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Lot Essay
The son of a chandler, Steele initially studied with the marine painter Richard Wright in Liverpool before joining Carle Vanloo’s studio in Paris. While abroad he acquired the extravagant manner that earned him the soubriquet ‘Count’ Steele. After his return to England he eventually moved to Kendal where, in 1755, he took George Romney on as an apprentice for four years. Following his wife's death in 1761 he went to the West Indies, but returned to Egremont in 1767.
Steele's style reveals a knowledge of Thomas Hudson and other contemporary portrait painters based in London. Ellis Waterhouse notes that his few signed portraits are 'neat and crisp and of excellent quality' (E.K. Waterhouse, The Dictionary of British 18th Century Painters, Woodbridge, 1981, pp. 358-9). The artist's understanding of texture and finish, as displayed in this engaging double portrait, were qualities that greatly influenced his celebrated pupil, Romney.
It is interesting to note the sophistication of the frame, which probably came from Shipton the house of Thomas Mytton (b. 1736), and whose wife Mary Mytton née Edwardes is depicted. In the late 19th century Eveline More, wife of Robert More of Linley, the then owner of two former Mytton estates, Shipton and Cleobury North, recorded the exceptional quality of the Georgian furniture of the latter, so it is reasonable to assume that the quality of the furnishings of Shipton might be of a similar standard which would be in keeping with superb, if provincial quality of this frame.
Steele's style reveals a knowledge of Thomas Hudson and other contemporary portrait painters based in London. Ellis Waterhouse notes that his few signed portraits are 'neat and crisp and of excellent quality' (E.K. Waterhouse, The Dictionary of British 18th Century Painters, Woodbridge, 1981, pp. 358-9). The artist's understanding of texture and finish, as displayed in this engaging double portrait, were qualities that greatly influenced his celebrated pupil, Romney.
It is interesting to note the sophistication of the frame, which probably came from Shipton the house of Thomas Mytton (b. 1736), and whose wife Mary Mytton née Edwardes is depicted. In the late 19th century Eveline More, wife of Robert More of Linley, the then owner of two former Mytton estates, Shipton and Cleobury North, recorded the exceptional quality of the Georgian furniture of the latter, so it is reasonable to assume that the quality of the furnishings of Shipton might be of a similar standard which would be in keeping with superb, if provincial quality of this frame.