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Description George Heming Mason, A.R.A.
1818 - 1872
A wooded idyll
oil on card laid down on panel
18.7 x 14.5 cm.
Condition Report The card is laid down on panel. In the lower right corner the card along the lower right edge is slightly coming away from the panel. There are some very minor specks of surface dirt.
ULTRAVIOLET LIGHT There is a horizontal line that fluoresces measuring approximately 1 inch, that runs through the tree on the right, near the upper right edge. There are some further tiny flecks to the foliage, to the left of this line and some additional flecks below. There is an opaque layer of varnish.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Provenance James Stewart Hodgson (1827-1899);
Agatha, Marchioness of Sligo (1866-1965).
Notes This sketch shows the strong influence that Jean-Baptiste-Camille Corot’s landscapes had on the work of Mason and the other
Etruscans. Corot had visited Italy as a student of Valenciennes between 1825 and 1828 and adopted the
plein air technique of his master. He made subsequent trips in 1834 and 1843 and Corot may have met Giovanni Costa in 1852 when they both stayed at the Pensione Martorelli. They were certainly friends by the 1860s when they were both in Paris. Costa possibly introduced Corot to Mason and certainly Mason and Costa shared an enthusiasm for Corot’s work – also shared by Leighton.