STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in very good condition. There are no visible retouchings and no apparent damage to the paint surface. ULTRAVIOLET Examination under ultraviolet light reveals scattered minor infilling to craquelure and a few very minor flecks of retouching. There is a slightly opaque varnish overall. FRAME Held in a carved and gilded rococo style frame. To speak to a specialist about this lot please contact Julian Gascoigne on +44 (0)207 293 5482, or at julian.gascoigne@laitexier.com.
"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."

Mullins studied under James Mannin at the Dublin Society schools from about 1756, winning a prize there for landscape in 1763, and another for a history painting in 1768. He later worked in Waterford, where he trained the young Thomas Roberts, before returning to Dublin by 1765, where he married and until 1769 exhibited both landscapes and a few subject pictures at the Society of Artists. In 1768 he painted a series of four Italianate landscapes for the Earl of Charlemont at his Marino estate, before moving to London in 1770, where he lived with fellow Irishman and landscape painter Robert Carver. He exhibited at the Royal Academy, including a picture entitled The Fishing Party of 1772 (Ashmolean Museum, Oxford) and Walpole, who was a great admirer and owned an example of his work, correctly noted that his work was in the manner of Cornelis van P🏅olenb♏urgh.