About this lot

Description

Portrait, believed to be of James Dunlop (1741-1816) of Tollcross, Carmyle and Garnkirk, three quarter length, seated, facing right oil on canvas 75 x 62cm

Footnote: Provenance: [According to Kidson (see Literature) ? Captain Donald, sale, Christie's, 25 March 1893, lot 373, Bought by Colnaghi (38 gns.), C. Lyon; Mackenzie & Kermack, With Agnew by 1937, Bought in 1941 by C R N Routh]. With Agnew by August 1965, when acquired by Paul Mellon; Presented by him in 1981 to the Yale Center for British Art, New Haven; By whom sold at Christie's, London, 17 November 1989, lot 22, when acquired by the present owner. Literature: ? H Ward & W Roberts, Romney, 1904, p. 48; Alex Kidson, George Romney: A complete catalogue of his paintings, New Haven: Yale University Press, 2015, no. 1565 According to Kidson (see Literature) there is only one known payment in 1778-9 for a sitting to Romney for a three quarter length portrait of a 'Mr Dunlop', which he previously thought was his catalogue number 393 (now in a Texas private collection as of a John Dunlop). The present painting, however, Kidson included in his catalogue as no. 1565, and which from photographs he then as now, considers is autograph. In fact, he currently believes the present painting has the best claim to be the work commissioned from Romney, although he suggests the sitter looks somewhat older than James Dunlop would have been in 1778-9 (i.e. aged 37). When this portrait was painted, James Dunlop was only 'of Carmyle' but it has in its history and literature been referred to as 'James Dunlop of Garnkirk', which estate he only bought from the representatives of his late uncle, also James (1697-1769), in 1782. We are very grateful to Alex Kidson for his assistance with our catalogue entry.

Condition report: Oil on canvas which has been lined. The paint layer has localised areas of raised and flaking paint around the edges which appears to be in later areas of fill rather than the original. There is matte, discoloured retouching around the edges of the painting. There are residues of old varnish caught in the texture of the brushstrokes creating a slightly mottled appearance. The upper layer of varnish is slightly uneven and yellowed, there is abrasion around the edges caused by framing. There is flaking and losses to the gilding on the frame.

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