EDUARDO LOBO MOIRA (ANGLO-PORTUGUESE, 1817-1887)
Prospective purchasers are advised that several co… Read more
EDUARDO LOBO MOIRA (ANGLO-PORTUGUESE, 1817-1887)

Details
EDUARDO LOBO MOIRA (ANGLO-PORTUGUESE, 1817-1887)
Marie Evelyn, Viscountess Byng of Vimy, née Moreton (1870-1949), in white dress with fichu, wearing lace cap with ribbon, her dog beside her; foliate background
on ivory
oval, 4 in. (102 mm.) high, gilt-metal easel-stand frame with ribbon and bow cresting, engraved on the reverse, 'Marie Evelyn Moredon. / Viscountess Byng of Vimy. / Born.1870.'
and bow cresting
Provenance
Frederick Joachim (1904-1994) Collection, London; (+) Christie's, London, 8 March 1995, lot 96.
Exhibited
London, Royal Academy, 1878, no. 1293.
Special notice
Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.

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Katharine Cooke
Katharine Cooke

Lot Essay

Marie Evelyn (1870-1949) was the only child of The Hon. Sir Richard Charles Moreton. In 1902, she married Julian Hedworth George, 1st and last Viscount Byng of Vimy (1862-1935), who became the 12th Governor General of Canada. Lady Byng is best known today for donating the Lady Byng Trophy to the National Hockey League in 1925.
Eduardo Lobo Moira (1817-1887) came to London as an actuary working at the Portuguese Embassy, before setting up as a miniature painter. Although he had not received any formal training, Moira was the stylistic successor to Robert Thorburn, using similarly large sheets of ivory. He quickly became popular, exhibited at the Royal Academy and was patronised by Queen Victoria. Thirteen miniatures by him of the Royal Family survive in the Royal Collection today. His widow, Eugenia, was granted a pension of £25 per annum from the Queen, in recognition of her husband's services.
Moira was one of the miniaturists who benefitted from the resurgence of the portrait miniature in the late 19th century. In a letter to Sir Henry Ponsonby, dated 26 January 1887, his widow wrote:
'For several years times had been very bad for miniature painters owing to the rapid strides made in photography but just now there seemed quite a reaction and Mr. Moira had more orders in for miniatures at the time of his death than he had had for 16 or 17 years, that he was looking forward to a time of prosperity.' (Royal Archives, PP/VIC/ADD 2605).

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