIERI, BOLOGNA; BASILICA DI SAN DOMENICO, BOLOGNA; VENICE AND ROME each signed with initials and variously inscribed with detailed notes, two dated 1840 each circa 15 x 9cm; 8 x 7 1/2in all unframed (6) Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners
GEORGE RICHMOND RA (BRITISH 1809-1896) STUDY OF A STANDING MAN WITH BEARD AND LONG ROBES indistinctly inscribed, ...Florence pen and brown ink on wove paper 23 x 9.5cm; 9 x 20 3/4in together with two further pencil studies of the head of the bearded man, inscribed Sketched from below, and a painting with a group of figures, annotated with colour notes various sizes mounted together unframed Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners (3)
GEORGE RICHMOND RA (BRITISH 1809-1896) STUDY OF A TREE (RECTO); CARICATURE HEADS IN PROFILE (VERSO) indistinctly inscribed lower right - recto pen and brown ink on paper - recto; pencil - verso 47.5 x 30.5cm; 18 ¾ x 12in (sheet) unframed Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners
GEORGE RICHMOND RA (BRITISH 1809-1896) HOUSE AMONGST TREES (ROME) pencil heightened with white and gold on buff coloured paper 29.3 x 27.5cm; 11 ½ x 10 3/4in together with three further pencil sketches of the Italian landscape, two indistinctly inscribed ...Olevano and Monte Cele various sizes all unframed (4) Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners Richmond arrived in Rome with Julia, Tommy and the Palmers in mid-November 1837, Recording his impressions of the Eternal City with enthusiasm he noted: 'The houses are taller the streets broader than any others I have seen excepting in London. The road wide paved and beautifully clean - and in the situation of this wonderful city I have been agreeably surprised. The Campagna although not cultivated is beautifully undulating and in some parts quite hilly and the range of mountains that surround this vast comparative plain give great beauty to the scene.' (Lister, p.30) Richmond and Palmer had long wished to visit Italy to study and copy the great masters. Richmond had written to Palmer suggesting 'that a few of the bachelor Ancients should join forces and pittances, get to Italy as best they might and between them bring home such a stock of drawings for engraving in the Manner you described as would, independent of the improvement, amply repay our expenses of the journey and we should have the pleasing reflection of having benefitted the Arts in England by it.' (Lister, p.29)
GEORGE RICHMOND RA (BRITISH 1809-1896) OTFORD CASTLE signed with initials, inscribed Otford Castle and dated 1848 lower right pencil on buff paper 12.2 x 19.8cm; 4 ¾ x 7 3/4in together with two further pencil sketches, Merrow Downs and a landscape in Norfolk each signed with initials, variously inscribed, the second dated 1849 various sizes 51 x 31.5cm; 20 x 12 1/2in (framed as one) (3) Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owner. The sketch inscribed Otford Castle refers to Otford Palace in Kent, close to Shoreham, a magnificent Tudor palace built in the early 1500s for the Archbishop of Canterbury. Merrow Downs relates to the oil and tempera on panel titled Merrow Downs, Guildford that he painted in 1848 when staying in Guildford, Surrey on holiday with his family (see Raymond Lister, George Richmond, 1981, pl. XIV). Although by the 1840's Richmond was established as a successful portrait painter, he was drawn to landscape and he regretted having to choose portraiture as his main source of income over developing his art in what he considered a more imaginative pursuit.
GEORGE RICHMOND RA (BRITISH 1809-1896) TWO HEAD STUDIES, AFTER RAPHAEL signed with initials lower right; inscribed Portrait of Raffaelle from his own drawing in the Gallery at Venice lower centre pen and brown ink on wove paper 20 x 15.5cm; 8 x 6 11/4in together with an unframed pencil, pen and ink sketch of a man with arms folded wearing a cap, doublet and high frilled chemise unframed (2) Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners The drawing with two head studies is likely to date from July-August 1839 when Richmond and his wife Julia visited Venice. It appears to relate to Raphael's self-portrait of 1506 in the Uffizi, Florence. However there is no known preparatory drawing by Raphael for his self portrait in the Galleria dell' Accademia, Venice so it is unclear what Richmond was referring to in his inscription.
GEORGE RICHMOND RA (BRITISH 1809-1896) SAINT FRANCIS RECEIVING THE STIGMATA, AFTER A STUDY BY RAPHAEL OF CIRCA 1505 inscribed, after ... of/ a study from nature/ by Raphael for a/figure of St Francis/ in the British Museum, lower right pen and brown ink on buff coloured paper 27 x 18.5cm; 10 ½ x 7 1/4in together with another sheet of pen and ink figure studies, the reverse with a pencil drawing of a seated figure 22.5 x 18.5cm; 8 ¾ x 7 1/4in both unframed (2) Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners Raphael's study in pen and ink had been in the collection of the collector Richard Payne Knight (1751-1824) who bequeathed it to the British Museum. It entered the museum's collection the year of Knight's death and is registered in the Prints and Drawings Department under acquisition number Pp, 1.64.
GEORGE RICHMOND RA (BRITISH 1809-1896) VENUS AND PSYCHE red chalk over pencil, the reverse with pencil sketches of a child's arms and foot together with a sheet with two head studies in red chalk after the antique both 29 x 22cm; 11 ½ x 8 3/4in (possibly from the same sketchbook) both unframed (2) Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners. The nude with outstretched arms is a study of Venus and Psyche (1517-18) in the fresco by Raphael in the Villa Farnasina, Rome.
GEORGE RICHMOND RA (BRITISH 1809-1896) PORTRAIT OF JOHANN CHRISTIAN FISCHER (1733-1800) inscribed Merlin Londini Fecit on the piano; inscribed by Peter John Inglis Richmond on a label attached to the stretcher, Portrait of Fischer the Composer/ & friend of Gainsborough. Copy by / GR of Gainsborough portrait at / Windsor Castle. Bt. by WCR at Sale / of GR's Collection, Christie's 1/5/1897 oil on canvas 42.5 x 31cm; 16 3/4 x 12 1/4in 46.5 x 35.5cm; 18 1/4 x 14in (framed) Property from the Family of George Richmond Provenance Estate of the artist Sale, Christie's, Catalogue of The Valuable Collection of Pictures of The Early English, Old Italian and Flemish Schools Formed By the Late George Richmond, R.A., Also A Selection Of The Works Of The Late George Richmond R.A., 1st May 1897 Walter Coleridge Richmond (1852-1931), the artist's son (purchased at the above auction) Thence by descent to the present owners Gainsborough's full-length portrait of Fischer was presented to King George IV by the Duke of Cumberland in 1809 and is in the Royal Collection. A friend of the German born composer and musician Johann Christian Fischer, Gainsborough recorded painting his portrait in 1774 in his Bath studio as a gesture of friendship rather than as a commission. In that year Fischer settled permanently in London and played frequently at Court becoming a member of the Queen's Band. He wrote for and played the oboe and flute and was also an accomplished violin player.
GEORGE RICHMOND RA (BRITISH 1809-1896) PORTRAIT OF LORD CREMORNE (STUDY FOR THE OIL) inscribed, Lord Cremorne/ Study for portrait, upper right black chalk heightened with red and white chalks on buff coloured card 56.5 x 45cm; 22 ¼ x 17 1/2in unframed Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners Executed circa 1877 as a preparatory study for the portrait Richmond painted of Lord Cremorne (see Raymond Lister, George Richmond, A Critical Biography, London, 1981, Appendix I, A List of George Richmond's Portraits, no. 193). A photograph of Lord Cremorne, 1st Earl of Daltrey (1817-1897) is in the Royal Collection. Cremorne was Lord-in-Waiting in the Royal Household 1857-1858 and 1859-1866.
GEORGE RICHMOND RA (BRITISH 1809-1896) HEAD OF A BEARDED MAN IN A BLUE ROBE oil on canvas 40.5 x 11.5cm (image) 42.5 x 14.5cm; 16 ¾ x 5 3/4in (canvas) unstretched and unframed Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), son of the above Thence by descent to the present owners
GEORGE RICHMOND RA (BRITISH 1809-1896) THE RED CROSS KNIGHT SLAYING THE DRAGON oil on paper 32.5 x 23.5cm; 12 ¾ x 9 ¼in 45.5 x 37cm; 18 x 14 1/2in (framed) Property from the Family of George Richmond Provenance Estate of the artist Edith Richmond (1845-1934), the artist's daughter George Henry John Richmond (1889-1967), nephew of the above, a gift in 1926 Thence by descent to the present owners Literature George Richmond, the artist's account book, (unpublished), National Portrait Gallery, listed under 1872, p. 54 Raymond Lister, George Richmond, A Critical Biography, London, 1981, p. 101 Painted in 1872. Richmond recorded completing the present work in 1872, on p. 54 of his account book, writing: Painted small picture of red cross knight slaying the dragon. 1872 was further verified on a now lost label in Walter Coleridge Richmond's handwriting, itself referred to in the hand written note by Peter John Inglis Richmond, great-grandson of the artist, attached to the backboard of the present work. The subject of the Red Cross Knight Slaying the Dragon comes from Edmund Spenser's epic poem The Faerie Queene first published in 1590. Symbolically, the Knight represents holiness and St. George, while the dragon represents sin and the Devil. Richmond was a devout Christian, and his deeply held religous convictions had a profound influence on his work. This work harks back to the influence of Blake and the visionary subject matter of his fellow Ancients with its spiritual sentiment and atmospheric mystical quality.
GEORGE RICHMOND RA (BRITISH 1809-1896) GIRLS AT A SPRING, A RECOLLECTION FROM NATURE signed and titled recollections from Nature / Geo Richm [...] on a fragment of the original label on the reverse; inscribed Girls at a Spring / a recollection from Nature / by George Richmond. R.A. / from his collection on another label on the reverse oil on panel 26.3 x 18cm; 11 x 8in 36.5 x 28cm; 14 1/4 x 11in (framed) Property from the Family of George Richmond Painted in the early 1830s. Provenance Estate of the artist Sale, Christie's London, The Valuable Collection of Pictures of The Early English, Old Italian and Flemish Schools Formed By the Late George Richmond, R.A., Also A Selection Of The Works Of The Late George Richmond R.A., May 1, 1897, lot 76 Walter Coleridge Richmond (1852-1931), the artist's son (purchased at the above auction) Thence by descent to the present owners
GEORGE RICHMOND RA (BRITISH 1809-1896) TWO DAUGHTERS OF DARIUS inscribed Rome, lower right pencil on buff paper heightened with white 43.7 x 28.3cm; 17 x 11 ¼in (sheet) unframed Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners. The present work is a sketch of two of the daughters of the defeated Darius who appear in the decorations of 1519 by Giovanni Antonio Bazzi 'Il Sodoma' (1477-1549) for the Salla delle Nozze in the Villa Farnesina, Rome.
GEORGE RICHMOND RA (BRITISH 1809-1896) Property from the Family of George Richmond 1809-1896 (lots 20-39) Introduction The present group of works, which has remained in the collection of the artist’s descendants, charts George Richmond’s artistic development from the 1820s and 1830s - his early visionary years as a member of the Ancients - through his travels in Italy with Samuel Palmer, to his success as a portrait artist in the 1840s and later. Together they show his evolution in engraving, drawing and painting, as well as style and subject matter. Richmond was the youngest of the group of artists who styled themselves the 'Ancients' that included Samuel Palmer (1805-1881) and Edward Calvert (1799-1883); all were inspired by the work of William Blake (1757-1827). Richmond met Blake in 1825, the year he entered the Royal Academy where he studied under Henry Fuseli. In 1826 he moved to Shoreham in Kent with Palmer, living simply, painting, engraving, and discussing religion and poetry. There he created the earliest work in the present group, the line engraving The Shepherd (lot 21). In his biography Raymond Lister describes The Shepherd as 'a flame of ecstasy... among ash trees intermingled with palms in an English promised land' recalling Paradise Lost. Richmond and Palmer shared a lifelong passion for Milton (see Raymond Lister, George Richmond: A Critical Biography, London, 1981, p. 125). Girls at a Spring, A Recollection from Nature (lot 26) is another early work in the group, a jewel-like painting from the early 1830s that combines Blake’s figurative style with Palmer’s lyrical landscapes. In October 1837 Richmond and his wife Julia set out with Palmer and his wife on an extended journey through France and northern Italy, arriving in Rome that November. Richmond kept illustrated diaries and made numerous annotated sketches of the works of the great masters he studied. There are a range of drawings from this period in the sale, including copies after Raphael, Uccello, Titian, Annibale and Ludovico Carracci, and Michelangelo (lots 29-32 & 37-39). Like Blake before him, Richmond was deeply moved by Michelangelo’s power and vitality, recording after a visit to the Sistine Chapel that 'he indeed was the King of Art.' Trained as a miniature painter like his father Thomas (1771-1837), Richmond showed exceptional skill in life-like observation and jewel-like colour. His miniatures of Samuel Palmer of 1829 and his own self-portrait of 1830 painted when he was in his early twenties, both now in the National Portrait Gallery, exemplify this mastery. The sale includes a fine copy of this 1830 self-portrait miniature made in 1897 by John Douglas Miller (lot 22). After his marriage in 1831, financial necessity and a growing family led him to concentrate on portraiture. He became one of the most accomplished portraitists of the Victorian era, painting leading writers, scientists and politicians of the age as well as gentry, nobility and royalty. Sitters included Charlotte Brontë, Charles Darwin, Elizabeth Fry, Edward VII, William Wilberforce, William Blake, Gilbert Scott and John Ruskin. The sale includes a fine drawing of Lord Cremorne - a study for his finished oil portrait (lot 27), and a reduced copy of Gainsborough’s portrait of Johann Christian Fischer, the Composer (lot 28). Throughout his life Richmond remained devoted to recording the landscape. Whether depicting the countryside around Shoreham or the Italian Campagna, his work is distinguished by a gentle, idyllic quality. His pencil and watercolour studies capture fleeting light and movement – clouds, sunsets and trees. The sale includes several such sketches, among them a pen and ink drawing of trees near Otford in Kent (lot 35) and an Italian study of A House Amongst Trees in the Roman Campagna (lot 34). Despite portraiture dominating his later career, Richmond continued to paint historical, literary and religious subjects. In 1872 he recorded the completion of three such works, including the small oil on paper The Red Cross Knight Slaying the Dragon (lot 23), inspired by Edmund Spenser’s The Faerie Queene. Together the present nineteen lots offer a rare opportunity to study and acquire works that have remained largely unseen for nearly two centuries. Preserved within the family, they illuminate the breadth of Richmond’s career and provide an intimate view of one of the most distinctive and accomplished artists of the Victorian era. GEORGE RICHMOND (BRITISH 1809-1896) THE SHEPHERD, 1827 line engraving, a rare impression on chine appliqué, second state with margins 17.4 x 11.3cm; 6 ¾ x 4 ½in (plate) 30.1 x 24.9; 11 7/8 x 9 3/4in (sheet) 34.5 x 27.5cm; 13 3/4 x 10 3/4in (framed) Property from the Family of George Richmond Provenance Estate of the artist Walter Coleridge Richmond (1852-1931), the artist's son Thence by descent to the present owners Literature Campbell Dodgson, The Engravings of George Richmond R.A., and Welby Sherman, in Print Collector's Quarterly, XVII, 1930, pp. 353-61 Raymond Lister, George Richmond, A Critical Biography, London, 1981, pl.II, no.3, illustrated Executed in 1827, the present line engraving is one of only a very few known impressions. The second of just two states recorded by Lister, the style and subject matter reflect both the influence of William Blake's illustrations to Thornton's Virgil and the landscape around Shoreham where he was living with Samuel Palmer. Palmer himself made an engraving of Richmond at work on the present print (Lister, pl. II, no. 5). Richmond appears to have executed only two other prints, another engraving titled The Fatal Bellman also from 1827, and an etching Portait of Masaccio after Filippino Lippi of 1844 (see Lister, p. 176).
George Richmond (1809-1896) Portrait of a young man, signed and dated 1853 (according to note verso - now obscured by mount), pencil heightened with white chalk, 48 x 34.5cm
Attributed to George Richmond (British 1809-1896) Study of Cattle Grazing by a River with Distant Village Graphite on paper Initialed lower right G.R. 7" x 10 3/4"
Attributed to George Richmond (1809-1896). Portrait of Nassau Kindersley, circa 1800 * Attributed to George Richmond (1809-1896). Portrait of Nassau Kindersley, watercolour on cream wove paper, 41 x 31 cm (16.1 x 12.2 ins), framed and glazed (65 x 55 cm), with contemporary framer's label 'J. H. Chance, 28 London St, Fitzroy Square' and two handwritten notes to verso QTY: (1) NOTE: James Henry Chance (1810-1902), carver and gilder, picture framemaker, picture restorer and printseller. Chance was a distant relative of George Richmond, 'whose self-portrait he owned and which he inscribed, 'one of my best friends' (Simon 1996 p.200, n.77); he also purchased an early work by George Richmond's son, William Blake Richmond, Enid and Geraint in 1859, and sat to the artist for his portrait in 1879. He undertook much framing work for George Richmond' (National Portrait Gallery, British picture framemakers, 1600-1950 online).
George Richmond (1809-1896) Portrait of Helen Catherine McKenzie and her sister Miss Louisa Douglas, signed and dated 1832, inscribed to labels verso, watercolour, 42 x 33cm
GEORGE RICHMOND, R.A. (LONDON, 1809-1896) GEORGE RICHMOND, R.A. (LONDON, 1809-1896) Study of a young boy in profile, possibly the artist's son, William Blake Richmond pen and brown ink 11x 10 cm. (4 1/4 x 3 7/8 in.) Provenance Anonymous sale, Christie's, London, 12 June 1973 (part of lot); Private collection, U.K.
GEORGE RICHMOND, R.A. (BRITISH, 1809 - 1896) GEORGE RICHMOND, R.A. (BRITISH, 1809 - 1896) The Agony in the Garden inscribed to card on reverse âCopy of Raphael / December 11th 1875 / by Geo. Richmond R.A.â bears label with transcription of original inscriptions to painting's case oil on panel 25 x 28.5 cm. (9 7/8 x 11 1/4 in.) Provenance Given by the artist to Dr. John William Ogle (1824 - 1905) in 1882; Anonymous sale, Bonham's, Chester, 05.03.2013, Lot 395; Private collection, Southwest England This subject, copied from Raphael's similarly-sized composition (now in the Metropolitan Museum of Art, New York) was apparently given by the artist to his friend, Dr. John Ogle, in 1882. This information was incised upon a wooden box that once contained this picture (a presentation method which Richmond used on several occasions, with one example recently with John Robertson Fine Art), now lost, but recorded upon a modern handwritten label to the reverse. Presumably Richmond had access to the original when it was in the esteemed picture collection of `the richest heiress in England`, Angela Georgina Burdett, later Baroness Burdett Coutts (1817-1906). Richmond also painted his own version of this subject, with that painting now in the Yale Centre for British Art. This subject, copied from Raphael's similarly-sized composition (now in the Metropolitan Museum of Art, New York) was apparently given by the artist to his friend, Dr. John Ogle, in 1882. This information was incised upon a wooden box that once contained this picture (a presentation method which Richmond used on several occasions, with one example recently with John Robertson Fine Art), now lost, but recorded upon a modern handwritten label to the reverse. Presumably Richmond had access to the original when it was in the esteemed picture collection of `the richest heiress in England`, Angela Georgina Burdett, later Baroness Burdett- Coutts (1817-1906). Richmond also painted his own version of this subject, with that painting now in the Yale Centre for British Art.
Richmond (George, 1809-1896). Study of a standing woman with shield * Richmond (George, 1809-1896). Study of a standing woman with shield and outstretched arm, and (to verso) two studies of a female nude and legs, black chalk with traces of pencil, (female nude studies in brown ink), on wove paper, each signed with initials GR in pencil lower right, recto with contemporary pencil inscription to lower right 'from John R sale 54/George Richmond', small pin holes to upper and lower right corners, sheet size 252 x 194 mm (10 x 7 5/8 ins), inlaid to modern pale blue paper, with matching card window mount, framed and double-glazed (43.5 x 35 cm), with Christie's printed label for 2019 to verso QTY: (1) NOTE: Provenance: Christie's, London, Old Master and British Drawings and Watercolours, 2nd July 2019, lot 221. Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.
George Richmond, RA, British 1809-1896- Portrait of William Legge, 4th Earl of Dartmouth, bust-length, wearing a white shirt and black stock; black, white, and coloured chalk heightened with touches of white on paper, signed and dated 'Geo. Richmond delit 1846' (lower left), 55 x 42.8 cm. Note: The present work is a preparatory sketch for an oil portrait of William Legge (1784-1853) by Richmond, which was and presumably is still housed in the Collection of the Earl of Dartmouth. A record of the portrait can also be found in the Paul Mellon Centre for Studies in British Art [negative number 86/0457] (https://photoarchive.paul-mellon-centre.ac.uk/objects/433141/william-legge-4th-earl-of-dartmouth?ctx=e2dca6938e2cdd9bcff49a6f09f100e867927932&idx=0). Richmond was a member of 'The Ancients', a group which was inspired by the work of William Blake (1757-1827). He worked largely as a portraitist, producing likenesses of many of the most prominent figures of the 19th century, including Charlotte Brontë (1816-1855), Michael Faraday (1791-1867), George Gilbert Scott (1811-1878), and Queen Adelaide (1791-1849).
Circle of John Hamilton Mortimer, British 1741-1779- Studies of figures in Classical dress; pen and brown ink on paper, bears possible initials 'HM [?]' (lower centre), 30.4 x 47 cm.; together with Circle of George Richmond, RA, British 1809-1896- Figure studies; pen and black ink on paper, 29.5 x 31.5 cm., two (2). (unframed / mounted). Note: The first drawing is heavily reminiscent of Mortimer's sketches, often featuring figures with sharp, clearly defined profiles, and dressed in Classical costume - see for example his drawing in the British Museum [no.1861,0413.3]. The second work exhibits striking similarities to certain drawings by Richmond which reveal the artist's exploration of the depiction of the movement of the human figure.
GEORGE RICHMOND RA (BRITISH, 1809-1896) GEORGE RICHMOND R.A (BRITISH, 1809-1896) Study of Hands indistinctly inscribed (lower right) pencil 4.5 x 5.5 cm. (1 3/4 x 2 1/8 in.) Provenance Anonymous sale, Christie's, London, 12.06.1973 (part of lot)
GEORGE RICHMOND R.A (BRITISH, 1809-1896) GEORGE RICHMOND R.A (BRITISH, 1809-1896) Study of figures initialled 'G.R' (lower right) pen & brown ink 20 x 8 cm. (7 7/8 x 3 1/8 in.) Provenance Anonymous sale, Christie's, London, 12.06.1973 (part of lot)
George Richmond, RA, British 1809-1896- Portrait of Mr Ormroid, bust-length; black, white, and coloured chalks on paper, inscribed 'Mr. Ormroid / Study for Pictures / GR' (lower left), 58.5 x 44.2 cm. Provenance: Anon. sale, Christie's, London, 23 April 1974, lot 155. with MacConnal-Mason & Son, Ltd., London. Private Collection, UK.
George Richmond, R.A. (English, 1809-1896) Portrait of a gentleman in blue Black, white & red chalks on buff paper Provenace: Private collection, Southeast England Dimensions: (Frame) 31.5 in. (H) x 25.5 in. (W) (Paper) 22 in. (H) x 16.5 in. (W)
DUTCH SCHOOL (17TH CENTURY) DUTCH SCHOOL (17TH CENTURY) Joseph and his brothers in Egypt Bears signature l.l. DE GUILDRE pen & ink with wash on laid paper 25 x 26 cm (9 7/8 x 10in.) Provenance With the Folio Society Collectors Corner (as Pilate Washing his Hands)
George Richmond Fearing (1839-1920) NYC and Newport, RI ephemera, plans, diagrams, including decorative wrought iron gates, design for a fast rig, ornamental gate design by Tiffany & Co, Paris, France lanterns, plan/ diagram of the grounds in Newport, RI, plans for furniture pieces, etc.
George Richmond Fearing (1839-1920) and family cabinet photos by Notman and Campbell, Boston, Mora, NYC, Ludovici, NYC and Newport, RI, and Alman, NYC and Newport, RI (22 pcs), 6 1/2" x 4 1/8"
George Richmond, RA, British 1809-1896- Portrait of a gentleman, by repute the Hon Thomas Grenville Cholmondeley, bust length; black, white, and coloured chalk on paper, signed 'George Richmond delit 1853' (lower left), 59.8 x 46.5 cm. Provenance: Private Collection, UK. Note: A similar portrait drawing by Richmond, of William Benson, dated to 1855, sold at Christie's, London, on 16 June 2015 (lot 34) for £4,500.
![GEORGE RICHMOND (BRITISH, 1809-1896) [2 WORKS].](https://image.invaluable.com/housePhotos/CandC/12/808812/H0079-L430502246.jpg)
