Monday, May 12, 2025

Royal Museums Greenwich Attributes Work to Thomas Gainsborough – ARTnews.com

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A long time after being forged off in storage, a portrait that was lengthy thought to solely share similarities with work by Thomas Gainsborough has been reattributed to the famed 18th-century portraitist.

The Royal Museums Greenwich (RMG) in England as soon as acknowledged that the portrait bore solely “an affinity with Gainsborough” however was “too coarse to be his work.” Now, it has now been positioned underneath his title, 60 years after it was given to the museum, in accordance the Guardian.

The portray, an unsigned portrait of Captain Frederick Cornewall, was given to the RMG in 1960 by the collector Edward Peter Jones. Although it was attributed to Gainsborough on the time, the RMG’s then curator thought the work simply shy of Gainsborough-quality.

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Two old-fashioned portraits show, in dark ovals, a man and woman in formal dress, with large, white collars.

However final 12 months, Gainsborough knowledgeable Hugh Belsey discovered an early twentieth century picture of the portrait when it was held by the storied British dealership Agnew’s. Belsey traced to provenance to Jones, however quickly misplaced the thread. Finally, an acquaintance noticed the portrait in an illustrated catalogue of the Nationwide Maritime Museum’s holdings. 

After requesting the work be rescued from the depths of museum storage, Belsey confirmed it was a real Gainsborough. The curator on the RMG agreed.

“His request landed on my desk. We obtained the portray out of storage. Every thing stacked up: it had all of the visible hallmarks of Gainsborough’s fashion on this interval,” Katherine Gazzard, RMG’s present curator, informed the Guardian.

Gazzard referred to as the misattribution a “cautionary story” and a reminder to be meticulous when attributing works. “However we’re excited reasonably than embarrassed,” she stated of the invention, which dates to round 1762, when a younger Gainsborough was working in Bathtub, England. 

As to why the Nineteen Sixties curator didn’t imagine the portrait to be an genuine Gainsborough, Belsey informed the Guardian that the painter was “growing at a really quick tempo [at the time] and as he attracted extra commissions his fashion grew to become extra assured and his brushstroke freer.”

RMG has begun elevating cash to have each the portray and its body restored, a job which is predicted to value round £60,000. Subsequent 12 months, it is going to be hung in RMG’s Queen’s Home.

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