In Tate Britain
Prints and Drawings Room
View by appointment- Artist
- Joseph Highmore 1692–1780
- Medium
- Ink, watercolour and graphite on paper
- Dimensions
- Support: 184 × 146 mm
- Collection
- Tate
- Acquisition
- Presented by Mrs Joan Highmore Blackhall and Dr R.B. McConnell 1986
- Reference
- T04201
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.
T04201 Study for Mercury
Pencil, pen and brown wash on paper 184 × 146 (7 1/4 × 5 3/4)
Published in:
Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996
You might like
-
Joseph Highmore Four Male Academy Studies
date not known -
Joseph Highmore A Group of Four Persons and a Dog in a Garden
date not known -
Joseph Highmore Putto with a Shepherd’s Crook
date not known -
Joseph Highmore Seated Putto. Verso: Fragment of a Figure Holding a Staff
date not known -
Joseph Highmore A Man Leaning on a Fence
date not known -
Joseph Highmore Family Group of Five Persons, Three-quarter-length
date not known -
Joseph Highmore Family Group of Five Persons in a Garden
date not known -
Joseph Highmore Four Studies for a Male Full-Length
date not known -
Joseph Highmore Portrait of Frank Merrit
date not known -
Joseph Highmore Academy Study of a Male Nude
date not known -
Joseph Highmore Academy Study of a Male Nude
date not known -
Joseph Highmore Study of the Borghese Gladiator from Behind
date not known -
Joseph Highmore Two Studies of the Belvedere Torso
date not known -
Joseph Highmore Study of the Farnese Hercules, and Two Studies of a Foot
date not known -
Joseph Highmore Study of the Farnese Hercules (Reversed), a Standing Male Nude, and Other Anatomical Studies
date not known
