Lot 21
Lot 21
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Property from a Southern Collection
TOM EDWIN MOSTYN, R.O.I., R.W.A. (BRITISH, 1864-1930)

Vanity

Price Realised USD 25,200
Estimate
USD 12,000 - USD 18,000
Estimates do not reflect the final hammer price and do not include buyer's premium, any applicable taxes or artist's resale right. Please see the Conditions of Sale for full details.
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TOM EDWIN MOSTYN, R.O.I., R.W.A. (BRITISH, 1864-1930)

Vanity

Price Realised USD 25,200
Register
Price Realised USD 25,200
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Details
TOM EDWIN MOSTYN, R.O.I., R.W.A. (BRITISH, 1864-1930)
Vanity
signed and dated 'Tom Mostyn 03/04' (lower left); titled, signed and inscribed 'VANITY/TOM MOSTYN/Melina Place/St John's Wood/London.' (on the reverse)
oil on canvas
6912 x 5012 in. (176.5 x 128.3 cm.)
Provenance
Anonymous sale; Sotheby's, London, 18 July 1984, lot 280.
with Christopher Wood, London.
Acquired directly from the above by the present owner, 1984.
Literature
Royal Academy Pictures of 1904, London, 1904, p. 81, illustrated.
C. Wood, Dictionary of British Art Volume IV, Victorian Painters, vol. 2, Historical Survey and Plates, Aberdeen, 1995, p. 331, illustrated.
Exhibited
London, Royal Academy, 1904, no. 498.
London, The Christopher Wood Gallery, Ye Ladye Bountifulle, Images of Women and Children in Pre-Raphaelite and Victorian Art, 7-30 November 1984, no. 38, illustrated.
Special notice
This lot is offered without reserve.
Brought to you by
Laura H. MathisVP, Specialist, Head of Sale
A Christie's specialist may contact you to discuss this lot or to notify you if the condition changes prior to the sale.View condition report

Lot Essay

This wonderful life-sized allegorical painting is among the finest examples of Tom Mostyn’s early figurative work to appear at auction in decades. Painted in 1903-1904 when the artist had yet to make the transition to his later Impressionist landscape style, Vanity also eschews the more typical social commentary found in Mostyn’s earlier work. Instead, the picture is simply a sumptuous, jewel-toned meditation on beauty itself. The confident, broad flashes of brushwork laying tone over tone in the folds of the voluminous dress and draped red backdrop are contrasted against the careful rendering of the figure’s jewelry and face. While traditional attributes of vanity are scattered on the floor around the sitter – the mirror, the scattered jewels and the red rose – Mostyn’s personification seems largely unconcerned with them. Instead, she stares imperiously, almost confrontationally out at the viewer, her chin slightly raised. Even though she is wearing a number of different rings and necklaces, it is clear that even without these adornments of vanity, she would be a woman confident in her beauty and self-possession.
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