[from] Works on Paper and Vellum [T04173-T04237 and T04318-T04319]
Various media and sizes
Presented by Mrs Joan Highmore Blackhall and Dr Rosemary B. McConnell 1986
Prov: By descent from the artist to the donors
Lit: C.R. Beard, ‘Highmore's Scrap-Book’, Connoisseur, vol.93, 1934, pp.290–7, ‘Highmore's Drawings for Pine's Processions and Ceremonies’, Connoisseur, vol.94, 1934, pp.9–15; Alison S. Lewis, Joseph Highmore 1692–1780, PhD thesis, Harvard 1975 (University Microfilms International, Ann Arbor 1980), I, pp.230–1, II, pp.650–6, 659, III, figs.263–77, 279; E. Einberg and J. Egerton, The Age of Hogarth: British Painters Born 1675–1709, Tate Gallery Collections, 11, 1988, pp.64–71, all but last six repr.; Warren Mild, Joseph Highmore of Holborn Row, Ardmore 1990
All sheets have been irregularly cut; maximum dimensions only are given. All inscriptions, unless otherwise stated, are in pen and ink, and are thought to have been written by the artist's grandson Anthony Highmore (1758–1829).
The Highmore Gift, of which this is a part, is a collection of sketches, drawings, watercolours, engravings and some family papers which descended from the artist through the late Sir Anthony Highmore King, CBE, to the donors. The papers concern mostly nineteenth-century members of the family, but include Joseph Highmore's Paris Journal of 1734, published by Elizabeth Johnston, Walpole Society, vol.42, 1970, pp.61–104. The following items have been removed for conservation reasons from a scrap-book into which they had been pasted, in no particular order, by Sir Anthony Highmore King's grandmother Anna King, together with works by Susanna Duncombe (née Highmore) and later members of the family, as well as photographs, tracings and other fragments now in the Tate Gallery Archive. Nineteen drawings by Joseph Highmore for John Pine's twenty-plate set of engravings depicting the revival of the Order of the Bath, published in 1730, were sold from the King collection to Lord Fairhaven sometime after 1934 and are on loan to the Fitzwilliam Museum, Cambridge.
T04188 Study for a Female Full-length in an Architectural Setting c.1744
Pencil, pen and brown wash on paper 256 × 200 (10 1/16 × 7 7/8)
Inscribed ‘J H’ in pencil b.r. and with various measurements
Lit: Lewis 1975, II, pp.490–2, no.154
This is almost certainly a study for the life-size full-length of ‘Susannah Noel, Countess of Shaftesbury’, signed and dated 1744, sold Christie's 27 June 1980 (152, repr.). Highmore painted full-lengths of both Anthony Cooper, 4th Earl of Shaftesbury (1711–71) and his wife, both signed and dated 1744, that were set into the panelling of the State Dining Room of St Giles's House, Wimborne St Giles, Dorset. Family records also contain an undated note to the effect that the painter was paid £54 14s. ‘for copying two pictures’, so other versions may exist.
Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996