Private Collection, England
Arthur Ackermann & Son, London
Private Collection, England

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in very good condition and has been cleaned. ULTRAVIOLET Ultraviolet light reveals scattered retouching to the background and sky. There has also been strengthening to the outline of the sitter and the surrounding area as well as to his face and costume. FRAME Held in a gilt wood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Executed in 1833 the present work depicts a striking contrast between a traditional, rural lifestyle and the birth of an industrial city.  The sitter is positioned on a ridge overlooking the river Mersey.  The sense of progress is portrayed in a number of ways; sail ships are giving way to steam and windmills are eclipsed by factory chimneys.  The topography is carefully portrayed as the dome of St. Paul's, to the left of the com🎃position, the tower of St. Nicholas' Church, the domed town hall, the spire of St. George's and the tower of St. Peter's dominate the skyline.  The sitter's family had profited from Liverpool's expansion&nജbsp;and made their fortune as sailmakers and ship chandlers.

Hunting on the Wirral began at the end of the eighteenth century with a field led by Sir Thomas Massey Stanley of Hooton Hall.  The sitter in the present work, William Bolt🔯on Aspinall, hunted with the Hooton for many years and was a highly accomplishe🌱d and courageous horseman.  His brother recounted an incident which took place in 1842, by which time Sir William Stanley, Sir Thomas ' son, was master.

'The hounds were in Poulton woods, near Bromboro.  A rather wide brook, with rotten and muddy banks, runs through the valley.  Here, horses frequently fell; and few men ever ventured to jump the brook.  Sir William Stanley offered half a crown to anyone who would ride his horse over, while he crossed on the plank bridge. My brother, William, a fearless rider, said "I will ride your horse over, Sir William;" jumped off his horse; mounted Sir William's; and cleared the brook splendidly' (Birkenhead and its Surroundings, Liverpool, 1903, p. 76).  William Aspinall received more than the the agreed half crown when he took delivery of 'a very handsome, solid silver hun♑ting-flask, inscribed "Poulton Brook: a bumper.  Presented to William Boulton Aspinall Esq., by Sir William Massey Stanley Bart., Hooton, in remembrance of the Brook jump"'(o🅘p. cit. p. 77).

Thomas Weaver was originally from Worthen in Shropshire and trained as an apprentice in the studio of the noted equestrian artist, John Boultbee (1753-1812).  Weaver🀅 gained some important aristocratic patrons early in his career by paint💦ing portraits of prize livestock.  He increased this network by touring the country houses of the Midlands and North and by 1811 had accrued a fortune of over £900.  Sadly, his career was cut short by crippling arthritis; prior to this his work had been exhibted at the Royal and Liverpool Academies and remains in a number of important collections to this day.