'Portrait of a Gentleman Seated and Reading' by George Richmond, Regency, Early Victorian Dandy

Description

Signed lower right, 'Richmond' for George Richmond, RA (British, 1809 – 1896) and painted circa 1845. Displayed in a period, … more Signed lower right, 'Richmond' for George Richmond, RA (British, 1809 – 1896) and painted circa 1845. Displayed in a period, carved and giltwood frame. (Framed dimensions: 22.75 x 21.5 x 1.0)

This English painter and portraitist was a founding member of The Ancients, a group of followers of William Blake. Later in life, he established himself as a successful society portrait painter of the British gentry, nobility and royalty.

George Richmond was the son of Thomas Richmond the miniature-painter and, also, the father of the painter William Blake Richmond. For a short time, he attended a day school in Soho, before became a student at London's Royal Academy. Here he was much impressed by Henry Fuseli, his professor of painting, and formed a lifelong friendship with Samuel Palmer, and had as fellow-students and companions Edward Calvert, Thomas Sidney Cooper, esq., R.A., and Frederick Tatham, whose sister he married. When Richmond was sixteen, he met William Blake, of whom Palmer and Calvert were devoted admirers, at the house of John Linnell at Highgate. The same night Richmond walked across the fields to Fountain Court with Blake, who left on Richmond's mind a profound impression, ‘as though he had been walking with the prophet Isaiah.’

From this time until Blake's death, Richmond followed Blake's guidance and inspiration in art. Traces of Blake's influence are seen in all of Richmond's early works, especially in 'Abel the Shepherd' and 'Christ and the Woman of Samaria' which were both exhibited at the Royal Academy in 1825.

In 1827, he was present at William Blake's death and had the sad privilege of closing the poet's eyes and taking his death mask. He and his wife Julia followed Blake to his grave in Bunhill Fields. Along with Palmer, Calvert, Tatham and others, Richmond formed the Blake-influenced group known as "The Ancients". This influence faded in later life, when he turned his attention to portraiture.

In 1828, Richmond went to Paris to study art and anatomy, the expenses of the journey being met from money earned by painting miniatures in England before leaving and in France during his stay. He spent a winter in the schools and hospitals, and saw something of the social life of the Paris of Charles X.

On his return to England, Richmond spent some time at the White Lodge, in Richmond Park, with Lord Sidmouth whose portrait by him now hangs in the National Portrait Gallery. In 1830, his contributions to the Academy comprised two poetical subjects, 'The Eve of Separation' and 'The Witch, from Ben Jonson's Sad Shepherdess' in addition to three portraits.

Over the course of a long career, Richmond exhibited widely and with success and was the recipient of numerous medals, prizes and juried awards. We are pleased to offer this outstanding and elegant example of his mature portraiture style, painted when the artist was in his thirties. less