- Joseph Highmore 1692–1780
- Ink and watercolour on paper
- Support: 241 × 193 mm
- Presented by Mrs Joan Highmore Blackhall and Dr R.B. McConnell 1986
[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.
T04231 Academy Study of a Male Nude Seated, with Left Arm Raised c.1744
Pencil, pen and grey wash on paper 240 × 190 (9 7/16 × 7 1/2) pasted on paper 270 × 200 (10 5/8 × 7 7/8)
Exh: I. Bignamini & M. Postle, The Artist's Model: Its Role in British Art from Lely to Etty, University Art Gallery, Nottingham, April–May 1991, The Iveagh Bequest, Kenwood, June–Aug. 1991 (45, repr.)
Bignamini considers that this drawing and T04230 are too highly finished to have been executed from the life at an academy of art, and are more likely to have been made as illustrations for an unexecuted theoretical treatise. She suggests that the handling and pose give it a date not earlier than 1744, when Highmore painted ‘The Good Samaritan’ (Tate Gallery T00076).
Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996