Lot 185

Generally the work presents very well.

There is some variation in the appearance of the paint layer in the background to the left side of the work, most apparent in the background above the sitter's right knee where there are drips in the paint (or varnish? – as visible in the catalogue photos). As these variations appear not to correspond with other variations visible under u.v. light (see following), the nature of these is not clear.

Inspection under u.v. light reveals several variations suggesting later retouching. The largest is to the right side of the work around the hilt of the sitter's sword and the upper part of the sword knot. It appears there are smaller areas and points of retouching to parts of the hat and its plumage, the moustache and possibly other points on the face, lower parts of the left sleeve, the belt and buttons, and the right knee. All retouching is subtly executed and not apparent at normal viewing under natural light. As there is no indication of any damage, degradation, or other disturbance to the paint layer, the reason for the retouching is not clear but, as the work remained in the artist's collection until his death, it seems possible that it was simply later reworking by him of some details, as is not uncommon.

There are lines of pin or small nail holes along the upper and lower edges of the work, about 5–8mm inside the adjacent sight edges of the frame (four holes along the upper edge and three along the lower) and a linear spot (about 2cm long) of surface dirt of some sort adhering to the surface towards the left edge (visible in the catalogue photos as a vertical dark mark roughly level with the sitter's shoulders).



The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to seek further information or request additional images during our pre-sale period where Leonard Joel staff are available for advice. Please note condition reports can be amended during the pre-sale period, so we strongly suggest any interested bidders check the published condition report available on the website before the auction commences. Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications.

The collection of the artist
Thence by descent within the artist's family
A private Melbourne institutional collection, to which donated in by the above in 1976

Art Gallery of New South Wales, Archibald Prize 1935, Sydney, 18–31 January, 1936

This lot was one of six portraits submitted by Buckmaster for the 1935 Archibald Prize.