In Tate Britain
Prints and Drawings Room
View by appointment- Artist
- Joseph Highmore 1692–1780
- Medium
- Graphite on paper
- Dimensions
- Support: 129 × 198 mm
- Collection
- Tate
- Acquisition
- Presented by Mrs Joan Highmore Blackhall and Dr R.B. McConnell 1986
- Reference
- T04185
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.
T04185 Two Full-length Studies of a Man Leaning on a Cannon
c.1745
Pencil on paper 128 × 197 (5 1/16 × 7 3/4)
Inscribed ‘J.H.’ b.r.
The man, who is hatless, wears the riband of an order over his coat.
Published in:
Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996
You might like
-
Joseph Highmore Two Full-length Studies of a Man in Peer’s Robes
date not known -
Joseph Highmore Three Full-length Studies of a Man in Peer’s Robes
date not known -
Joseph Highmore Two Full-length Studies of a Man in Robes
date not known -
Joseph Highmore Four Full-length Studies of a Man Opening a Door
date not known -
Joseph Highmore Portrait of a Man in a Cap
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 Study for a Female Full-length beside a Fountain
date not known -
Joseph Highmore Two Studies for a Female Full-Length
date not known -
Joseph Highmore Two Studies for a Male Full-Length
date not known -
Joseph Highmore A Conversation of Four Persons on a Terrace
date not known -
Joseph Highmore Portrait of Frank Merrit
date not known -
Joseph Highmore Portrait of a Young Man, Possibly the Artist’s Son
date not known -
Joseph Highmore Study of the Farnese Hercules, and Two Studies of a Foot
date not known -
Attributed to Joseph Highmore Head of a Man Shouting, Wearing a Helmet (Fragment)
date not known
