The Conjuror-The Pictorial Conjuror Displaying The Whole Art Of Optical Deception.
Represented work of art
Artist
Nathaniel Hone the elder
Dimensions1.448 x 1.727 (57 x 68 inches)
Work type
Provenance
- 1785, sold by Hutchins to a French nobleman; 1790, sold to Knight; 1821, sale philips, Lot 8, where it was bought in; 1944, Christies, 1 December Lot 39, bought J. Maher; (1955), National Gallery of Ireland, Dublin.
Exhibition history
- 1775 by Hone at 70 St. Martin's Lane, No.55; 1951-52 Royal Academy of Arts No.29;.; Kenwood, Angelica Kauffmann, 1955 (29) q.v.; RA, Reynolds, 1986 (173)
Publication history
- Manners and Williamson, Angelica Kauffmann, pp.42-45; J.T. Smith, Nollekens and his Times, 1828; W.T. Whiteley, Artists and their Friends in England, 1700-1799, 1928, II, pp.266-269; A.N.L. Munby, Connoisseur, 1946, CXVIII, p.24, and 1947, CXX, pp.82-84 (illus.)
Photographic source
Object FormatPhotographic Print
Photograph Source
Greater London Council
Negative Number55/0763
Archival context
Object numberPA-F07684-0009
Archival context
- Fonds:Paul Mellon Centre Photographic Archive
- Series:Artists, A–Z
- Folder:Miscellaneous paintings
- Item:The Conjuror-The Pictorial Conjuror Displaying The Whole Art Of Optical Deception.
ClassificationsArchival Document
Scope and content This series comprises images of works by artists who were British by birth, foreign artists who worked in Britain or foreign artists who painted British sitters abroad. The works featured date from c.1500 to c.1900. The images in this series form by far the largest part of the Photographic Archive. Images remain in their original order: organised A–Z by artist name. Significant artists, or those for which there is a wealth of material, have multiple folders of images. In these cases, images are further subdivided by genre or type, depending on the artist. They may also be organised in ‘catalogue raisonné order’. The images predominantly depict oil paintings but prints and other works on paper are also included.
Acquisition information The collection has always been in the possession of the Paul Mellon Centre for Studies in British Art (or its predecessor institution, the Paul Mellon Foundation).
ArrangementThe archive has been arranged in its original order.
Conditions governing use The images in the Photographic Archive are derived from a variety of sources, so copyright in the collection is varied. The copyright status of each image is detailed at item level in the catalogue.
Accruals It is anticipated that new images may be added to the Centre’s Photographic Archive in future. These may be generated via the Centre’s everyday activities (such as the publishing programme). They may also come from external sources (such as donations by scholars or institutions).
Rights and reproductions
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Rights Statementhttps://rightsstatements.org/vocab/NoC-CR/1.0/
Data Formats
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