STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in very good condition. ULTRAVIOLET Examination under ultraviolet light reveals retouching in the background, both to the left and right of the picture. There is also some minor retouching in the sitter's face and colar, and minor infilling to craquelure overall. FRAME In a British 'Marratta' style 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This important recently discovered portrait of Joseph Wright of Derby is by his friend and pupil, William Tate. In 1769 the two artists had lodged together in Liverpool and became close friends. Tate subsequꦑently became Wright's pupil and they 🍒worked closely together for the remainder of Wright's career. Following Wright's death in 1797, Tate is known to have completed a number of Wright's unfinished portraits.

The architectural structure in the background of this picture is based on a lighthouse on the Mole, in the Bay of Naples. In 1774 Wright had written to Tate from Italy, enclosing a compositional drawing of Mount Vesuvius, taken from the Mole (Derby Museum and Art Gallery), to be worked up by the latter into a full scale painting. If ever such a painting was completed it is now lost, however the sketch survives and includes the distinctive lighthouse with Vesuvius in the background. The sheet is inscribed in the lower left 'for the picture.../ For my friend Tate'ꦓ[i]. Though it is un🍸clear whether Tate ever used this sketch to produce a landscape, he obviously adopted the motif of the lighthouse as a symbolic gesture in this portrait of his friend.

Stylistic analysis of the present painting bears striking resemblance to the Portrait of Joseph Wright of Derby by Tate of 1782 (Viscount Scarsdale, Kedleston Hall) [ii], though the wig featur🐎ed in the present painting bea✨rs more relation to the one depicted in Wright's own self portrait of c.1785 (National Portrait Gallery, no.4090).   

i. see B. Nicolson, Joseph Wright of Derby, 1968, vol. 1, fig. 95, p. 78
ii. B. Nicolson, lit.op.cit, 1968, fig. 134, p. 140