Lots 500 - 510 of 661
No obvious signs of significant damage or repair. Provenance: The artist's sale, Christie's, London, May 12, 1883, lot 108, bought MacKinlay; Barbizon House, London; David Gould, by 1961; Maas Gallery, London, by 1963; Sold to L.S. Lowry RA in 1963; Bequeathed to his heir Diana Greenhill; L.S. Lowry sale, Christie's, London, December 18, 1984, lot 46 Exhibited: Manchester City Art Gallery, 1977, cat. no. 4; Kenderdine Gallery, 1995, cat. no. 51 University of Toronto Art Centre, 7 April - 22 September 2000, A Dream of the Past, Watercolours and Drawings from the Lanigan Collection, no.69 Literature: Destree, O.G., 1894, no.4, p.81; Marillier, H.C., 1899, no. 151, p.245 Surtees, Virginia, 1971, Vol. 1, no.170, R.I.B., p.98 Lanigan, Dennis, 2000, no.69, p.179 Information: This drawing is a study for Morning Music, a water-colour painted in 1864 for William Graham, one of Rossetti's most important patrons. The water-colour, now in the collection of the Fitzwilliam Museum in Cambridge, features a beautiful golden-haired woman having her hair dressed while music on a cithern is being played in the background by a male youth. The predominant colours are a brilliant red, gold, and white, and the predominant mood is one of languid contemplation and luxuriance. The principal influences are Venetian art, such as Titian's Young Woman at Her Toilette in the Louvre. The subject of a woman having her hair dressed while music is played was previously explored by Rossetti in A Christmas Carol of 1857-8. Virginia Surtees, in her catalogue raisonne of Rossetti's work, lists four studies for Morning Music, and a replica in water-colour of 1867. This drawing, as well as an almost identical one in the Birmingham City Museum and Art Gallery, would appear to be the most finished of the studies and to most closely resemble the finished water-colour of 1864. It differs from it in several respects, however, the most prominent of which is in the placing of the youth playing the cithern, which in the study is in the right foreground. A female attendant, in the upper right background with her chin resting on her left hand, was omitted from the finished water-colour as she does not appear to add anything to the design. In some respects this drawing more closely resembles in composition the second water-colour version of Morning Music, which Rossetti painted in 1867 and which is in the Birmingham City Museum and Art Gallery. This water-colour cannot rightly be called a replica since it differs significantly from the version of 1864, not only in its composition, costumes, and decorative accessories, but also in the mood projected, which is far less wistful.