In Tate Britain
Prints and Drawings Room
View by appointment- Artist
- Joseph Highmore 1692–1780
- Medium
- Ink on paper
- Dimensions
- Support: 193 × 204 mm
- Collection
- Tate
- Acquisition
- Presented by Mrs Joan Highmore Blackhall and Dr R.B. McConnell 1986
- Reference
- T04225
Catalogue entry
[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.
T04225 Four Studies of Heads c. 1725–35
Pen on paper 192 × 203 (7 9/16 × 8)
Inscribed ‘E Studiis mei Venerabilis avi.J.H.’ and ‘Rump | at Bury St. | Edmonds’ in a different hand top centre beside two studies of the head of an unkempt man
Lit: Beard 1934, vol.93, p.290; Lewis 1975, 11, p.655, no.46
The style of drawing, especially of the waist-length of a woman in profile, suggest an early dating.
Published in:
Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996
Explore
- inscriptions(6,720)
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- artist’s notes(1,557)
- Latin text(152)
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Joseph Highmore Two Classical Heads
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Joseph Highmore Two Studies of a Man’s Head
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Joseph Highmore Head of an Old Woman
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Attributed to Joseph Highmore Head of a Man Shouting, Wearing a Helmet (Fragment)
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Joseph Highmore Head of an Old Man
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Joseph Highmore Four Studies of the Belvedere Torso
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Joseph Highmore Sketch of a Child’s Head and of a Man on Horseback
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Joseph Highmore Profile of a Man
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Joseph Highmore Two Full-length Studies of a Man in Peer’s Robes
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Joseph Highmore A Standing Hound, Looking Up
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Joseph Highmore Profile of an Old Man
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Joseph Highmore Bust Portrait of an Old Man in a Broad-Brimmed Hat. Verso: Two Nude Figures (Fragment)
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Joseph Highmore Two Studies of the Belvedere Torso
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Joseph Highmore Three Studies of a Torso and One of a Leg. Verso: Numerous Anatomical Studies of Arms, Legs, a Torso and a Putto
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