Painter, Porträtmaler, Miniature painter, Flower painter, b. 1723 - d. 1792
Sir Joshua Reynolds' artwork is often recognized for its bold strokes and multiple thick layers of paint (impasto) that create an almost 3D effect on the canvas. Sir Joshua Reynolds' paintings were, in part, inspired by the works of 16th century Renaissance painters. Due to his ability to reflect realistic movement and emotion in his paintings, Sir Joshua Reynolds was among the most sought-after portrait artists of the 18th century.
Though King George III didn’t care for his art, and he was not popular with the monarchy, Reynolds became the first president of the Royal Academy in 1768 and received a knighthood. Much of Sir Joshua Reynolds' self-portraiture in the 1760s, during his classic period, was created with hard lines and lacks the warmth of his other works. You can find other interesting antique portrait paintings for sale at online auction.
SIR JOSHUA REYNOLDS (1723-1792) Study of Boy Head charcoal on paper initialled lower left: JR 19 x 24.5cm; frame size: 38.5 x 42.5cm PROVENANCE: The Collection of R.S Walker Burn & Son Pty Ltd Auctioneers, Hobart, 19 October 1966, lot 23 Private collection, Victoria Private collection, Melbourne, acquired from above
Circle of Sir Joshua Reynolds (British, 1723-1792) Portrait study of a Lady Pencil and wash on laid paper Provenance: From the estate of David William Fuller Dimensions: (Paper) 2.5 in. (H) x 2 in. (W) (Frame) 8 in. (H) x 7.25 in. (W)
Sir Joshua Reynolds P.R.A. (Plympton 1723-1792 London) Portrait of Mary Barnardiston, half-length, in a white dress and a blue fur-lined shawl oil on canvas 75.4 x 61.4cm (29 11/16 x 24 3/16in).
Dimensions: Unframed 26cm x 17cm (10.24" x 6.69"), framed 38cm x 30cm (14.96" x 11.81")The work retains original canvas and period frame with natural signs of age. The painting surface is clean and stable, without visible tear, hole, heavy craquelure or restoration. The overall preservation is consistent with its historical period.All images are taken from the actual lot, fully representing the current condition.No further official archived provenance or exhibition records available. Attributed based on stylistic characteristics of the artist.
Property of a South Carolina Private Collector Description: Sir Joshua Reynolds, Mrs. Payne Gallway and Child, Engraving, engraved by Norman Hirst, pencil signed with his name lower right, publisher's card with title, artist and engraver on verso, depicting young woman carrying a child on her back, in a giltwood frame with mat. Frame size: 23 5/8 in. x 19 3/4 in. Measurements: Height: by sight 14 1/4 in. x Width: 11 3/8 in. Condition: Good condition, light wear to frame, not viewed out of frame. Notice to bidders: The absence of a condition report does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the conditions of aging. PHOTOS MAY ALSO ACT AS A CONDITION REPORT. Please review all photos closely prior to bidding. Complete condition reports are available by request, no later than 24 hours prior to the live auction. All lots are offered and sold 'AS IS’, and Everard Auctions will not provide refunds based on condition. Timepiece movements, lighting and electrics have not been tested, and art has not been examined out of the frame unless otherwise stated. We do not guarantee the condition of frames. By placing a bid, either in person, by phone, absentee or via the Internet, you signify that you agree to be bound by the conditions of sale. Everard Auctions does not provide any shipping or packing services. We recommend that all potential buyers obtain pack/ship estimates prior to bidding. Please contact us for a list of recommended shippers.
Sir Joshua Reynolds PRA (English, 1723-1792) Portrait of Ralph Sheldon (c. 1741-1822) 1777 Oil on canvas Provenance: Sir George Hayter (1792-1871), by whom sold; Christie's, London, 3 May 1845, Lot 71; Bought from above by 'Wood'; By descent (presumably) to 'Captain Wood', by whom sold or consigned to; Knoedler Gallery, London, by whom sold in August 1913 to; W.E. Benjamin Esq. New York (£3800); Private Collection, USA, until 1917; Philip Mould & Company, London; Private Collection, UK Exhibitions: Knoedler Gallery, Summer Exhibition, London June 1913 Literature: Sir Claude Phillips, Knoedler's Gallery (exhibition review), The Telegraph, 12 June 1913 A Graves & W Cronin, A History of the Works of Sir Joshua Reynolds, PRA 1899, vol. 3, p.884 David Mannings, Sir Joshua Reynolds: A Complete Catalogue of his Paintings, 2000, p. 412, no. 1161 (as 'Untraced') Ralph Sheldon (c. 1741-1822), of Weston, Warwickshire. Ralph as the first son of William Sheldon of Weston by Margaret Frances Disney, daughter of James Rooke Bigsweir House, Monmouthshire. Sheldon came from an old Catholic recusant family and after a dissolute youth not only at home but abroad he eventually conformed tot he established church. This enabled him to become a colonel of volunteers and member of parliament. In 1775 he joined Brooks's Club. His intimacy with the fourth Duke of Marlborough's family and relationship to the tenth Earl of Pembroke made him an ideal go-between to settle the marriage of Pembroke's heir to the Duke's daughter. He stood proxy for the Duke's friend Francis Burton in 1801 in the canvas for the City of Oxford. In 1804 he was himself brought I n for Wilton by the eleventh Earl of Pembroke. He was a supporter of Pitt's administration. He died in 1822 and was described by 'Nimrod' as "that perfect example of the old English gentleman". Dimensions: (Canvas) 30 in. (H) x 25 in. (W)
Charcoal on paper Inscribed on the reverse Dimensions:25 x 20 cm Provenance: Private collection of Jean-Philippe Ghaen, France Condition: For a detailed condition report, please contact: info@hammersite.com
SIR JOSHUA REYNOLDS, P.R.A. (PLYMPTON 1723-1792 LONDON). Portrait of Sophia Southwell, née Campbell, later Lady de Clifford (1743-1828),.... oil on canvas, the corners made up31 1/8 x 25 ¾ in. (79.1 x 65.4 cm.).
H:26cm(10.24 in)W:17cm(6.69 in) H:38cm(14.96 in)W:30cm(11.81 in) Sir Joshua Reynolds, polychrome mezzotint copperplate 1723¨C1792 "Executed in color mezzotint¡ªa highly regarded 19th-century European printmaking method that employs multiple copper plates to replicate the rich tonalities of oil paintings¡ªthis piece stands as a superb exemplar of the craft, boasting both significant artistic quality and important historical documentation value."
Sir Joshua Reynolds PRA FRS FRSA (British, 1723-1792) Portrait study of a lady inscribed lower centre 'JReynolds' ink and wash on blue paper 25 x 15.5cm 52 x 37cm framed
SIR JOSHUA REYNOLDS P.R.A. (1723-1792) Portrait de Lavinia Bingham (1762-1831), Comtesse Spencer, épouse de George John, 2nd Earl Spencer,1784 Huile sur toile, étiquette d'exposition de 1878 au dos. Cette version a été peinte vers 1784, gravée en 1785 par Hodges N.B et une autre gravure a été réalisée par S.W. Reynolds (S. Cousins, R.A.). Une miniature ovale se trouve à Hagley Hall. Dimensions : 77 x 63 cm Un catalogue illustré avec le descriptif complet de tous les documents est disponible. Provenance : - Sir Joshua Reynolds - Collection Dowager, Marie Palmer (1750-1820), Marchioness of Thomond, nièce et favorite de Sir Joshua Reynolds et qui a hérité en 1792 d'un nombre important d'œuvres de l'artiste dont ce portrait de la Comtesse Spencer. - Vente Old Masters Christie's le samedi 19 mai 1821, lot 17 page 8, provenant de la succession "Dowager Marchioness of Thomond", tableau acheté par Monsieur W. Wansey, père de Mrs Hamilton, épouse du Dr. Edward Hamilton. - Collection privée R.W.M. Walker, acquis en 1901 auprès du précédent (Wansey) pour la somme de 3.650 sterling. - Collection privée de Kitty Hamilton, fille de Monsieur Walker et épouse de Reginald Willoughby Whitehead, MC - Par descendance à Alistair Whitehead, Monte-Carlo et à sa succession, aux propriétaires actuels. Expositions : - Présenté en 1878 à l'exposition de la Royal Academy, Old Masters à Londres, tableau prêté par Monsieur Edward Hamilton. - Exposé en en 1883/1884 à la Grosvenor Gallery London. Documents et publications : - "History of the works of Sir Joshua Reynolds P.R.A." by Algernon Graves and William Vine Cronin, 1899, mentionné à la page 919 comme étant une réplique (entendu autographe) avec variantes. - "Sir Joshua Reynolds: A complete catalogue of his paintings" par David Mannings, 2000, mentionné à la page 429, reprenant le texte de Graves & Cronin comme une réplique avec variante. - Couverture et catalogue de Sir Joshua Reynolds à la Grosvenor Gallery en 1883/1884 présentant le tableau sous le lot 118, et précisant que le tableau à été peint en 1784 - Lettre écrite et signée par Edward Hamilton, destinée à Monsieur R.W.M. Walker, datée du 4 janvier 1901 confirmant avoir vendu le portrait de la Comtesse Spencer peint par Sir Joshua Reynolds pour la somme de 3.650 Sterling avec une gravure du tableau. Il est indiqué dans les notes de Monsieur Walker qu'en 1901, il est en possession du reçu de Christie's et du catalogue de la vente dans lequel il est précisé "A portrait of Lady Spencer, lot 17" - Lettre de Monsieur Christie, Head Partner de Christie's : " Mr. Christie presents his respects to Mr. Wansey. He is requested by one of the family of Lady Spencer, whether Mr. Wansey may be disposed to resign his purchase of the portrait of the Countess Spencer, the party being much distressed by the inattention of an agent who was placed in the room to bid for it and neglected to execute his commission. The picture was lot 17 in the second day and was knocked down to Mr. Wansey at 57.15 pounds; Pall Mall, May 27th., 1821." Il est également indiqué dans la note de Monsieur Walker que le tableau est archivé dans l'oeuvre de Reynolds et a été gravé en 1785 par Hodges. N.B. Monsieur Edward Hamilton était le filleul de Monsieur Wansey, docteur ayant comme adresse 16, Cromwell Place, London S.W. - Catalogue de la vente de 1821 - Courriers d'Edward Hamilton dont trois lettres à Monsieur Walker datées 4 janvier 1901, 18 janvier 1901 et 30 janvier 1902. - Accompagné de deux lettres de la compagnie d'assurance North British & Mercantile Insurance Company, dont une datée 17 janvier 1901 à Monsieur Walker, ancêtre direct de l'actuel propriétaire établissant que le tableau était assuré 4.000 sterling et l'autre du 25 janvier 1901 faisant suite à la précédente. - Inventaire officiel britannique d'exonération de droits de succession par la loi fiscale "Finance Act de 1930". Inventaire daté 1945, répertoriant ce tableau de La Comtesse Spencer par Reynolds. _____________________________________________ Reynolds, en réalisant en 1782 la première composition aujourd’hui conservée à Althorp House en Angleterre, signe une œuvre exceptionnelle, puissante par ses contrastes appuyés et par ses lignes incisives mettant en avant la force de la construction et des volumes. On y perçoit l’effort, parfois même la lutte du peintre avec la forme et la structure, conférant caractère à cette première version accompagnée d'une densité émotionnelle singulières. La seconde version, celle qui nous retient ici, réalisée probablement entre 1782 et 1784, apparaît plus légère, plus lumineuse, presque libérée. Ayant résolu les difficultés fondamentales dans la première approche, Reynolds s’autorise alors à aller au-delà : il dépasse la contrainte pour se consacrer pleinement à la finition, à la matière et à la sensualité de la surface. Il en résulte une œuvre d’un aboutissement remarquable, où l’élégance et la perfection semblent s’imposer avec une évidence sereine. Les tons, délicatement argentés, sont subtilement rehaussés de blancs et roses pâles qui insufflent à l’ensemble une douceur enveloppante. Cette palette raffinée crée une atmosphère feutrée et harmonieuse ; les passages de couleur se fondent les uns dans les autres avec une maîtrise qui donne le sentiment que la lumière elle-même circule dans la chair de la peinture. Toute l’expression du personnage se concentre dans le visage. Les mains, dissimulées sous le manteau, abandonnent le langage du geste au profit de l’intensité du regard. Lady Spencer nous fait face : son regard est vif, espiègle, habité d’un espoir discret tourné vers l’avenir. Un dialogue silencieux s’installe entre elle et le spectateur. Un léger sourire, à peine esquissé au coin des lèvres, anime son visage sculpté par des pommettes saillantes. La pointe du nez, éclairée par une touche blanche presque imperceptible, marque le point culminant du visage et structure les plans de profondeur avec une grande finesse. Le mouvement des plis de l’étole de fourrure, tombant sur la gauche, évoque irrésistiblement les touches éclairs de Tiepolo, ces frottis légers qui effleurent la toile plus qu’ils ne la couvrent. La lumière, frontale et presque universelle, baigne le portrait dans un équilibre parfait. Elle ne dramatise pas, elle révèle ; elle n’impose rien, elle accompagne. Ce tableau s’affirme ainsi comme un véritable chef-d’œuvre, dont l’apogée n’a pu être atteinte qu’au prix de deux versions successives. Il témoigne de la patience, de l’exigence et de la sensibilité d’un artiste qui, en revenant sur son œuvre, a su transformer la recherche en évidence et l’effort en grâce.
PROBABLY JOSHUA REYNOLDS 16 July 1723 Plympton - 23 February 1792 Leicester PORTRAIT OF MISS ANNE BINGHAM Watercolour on paper. 23.5 x 19 cm. Part. min. stained. Provenance: Private collection, Rhineland-Palatinate. WOHL JOSHUA REYNOLDS 16. Juli 1723 Plympton - 23. Februar 1792 Leicester PORTRAIT DER MISS ANNE BINGHAM Aquarell auf Papier. 23,5 x 19 cm. Part. min. fleckig. Provenienz: Privatsammlung, Rheinland-Pfalz.
After Sir Joshua Reynolds, PRA, British 1723-1792- Robinetta; oil on canvas, 38.2 x 30.3 cm. (unframed). Provenance: Private Collection, UK. Note: The present work is a near contemporary copy after Reynolds' original composition, painted in c.1786, and held in the collection of the Tate Galleries [N00892].
Pencil on paper Signed and dated lower left 1915 inscribed on the reverse Dimensions:13.5 x 11 cm Provenance: Private collection of Jean-Philippe Gueant, France Condition: For a detailed condition report, please email info@hammersite.com
SIR JOSHUA REYNOLDS, P. R. A. (BRITISH 1723-1792)PORTRAIT OF THOMAS PELHAM, LATER 2ND EARL OF CHICHESTER, FULL LENGTH, IN A LANDSCAPEoil on canvassigned with initials 'JR' (lower right) and with inscription THOMAS 2nd EARL OF CHICHESTER (lower right)128 x 102cm (50¼ x 40 in.)Provenance:Earl of Chichester, sold 1898 toCharles John WertheimerLeopold Hirsch, 1899Adolphe Hirsch, 1907 and by descent to the present ownerExhibited:London, Royal Academy, 1907, no. 133Literature:A. Graves and W. V. Cronen, A History of the Works of Sir Joshua Reynolds, London, 1899-1901, II, p. 723E.K. Waterhouse, Reynolds, London, 1941, p. 46.D. Mannings and M. Postle, Sir Joshua Reynolds: A complete catalogue of his paintings, New Haven and London, 2000, I, pp. 535-536, no.1420, fig. 438 as 'untraced'Sir Joshua Reynolds, was the dominant figure in British Portraiture from late 1750s through to the 1790s. He returned from Italy in 1753 and rapidly established himself as one of the leading portrait painters in London. In 1760 he moved to a grand house in Leicester Fields, one of the most fashionable areas of London, and lived in a style rarely seen amongst portrait painters. He was knighted by George III in 1769, but perhaps his most celebrated achievement was his election as first President of the Royal Academy when it was founded in 1768. This certainly enhanced the status of his portrait practise; something reflected in his prices as by 1782 he was charging the unprecedented sum of 200 guineas for a full-length portrait - more than twice that of his nearest rival Thomas Gainsborough (1727-1788). Reynolds' technical mastery, his intelligent engagement, evidenced in his series of Discourses delivered at the Academy between 1769 and 1790 and his leadership in promoting the cause of artists in Britain have led him to be referred to as 'the father of British Painting'.One of Reynolds' greatest gifts was his ability to idealise his sitters, a skill which in his portraits of children emphasised their innocence and natural grace. This lively portrait of the young, Thomas Pelham was painted in 1759. The animated composition of the jumping spaniel with his head turned to look up was an early example of a motif that Reynolds was to return to. There are appointments with Master Pelham on 10 February 1759 and subsequent ones on 19 and 24 February and throughout the year on 3 and 13 March, 23 May, 2 July and 14 December and on 26 June at 9 am 'Master Pelham Dog' and other appointments with 'Dog' which may also relate to this work.Thomas Pelham, born on 28 April 1756, was the eldest son of Thomas Pelham, 1st Earl of Chichester (1728-1805), and his wife Anne, daughter of Frederick Meinhardt Frankland. He served was M.P. for Sussex from 1780 to 1796 and was appointed Surveyor-General of the Ordnance under the Duke of Richmond, Master-General of the Ordnance in Lord Rockingham's second ministry (1782), and Chief Secretary for Ireland in the coalition ministry of 1783 (when he was also appointed to the Privy Council of Ireland). He represented Carrick in the Irish House of Commons from 1783 to 1790 and Clogher from 1795 to 1797. In 1795 he was sworn of the Privy Council and became Irish chief secretary under Pitt's government, retiring in 1798. He served as Home Secretary in 1801 and called to the House of Lords as Lord Pelham on 20 June 1801 and succeeded on 8 January 1805 as 2nd Earl of Chichester. He married Lady Mary Henrietta Juliana Osborne, daughter of Francis, 5th Duke of Leeds on 16 July 1801 by whom he had four sons and six daughters. Their second son, the Hon. Frederick Thomas Pelham, was a naval commander, while their third son, the Right Reverend John Thomas Pelham, was Bishop of Norwich. He died on 4 July 1826, aged 70, and was succeeded in his titles by his eldest son, Henry
SIR JOSHUA REYNOLDS, P. R. A. (BRITISH 1723-1792)PORTRAIT OF THEOPHILA PALMER: THE GIRL WITH THE RED MUFF oil on panel 77.5 x 65cm (30½ x 25½ in.)Provenance:Marchioness of Thomand (the sitter's sister) Her sale; Christie's, London, 18 May 1821, lot 68 (sold to Marquess of Lansdowne)with Agnew's, London, from whom acquired by the Earl of RoseberyEarl of Rosebery sale; Christie's, London, 5 May 1939, lot 112 (sold to Danton Guerault) from whom acquired by the father of the present ownerExhibited:London, British Institute, 1823, no. 27 as 'A Girl with a Muff'.London, British Institute, 1833, no. 3 as 'A Girl with a Muff'.London, Royal Academy, 1896, no. 23, lent by the Marquess of LansdowneLiterature:A. Graves and W. V. Cronen, A History of the Works of Sir Joshua Reynolds, London, 1899-1901, II, p. 723E.K. Waterhouse, Reynolds, London, 1941, p. 45.F. Nordström, 'The Girl with a Muff', Formae, 1961, pp. 27-28.M. Postle, Sir Joshua Reynolds: The Subject Pictures, Cambridge, 1995, pp. 82, 95, fig. 33J. Ingamels, The Wallace Collection:Catalogue of Pictures,1999, vol. I, P40, pp. 151, 153, n. 5. D. Mannings and M. Postle, Sir Joshua Reynolds: A complete catalogue of his paintings, New Haven and London, 2000, I, pp. 535-536, no.1391Engraved:J R Smith, 1777 (oval)S.W. Reynolds (fig. 1)The present charming picture, imbued with evident sentiment and feeling, had great personal significance to the artist, not only because the model was the favourite niece of Sir Joshua Reynolds, but because the painting seems to have provided Reynolds with the idea for one of his best and most celebrated 'fancy pictures' The Strawberry Girl, 1773 (Wallace Collection, fig. 2), of which he painted several versions and for which his niece was also the model. The sitter was Reynolds' niece Theophila Palmer (1756-1848), the younger daughter of John Palmer, Attorney of Great Torrington, Devon and Reynolds's sister Mary. Theophila, affectionately known as 'Offy', was named after Reynolds's mother and grandmother. Both sisters were sent to live with Reynolds in London in 1770 and Offy remained there until her marriage in 1781. She was commonly regarded as the more beautiful of the two sisters, and Reynolds was remarkably fond of her. Graves and Cronin, loc.cit. records the family ditty; When I take tea, I think of The;When I take coffee, I think of Offy;So whether I'm drinking my tea or my coffee, I always am thinking of thee, my Theoffy.' In a letter dated 29 March 1831 Maria Edgeworth wrote that Theophila is 'very agreeable and good natured...enthusiastically and affectionately fond of her uncle'.Fanny Burney in her Memoirs noted that 'The Miss Palmers added to the grace of his [Reynolds's] table and of his evening circles by the pleasingness of their manners and the beauty of their persons' and '... The eldest Miss Palmer seems to have a better understanding than Offy; but Offy has the most pleasant face...'. While Offy, aged twenty, was away from Reynolds's house, he wrote to her remarking, 'I never was a great friend to the efficacy of precept, nor a great professor of love and affection, and therefore I never told you how much I loved you, for fear that you should grow saucy upon it. I have got a ring and a bracelet of my own picture; don't tell your sister that I have given you your choice. My compliments to all the family, and I remain, Dear Offie, you affectionate uncle'. Theophila married Robert Lovell Gwatkin (1757-1843) of Killiow, Truro, High Sherriff of Cornwall in 1780, by whom she had ten children, seven daughters and three sons. She was an amateur artist herself. Her elder sister, Mary, (1750-1820) married Murrough O'Brien, 5th Earl of Inchiquin, later 1st Marquess of Thomond. Tom Taylor noted in The Life and Times of Sir Joshua Reynolds, 'It is gratifying to know that Offy's happiness was as great as her uncle and warmest friends could wish. She lived to be ninety and to see her children's children, and, affectionate to the last vividly remembered her happy girlhood under her uncle's roof and the brilliant society that found a centre there. Sir Joshua's bequest to Mrs Gwatkin was £10,000 in the three percents.'The present work was painted in 1767 when Offy was eleven years old. She was the model for Reynolds in several of his best-known pictures, including Theophila Palmer Reading Clarissa Harlowe, exhibited at the Royal Academy in 1771, no. 158 (fig. 3) and Simplicity (Rothchild Collection, Waddesdon Manor). Reynolds also presented her with her portrait on the occasion of her marriage in 1781. There are two technical notes at the back of Reynolds 1st leger which seem to relate to the present work, 'Offe's Picture painted with Cera & Cap. Solo-cinabro' [wax and copaiba- a balsam made from South American plants- and vermilion] and 'Offe a fatto intiera mente con Cap. & Cera/le Testa sopra in fondo preperato/con olio & biacca' [painted entirely with copaiba and wax, the head on a ground prepared with oil and white lead]. Waterhouse believed on stylistic grounds alone that the picture may have been repainted in the 1780s.Fancy pictures or 'fancies' were so-called to distinguish them from traditional commissioned portraits. Reynolds began to paint fancy pictures in the early 1770s and became increasingly fixated on the genre towards the end of his career. While Reynolds could complete the face of a portrait within a matter of hours, his subject pictures often absorbed him for months. His single figure character studies of children form the most straightforward manifestations of his fancy pictures late in the 1760s/1770s. As Martin Postle notes, 'it is clear from Reynolds's own preoccupation with them, and the critical coverage they received during his day, that the subject pictures lay at the very heart of Reynolds's practice as a painter'. The painting has descended through the same family since it was last recorded at auction in 1939 and unseen in public since its exhibition at the Royal Academy in 1896. This charming character study captures all Reynolds found endearing about his favourite niece and it is hardly surprising that he returned to the composition when painting The Strawberry Girl, one of his most important works in this genre. The picture appears to be in relatively untouched condition having been painted on panel and the pigments and technique as noted in his leger have aged well.
H:26cmW:17cm H:38cmW:30cm Sir Joshua Reynolds£¬ polychrome mezzotint copperplate 1723¨C1792 "Executed in color mezzotint¡ªa highly regarded 19th-century European printmaking method that employs multiple copper plates to replicate the rich tonalities of oil paintings¡ªthis piece stands as a superb exemplar of the craft, boasting both significant artistic quality and important historical documentation value."
Sir Joshua Reynolds, PRA (British, 1723-1792), Portrait of Miss Theophila Palmer (1757-1848), niece of Sir Joshua Reynolds, half-length, in a white dress and bonnet Oil on canvas With extensive handwritten label verso and old Christie's stencil Provenance: The artist, by whom given to; Windsor Vaughan (1715-1786) of Ottery St Mary, Devon, and by inheritance to; the Reverend George Cornish of Salcombe Hill, Sidmouth, 1860; Mrs E Wilmot, 1870, and by descent to; Captain Edward Wilmot; Christie's, London, 29 March 1963, lot 59 (to Spence); Henry Markham, Olney, Buckinghamshire, where acquired on 26 November 1963 (£58). Exhibited: Derby Drill Hall, Midland Counties Exhibition: Works of Art and Industrial Products, May 1870, no.810. Literature: D Mannings, Sir Joshua Reynolds: A Complete Catalogue of his Paintings, London, 2000, p.362, no.1388, fig.1327. Theophila Palmer, otherwise known as Offy, was the second daughter of John Palmer, Attorney, of Great Torrington, Devon, by Mary Reynolds, sister of Sir Joshua Reynolds She married on 18 June 1781, Robert Lovell Gwatkin (1757-1843) of Killiow, Truro, High Sheriff of Cornwall. Her eldest sister, Mary (1750-1820) married 1st Marquis of Thomond. Both sisters lived with their uncle Sir Joshua in London. Fanny Burney wrote of the sisters in her diary: " ... The elder Miss Palmer seems to have a better understanding than Offy, but Offy has the most pleasant face ...". Dimensions: (Frame) 37 in. (H) x 32 in. (W) (Canvas) 30 in. (H) x 25 in. (W)
SIR JOSHUA REYNOLDS, P.R.A. (PLYMPTON, DEVON 1723-1792 LONDON). Portrait of Mrs. Elizabeth Bradshaw, née Wilson (d. 1802), half-length, in a.... oil on canvas30 ¼ x 25 1/8 in. (76.8 x 63.8 cm.).
SIR JOSHUA REYNOLDS, P.R.A (PLYMPTON 1723-1792 LONDON). A young girl holding her cat, with a landscape in the distance. oil on canvas30 3/8 x 25 ¼ in. (77.8 x 64.3 cm.).
Sir Joshua Reynolds (British, 1723-1792) Portrait of Lionel Sackville, 1st Duke of Dorset, half-length standing to front in Garter robes, hat in right hand oil on canvas Dimensions:(124 x 99 cm. (48 3/4 x 39 in.)) Provenance: Sale; Sothebyâs, The British Sale, London, 01 July 2004, Lot 120, from Drayton House. Private Collection, UK Literature: D. Mannings, Sir Joshua Reynolds, 2000, I, no.1570 National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Later Stuart Portraits 1685-1714, National Portrait Gallery, 2009 A second version in the Government Art Collection (3331), from the Nuneham Park sale, Christieâs, 11 June 1948, lot 164 (D. Mannings, Sir Joshua Reynolds, 2000, I, no.1571), presented to Lord Harcourt by Lady Cecilia Johnson (E. W. Harcourt ed., The Harcourt Papers, III, p 260, as one âof the most indifferent of his [Reynoldsâs] performancesâ). We are grateful to Dr Martin Postle for his confirmation of the attribution based on high resolution images. Notes: Lionel Sackville, 1st Duke of Dorset (18 January 1688 â 10 October 1765) was an eminent British political figure in the personal favour of King George I, at whose coronation he bore the Sovereignâs Sceptre. Serving twice as Lord Lieutenant of Ireland and once as Lord President of the Council, The Duke of Dorset occupied a key role at the forefront of the British state for over three decades, receiving high offices and honours that included Knight of the Garter, Lord Steward, and Warden of the Cinque Ports. A popular and knowledgeable conversationalist, he was described by his contemporaries as âthe last the good breeding, decency of manners, and dignity of exteriorâ. As such, the Duke preserved the manner of the Court of Queen Anne despite, according to The Right Honourable Horace Walpole, his private love of âlow humour and buffooneryâ. He gives his name to Sackville Street, W1S, later the home of âThe Clubâ, a dining club founded in 1764 by the artist, alongside Samuel Johnson and Edmund Burke. The painting comes from Drayton House, Northamptonshire, which was passed to Lord George Sackville, son of the aforementioned Duke of Dorset, from the childless Lady Betty Germain on the instruction of her late husband, Sir John Germain. Changing his surname to Germain, Lord George Sackville refurbished the house and it has remained in the Sackville family since. Most recently, Drayton House was used as the set for the Emerald Fennell film, Saltburn (2023). Lionel Cranfield Sackville, 1st Duke of Dorset, was also painted by other renowned artists of the period, such as Sir Godfrey Kneller (1646-1723). In the present portrait, the Duke of Dorset is shown wearing his traditional state robes. Around his neck hangs a ceremonial collar made of gold knots alternating with enamelled roses, each rose encircled by a blue garter. Suspended from the collar is a three-dimensional enamel figure of St George slaying the dragon, signifying the Dukeâs membership in the Order of the Garter, the highest English order of chivalry.
Sir Joshua Reynolds (British, 1723-1792) Richard Yeo, ca. 1756 oil on canvas Dimensions:(76.2 x 63.5 cm. (30 x 25 in.)) Provenance: Presumably commissioned by, or given to, Richard Yeo, Henry Graves & Co., 6 Pall Mall, London; Their sale, London, Christie's, 27 May 1882, lot 162, when bought back by Graves & Co.; Their sale, London, Christie's, 24 November 1894, lot 11, for £9â19s.â6d. to Franfenhause; Catholina Lambert (1834â1923), Bella Vista Castle, Paterson, New Jersey; His sale, New York, American Art Association, 21â24 February 1916, lot 221; Count Vittorio Emanuele Barbaroux, circa 1950s. Private collection, Milan Literature: Graves and Cronin, A History of the Works of Sir Joshua Reynolds P.R.A., Vol. III, London, 1899, p. 1080. Algernon Graves, Art Sales From Early in the Eighteenth Century to Early in the Twentieth Century, Vol. II, London, 1921, p. 42 A mezzotint after this work by Arthur N Sanders (1838-active 1870), Macdonnell Collection, National Portrati Gallery, Reference NPG D36254 We are grateful to Dr Martin Postle for confirming the attribution of this work. Notes: The sitter in this portrait was a British medallist and Chief Engraver at the Royal mint. Notably, Richard Yeo supplied patterns for the guinea and five guinea coins of George III. Here, he is presented at his desk, presumably working on his designs. Richard Yeo emerged in the 1740s as one of Britainâs leading medallists and engravers. His reputation was established in 1746 with the official medal commemorating the Battle of Culloden, followed by further commissions celebrating the Duke of Cumberland. Early in his career he also designed the silver season tickets for Vauxhall Gardens, notable for their refined allegorical imagery. Appointed Assistant (Second) Engraver to the Royal Mint in 1749, Yeo played a central role in developing the coinage of George III. He was promoted to Chief Engraver in 1775, producing important pattern coins and medals, several examples of which are now held in the British Museum. Yeo was an active exhibitor at the Society of Artists and became a director before joining the group that founded the Royal Academy in 1768. As one of the few non-painters among the original Academicians, his influence is underscored by his prominent appearance in Zoffanyâs Portraits of the Academicians of the Royal Academy, where he is shown examining the life model. His technical expertise also extended to materials: Reynoldsâs ledger references a prized lake pigment known as âYeoâs yellow,â supplied by the engraver.
Portrait of Dr. Samuel Johnson (1696-1772), attributed to Sir Joshua Reynolds (British, 1723-1792), pastel, 15" x 11", framed 19" x 15". Provenance: Estate of Dalia Zikas, Melrose, Massachusetts.
Sir Joshua Reynolds (English, 1723-1792), "Dorothy Vaughan (1733-1805), 2nd wife of Wilmot 1st Earl of Lisburne", Oil on Canvas, circa 1777, the half length portrait of the Countess of Lisburne in silver gown with landscape scene in the background, The British Arts Council and Richard Feigen Co. labels verso, ornate giltwood frame. Image 49" H x 39" W; frame: 59.5" W x 49.75" W x 2" D. Provenance: By descent with the Earl of Lisburne at Crosswood. David Carritt, London, 1986. Sotheby's, New York, 12 January 1989, Lot 198A [Withdrawn]. Sotheby's, London, 08 March 1989, Lot 52. Private Collection, New York. Property from a Bunny Williams decorated 5th Avenue Estate. Exhibitions: 45 Park Lane, 1937. Arts Council, 1946. Literature: Graves-Cronin, "A History of the Works of Sir Joshua Reynolds, P.R.A. Vol II and Vol III, pp. 586-587, p. 872. Mannings, "Sir Joshua Reynolds: A Complete Catalogue of His Paintings", no. 1796. Keywords: Paintings, Oil painting, Works on Canvas, Portraiture, Countess of Lisburne, Daughter of John Shafto of Whitworth, Portraiture, British Artist, Royal Academy of the Arts, Grand Manner, Neoclassical, Neoclassicism, Antique, 1700s, 18th Century Art
Sir Joshua Reynolds P.R.A. (Plympton 1723-1792 London) Portrait of Mary Barnardiston, half-length, in a white dress and a blue fur-lined shawl oil on canvas 75.4 x 61.4cm (29 11/16 x 24 3/16in).
SIR JOSHUA REYNOLDS, P.R.A. (PLYMPTON 1723-1792 LONDON). Portrait of Charles Pratt, 1st Earl Camden (1714-1794), seated.... oil on canvas50 5/8 x 40 ¼ in. (128.5 x 102.3 cm.).
SIR JOSHUA REYNOLDS, P.R.A. (PLYMPTON 1723-1792 LONDON) AND STUDIO. Portrait of Frances Marsham, Countess of Romney, née Wyndham (1755-1795),.... oil on canvas56 ¼ x 45 1/8 in. (142.7 x 114.6 cm.).
SIR JOSHUA REYNOLDS, P.R.A. (PLYMPTON 1723-1792 LONDON). Portrait of Lady Louisa Augusta Greville (1743-1779), half-length, in a feigned.... oil on canvas30 x 25 in. (76 x 63.5 cm.).
Collection of Sir Joshua Reynolds (1723-1792).- Sichem the Elder (Christoffel van) Portrait of a Man wearing a hat with feathers, after Hendrick Goltzius, woodcut, a good impression on fine laid paper without watermark, sheet 315 x 210 mm (12 1/4 x 8 1/4 in), affixed with adhesive onto old mount at the left corners only, old repair to the centre left edge, upper left corner, and small split to the lower right corner, otherwise some minor surface dirt, unframed, 1607 Provenance: Unidentified collector, ink inscription verso 'No. 17 mar 1698' [?Not in Lugt] Sir Joshua Reynolds (1723-1792) [Lugt 2364] Anonymous sale; Private collection, Guernsey Literature: Hollstein 135; Bartsch 3 (after Goltzius)
Attributed to Sir Joshua Reynolds British, 1723-1792 "Landscape" oil on canvas unsigned, artist label on stretcher, "J.J. Patrickson & Son LTD., Chelsea, London" gallery label on reverse of frame, framed with artist plaque.
After Sir Joshua Reynolds, PRA, British 1723-1792- Portrait of Margaret, Lady Beaumont; oil on panel, bears label with indistinct inscription verso, 32.6 x 26.7 cm. Provenance: Private Collection, UK. Note: The present work is a copy after Reynolds's original portrait of Lady Beaumont, in the collection of Dove Cottage and the Wordsworth Museum in Grasmere [2001.68]. Lady Margaret Beaumont (1756-1829) and her husband, Sir George Beaumont (1753-1827) were both prominent patrons of the arts, with George Beaumont making the first bequest of paintings to the National Gallery in London, thus making him one of the most influential figures in the institution's establishment. The Beaumonts often visited the Lake District, where they befriended William Wordsworth (1770-1850), and they later entertained Wordsworth, as well as Samuel Taylor Coleridge (1772-1834), Walter Scott (1771-1832), and John Constable (1776-1837), at Coleorton Hall in Leicestershire.
Sir Joshua Reynolds, P.R.A. Plympton, Devon 1723–1792 London Portrait of a lady as a sibyl, bust-length, possibly Mary Parker, Countess of Macclesfield oil on canvas 57.2 x 44.6 cm.; 22½ x 17½ in.
Attributed to Joshua Reynolds (British, 1723-1792) "Study of George White the Paviar as King Lear" - Oil on wood panel. Signed faintly "Sir J. Reynolds" on back of panel, partially worn away and partially obscured by later markings (see photos). Framed. 29 x 24 inches (image), 33 x 28 inches (frame). Good condition, nail holes along the edges, the heavy varnish is very discoloured, several marks possibly no deeper than the varnish (no attempt has been made to remove the varnish or restore the painting). Acquired by the late husband of the current owner (Regina, Saskatchewan) in 2011 at auction in New Jersey, USA. Multiple accompanying notes of unknown authorship and varying ages attribute the work to Joshua Reynolds without equivocation, while remnants of even earlier notes verso have lost their content.
Circle of Sir Joshua Reynolds (1723 - 1792) Portrait of an infantry officer Oil on canvas With an old label verso, 'A & N AUX. C. S. L.' In an original carved and gilded frame The gorget worn round the neck of the sitter is that of an infantry officer, probably that of the 32nd Regiment of Foot. Wearing both his sash and gorget, he is 'on duty', which would be laid aside for society or non-duty occasions. We are grateful to Andrew Cormack, for his assistance in cataloguing. Provenance: Tessier Sarrou, Paris, 5 December 2018, Lot 37; Dimensions: (Canvas) 30 in. (H) x 25 in. (W) (Frame) 37 in. (H) x 32 in. (W)
Sir Joshua Reynolds (1723-1792), Ink and wash, Six sketched studies of ladies, four depicted wearing hats. Each signed lower, one dated 1787. Together with an 18thC pencil and watercolour study of two young ladies. Largest Reynolds approx. 5 1/2" x 4 1/4" (7)
After Sir Joshua Reynolds (1723-1792) Portrait of Mary Robinson, 'Perdita' (?1758-1800), bust length, wearing a black dress and a black feathered hat, before a red curtain, oil on canvas, 74 x 62cm Has been lined and cleaned. The back of the canvas has been protected by a cardboard panel. There is fine cracking to the paint surface throughout, and stretcher marks visible, and a few small areas of paint loss. Some areas of possible restoration/retouching, and some surface scratches. Not examined under UV light.
STUDIO OF JOSHUA REYNOLDS (1723-1792) A Portrait of Captain Byron Oil on canvas, 126 x 100cm Provenance : These rooms, Country House Collections Auction, 11 Oct 2016, Lot 459 John Byron (1723-1786) British vice-admiral, the second son of the 4th Lord Byron, and grandfather of the poet, was born on the 8th of November 1723. He joined the navy as a midshipman but would go on to be considered one of the finest sailors in all of England; despite his dogged bad luck for which he received the nickname of 'Foul Weather Jack'. During one of his expeditions he was wrecked on the southern coast of Chile but survived and proceeded to write up his adventures as 'The Narrative of Hon. John Byron, Containing an Account of the Great Distresses' (1768), which his grandson, George Gordon Byron, used in his satirical poem 'Don Juan' (1819-1824). Habitually in action against the French, he was chosen to command a secret British expedition in the Dolphin frigate - one of the first British ships to have a copper sheeted hull - to the Falkland Islands to break into the Spanish trade. Afterwards, he completed the circumnavigation of the globe, claiming various Pacific islands for the Crown. The provenance of the present example is by repute with Torridon House in the Scottish Highlands, the estate, which once belonged to the Duke of Leeds and is now home to the Earl and Countess of Lovelace, is sandwiched between rugged, soaring mountains and the deep blue of a sea loch. The family auctioned the contents of the house in 2015 offering a wonderful collection of furniture, paintings and other works of art to the public. The connection with the Byron family resulted from the marriage between Lord King William who married Augusta Ada Byron, the only legitimate daughter George Gordon, 6th Baron Byron. The Lovelace title was chosen to mark the fact that Ada was, through the families of Byron, Milbanke, Noel and Lovelace, a descendant of the Barons Lovelace of Hurley. This union brought the promise, in marriage settlement, of vast estates in the Midlands and also political advantage, for Adas cousin was Lord Melbourne, the Whig Prime Minister. In this quarter-length portrait Byron is presented in an appropriate manner of attire wearing his captain's undress uniform and a grey wig. He is set against a dark clouded filled background, with a small patch of light blue sky out of which sails a ship from the British Fleet. Byron strikes a formidable presence in this portrait reflecting his many successive years of dedicated and hard service. The numerous long and arduous expeditions is succinctly captured in the line inscribed on the frame, from Byron's poem, Epistle to Augusta, Our grandsires fate of yore /He had no rest at sea. Joshua Reynolds (1723-1792) was apprenticed in 1740 to the portrait painter Thomas Hudson, (1701-90) and after early work in his native Devon travelled to Italy in 1749. He returned in 1753 to London and rapidly began to establish himself as a portrait painter, profoundly influenced by his time in Italy. He was the most influential figure of the century in elevating British painting and portraiture which paved the way for a generation of work. Reynolds borrowed poses from the old masters, such as Lord Bryon's strong stance with arms crossed and his left hand holding onto the sword hilt, which dignified the status of the sitter.
Continental School (18th-19th century) A group of five portraits engravings on wove paper lot includes: 1. King Phillip II of Spain (reign, 1556-1598); 2. King Henry II of France (reign, 1547-1559) 3. Dr. John Ash (1723-1798) After Sir Joshua Reynolds. 4. Charlotte Sophia Somerset, Duchess of Beaufort (1803-1835). 5. Mary Isabella Duchess of Rutland (1756-1831)
Joshua Reynolds (1723 Plymouth - 1792 London) after Unknown (18th century): Seat portrait in profile, , Mezzotint Technique: Mezzotint on Laid paper, mounted on Paper Inscription: Inscribed on the lower part of the backing by another hand "Reynolds", indistinctly inscribed on the verso. Joshua Reynolds was the most famous English painter of the 18th century alongside William Hogarth and Thomas Gainsborough, and through his artistic and art-theoretical work the most influential. He is counted among the "English school" of the 18th/19th century. His greatest fame was as a portrait painter. In this field, he succeeded in transforming portrait painting into a "grand manner", and thus ascended in the hierarchy of genres. Date: 18th century Description: Mezzotint after Joshua Reynolds. Alongside William Hogarth and Thomas Gainsborough, Reynolds was the most famous and, through his artistic and theoretical work, the most influential English painter of the 18th century. He is counted among the "English school" of the 18th/19th century. Sir Joshua Reynolds achieved greatest fame as a portrait painter. In this field, as a great competitor of Thomas Gainsborough, he succeeded in transforming portrait painting into a "Grand Manner" and thus ascended in the hierarchy of genres. Keywords: Portrait, 18th century, Baroque, Portraits, United Kingdom, Size: Laid paper: 35,0 cm x 28,0 cm (13,8 x 11 in), additional specification: 35 x 28 cm, base: 38.5 x 32 cm
Joshua Reynolds (1723 - 1792), da Autoritratto, 1760 ca. Olio su tela 76,6 x 63,5 cm Altre iscrizioni: sul telaio, diverse iscrizioni, probabilmente relative a passaggi d’asta, in gessetto e matita nera Elementi distintivi: al verso, sul telaio, le iscrizioni moderne "Reithinger" (?) e "4998" ed un sigillo abraso Provenienza: Felix Semyonov, New York - Roma Stato di conservazione. Supporto: 60% (rintelo; due punti di sfondamento risarciti) Stato di conservazione. Superficie: 60% (vernice ingiallita, cadute di colore reintegrate, graffio risarcito) Il dipinto ritrae Sir Joshua Reynold intorno all'età di trentacinque o quaranta anni. La postura è la più amata da Reynolds, che la utilizza in molti dei suoi autoritratti, con significative varianti nell'abbigliamento, tutti caratterizzati da un richiamo al ritratto di Adam De Coster inciso da Anton Van Dyck. Reynolds si osserva allo specchio - posto proprio nella posizione che oggi occupiamo noi osservatori - e con il braccio destro muove il pennello, fuori dal campo visivo. L'occhio è interamente concentrato sulla sua figura, che emerge dal fondo naturale di cielo e nubi, segno di un ritratto immaginato all'aperto. La bocca semiaperta mostra l'attimo di sospensione mentre egli studia e comprende la propria fisionomia. La pennellata è veloce e sicura nel delineare l'anatomia, ma diventa morbida nella capigliatura e quasi area nel tessuto bianco. Sir Joshua Reynold produsse circa 30 autoritratti, in pittura o in disegno, durante la sua carriera (cfr. "Joshua Reynolds: The Creation of Celebrity", Tate Britain, 2005, catalogo della mostra, p. 73). L'autoritratto gli forniva, infatti, sull'esempio di quanto aveva già fatto Rembrandt, la possibilità di usare se stesso per sperimentare le possibilità espressive del modello e della pittura: era un vero e proprio modo di studiare e costruire l'immagine, che ebbe un ruolo anche nella autopromozione di Reynolds - primo presidente della Royal Academy of Arts - quale uomo di cultura e di potere. Il dipinto in esame è considerato da Martin Postle «clearly a later copy, and is definitely not by Reynolds himself». Lo specialista avvicina la composizione a due autoritratti realizzati intorno al 1773-1774 e riprodotti ai numero 12 e 13 del catalogo ragionato dell'artista (David Mannings, "Sir Joshua Reynolds, A complete catalogue of his paintings, New Haven, 2000, cat 12 e 13), segnalando in particolare che «There are many copies of no 13, and this is possibly one of them» (comunicazione del 29 settembre 2021). Mannings registra un originale, oggi irrintracciabile ma apparso in asta presso Christie's con probabile provenienza dalla collezione di James Northcote (1746-1831), assistente nello studio di Reynolds dal 1771 al 1776 ed eletto alla Royal Academy dal 1787 (Christie's, 19 giugno 1942, lotto 61). Segnala inoltre la presenza di numerosi copie, «di cui alcune potrebbero essere opera di James Northcote», e in particolare ne registra tre (13a-c). Il dipinto in asta appare tuttavia in più stretta relazione, per la forma maggiormente composta dei capelli ed il viso meno spiritato, con l'autoritratto conservato nella Spencer Collection di Althorp, Northamptonshire, anch'esso ricordato in letteratura come di probabile provenienza Northcote, comunemente considerato come la prima versione di questa composizione, con Reynold a mezzobusto contro il paesaggio, e di cui pure esistono numerose copie (Mannings 2000, cat. 12). Il pittore stesso, peraltro, tornerà sulla composizione, in un dipinto di cui fece dono al nono Earl of Westmorland nel 1774 (Mannings 2000, cat. 14). Una ulteriore versione, non catalogata da Mannings, è conservata nella residenza arcivescovile di Knole, a Sevenoaks nel Kent. Una certa somiglianza esecutiva con il dipinto in esame si legge nel più maturo ritratto di Henry Fuseli, dipinto da Northcote nel 1778 ed oggi conservato alla National Portrait Gallery, Londra (NPG 5469). Ringraziamo il dottor Martin Postle per il supporto nella catalogazione dell'opera.
Joshua Reynolds (1723 - 1792), da Autoritratto, 1760 ca. Olio su tela 76,6 x 63,5 cm Altre iscrizioni: sul telaio, diverse iscrizioni, probabilmente relative a passaggi d’asta, in gessetto e matita nera Elementi distintivi: al verso, sul telaio, le iscrizioni moderne "Reithinger" (?) e "4998" ed un sigillo abraso Provenienza: Felix Semyonov, New York - Roma Stato di conservazione. Supporto: 60% (rintelo; due punti di sfondamento risarciti) Stato di conservazione. Superficie: 60% (vernice ingiallita, cadute di colore reintegrate, graffio risarcito) Il dipinto ritrae Sir Joshua Reynold intorno all'età di trentacinque o quaranta anni. La postura è la più amata da Reynolds, che la utilizza in molti dei suoi autoritratti, con significative varianti nell'abbigliamento, tutti caratterizzati da un richiamo al ritratto di Adam De Coster inciso da Anton Van Dyck. Reynolds si osserva allo specchio - posto proprio nella posizione che oggi occupiamo noi osservatori - e con il braccio destro muove il pennello, fuori dal campo visivo. L'occhio è interamente concentrato sulla sua figura, che emerge dal fondo naturale di cielo e nubi, segno di un ritratto immaginato all'aperto. La bocca semiaperta mostra l'attimo di sospensione mentre egli studia e comprende la propria fisionomia. La pennellata è veloce e sicura nel delineare l'anatomia, ma diventa morbida nella capigliatura e quasi area nel tessuto bianco. Sir Joshua Reynold produsse circa 30 autoritratti, in pittura o in disegno, durante la sua carriera (cfr. "Joshua Reynolds: The Creation of Celebrity", Tate Britain, 2005, catalogo della mostra, p. 73). L'autoritratto gli forniva, infatti, sull'esempio di quanto aveva già fatto Rembrandt, la possibilità di usare se stesso per sperimentare le possibilità espressive del modello e della pittura: era un vero e proprio modo di studiare e costruire l'immagine, che ebbe un ruolo anche nella autopromozione di Reynolds - primo presidente della Royal Academy of Arts - quale uomo di cultura e di potere. Il dipinto in esame è considerato da Martin Postle «clearly a later copy, and is definitely not by Reynolds himself». Lo specialista avvicina la composizione a due autoritratti realizzati intorno al 1773-1774 e riprodotti ai numero 12 e 13 del catalogo ragionato dell'artista (David Mannings, "Sir Joshua Reynolds, A complete catalogue of his paintings, New Haven, 2000, cat 12 e 13), segnalando in particolare che «There are many copies of no 13, and this is possibly one of them» (comunicazione del 29 settembre 2021). Mannings registra un originale, oggi irrintracciabile ma apparso in asta presso Christie's con probabile provenienza dalla collezione di James Northcote (1746-1831), assistente nello studio di Reynolds dal 1771 al 1776 ed eletto alla Royal Academy dal 1787 (Christie's, 19 giugno 1942, lotto 61). Segnala inoltre la presenza di numerosi copie, «di cui alcune potrebbero essere opera di James Northcote», e in particolare ne registra tre (13a-c). Il dipinto in asta appare tuttavia in più stretta relazione, per la forma maggiormente composta dei capelli ed il viso meno spiritato, con l'autoritratto conservato nella Spencer Collection di Althorp, Northamptonshire, anch'esso ricordato in letteratura come di probabile provenienza Northcote, comunemente considerato come la prima versione di questa composizione, con Reynold a mezzobusto contro il paesaggio, e di cui pure esistono numerose copie (Mannings 2000, cat. 12). Il pittore stesso, peraltro, tornerà sulla composizione, in un dipinto di cui fece dono al nono Earl of Westmorland nel 1774 (Mannings 2000, cat. 14). Una ulteriore versione, non catalogata da Mannings, è conservata nella residenza arcivescovile di Knole, a Sevenoaks nel Kent. Una certa somiglianza esecutiva con il dipinto in esame si legge nel più maturo ritratto di Henry Fuseli, dipinto da Northcote nel 1778 ed oggi conservato alla National Portrait Gallery, Londra (NPG 5469). Ringraziamo il dottor Martin Postle per il supporto nella catalogazione dell'opera.
Sir Joshua Reynolds (1723-1792) Portrait sketch of a lady in profile, signed, dated 1789 and inscribed 'Mrs Ingestre', pen, ink and red chalk, 20.5 x 13cm Lady Ingestre, wife of John Chetwynd Talbot of Ingestre Hall, Staffordshire, (d.1793), was reputedly painted by Joshua Reynolds in 1789.
Sir Joshua Reynolds P.R.A. (Plympton 1723-1792 London) Portrait of John Mudge (1742-before 1768) pulling back a curtain oil on canvas 75.8 x 63.8cm (29 13/16 x 25 1/8in).
PORTRAIT DER LADY HAMILTON Öl auf Leinwand. Doubliert. 52 x 45,5 cm. in vergoldetem Regence-Stilrahmen. Angelehnt an ein Gemälde Reynolds, das sich unter Inv.Nr. 2617 im Worthing Museum Museum and Art Gallery in Worthing befindet, sehen wir vor dunklem Fond eine nach rechts gewandte junge Dame mit emporgerichtetem Blick. Im Unterschied zum Vorbild führt die Dame den Finger nicht an die Wange, sondern unter einem weißen Tuch zum Auge. Provenienz: Privatbesitz Schleswig-Holstein. (1441321) (13)
