Impressions of Beauty: Female Portraits in Mezzotint by Sanders of Oxford, Antique Prints & Maps

IMPRESSIONS of BEAUTY

FEMALE PORTRAITS in MEZZOTINT Sanders of Oxford Antique Prints & Maps

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Impressions of Beauty Female Portraits in Mezzotint From Friday 8th March 2019.

Impressions of Beauty brings together some of our ďŹ nest examples of eighteenth century female portraiture in mezzotint. The mezzotint process, despite often being overlooked by modern audiences, holds a special resonance with Sanders of Oxford. The technique was the lifelong interest of our former owner, the late Hon. Christopher Lennox-Boyd, who held the largest collection of mezzotint engravings in private hands. Thus, it gives us great pleasure to present the following thirty ďŹ ve portraits, featuring female sitters from various walks of life. All works are available to purchase and will be on display in the gallery.

Sanders of Oxford. Antique Prints & Maps Salutation House 104 High Street Oxford OX1 4BW www.sandersofoxford.com - 01865 242590 - info@sandersofoxford.com Monday - Saturday 10am - 6pm. Sundays 11am - 5pm.

Contents

Pg.

Introduction

01-35: The Portraits

Biographies: Artists, Printmakers, & Publishers

Sanders of Oxford is pleased to present Impressions of Beauty, a catalogue of eighteenth century mezzotint portraits of female sitters. Featuring some of our ﬁnest impressions to date, this catalogue looks at depictions of women in the Georgian era, during a period of sensibility that coincided with the rise in popularity of the mezzotint print. This collection of prints focuses on works by some of the most popular artists and mezzotinters of the time. With multiple appearances by names such as Sir Joshua Reynolds and James McArdell, the portraits provide a unique view into how women were viewed, depicted, and immortalised in print during the eighteenth century. Many may take these portraits at face value but there is more to be made of these women than just a pretty face. This collection contains the stories of women of varying social standing. Some of them were born into noble or aristocratic families, others were determined to improve their family’s status through writing, acting, or by using their sexual appeal to gain notoriety and fame. These prints are a tangible illustration of the diﬀering roles of women in eighteenth century society, and allow a modern audience to continue to connect and reinterpret their stories.

The portrait as a work of art has always piqued the interest and imagination of the populace. Portraits are used to capture qualities of the sitter, whether that be social standing, power, fashion, taste, or simply, importance. The portrait during the eighteenth century was often intended to promote a public image or even boost self-esteem. No longer solely the preserve of royalty, they were designed to be seen in grand halls rather than purely for private appreciation, as a sign of wealth and status in an age of growing prosperity. Eighteenth century female portraiture often diﬀered from its male counterpart in its purpose, men often being depicted with symbols of their achievements, women for their beauty, fashion, or their rising ‘celebrity’ status. In terms of celebrity, no portrait painter was more prominent or held in higher esteem than Sir Joshua Reynolds, whose work features multiple times in this collection. Through his lecture series at the Royal Academy, Reynolds helped deﬁne the style known as the Grand Manner, a style of painting based on an idealised, classical approach.

The period covered within this catalogue is considered a golden age for mezzotints. With the opening of the Royal Academy’s ﬁrst annual exhibition in 1769, artists were, for the ﬁrst time, able to attract interest in their work from a wider audience. The demand for mezzotint reproductions of the works of artists such as Reynolds grew, with print shops happily meeting those demands.

The technique was the only one within printmaking that took the plate from dark to light rather than the traditional light to dark, applied when producing etchings or other engravings. With the invention of a rocking tool by Prince Rupert in the decade following, the mezzotinter was able to score out the graduated highlights within the image being produced, slowly reducing the amount of ink held in these areas to produce the desired eﬀect.

The mezzotint met the need for a tonal medium that required relatively little training or time to produce uniformly printed images. For the ﬁrst time the general public was able to purchase and own accurate reproductions of famous artworks, opening up the art world and making art accessible.

A talented printer would be able to print up to 75 strong, velvety impressions from one worked plate, the plates often needing to be reworked and re-engraved once the surface started to ﬂatten during the printing process.

One of the most outstanding, and most proliﬁc, mezzotinters of the time was James McArdell, Reynolds’ favoured engraver for reproducing his portraiture in print, whose work is very well represented in the following pages.

Some of the women in this catalogue reached a level of celebrity or notoriety during their lifetimes, others are known only through the achievements of their husbands, fathers, or sons. In extreme cases the sitter is either unknown or their forename has been diﬃcult to ﬁrmly establish.

The mezzotint as a process is often overlooked by modern audiences, although its history is an incredibly important one within British art history. Commonly known as ‘The English Manner’ during the eighteenth century, the mezzotint was actually invented in 1642 by a German soldier, Ludwig von Siegen.

We hope by bringing them together within this collection to revive their stories, and to help our understanding of women in the past.

01. Barbara Countess of Coventry Henry Spicer after Sir Joshua Reynolds Mezzotint London, Printed for Robt, Sayer, Map & Printseller, at No.53 in Fleet Street. [1764] Image 312 x 250 mm, Plate 354 x 250 mm, Sheet 375 x 283 mm unmounted A three-quarter length portrait of Barbara, Countess of Coventry. Barbara is depicted seated with her head turned to the left in three-quarter proﬁle. She is leaning on the base of a pillar, which is covered by her fur-lined robe. Her right hand is holding onto her left wrist and her hair is adorned with a string of pearls.

Barbara, Countess of Coventry (née St John) (active 1767 - 1804) was the second daughter of John St John, 11th Baron St John of Bletso and Elizabeth Crowley. In 1764 she married George Coventry, 6th Earl of Coventry who was a British Peer and politician. Chaloner Smith 1, ii/ii, Hamilton 92, ii/ii, O’Donoghue 1, NPG D34192 Condition: 18 mm margin to right side, 10 mm to top and bottom, 15 mm to left side. [46774] £200

02. [Anne Bastard] James McArdell after Sir Joshua Reynolds Mezzotint J. Reynolds pinxt. J. McArdell fecit. [c.1755] Image 250 x 228 mm, Plate 327 x 228 mm, Sheet 370 x 270 mm unmounted A half-length portrait of Anne Bastard. Anne is depicted within an oval frame, facing oﬀ to the left. She is wearing an elaborately decorated laced sleeve jacket and a dress which has bows at the bodice. A small line of pearls and lace are in her hair and a large pear shaped pearl earring can been seen on the right.

Anne Bastard (née Worsley) (died 1765) was the wife of William Bastard of Kitley (1727 - 1782). The Bastard Baronetcy was a title intended for William in recognition of the part he played in the saving of the arsenal at Plymouth from the French ﬂeet in 1779, but William declined the title. Chaloner Smith 12, i/ii Hamilton 80, i/ii, Goodwin 171, ii/iii, O’Donoghue 1, NPG D658 Condition: Foxing to the sheet and image, loss of top corners, creasing to bottom of sheet, not aﬀecting image. [46831] £120

03. [Catherine Chambers] James McArdell after Sir Joshua Reynolds Mezzotint Published according to Act of Parliamt. 1756, & sold at the Golden Head in Covent Garden Image 268 x 226 mm, Plate 325 x 226 mm, Sheet 337 x 246 mm unmounted A half-length portrait of Catherine Chambers. The portrait shows Catherine standing, with her face partially shaded by the large, ﬂat hat she wears upon her head. Around her neck, she wears a ribbon, and over her low-cut dress she wears a mantle.

Catherine Chambers (née Moore) (died 1798) was the wife of the architect Sir William Chambers, responsible for refashioning Buckingham Palace (1762–73) and he built the queen’s lodge (1776) and the lower lodge (1779) at Windsor Castle. They were married in 1752. Chaloner Smith 40 ii/ii, Goodwin 54 ii/ii, Hamilton 90 ii/ii, O’Donoghue 1, NPG D2040 Condition: Trimmed to plate on lower margin, 7mm margin to top and sides, some small tears to right and upper margin, not aﬀecting image. [46760] £350

04. Frances Countess of Essex James McArdell after Sir Joshua Reynolds Mezzotint J. Reynolds pinxt. J. McArdell fecit. [1757] Image 268 x 225 mm, Sheet 328 x 225 mm unmounted A half-length portrait of Frances Hanbury Capel. Frances is depicted sitting, turned slightly to the right. She is resting her head on her left hand, which is adorned with a jewelled bracelet and full, delicate lace sleeves. A fur-trimmed mantle is draped over her shoulders, with her dress decorated with bows and ribbons.

Frances Hanbury Capel (née Williams) (1735 - 1759) was the ﬁrst wife of William Anne Capel, 4th Earl of Essex. She was the daughter of Sir Charles HanburyWilliams and Lady Frances Coningsby. Chaloner Smith 63, i/ii, Goodwin 58, O’Donoghue 1, NPG D1877 Condition: Trimmed to plate, attached to sheet at top corners, small tear to top right edge. [46770] £250

05. Lady Ann Campbell, Countess of Strafford James McArdell after Sir Joshua Reynolds Mezzotint [1762] Image 274 x 225 mm, Plate 327 x 226 mm, Sheet 332 x 230 mm unmounted A half-length portrait of Lady Anne Campbell, Countess of Strafford. Ann is depicted sitting, gazing off to the left of the image, her head turned in three-quarter profile. She wears a double string of pearls around her neck, with another string also in her hair and on her left cuff. A fur-trimmed cloak is draped over her right arm and her hair is elaborately plaited and hanging over her right shoulder.

Lady Anne Campbell (c.1715 - 1785) was the second of ﬁve daughters of John Campbell, 2nd Duke of Argyll. In 1741, Anne married William Wentworth, 2nd Earl of Straﬀord and the couple quickly became part of the social set which included Horace Walpole. Walpole thought Anne to be of ‘vast beauty’ and wrote a poem about her beauty that was published in 1765. Chaloner Smith 171, Goodwin 97 Condition: Thread margins, some staining from previous mount to lower margin. [46754] £280

06. [Mrs Bonfoy] James McArdell after Sir Joshua Reynolds Mezzotint [1755] Image 350 x 275 mm, Plate 375 x 275 mm, Sheet 387 x 287 mm unmounted

Ann Bonfoy (née Eliot) (1729 - 1816) was born in Port Eliot, Cornwall. Ann married Captain Hugh Bonfoy, with whom she had one daughter, Anne. When her husband died in Dublin in 1762, the 32-year-old widow did not remarry, choosing to live the rest of her life with her daughter. Their daughter went on to become the Countess of Ely.

A three-quarter length portrait of Ann Bonfoy. Ann is depicted standing slightly to the right with her head turning to the right. She is wearing a voluminous dress, which she is holding to her waist, with her right hand resting on her hip. A veil is attached at her head and ﬂows down over her right shoulder. A seaside landscape can be seen to the right of the sitter, perhaps in reference to her Cornish birthplace.

Chaloner Smith 23, Goodwin 44, O’Donoghue 1 Unknown state either prior to the proof with artists’ name in etched letters or post state iii, re-working of the plate. This impression matches that in the V&A (E.2731905) with variant working of the tree to the bottom right of image

Condition: Proof impression with uncleaned inscription space, 6mm margin, repaired patch to top left corner and top margin. [46769] £380

07. Mary Duchess of Ancaster James McArdell after Thomas Hudson Mezzotint Published according to act of Parliamt. & sold at the Golden Head in Covent Garden. [1757] Image 470 x 350 mm, Plate 505 x 350 mm, Sheet 560 x 408 mm unmounted A full-length portrait of Mary, Duchess of Ancaster. Mary is leaning slightly to the right, her left elbow leaning on the edge of a rocky cliﬀ-face. Her head is resting on her left hand and her right hand is grasping an ostrich feather. Mary is depicted wearing an extravagant satin gown, which is highly decorated with brocade, pearls and lace and her feet and ankles are visible below the hemline of her dress. To her right the Ranelagh Gardens amphitheatre can be seen amongst the trees.

Mary Bertie, Duchess of Ancaster and Kesteven (1735 - 1793) was the daughter of Thomas Panton, Master of the King’s Running Horses at Newmarket. In 1750, she became the second wife of General Peregrine Bertie, 3rd Duke of Ancaster and Kesteven. From 1761 until her death, Mary was the Mistress of the Robes to Queen Charlotte. Chaloner Smith 1, iii/iii, Goodwin 62, O’Donoghue 1, NPG D7003 Condition: Some time toning and foxing to the sheet, tipped to board at top corners, crease to text area of plate. [46775] £280

08. Her Grace the Duchess of St. Albans John Faber II after Sir Godfrey Kneller Mezzotint [c.1720] Image 445 x 310 mm, Plate 455 x 310 mm, 505 x 368 mm unmounted A full-length portrait of Diana, Duchess of St. Albans. Diana is seen standing, her left arm leaning on a large urn which contains a small orange tree. Her left leg is raised and resting on the urn’s plinth, with her left hand holding an orange from the tree. A voluminous cloak is draped over her left side, ﬂowing down to the ground. Diana is situated in a classically inspired portico.

Diana Beauclerk (née de Vere), Duchess of St Albans (c.1679 - 1742) was a British courtier and ‘Mistress of the Robes’ to Caroline, the Princess of Wales from 1714 - 1717. The daughter of Aubrey de Vere, 20th Earl of Oxford and Diana Kirke, Diana married Charles Beauclerk, 1st Duke of St Albans in 1694, Charles was one of Charles II and Nell Gwyn’s illegitimate sons. Diana and Charles had twelve children together. Chaloner Smith 28, i/ii, O’Donoghue 1, NPG D39997 Condition: Some foxing and time toning to margins. [46861] £350

09. Lady Ann Dawson James McArdell after Sir Joshua Reynolds Mezzotint Sold at the Golden Head in Covent Garden, 1754 Image 345 x 280 mm, Plate 380 x 280 mm, Sheet 482 x 370 mm framed A three-quarter length portrait of Lady Ann Dawson appearing as Diana. Ann is standing, gazing oﬀ to the left, whilst leaning on a ledge to the right. Her left hand is resting on the neck of an obedient greyhound, who is gazing upwards at the sitter. Her right hand is raised grasping the shaft of a spear, while her head is adorned with pearls and a crescent moon diadem. A landscape can be seen to the left of the sitter.

Lady Ann Dawson (née Fermor) (1733 - 1769) was the 6th daughter to Thomas Fermor (1698 - 1753), 1st Earl of Pomfret. In 1754, Ann married the Irish banker Thomas Dawson, Lord Dartrey and 1st Viscount Cremorne. The painting from which this print was taken was executed the year of Ann’s marriage to Thomas. Chaloner Smith 52, ii/iii, Goodwin 35, iii/iii, NPG D34833 Condition: Full margins, some time toning to sheet, foxing to title area. Framed in an antique gilt frame. [46753] £400

10. [Lady Charlotte Fitzwilliam] James McArdell after Sir Joshua Reynolds Mezzotint [1754] Image 267 x 225 mm, Plate 325 x 225 mm, Sheet 335 x 230 mm unmounted A half-length portrait of Lady Charlotte Fitzwilliam. Charlotte is seen standing to the left whilst looking oﬀ to the left of the image. She is wearing a loose mantle, secured in place with a brooch on her left upper arm, some pearls to her lower arm and the remaining drapery is held to her chest. She has a plume, ribbon and pearls in her hair and a loose curtain can be seen to the left of the sitter.

Lady Charlotte Dundas (née Fitzwilliam) (1746 - 1833) was the wife of Thomas Dundas, 1st Baron Dundas and daughter of the 3rd Earl Fitzwilliam. Thomas Dundas was the ﬁnancial backer for the commissioning of the Charlotte Dundas, the world’s ﬁrst practical and working steamboat, named after their daughter. Chaloner Smith 67, i/ii, Goodwin 38, O’Donoghue 1 Condition: Proof before letters. 3mm margins, crease to top half of image, artists names and part of title in hand written ink to title area. [46768] £250

11. [Lady Fenoulhet] James McArdell after Sir Joshua Reynolds Mezzotint Sold at the Golden Head in Covent Garden. [1760] Image 265 x 225 mm, Plate 321 x 225 mm, Sheet 355 x 262 mm unmounted A half-length portrait of Anne, Lady Fenhoulet. Anne is depicted seated, directly facing the viewer. She is wearing an elaborate white lace Woffington hat, made famous by the actress Peg Woffington. Her dress is decorated with a posy of flowers at the bodice and both of her hands in a large fur muff. Anne (née Day), Lady Fenoulhet (c.1728 - 1790) was a mistress and later Lady Fenoulhet. Anne was the mistress of Richard Edgcumbe, the second Baron Edgecumbe, who likely commissioned the portrait from which this print is taken.

At the time of this portrait Anne was pregnant with their last illegitimate child, possibly the reasoning behind the large muﬀ hiding her stomach. Following Richard’s death, Anne married Sir Peter Fenoulhet in 1762, but the marriage was a scandalous one ending in separation and Anne moving to France. Chaloner Smith 53, i/iv, Hamilton 97, ii/iii, O’Donoghue 1, NPG D1937 Condition: Trimmed within plate mark on bottom margin, 18 mm margin on sides, 33 mm top margin, tape residue on top margin edge, minor foxing to right margin. [46825] £350

12. Lady Fortescue 1757 James McArdell after Sir Joshua Reynolds Mezzotint Sold at the Golden Head in Covent Garden. [1757] Image 317 x 254 mm, Plate 357 x 254 mm, Sheet 362 x 262 mm unmounted An almost full-length portrait of Anne, Lady Fortescue. Anne is depicted seated, gazing oﬀ to the right of the image. She is leaning on a ledge which is surrounded by foliage. She is wearing a wide cuﬀed dress and a veil which is held to the bodice with a string of pearls. Her left hand is resting, open palmed on her lap, her right hand lifted to her face.

Anne Fortescue (née Campbell), Lady Fortescue (c. 1730 - 1812), was the wife of Matthew Fortescue, 2nd Baron Fortescue. The daughter of John Campbell, 18th Thane of Cawdor and Mary of Gogirthen Campbell, Anne had two sons. Chaloner Smith 70, ii/iv, Hamilton 100, ii/iv, O’Donoghue 1, NPG D1983 Condition: Trimmed within plate on lower margin, three small worm holes to title area, some pinholes to sky area of image, some areas of thinning and wear to title area, some rubbing to upper edge of image. [46826] £200

13. The Rt. Honble The Countess of Essex John Faber II after Sir Godfrey Kneller Mezzotint [c.1720] Image 443 x 305 mm, Plate 453 x 305 mm, Sheet 515 x 365 mm unmounted A full-length portrait of Mary Capel, Countess of Essex. Mary is seen standing on a grand, classically inspired balcony over-looking the sea. She is twisted to the right but is looking forward at the viewer, her left hand holding up her cloak with her right pointing out to a boat seen on the horizon. Her hair is partly up, with some falling down over her back and shoulders. Her dress is secured in place with multiple pearls.

Mary Capel, Countess of Essex (née Bentinck) (1679 - 1726) was the daughter of William Bentinck, 1st Earl of Portland and Anne Villiers. Mary married twice, ﬁrstly Algernon Capel, 2nd Earl of Essex, who died in 1710 and secondly Sir Conyers Darcy. Mary had three children from her ﬁrst marriage. Chaloner Smith 28, i/ii, O’Donoghue 1, i/ii, NPG D36571 [46845] £300

14. [Lady Hardwicke] John Faber II after Sir Godfrey Kneller Mezzotint Sold by Faber at the Golden Head Bloomsbury Square. 1741 Image 307 x 250 mm, Plate 352 x 250 mm, Sheet 360 x 255 mm unmounted A three-quarter length portrait of Margaret, Lady Hardwicke. Margaret is depicted seated turned slightly to the right and facing forward. She is holding a small garland of ﬂowers and two lambs are to the sitter’s left. Margaret is wearing a simple dress which is secured my a small pearl at her chest. A wooded landscape is seen to the right of the sitter and she is leaning on a stone table.

Margaret Yorke (née Cocks), Countess of Hardwicke (c.1695 - 1761) was the daughter of Charles and Mary Cocks. She married William Lygon c.1712 but after he passed away in 1716 without any children she remarried Philip Yorke, 1st Earl of Hardwicke. Philip was a politician and lawyer, who was a close friend of the then Prime Minister Thomas Pelham-Holles, 1st Duke of Newcastle. They had seven children together. Chaloner Smith 179, i/ii, O’Donoghue 1, NPG D35420 Condition: 4 mm margin, tipped to album page, some foxing to title area of plate. [46828] £200

15. [Mrs Hardinge] Thomas Watson after Sir Joshua Reynolds Mezzotint London. Published Feb. 10th. 1780. for Watson & Dickinson No.158. New Bond Street Image 410 x 330 mm, Plate 450 x 330 mm, Sheet 510 x 380 mm unmounted

Lucy Hardinge (nee Long) (d.1820) was married to George Hardinge, a English judge, member of Parliament and writer. Lucy was the only daughter and heiress of Richard Long of Hinxton, Cambridgeshire. They had no children but adopted as their son and heir George’s nephew. The couple were close friends with their neighbour Horace Walpole.

A three-quarter length portrait of Lucy Hardinge. Lucy is depicted standing, looking oﬀ to the left. Her right hand is holding onto the paw of a spaniel, which is obediently looking up at the sitter. Lucy is wearing a voluminous dress, secured at the waist with a decorative sash, her hair up decorated with ribbons and pearls.

Chaloner Smith 18, ii/iii Hamilton 105, ii/iii, O’Donoghue 3 Condition: Some staining from previous mount, not aﬀecting iamge, some foxing and time toning to sheet. [46857] £550

16. [Elizabeth Marchioness of Stafford] Charles Turner after Thomas Phillips Mezzotint [1807] Image 305 x 258, Sheet 382 x 278 mm unmounted A touched proof impression of a half length portrait of Elizabeth, Marchioness of Stafford. Elizabeth is depicted seated, turned slightly to the left, but facing the viewer. She is wearing a headscarf, adorned with a pair of tassels which hang to the right of Elizabeth’s face. Her left arm is resting on the edge of a table with a small vase and flowers upon it. She has a simple string of pearls around her neck and a shawl with an embroidered edge over her shoulders. Elizabeth Sutherland Leveson-Gower, Duchess of Sutherland (née Sutherland) (1765 – 1839) was born in Edinburgh, the only daughter of William Sutherland, 18th Earl of Sutherland and Mary. 32

Her parents died shortly after her ﬁrst birthday and as the only surviving child she claimed her father’s title and estates. She married George Granville Leveson-Gower, Viscount Trentham in 1785, who in 1803 succeeded to his Father’s title and became Marquess of Staﬀord. Elizabeth is most known for her part in the ‘Highland Clearances’, which occurred from 1790 - 1855. Elizabeth was also a keen artist producing landscape water colours of her native Scotland, a number of her works are now held in the Tate’s collection. Unrecorded proof impression before all letters, prior to Whitman 539 i/ii, O’Donoghue 5. Condition: Chalk markings to robe, face, and backdrop, highlighting areas to be reworked, mezzotint ground border surrounding image, some foxing and time toning to sheet. [46830] £300

17. Lady Middleton James McArdell after Sir Peter Lely Mezzotint [c.1760] Image 435 x 353 mm, Plate 510 x 353 mm, Sheet 517 x 360 mm unmounted A three quarter-length portrait of Jane Middleton (née Needham). Turned slightly to the left, Jane Middleton is depicted looking directly at the viewer, her hair is loose in ringlets with a string of pearls around her neck. She is wearing a voluminous satin gown and is holding an abundance of fruit and corn at her hip. A fountain with a dolphin’s head can be seen to the right of the sitter, with a rocky landscape appearing to the left.

Jane Middleton (Myddleton) (1645 – 1692) was a reputed English beauty during the Restoration Period. Eldest daughter of Sir Robert Needham (d. 1661) and his second wife Jane (1619 – 1666), Jane was married to Charles Myddelton of Ruabon, the third surviving son of Sir Thomas Myddelton of Chirk. Famed for her beauty, Jane was much courted by men, but it is thought that she only took two lovers during her life, Ralph Montagu, 1st Duke of Montagu and Laurence Hyde, 1st Earl of Rochester. Jane was also an amateur artist. Chaloner Smith 129, ii/iii, Goodwin 124, iii/iii, O’Donoghue 3 Condition: 4mm margins, some light creasing to edges. [46752] £280

18. The Countess of Dorchester Isaac Beckett after Sir Godfrey Kneller Mezzotint G. Kneller pinxit. I. Becket fecit at excudit [c.1688] Image 312 x 248, Plate 339 x 250 mm, Sheet 355 x 267 mm unmounted A three-quarter length portrait of Catherine Sedley, Countess of Dorchester. Catherine is depicted seated in front of a waterfall. She is looking directly at the viewer, her long hair falling over her right shoulder. She is leaning on the edge of the waterfall which is decorated with carvings of cherubs. Catherine Sedley, Countess of Dorchester (1657 - 1717) was a courtesan and most famously mistress to King James II. Catherine was the only legitimate child of the poet Charles Sedley, her mother Lady Catherine Savage.

She was lady in waiting to the Italian princess Mary of Modena, who had recently married James, Duke of York, the heir to the British throne. James and Catherine proceeded to have an aﬀair, both before and after he ascended to the throne. After his accession, he succumbed to the pressures from the Church and separated from Catherine. She was later made the Countess of Dorchester in 1686, which caused much controversy forcing Catherine to live in Ireland for a time. Catherine married Sir David Colyear, Earl of of Portmore in 1703. She was famed, not for her beauty, but for her wit and ability to charm through conversation. Through her daughter by James II, Catherine was the ancestor of the Mitford sisters and, through marriage, Charles Darwin. Chaloner Smith 32, i/ii, O’Donoghue 1, NPG D1768 Condition: 9 mm margin, horizontal crease across centre, not aﬀecting image. [46803] £250 35

19. The Honble Mrs. Sherard John Smith after Sir Godfrey Kneller Mezzotint G. Kneller Eques pinx. I. Smith fec. et ex. [1699] Image 307 x 245 mm, Plate 337 x 247 mm, Sheet 347 x 257 mm unmounted A three-quarter length portrait of Lucy Sherard. Lucy is standing, twisted slightly to the left, her right hand holding up the voluminous skirt. Her left hand is holding a ﬂower and her hair is loose, pushed behind her shoulders.

Lucy Manners (nee Sherard) (1685 - 1751) was the daughter of 2nd Baron Sherard and Elizabeth Sherard. In 1713 she married John Manners, 2nd Duke of Rutland, and had eight children. Chaloner Smith 229, ii/iii, O’Donoghue 1, NPG D31335 Condition: 5mm margin, faint vertical scratch to left of sitter. [46773] £250

20. Mrs Ann Roydhouse John Smith after Sir John Baptist de Medina Mezzotint Sold by I. Smith at the Lyon & Crown in Russel Street Covent Garden. [c.1701] Image 315 x 245 mm, Plate 348 x 245 mm, Sheet 363 x 262 mm unmounted A three-quarter length portrait of Ann Roydhouse. Ann is seen seated, her right arm resting on a ledge. Her her is partly loose and falling over her right shoulder, her left hand raised and holding the curls. She is gazing oﬀ to the left of the image. Her dress is low cut and is almost oﬀ the shoulder, secured in place by strings of pearls.

Ann Roydhouse, Lady Morgan, was the only daughter of John Roydhouse. She married Sir Thomas Morgan in 1709. Ex Collection John Charrington, Ex-Curator of Prints at Fitzwilliam, Cambridge, bears stamp, L.572. Chaloner Smith 216 ii/ii, O’Donoghue 1, NPG D4120 Condition: 8 mm margin, crease to top right corner, two small holes to left margin, loss to top left corner. [46814] £200

21. The Honble. Mrs. Parker Thomas Watson after Sir Joshua Reynolds Mezzotint Publish’d Octr. 25th, 1773 for S. Hooper No. 25 Ludgate Street, W. Shropshire No. 158 & T. Watson No. 142 New Bond Street. Image 620 x 380 mm, Plate 620 x 380 mm, Sheet 640 x 395 mm unmounted A full-length portrait of Theresa Parker. Theresa is depicted standing, casually leaning on a large pedestal to the left with a large decorative urn on it. Her right arm is supporting her, whilst her left is holding onto her wrist. She is wearing a delicate dress which is partly covered by a robe, which has decorative brocade edging. Theresa is looking oﬀ to the right, a stream in a wooded area is visible amongst a rolling landscape.

Theresa Parker (née Robinson) (1745 - 1775) was the second daughter of Thomas Robinson, 1st Baron Grantham and Frances Worsley, who was a British diplomat and politician. Theresa married John Parker, 1st Baron Boringdon in 1769. John’s second wife, he and Theresa had two children. Theresa and her husband were patrons and good friends of Reynolds, Reynolds taking two years to complete this portrait and writing Theresa’s obituary when she died just three years after the completion of this painting. Chaloner Smith 28, ii/ii, Hamilton 125, iii/iii, O’Donoghue 1 Condition: 5 mm margin from plate mark on sides, 10 mm on bottom and 4 mm on top, some time toning to sheet. [46863] £600 39

22. Diana Viscountess Crosbie William Dickinson after Sir Joshua Reynolds Mezzotint London Publish’d Septr. 20th, 1779, by Dickinson and Watson No. 158, New Bond Street. Image 597 x 378 mm, Plate 634 x 378, Sheet 642 x 390 mm unmounted A full-length portrait of Diana Crosbie, Countess Glandore. Diana is seen standing, looking forward and seemingly in mid-movement as if walking through the scene. She is holding onto her dress with her right hand as her left is outstretched to the right. A rolling landscape can be seen to the right, with trees to the left. Diana’s hair is up, secured loosely with ribbons and pearls, locks of loose hair falling over her shoulders.

Diana Crosbie (née Sackville), Viscountess Crosbie (1756 - 1814) was the wife of 2nd Earl of Glandore and daughter of 1st Viscount Sackville. Diana attracted a fair share of criticism as a young woman and had a reputation for gambling and debt, one which was shared by the similarly controversial Duchess of Devonshire. Chaloner Smith 14, ii/iii, Hamilton 93, ii/iii, O’Donoghue 1, ii/ii, NPG D38891 Condition: 4 mm margin on top and sides, trimmed within plate mark on bottom, some creasing to corners. [46862] £600

23. Lady Charles Spencer William Dickinson after Sir Joshua Reynolds Mezzotint London. Publish’d Jan. 15th. 1776. by Wm. Dickinson, at Mrs. Sledges, Henrietta Street, Covent Garden. Image 450 x 350 mm, Plate 505 x 350 mm, Sheet 515 x 360 mm framed A three-quarter length portrait of Lady Mary Spencer. Mary is depicted standing, looking oﬀ to the left. Her right arm is is wrapped around the nose of a horse and she is dressed for riding, with her hat in her left hand. She is situated in a wooded area, with the shadows from nearby trees visible on her skirt.

Lady Mary Spencer (née Beauclerk) (1743 - 1812) was the youngest child of Admiral Vere Beauclerk and Mary Chambers. She was also a great-granddaughter of King Charles II by his mistress, Nell Gwyn. Mary married Lord Charles Spencer, son of the 3rd Duke of Marlborough, in 1762. Charles was a member of Parliament, Postmaster General, Master of Mint and Gentleman of the Bedchamber to George III. They had three children together. Chaloner Smith 77, ii/iii, Hamilton 132, ii/ii, O’Donoghue 1 Condition: Some loss of margin to top and bottom edge, small tear to title area. Framed in an antique frame. [46856] £500

24. [Maria, Countess of Waldegrave] James McArdell after Sir Joshua Reynolds Mezzotint J. Reynolds pinxt. J. McArdell fecit. [1762] Image 363 x 285 mm, Plate 395 x 286 mm, Sheet 405 x 298 mm framed A half-length portrait of Maria, Countess of Waldegrave. Maria is depicted facing to the right, a loose turban on her head and wearing a delicate ﬂower pattern dress. Maria, Countess of Waldegrave (née Walpole)(1736 - 1807) was the illegitimate daughter of Sir Edward Walpole. Her uncle Horace Walpole helped Maria into society. In 1759, Maria married James Waldegrave, 2nd Earl Waldegrave, a Lord of the Bedchamber to George II and a Governor to the future George III. James was more than twenty years Maria’s senior but they had three children together. 44

James died in 1763 and in 1766 Maria secretly married William, 1st Duke of Gloucester, the younger brother of George III, who disapproved of the marriage. The King thought Maria a bad inﬂuence on William and refused to believe his brother’s marriage was legitimate and sent William away on diplomatic work in an attempt to keep them apart. When Maria became pregnant George was forced to accept the marriage but felt so strongly that he banned William, Maria and their family from Royal presence. Chaloner Smith 184, ii/iii, Goodwin 92, Hamilton 137, ii/iii Condition: Good 8mm margin, some wear and creasing to top left corner. Framed in an antique frame. [46771] £550

25. Marchioness of Wharton Richard Earlom after Sir Peter Lely Mezzotint Published Sepr. 29th. 1776 by John Boydell, Engraver in Cheapside London. Image 376 x 288, Plate 403 x 288 mm, Sheet 435 x 295 mm unmounted An almost full-length portrait of Anne Wharton, Marchioness of Wharton. Anne is depicted seated facing the viewer. She is twisted to the left with her left hand supporting her and her right hand lifted pointing off to the right. Her long flowing hair is draped over her right shoulder and her voluminous dress is loosely secured, falling off her shoulders. Anne Wharton (née Lee) (1659 - 1685) was an English dramatist and poet. Born in Oxfordhire, Anne was the youngest daughter of Sir Henry Lee who died before she was born.

She was raised with her siblings by her Uncle, the poet John Wilmot at his home at Adderbury House. She married Thomas Wharton in 1673 but it was an unhappy relationship. While living separately, Anne frequently visiting Paris for her poor health. She is thought to have written up to 45 works from lyrical poetry to biblical passages, but only one of her works was published, under a pseudonym, within her own lifetime. In 1997, a book was published of all her known works but more poetry, attributed to Anne, has since been discovered. Chaloner Smith 42, ii/iii, O’Donoghue 1, NPG D27632 Condition: 17 mm margin to top and bottom, 3mm margin to sides, crease to top right corner. [46823] £280 47

Kitty Fischer Catherine Marie ‘Kitty’ Fischer (1741 - 1767) was a prominent British courtesan. Originally a designer of hats, she was introduced to London high life by the Lieutenant-General (then Ensign) Anthony George Martin. With a flair for publicity, she became known for her affairs with men of wealth. Her appearance and dress were scrutinised and copied and scurrilous broadsheets and satires upon her were printed and circulated. Prints of Kitty proved incredibly popular and sold in high numbers, making her, essentially, one of the first ‘pin-up’ girls, famous for simply being famous.

She sat multiple times for Joshua Reynolds and among others she was painted by Nathaniel Hone, Philip Mercier, James Northcote, and Richard Purcell. Kitty Fischer died only four months after her marriage to John Norris, some sources say from the eﬀects of lead-based cosmetics, some from smallpox.

26. Miss Kitty Fischer Richard Houston after Sir Joshua Reynolds Mezzotint Printed for Jn. Bowles_at No.13_in Cornhill. [c.1759] Image 315 x 250, Plate 350 x 250 mm, Sheet 430 x 280 mm unmounted A half-length portrait of Catherine ‘Kitty’ Fischer. Kitty is depicted coyly gazing at the viewer, a string of pearls round her neck. She is leaning forwards on a table, her arms resting on one another, with large elaborate lace sleeves. An open letter is on the table in front of her dated ‘1759 June 2d’ and inscribed with ‘My Dearest Life’.

Chaloner Smith 37, iii/iii, Hamilton 98, iii/iii, O’Donoghue 4, NPG D1952 Condition: Full margins, small blemish to area on cheek, small stain to right breast area. [46756] £400

27. Miss Kitty Fischer Edward Fisher after Sir Joshua Reynolds Mezzotint [c.1752] Image 300 x 254 mm, Plate 355 x 254 mm, Sheet 361 x 257 mm framed A half-length portrait of Kitty Fischer in the role of Cleopatra Dissolving the Pearl. Kitty is seen seated, looking oﬀ to the left. She is wearing a classically inspired dress which has a heavily pearl-trimmed bodice. Kitty has a small sun-like coronet on and is holding a chalice in her left hand, with her right holding onto a large pear-shaped pearl.

Chaloner Smith 18, Hamilton 97, i/iii, O’Donoghue 1, i/ii Condition: Thread margins, tipped to archival board. Framed in period frame. [46864] £650

28. If Musick be the Food of Love, Play on John Faber II after Philip Mercier Mezzotint Published according to Act of Parliament March 25th, 1744. Image 287 x 221 mm, Plate 328 x 221 mm, Sheet 333 x 228 mm unmounted Text below image: ‘If Musick be the Food of Love, Play on:That Strain again; it had a dying Fall:Oh! it came o’er my Ear like a Sweet Sound,That breaths upon a Bank of Violets,Stealing and giving Odour.’

A half length illustration of a young woman playing a viol, an accompaniment to Shakespeare’s The Twelfth Night. The young lady can be seen facing forward, her long hair falling over her right shoulder. She is wearing a low cut voluminous dress and is playing a seven stringed viol, an instrument popular in the 18th century. Chaloner Smith 410, ii/iii Condition: Thread margins, tipped to album page. [46821] £500

Honora is cradling a copy of Miss Burney’s ‘Evelina’ between her two hands, on her lap. She is wearing a simple gown, tied at the waist with a plain sash. She has a bonnet on with a large ribbon, tied into a bow at the front. In the background the break of dawn and the sunrise can be seen through an open window. Honora Edgeworth (née Sneyd) (1753-1780) was an English writer most known for her personal connections to literary ﬁgures of the time and her children’s education work. Born in Bath in 1751, Honora was raised by family friends Canon Thomas Seward and his wife Elizabeth in Lichﬁeld after the death of her mother in 1756. Whilst living with the Seward family she developed a close friendship with their daughter Anna, a poet, who wrote many poems about Honora. Honora and Anna lived together for thirteen years and formed a close friendship which has given rise to much speculation as to its exact nature. Honora eventually married Richard Edgeworth, after turning down a proposal of marriage from Thomas Day.

29. Serena John Raphael Smith after George Romney Mezzotint London Publish’d Septr. 28 1782 by J.R. Smith No. 83 opposite the Pantheon, Oxford Street. Image 475 x 350 mm, Plate 505 x 350 mm, Sheet 530 x 395 mm unmounted Text below image: ‘Sweet Evelina’s fascinating power, Had ﬁrst beguil’d of sleep her midnight hour, Possest by Sympathy’s enchanting sway, She read, unconscious of the dawning day.’ A full-length portrait of Honora Edgeworth as the character of Serena from William Hayley’s poem ‘The Triumph’s of Temper’. Framed with an oval, Honora is seen in the corner of a small candle lit room. She is seated on a small, low chair next to a ledge on which a small candle burns.

She is known for her stance on women’s rights, one of the factors stated when declining Day’s proposal was her strong stance of equality within marriage. Honora and her husband developed some concepts of childhood education together, writing books such as ‘Practical Education’, which works on the premise that a child’s early experiences are formative and that the associations they form early in life are long-lasting. Honora is often listed amongst the associates of the ‘Bluestockings’, a group of educated upper class literary women who disdained traditional female accomplishments and often formed close female friendships. Honora had two children through her marriage. Chaloner Smith 190, i/i, O’Donoghue 2, ii/ii Condition: Some creasing and wear to sheet edges, scratch to dress area of image. Repaired puncture to bottom of image. [46832] £400

30. [Lady Taking Tea] James McArdell after Philip Mercier Mezzotint Mercier Pinxit. McArdell Fecit. [1756] Image 310 x 253 mm, Plate 354 x 253 mm, Sheet 447 x 295 mm unmounted A rich, velvety impression of a half-length portrait of a lady taking tea. The sitter is depicted seated, turned slightly to the left, looking directly at the viewer. She is holding a cup and saucer in her right hand, raised to chest height.

A small table is in font of her, a tea-tray with a sugar bowl, cream jug, teapot and spoon resting on top. A delicate black lace shawl is draped over her shoulders, her left hand is gloved and holding its pair. Chaloner Smith 193, i/i, Goodwin 202, i/i Condition: Excllent. Full margins, crease to bottom right hand corner of sheet, not aďŹ&#x20AC;ecting plate or image. [46794] ÂŁ800

31. [Helena Fourment] James McArdell after Sir Anthony Van Dyck Mezzotint [c.1742] Image 340 x 250 mm, Plate 353 x 250 mm, Sheet 360 x 260 mm unmounted A full-length portrait of Helena Fourment. Helena is depicted standing facing directly forward. Her hands are wrapped around her waist, with her left hand grasping an ostrich feather. She wears a rich black gown, a plumed hat and a delicate lace ruﬀ. A wooded landscape can be seen either side of the sitter.

Helena Fourment (1614 - 1673) was the second wife of Baroque painter Peter Paul Rubens. Helena was the youngest daughter of the wealthy Antwerp silk and carpet merchant Daniël I Fourment and his wife Clara Stappaerts. She married Rubens when she was just 16 years old, Rubens being signiﬁcantly older at 53. She sat for Rubens on many occasions, for portraits and for other religious and mythological works. Chaloner Smith 69, i/iv, Goodwin 120, i/v Condition: Proof before letters. 4mm margins, tape to verso, areas of thinning to verso, small tear to top left corner, some tears to sheet edge, some creasing to top corners and skirt area of image. [46763] £280

32. Miss Hudson John Faber II after Thomas Hudson Mezzotint [c.1745-1750] Image 348 x 248 mm, Plate 353 x 250 mm, Sheet 355 x 253 mm unmounted A full-length portrait of Miss Hudson, the artist’s daughter. Miss Hudson is seen standing, facing forward looking directly at the viewer. She is stood on a balcony overlooking a wooded area. Miss Hudson is wearing a feathered slanted cap, a billowing dress, which is decorated with a string of pearls and ﬂowers on the bodice.

Her arms are crossed in front of her, her right hand holding an ostrich feather. A large urn sits upon a pedestal to the right of Miss Hudson and a small puglike dog is on the right, obediently looking up at its owner. Chaloner Smith 197 i/i, O’Donoghue 1, NPG D3120 Condition: Thread margins, wear to image, creasing and surface abrasion. [46808] £150

33. The Enchantress Jonathan Spilsbury after R. Murray Mezzotint Printed for Jn.° Ryall at Hogarth’s Head in Fleet Street London. [c.1765] Image 305 x 253 mm, Plate 354 x 253 mm framed Text below image: ‘Little Cupids basking lie, In the Sunshine of her Eye, Zephyrs Court her fragrant Breath, Sporting round her Lips, & Teeth, On her Cheek the Roses blow, On her Neck the Lillies grow, All that’s gracefull, all that’s sweet, In her Snowy Bosom, Meet!’

A half length portrait of Sarah Taylor turned to the right, looking at the viewer, wearing a wide hat, a necklace made of four strings of pearls, and a cape tied shut with a bow at the base of her neck, its hood on her back, trees in the background to left. With eight lines of verse below. Sarah Taylor (neé Crawford) was the wife of a musician at Sadler’s Well named Taylor and possibly the daughter of one of the opera managers. Chaloner Smith 14, Russell 14, Lennox-Boyd ii/ii, O’Donoghue 1 Condition: Some minimal surface rubbing around edges, a small stain lower left margin. Framed in a 19th century, 18th century style, gilt frame. [46306] £550

34. [Catherine Wodhull] Richard Houston after Johan Joseph Zoffany Mezzotint Printed for R. Sayer, as the Act directs 10 June 1772. Image 345 x 275, Plate 385 x 275 mm, Sheet 403 x 288 unmounted A half-length portrait in an oval of Catherine Wodhull. Catherine is depicted standing, leaning slightly to the left on a pedestal, her head resting on her right hand. She is looking to the right of the image, her hair adorned with pearls and a flower. The portrait from which this print was taken was originally commissioned to be half length, as this print appears, but was extended to a full length portrait at the request of the sitter after seeing Zoffany’s work.

Catherine Milcah Wodhull (née Ingram) (1744 - 1808) was a daughter of the Rev. John Ingram of Wolford, Warwickshire. She married Michael Wodhull in 1761, the wealthy translator of the works of Euripides and a collector of works on paper. Chaloner Smith 125, i/ii, NPG D14249 Condition: 6 mm margins, some areas of rubbing to printed area, some creases to upper left corner, small tear to upper margin edge. [46757] £280

35. Mrs Woffington James McArdell after Arthur Pond Mezzotint [c.1750] Image 270 x 223 mm, Plate 323 x 223 mm, Sheet 430 x 295 mm unmounted A half-length portrait of Margaret ‘Peg’ Woffington. ‘Peg’ is depicted wearing a delicate, low-cut, lace trimmed dress and bonnet, which is loosely secured with a bow below her chin. She is looking directly at the viewer whilst cradling a bouquet of flowers on her lap. Margaret ‘Peg’ Woffington (c.1720 - 1760) was an Irish actress, known as ‘Peg’ Woffington, who took leading roles in Dublin and London, circa 1737-57. ’Peg’ was thought to have come from an impoverished family, her father John Woffington working as a journeyman, hiring out his services for a daily wage. ‘Peg’ was famed for her comic roles but was also celebrated for her Shakespearean parts.

She was known for her bitter rivalries with other actresses (she stabbed Mrs Bellamy during a performance) and for her supposed love affairs, most notably with David Garrick who wrote ‘My Lovely Peggy’ and other songs for her. ‘Peg’ and Garrick lived together in London as an unmarried couple for many years, Garrick even considering marriage. ‘Peg’ remained unmarried throughout her life, being protective of her acting career she remained determined to stay independent. Contemporaries and critics at the time, who were predominantly male, took a negative view to ‘Peg’s’ way of life, shaping her experiences and affairs to fit the image of the actress as a whore, in a time of sensibility and propriety within the female ideal. Her career continued to be a success and she died a wealthy woman, leaving her fortune to her sister Mary. Chaloner Smith 188, i/i, Goodwin 160, i/i, O’Donoghue 9, NPG D4878 Condition: Some creasing to top margin. [46755] £300

Artists, Printmakers, & Publishers

BIOGRAPHIES

Isaac Beckett (c.1653-1688) was one of the ﬁrst major English mezzotint engravers. He was introduced to the newly invented technique of mezzotinting by John Lloyd, a printseller. Beckett engraved numerous mezzotint portraits, principally after the designs of Sir Peter Lely, Godfrey Kneller, Wissing and Riley. He also engraved religious, mythological and landscape scenes after Heemskerck and other Old Masters. Among his greatest mezzotint portraits are Sir Godfrey Kneller, King Charles II and James, Duke of York. Apart from his earliest work, Beckett published and sold his prints himself. He took on engraver John Smith as an assistant.

John Faber II (c.1695 - 1756), was the son of the portrait miniaturist and mezzotinter John Faber. Born in Amsterdam, Faber moved to England around 1698 and learned drawing and mezzotint engraving from his father; attending the academy in St. Martin’s Lane. He soon became the leading mezzotint engraver of his day, engraving two series after Godfrey Kneller twelve Hampton Court Beauties (1727) and forty-seven portraits of members of the Kit-Cat Club (1735). He also completed forty-two mezzotints after portraits of Thomas Hudson, ﬁfteen after Allan Ramsay, and several after Philip Mercier’s paintings.

William Dickinson (1746 - 1823) was a British mezzotinter who began his career with Bowles and was awarded premium of Society of Arts in 1767. In 1773 he set up as his own publisher and from 177981 in partnership with Thomas Watson, in 1797 went bankrupt, and emigrated to Paris where he died in 1823.

Edward Fisher (1722- c. 1782) was born in Dublin, moving to London in 1758 where he worked in the studio of engraver James McArdell. The following year he was selected by Sir Joshua Reynolds to produce a mezzotint engraving of his portrait of Augustus Keppel. Fisher went on to engrave nearly thirty more of Reynold’s paintings. A member of the Society of Artists, throughout the 1760s and 1770s Fisher regularly exhibited engraved portraits after a number of painters.

Richard Earlom (1743 - 1822) was a British painter, draughtsman and printmaker. He was born in London, and was apprenticed to Giovanni Battista Cipriani after he was discovered making sketches of the Lord Mayor’s coach. This natural faculty for art manifested throughout Earlom’s career, and he is believed to have taught himself the technique of mezzotint. In 1765, Earlom went to work for Johnathan Boydell, who commissioned the artist to produce a large series of works from Sir Robert Walpole’s collection at Houghton Hall. This pair of mezzotints constituted part of this series. His works after van Huysum, as well as the stilllife painter Jan van Os, are widely recognised as his most striking.

Richard Houston (c.1721-1775) was a publisher, print maker and artist born in Dublin, Ireland. Apprenticed to John Brooks as a draughtsman and mezzotintengraver, he studied drawing at the Dublin Society Schools. He moved with Brooks to London in 1746 and established himself as an independent printmaker and publisher. Thomas Hudson (1701-1779) was a British portrait painter and collector of Old Master drawings. Born in Devon, he was a pupil of Richardson, whose daughter he married in 1725. He was active in the West Country and London between 1730 and 1740. His draperies were frequently painted by Joseph Van Aken, who also worked for Ramsay and Pickering. Reynolds was his apprentice between 1740 and 1743. He also taught Wright of Derby and Mortimer. He visited France and the Netherlands in 1748, and visited Italy brieﬂy with Roubiliac in 1752. He exhibited with the Society of Artists in 1761 and 1766.

Sir Godfrey Kneller, 1st Baronet (1646 – 1723) was the leading portrait painter in England during the late 17th and early 18th centuries, and was court painter to British monarchs from Charles II to George I. His major works include The Chinese Convert (1687) a series of four portraits of Isaac Newton painted at various junctures of the latter’s life, a series of ten reigning European monarchs, including King Louis XIV of France, over 40 “Kit-cat portraits” of members of the Kit-Cat Club and ten “beauties” of the court of William III, to match a similar series of ten beauties of the court of Charles II painted by his predecessor as court painter, Sir Peter Lely. Sir Peter Lely (1618-1680) was the portrait painter and principal artist to Charles II. Born of Dutch parents, he trained in Haarlem, and came to London in the 1640s, where he quickly established a reputation as a portraitist. In 1680 he was appointed Principal Painter at the Restoration and knighted. Lely was prolific, and easily the most fashionable painter of his time. He was known for his high living as well as his celebrated collection of paintings and drawings. Pepys called him ‘a mighty proud man, and full of state’. James McArdell (1729 – 1765) was a mezzotinter. He was born in Dublin, and studied under Brooks. He travelled to London with Brooks c. 1746. McArdell is regarded as the outstanding mezzotinter of the so-called Dublin school, concentrating mostly on portraits. He is believed to have been Reynolds favourite engraver. He published his own plates, most of which were purchased after his death by Robert Sayer. Sir John Baptist Medina or John Baptiste de Medina (1659 – 1710) was an artist of Flemish-Spanish origin who worked in England and Scotland, mostly as a portrait painter, though he was also the first illustrator of Paradise Lost by John Milton in 1688. Philip Mercier (c.1689-1760) was a French painter and engraver, who lived and worked principally in London. The son of a Huguenot tapestry worker, Mercier was born in Berlin, where he studied painting at the Akademie der Wissenschaften, and later under Antoine Pesne. He travelled to Italy and France before settling in London in 1716. Painter to Frederick Prince of Wales (1729-36), Mercier mainly specialised in portraits, but in later years he made pictures in the manner of Watteau for engraving. His wife Dorothy ran a print shop in London. R. Murray (fl. c. 1763-1770) was a British artist, primarily known for his paintings.

Thomas Phillips (1770-1845) was a prolific and fashionable British history and portrait painter. In his lifetime he completed over 700 portraits. He studied at the Royal Academy Schools, finishing in 1791 and briefly working for Benjamin West. He exhibited at the RA between 1792 and 1846 and succeeded Fuseli as professor of painting there. Arthur Pond (1701 - 1758) was a painter, publisher, dealer, restorer, printmaker and collector, especially of Rembrandt’s etchings. He joined Knapton in print publishing in the 1730’s and also helped restore wall paintings for the trustees of the new British Museum at Montagu House in the years immediately before his death in 1758. Sir Joshua Reynolds (1723-1792) was one of the most important figures of the eighteenth century art world. He was the first President of the Royal Academy and Britain’s leading portrait painter. Through a series of lectures on the Discourses on Art at the Royal Academy he defined the style later known as the Grand Manner, an idealised Classical aesthetic. He had a profound impact on the theory and practice of art and helped to raise the status of portrait painting into the realm of fine art. A flamboyant socialite, Reynolds used his social contacts to promote himself and advance his career becoming one of the most prominent portrait painters of the period. George Romney (1734 - 1802) was a British portrait painter, and was the most fashionable artist of his day, painting a variety of society’s leading figures. In 1762, he moved from Lancashire to London, where he remained until 1799. Confident in painting portraits as well as history paintings, Romney was a rival of Sir Joshua Reynolds. John Smith (1652 - 1743) was an early British mezzotinter. He was born at Daventry, Northamptonshire, about 1652. He was apprenticed to a painter named Tillet in London, and studied mezzotint engraving under Isaac Beckett and Jan van der Vaardt. He became the favourite engraver of Sir Godfrey Kneller, whose paintings he extensively reproduced, and in whose house he is said to have lived for some time. He produced some 500 plates, 300 of which are portraits. On giving up business he retired to Northamptonshire, where he died on 17 January 1742 at the age of ninety. He was buried in the churchyard of St Peter’s, Northampton, where there was a tablet to his memory and that of his wife Sarah, who died in 1717.

John Raphael Smith (1751 - 1812) was an English painter, printmaker and publisher. After abandoning a career in linen drapery, Smith became one of the leading printmakers of the day. He excelled in mezzotint, and produced numerous plates after portraits by Gainsborough, Reynolds, and Romney. In addition to his reproductive work, he was also a highly successful publisher and seller of prints, and exported a large number of material to France. However, the outbreak of the Napoleonic Wars in 1803 destroyed this market, and Smith announced his retirement from printmaking in order to produce pastel portraits of his own up until his death in 1812. Henry Spicer was an English mezzotint and printmaker. Active in the 1760’s, he engraved works after artists of the time including Sir Joshua Reynolds. Jonathan Spilsbury (c.1737 - 1812) was a British printmaker and painter. Spilsbury was born in Worcester and had a brother of John (q.v., with whom often confused). He moved to London c. 1757, where his aunt had married Jonathan Richardson. It appears that he worked from his brother’s shop in Russell Court, off Drury Lane, c. 1763-69. From 1785-89, he taught at Harrow School, then in Ireland as a private tutor, returning to London 1791, where he published prints from his address at 10 St George’s Row. Charles Turner (1774-1857) was was an English mezzotint engraver and draughtsman. Hailing from Woodstock, Oxfordshire, Turner moved to London at the age of fifteen. He enrolled in The Royal Academy and, like many other engravers of the time, initially relied upon the patronage of wealthy and influential people. Turner had the considerable backing of the Marlborough family, for his grandmother had been a close companion of the Duchess. This relation led to important commissions. Turner would, for instance, engrave the Marlborough family portrait after the painting by Sir Joshua Reynolds. He was subsequently employed by the influential publisher John Boydell. Diversely gifted, Turner was as adept in the medium of mezzotint as he was in stipple and aquatint. This leant great scope to the subjects he could depict.

Anthony van Dyck (1599-1641) was one of the most prominent Flemish Baroque painters. Born in Antwerp, he was a pupil of Hendrik van Balen, but was soon noticed by Rubens with whom he would work closely during his early career. Van Dyck became a master of the St Luke Guild in 1618, went on to paint in Italy from 1621-1626, and then worked predominantly in England from 1632 onwards, where he was knighted by Charles I. Van Dyck was very prolific, he produced many portraits for members of the European aristocracy, as well as religious and mythological paintings and works on paper. Thomas Watson (1743 - 1781) was a mezzotinter, who died at the young age of 38. His father of the same name was a printseller at 33 Strand, and survived his son. From 1771-9 the son was in partnership with Walter Shropshire and he then took over the business in partnership with William Dickinson. In 1786 Strutt stated that the father had his son’s copper plates and sold the greater part of his son’s work through sales in 1784 (Christie’s 29 March and 7 May 1784) and 1792 (25 January, of the copper plates.) Johan Joseph Zoffany, (born Johannes Josephus Zaufallij, 1733 – 1810) was a German neo-classical painter, active mainly in England. The son of an architect who worked in the court of Alexander Ferdinand, 3rd Prince of Thurn and Taxis, Zoffany enjoyed the patronage of the Royal family, creating works for King George III and Queen Charlotte. A founding member of the Royal Academy in 1768, Zoffany found great success painting many prominent actors of the day including David Garrick, often in character. Zoffany is famed for his conversation pieces and has even been described as the creator and master of that genre. In his later life, he produced sizeable conversation pieces with large groups of people, all known to the artist and his contemporaries. Most famously the painting ‘The Tribuna of the Uffizi’, an example of a typical 18th century manner and a show of Zoffany’s skill as an artist.

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