Sir Thomas Lawrence PRA FRS
‘Miss Bloxham’, 15¾” × 13¼”,
published by Henry Graves & Co. Ltd. of Pall Mall, S.W., on 3rd September 1919, 300 copies, sold at 8gns
Mary Anne Bloxham was a niece of the artist (her mother Ann(e) (1766-1835) was Lawrence’s sister who had married the Revd. Richard Rouse Bloxham, a schoolmaster at Rugby School). She later married Frederick H. Hemming. The original painting is in the Kimball Art Museum, Fort Worth, Texas. It was painted c.1824-25.
Cynthia Kelly, USA, very kindly sent me this photo and then, when she moved house, most generously gave me the original mezzotint.
‘Lady Elizabeth Conyngham’, 15¾” × 12⅜”,
published by Thomas Agnew on 3 February 1913, in an edition of 250 copies in colour, sold at 6 gns.
Lady Elizabeth (1799-1839) was the elder daughter of the 1st Marquess Conyngham, and in 1826 married the Earl of Strathavon (later Earl of Aboyne, (in 1836) and, fourteen years after her death, 10th Marquess of Huntly. Elizabeth (née Denison). This portrait was painted in 1824, evidently by Command of the King.
The original is in the Calouste Gulbenkian Museum, Lisboa, Portugal.
‘Catherine Rebecca Grey, Lady Manners, as the goddess Juno’ (1794), 20⅞”×13½”,
published by James Connell & Sons, 12 October 1912,
300 copies in colour @ 8gns; 75 copies in monochrome @ 6gns
The daughter of Francis Grey and Elizabeth Ruddock, she was born at Lehena, Co. Cork c. 1766, and married William Manners, son of John Manners (MP for Newark 1754-1774, an illegitimate son of Lord William Manners, the 2nd son of the 2nd Duke of Rutland, by Corbetta Smith, and created a baronet in 1793) who married Louisa Tollemache (1745-1840), suo jure Countess of Dysart, on 12 January 1790. Her mother-in-law had succeeded to the title in 1821 on the death of her brother, the 6th Earl Wilbraham whereupon her husband then took the surname of Talmash, or Tollemache, and by courtesy, Lord Huntingtower. He died in 1833, so their son Lionel succeeded as Earl of Dysart on the death of his grandmother on 22 September 1840. Catherine died on 21 March 1852.
According to the Cleveland Museum of Art, owner of the portrait, Lady Manners “rejected this portrait representing her as the goddess Juno, symbolised here by the peacock. To make up for the loss of sale, Lawrence exhibited the painting at the Royal Academy in 1794 ‘to be disposed of.’ It did not sell and remained in his collection until after his death.”
This is another example of how Richard Smythe made the subject’s face more attractive to appeal to his intended clientele. Compare it with the less flattering original – Click Here
Frances Mary, 2nd Marchioness of Salisbury, 15½” × 9¼”,
published by James Connell & Sons, 1911, in an edition of 225 copies in colour and 75 in monochrome.
Daughter and heir of Bamber Gascoyne (1802-1839), she was the first wife of James Brownlow William Cecil, Viscount Cranbourne, later 2nd Marquess, and brought with her considerable wealth, so that in the month following his marriage in February 1821, he changed his name to Gascoyne-Cecil, by Special Licence, being empowered to sign that name before all titles of honour. He succeeded to the Marquessate and Earldom in 1823. She died at age thirty-seven following nine months’ illness, from dropsy (edema).
‘Lady Peel’, 20¼”×15¼”,
Fine Art Society, London, 1905, b/w only. In 1910, artist’s proofs (as they were called) sold @ 5gns
Julia, Lady Peel (1795-1859), daughter of General Sir John Floyd, married 8 July 1820 Robert Peel MP, who succeeded as 2nd Baronet in 1830, and was Prime Minister, 1834-35, 1841-46.
The original is in the Frick Collection, New York. The portrait was apparently inspired by Rubens’ painting of Susanna Fourment known as the ‘Chapeau de paille’, which Peel had acquired in 1823. When Lawrence’s‘Lady Peel’ was first exhibited at the Royal Academy in 1827, a critic claimed it to be among ‘the highest achievements of modern art.’
‘Lady Mary Templetown and her Eldest Son’, 20”×13⅞”
published by Henry Graves & Co. in 1920, 350 copies @ 10gns
Lady Mary Templetown (1774-1824), née Montagu, daughter of the 5th Earl of Sandwich, wife of John Henry Upton, at the time 2nd Baron Templetown and in 1806 created 1st Viscount, with Henry Montagu Upton, later 2nd Viscount (1799-1863). The original is in the National Gallery of Art, Washington DC, Andrew W. Mellon Collection. (At some time it has been titled ‘Mrs Upton and child’.)
‘Lady Emily Cowper’, 11⅝” × 9” [29.5cm × 23.0cm]
published by James Connell & Sons, 1st September 1919
On 10 June 1830 Lady Emily Cowper (1810-1872), the 1st daughter of 5th Earl Cowper, married Anthony Ashley-Cooper, Baron Ashley, later 7th Earl of Shaftesbury. On 3 March 1829 Thomas Creevey MP (1768-1838) had written of her that she was ‘the leading favourite of the town so far. She is very inferior to her fame for looks, but is very natural, lively, and appears a good-natured young person.’
‘Miss Croker’, 35.5cm × 29.3cm, 14.0” × 11½”,
published by Alfred Bell & Co., 1 February 1921
From the publisher’s label:
‘Rosamund Hester Elisabeth Croker, daughter of the late Wm. Pennell, Consul-General of Brazil in the early part of the 19th century. She was the youngest child of her parents. Her elder sister was the wife of the celebrated John Wilson Croker, while she was yet an infant in the nursery. To the Crokers was born an only son, who died in his infancy, and to console the parents they adopted the last born baby in the Pennell family. She was barely six weeks old when the Crokers took her as their own child. In 1832, when 22 years of age, Miss Croker married Sir George Barrow, Bart CMG.’ She died in 1906, aged 96.
‘Mary, Countess of Inchiquin’, 12” × 9⅛”
James Connell & Sons, 1 January 1913, 350 in colour 5gns, 75 artist’s proof in b/w, 4gns
Mary Palmer (1750-1820), Countess of Inchiquin, the second wife of the 5th Earl, whom she married by special licence on 25 July 1792, at Gregories, in Beaconsfield, Buckinghamshire, the home of her guardian, the Rt Hon. Edmund Burke, MP, the Anglo-Irish statesman. She was the first daughter of John Palmer, of Great Torrington, Devon, by Mary, the daughter of the Rev. Samuel Reynolds, and sister of Sir Joshua Reynolds (1723-92). Mary looked after her uncle in his declining years.
Her husband, Murrough O’Brien (1726-1808) 5th Earl of Inchiquin (nephew of the 4th Earl) was created 1st Marquess of Thomond in 1800. He died in a riding accident in Grosvenor Square, London. Thrown from his horse when it slipped on ice, he was run over by a passing cart, which killed him instantly. As well as owning Taplow Court, a neighbouring estate, his home, Cliveden, the great house overlooking the Thames near Maidenhead, was the home of the Earls of Orkney, and had come into the 4th Earl of Inchiquin’s possession through his first wife, Anne, later to be the suo juris Countess of Orkney.
Curiously, the 7th, 8th and 9th holders of the Orkney Earldom were women: the 7th, Anne, who had married her first cousin, the 4th Earl of Inchiquin in 1720, succeeded to the title in 1737, and then on the death of her male children, the fourth and last in 1741, the Earldom devolved in 1756 to her 1st daughter and heir of line, Mary, who had married her first cousin, the 5th Earl of Inchiquin, in 1753. Their only daughter, Mary, became the 9th to hold the title, and she was succeeded by her grandson, as the 10th Earl, in 1831, as her own son had died in 1820. Sources: chiefly G.E.C, The Complete Peerage.
‘Lady Elizabeth Whitbread’, 12¾” × 10¾” [32.5cm × 27.5cm],
published by Thomas Agnew, 1907, 250 copies in monochrome, sold at 4gns
Née Lady Elizabeth Grey (1765-1846), elder daughter of 1st Earl Grey, she married Samuel Whitbread MP, the brewer.
(Agnews paid Richard Smythe £150gns for this commission.)
‘The Cavendish Children’, 17¾”×13”,
published by G. C. Klackner, 1920, 400 copies @ 10gns
Exhibited in the Royal Academy 1790, no. 202. The children of Lord George [Augustus Henry] Cavendish (1754-1834), 3rd son of 4th Duke of Devonshire, who was created Earl of Burlington in 1831 (his mother Charlotte being the daughter and sole heir of the 3rd Earl). As both the eldest sons, portrayed here, predeceased him, he was succeeded in the title by his grandson, William’s son William (1808-91), who succeeded as 7th Duke of Devonshire in 1858.
Left to right, George Henry Compton Cavendish (b. 14 October 1784, d. 22 January 1809, a Major in the 7th Dragoons, in the wreck of a transport from Lisbon on the Manacle Rocks, near Falmouth), Anne (11 November 1787-1871, m. 1825 Lord Charles FitzRoy, 2nd son of 4th Duke of Grafton), and William Cavendish (b. 10 January 1783, MP for Derby, d. at his father’s home Holker Hall, in a riding accident when the reins broke on a gig driven by his 18 year old brother Charles, 14 January 1812).
Exhibited at the Royal Academy in 1790, and described in the catalogue (no.202) as ‘Portrait of a nobleman’s children’ by T. Lawrence, it nevertheless appeared in William Mackay and William Roberts’ Catalogue Raisonnée and Supplement of John Hoppner RA (London: P & D Colnaghi & Co.and George Bell & Sons, 1909, p.47), as having been painted by that artist. I find it difficult to arrive at an explanation for such an error.
This is another example of how Richard Smythe made the subject’s face more attractive to appeal to his intended clientele. Compare it with the somewhat unflattering original – see https://www.flickr.com/photos/57669468@N00/8576438591