George Richmond

GEORGE RICHMOND (Brompton 1809-1896 London) Two Figure Studies. Pencil and gray wash on cream wove paper. 186x245 mm; 7 1/4x9 1/2 inches. Inscribed "From Taddeo---" in ink, lower right recto. Likely a drawing made by Richmond after a Renaissance model, perhaps Taddeo Zuccaro based on the fragmentary inscription, during his travels to Italy in the early 1840s. Estimate $700-1,000

George Richmond, R.A. (London 1809-1896) A sheet of studies after the antique including a sculpture of Antinous; and Study of a standing male nude one pencil, pen and brown ink, watermark 'BB', one pen and brown ink, unframed 10½ x 7½ in. (26.7 x 19 cm.) and 12 7/8 x 8 5/8 in. (32.8 x 21.9cm.) (2) London, Agnew's, Missing Pages: George Richmond R.A. 1809-1896, 2001, nos. 31 and 22 respectively.

George Richmond, R.A. (London 1809-1896) A compositional study for 'Comus - The Measure', before 1864 (recto) and Figurative studies (verso) black chalk, on paper, unframed 9 5/8 x 11½ in. (24.4 x 29.3 cm.); and An unframed study of a male nude observed from behind for 'Comus - The Measure' (recto) and A similar subject (verso) (2) GEORGE RICHMOND (LONDON 1809-1896) (Lots 845-849) Over a long working life George Richmond enjoyed the friendship and respect of many major English artists of the 19th Century. He was even asked more than once to be director of the National Gallery, a request he politely turned down. His talent extended from etching to carving: his last Royal Academy exhibit in 1884 was a marble bust of Canon Edward Pusey. Richmond entered the Royal Academy schools in 1824 and in the following year met William Blake. Like his friend Samuel Palmer, he was deeply impressed by Blake's art and his spirituality. Following Palmer and several other friends, he retreated to Shoreham in Kent to draw landscape and imaginative biblical subjects, all inspired by the example of Blake. In the summer of 1827 he temporarily left Shoreham to go to the bedside of the ailing Blake and was present at his death - Richmond was then only just eighteen years old. Following his marriage in 1831, Richmond's need to support a family led him to capitalise on his talent for portraiture, but he never lost his love of landscape and his ambition to paint serious literary and biblical subjects. He made several visits to Italy, the first being with Samuel and Hannah Palmer on their Italian honeymoon at the end of 1837. He was back in Rome in November 1840, when he met John Ruskin at Joseph Severn's lodgings. For other works by George Richmond see Andrew Wyld: Connoisseur Dealer, Part I, Christie's, King Street, 10 July 2012, lots 132-146. the first, London, Agnew's, Missing Pages, George Richmond R.A. 1809-1896, 2001, nos. 77 & 76 respectively. the first, London, W/S Fine Art, Summer 2008, no. 39.

Lot Description George Richmond, R.A. (London 1809-1896) Ruth and Naomi inscribed 'Ruth & Naomi/Rome' (lower right) black chalk, heightened with white, on buff paper 11¾ x 15¾ in. (29.8 x 40 cm.) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Pre-Lot Text GEORGE RICHMOND, R.A. (1809-1896) (Lots 132-146) Over a long working life George Richmond enjoyed the friendship and respect of many major English artists of the 19th Century. He was even asked more than once to be director of the National Gallery, a request he politely turned down. His talent extended from etching to carving: his last Royal Academy exhibit in 1884 was a marble bust of Canon Edward Pusey. Richmond entered the Royal Academy schools in 1824 and in the following year met William Blake. Like his friend Samuel Palmer, he was deeply impressed by Blake's art and his spirituality. Following Palmer and several other friends he retreated to Shoreham in Kent to draw landscape and imaginative Biblical subjects, all inspired by the example of Blake. In the summer of 1827 he temporarily left Shoreham to go to the bedside of the ailing Blake and was present at the great man's death - Richmond was then only just eighteen years old. Following his marriage in 1831 Richmond's need to support a family lead him to capitalise on his talent for portraiture, but he never lost his love of landscape and his ambition to paint serious literary and Biblical subjects. He made several visits to Italy, the first being with Samuel and Hannah Palmer on their Italian honeymoon at the end of 1837. He was back in Rome in November 1840, when he met John Ruskin at Joseph Severn's lodgings. Exhibited London, Agnew's, Missing Pages. George Richmond R.A. 1809-1896, 2001, no. 37. View Lot Notes › Recounted in the Old Testament book of Ruth, chpt. I. vv. 6-18, the subject of Ruth and Naomi was also depicted by Blake and Palmer. Naomi and her family fled from Bethlehem to the country of Moab in order to escape famine. After the death of her husband and sons, Naomi decided to return home. In this drawing she tries to prevent her daughters-in-law Ruth and Orpah from going back to Bethlehem with her.

GEORGE RICHMOND, RA (1809-1896) PORTRAIT OF MISS SANDHAM, c.1839 Half length seated, signed, watercolour and pencil sketch 21 x 18cm.; with a pencil portrait of Gena Gore-Booth, inscribed and dated Sept 21.1872, 20.5 x 20cm. (2) Provenance: (Richmond) London, Thos. Agnew & Sons, Ltd, January 1972 Estimate: 300-400