John Inigo Richards (London 1731-1810)
John Inigo Richards (London 1731-1810)

Rosamund's Pond, St. James's Park, London, with Westminster Abbey beyond

Details
John Inigo Richards (London 1731-1810)
Rosamund's Pond, St. James's Park, London, with Westminster Abbey beyond
oil on canvas
40 ¼ x 61 1/8 in. (102.2 x 155.3 cm.)
Provenance
Samuel Ireland (1744-1800), Norfolk Street, Strand, London; his sale (†), Leigh, Sotheby and Son, London, 11 May 1801 (=5th day), lot 443, as 'Hogarth' (5 gns. to Vernon).
Sir James Wright; his sale (†), Christie's, London, 8 June 1804 (=1st day), lot 80, as 'Hogarth'.
Anonymous sale; Christie's, London, 18 June 1805, lot 67, as 'Hogarth'.
Thomas Gwennap; No. 20, Lower Brook St., London, 24 April 1819, lot 7, as 'William Hogarth'.
Thomas Gwennap, Senior; Christie's, London, 5 April 1821 (=2nd day), lot 36, as 'Hogarth' (19 gns. to Colnaghi).
William Barnes; Sotheby's, London, 29 April 1826 (=4th day), lot 326, as 'Hogarth' (2 gns. to Gilliland).
Reverend William Browne; Sotheby's, London, 14 May 1828, as 'Hogarth' (1 gn. to Willett).
H. R Willett; (†) Christie's, London, 10 July 1869, lot 56, as 'William Hogarth' (140 gns.).
Louisa Caroline Baring, Lady Louisa Ashburton (1827-1903), London, by 1888.
Francis C. Harper, by 1912.
Sir James Horlick, 4th Baronet, OBE, MC (1886-1972), Cowley Manor, Gloucester (according to a label on the reverse).
Literature
Anon., 'Hogarth's Painting of Rosamund's Pond', in The London Saturday Journal, I, London, 1841, p. 125.
A. Dobson, William Hogarth, London, 1907, p. 219.
Exhibited
Manchester, The Art Treasures of Great Britain, 5 May-17 October 1857, no. 12, as 'William Hogarth'.
London, Royal Academy, 1871, no. 34, as 'William Hogarth'.
London, Grosvenor Gallery, 1888, no. 23, as 'William Hogarth'.
London, Royal Academy, 1912, no. 118, as 'William Hogarth'.
Engraved
F. Ross, 1840.

Lot Essay

St. James's Park is the oldest of London's royal parks and now extends to about 90 acres. King Charles II laid the park out afresh, advised by André Le Nôtre, the great landscape gardener, whose work at Versailles he so much admired. He planted it with fruit trees, stocked it with deer and built an avenue. He left untouched the romantic pond known as Rosamond's Pond which is seen in the foreground of the picture. The pond features in a print by N. Smith which carries the following descriptive text: 'The South West corner of Saint James's Park was enriched with this romantic scene. The irregularity of the Trees, the rise of the Ground, the venerable Abbey, afforded great entertainment to the Contemplative Eye, but its melancholy secluded situation seems to have tempted more persons (especially young women) to suicide by drowning than any other places in Town...'. The pond was filled in 1770. During Queen Anne's reign, the park was a notorious haunt for whores. The gates were locked at night, but 6,500 people were authorised to possess keys unofficially. After the appointment of Lord Pomfret in 1751, the condition of the park began to improve. A guidebook in 1755 wrote that there 'are stands of cows, from whence the company at small expense, may be supplied with warm milk'. A French visitor of 1765 elaborated: 'The cows are driven about noon and evening to the gate which leads from the Park to the quarter of Whitehall. Tied in a file to posts at the extremity of the grass plot, they will swill passengers with their milk, which is being drawn from their udders on the spot (and which) is served with all the cleanliness peculiar to the English in little mugs.' The west front of Westminster Abbey is depicted with Nicholas Hawksmoor's towers which were completed in 1745.

Born in London, John Inigo Richards was a landscape and scene painter. He exhibited at the Royal Academy from 1769 until 1809 and was principal painter at Covent Garden between 1777 and 1803. This picture is comparable with Richards's view, of smaller dimensions (30 x 47¼ in.), of Saint James's Park which was sold in these Rooms, 26 November 1999, lot 19, for £150,000.

We are grateful to Brian Allen for confirming the attribution after inspection of the original.

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