Lot 26: Study on 'The Descent from the Cross'

David Scott, R.S.A. (1806-1849) Study on 'The Descent from the Cross' signed 'David Scott P' (lower left) oil on paper over a printed base, laid down on board, painted arch 19 ¼ x 16 ¼ in. (49 x 41.2 cm.)

49 x 41.2 cm.

London, The Fine Art Society, 100 Years of Scottish Painting, August 1974, no. 133.

James McIntosh Patrick(†); Christie's, Scotland, 26 September 1998, lot 260. with The Fine Art Society, London. The Forbes Collection; Christie's, London, 19 February 2003, lot 302.

Few British artists represent the Romantic movement more completely than David Scott. Born in Edinburgh, the oldest surviving child of Robert Scott, an engraver of stern Calvinistic faith, he was an exact contemporary and friend of his fellow Scot William Dyce. But whereas Dyce was to enjoy a relatively long career, receive the patronage of Prince Albert, and play a major role in the decoration of the new Palace of Westminster, David Scott died at the age of forty-three, racked by ill health, religious doubt, and an overwhelming sense of being misunderstood as an artist. In 1835, shortly after his return from Italy, Scott was commissioned to paint an altarpiece for St Patrick's chapel in Lothian Street, Edinburgh, although unfortunately the location of the original altarpiece cannot now be traced. The composition owes an obvious debt to Rubens' altarpiece of the same subject in Antwerp Cathedral. It made a deep impression on the artistic community in Scotland when it was revealed, with J.B. Williams commenting to David Roberts in a letter dated 8 December 1835 that 'Scott [...] has painted a splendid altarpiece for the new Catholic Chapel with the taking down from the Cross - a work of excellent drawing...' Such was the acclaim surrounding the picture, it was engraved in mezzotint by R.M. Hodgetts in 1836 for the Association for the Promotion of the Fine Arts in Scotland, and using that print as a basis, Scott painted two, perhaps three, small versions, one of which is in the National Gallery of Scotland, Edinburgh, no. 1676. Another is the work presented here which was painted by Scott over a mezzotint base.