- Joseph Highmore 1692–1780
- Graphite and ink on paper
- Support: 141 × 171 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.
T04180 Three Full-length Studies of a Man in Robes c.1738
Pencil and pen on paper 140 × 197 (5 1/2 × 7 3/4)
Inscribed ‘K. Bath’ and ‘J.H’ in pencil along bottom, and ‘G’ above the figure standing on the right
Lit: Beard 1934, vol.94, p.15, fig.XII; Lewis 1975, II, p.653, no.41
Beard suggests that this could be a sketch for a portrait of Lord Genuchry or Grey Longueville, Bath King of Arms and Gloucester Herald, who died in 1745. However, the figure on the left is identical in every respect, including the mayoral chain, with the full-length portrait of Sir John Barnard, Lord Mayor of London 1737–8 (92 3/4 × 56 3/4 in, signed and dated 1738, Guildhall Art Gallery), and the other two figures are different versions of the same. This does not of course rule out the possibility that Highmore used the same pose in other portraits.
Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996