A paint-encrusted palette believed to have been used by one of Cornwall's greatest artists will go on show in the village of his birth today after being snapped up by an eagle-eyed admirer.
The small wooden artefact is thought to have belonged to 18th century portrait painter and member of the Royal Academy, John Opie, who was known as The Cornish Wonder.
Born in St Agnes in 1761, Opie captured on canvas more than 500 notable men and women of the day, including Mary Wollstonecraft, Samuel Johnson, Edmund Burke, Mary Shelley and members of King George III's family and court. He painted at least 250 other portraits and historical pictures.
St Agnes Museum has a significant collection relating to Opie, which includes a self-portrait and a paint box presented to him when he became professor of the Royal Academy. There are also two paintings by Edward Opie RA, John's great-nephew. It is rare for Opie memorabilia to come on to the open market, so when museum staff were alerted they decided it was important for the palette to come "home" to Cornwall.
Museum member Liz Thompson said: "We were very excited to hear of a heavily paint-encrusted palette owned by Edward Opie, and almost certainly by John, coming up for sale at a small Gloucestershire auction house.
"On the day there were Internet bids, telephone bids and bids in the room. My husband Tom did the bidding on behalf of the museum by phone."
Liz, who is a member of the museum's team of volunteers, said: "It is very, very unusual for anything to do with Opie to come up for sale and because this is so unique we felt it was vital it was brought back to the parish rather than end up in private hands and never be seen again."
The winning bid of £500 – many times the £30-£40 guide price – was paid for from the museum's new purchases fund.
The palette, which goes on display at the museum today, is signed on the back by Edward Opie, along with the words "St Agnes, Cornwall, 1839". Like John Opie, Edward was born at Harmony Cottage in Trevellas, St Agnes. He exhibited 49 paintings at the Royal Academy.
"The year 1839 was very special for Edward Opie because it was the first time that one of his paintings had been accepted by the Royal Academy," said Liz. "So it seems very likely that Amelia Opie, John's widow, had kept her husband's palette as a keepsake after his death and presented it to her great nephew on this auspicious occasion."
Paint analysis is to be carried out to determine whether there is both 18th and 19th century pigment on the palette and therefore indicate if it was used by John Opie.
