ALLAN RAMSAY (EDINBURGH 1713-1784 DOVER)
ALLAN RAMSAY (EDINBURGH 1713-1784 DOVER)
ALLAN RAMSAY (EDINBURGH 1713-1784 DOVER)
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ALLAN RAMSAY (EDINBURGH 1713-1784 DOVER)

Portrait of Lady Frances Carteret, later Marchioness of Tweeddale (1718-1788), three-quarter-length, in a silver gown with an ermine-trimmed blue wrap

Details
ALLAN RAMSAY (EDINBURGH 1713-1784 DOVER)
Portrait of Lady Frances Carteret, later Marchioness of Tweeddale (1718-1788), three-quarter-length, in a silver gown with an ermine-trimmed blue wrap
signed and dated 'A Ramsay 1748' (lower right)
oil on canvas
49 x 39 in. (124.5 x 99 cm.)
in its original English carved, pierced and gilded frame
Provenance
By descent in the family of the sitter at Yester House, near Gifford, East Lothian, to the seller at the following,
Anonymous sale [The Property of a Lady of Title]; Sotheby's, London, 10 November 1982, lot 30, where acquired by the present owner.
Literature
A. Rowan, 'Yester House, East Lothian-II', Country Life, CLIV, 16 August 1973, pp. 431 and 433, fig. 5.
A. Smart in. J. Ingamells, ed., Allan Ramsay, A Complete Catalogue of his Paintings, New Haven and London, 1999, pp. 190 and 290, no. 519, fig. 282.
Exhibited
Edinburgh, The Royal Scottish Academy, Works of Old Masters & Scottish National Portraits, 1883, no. 115, lent by the Marquis of Tweeddale.

Brought to you by

Lucy Speelman
Lucy Speelman Junior Specialist, Head of Part II

Lot Essay


Lady Frances Carteret was the youngest daughter of John Carteret, 2nd Earl Granville, by his first wife, Frances Worsley. This particularly fine portrait of her by Ramsay was likely painted to celebrate her engagement to John Hay, 4th Marquess of Tweeddale, whom she married in 1748. The couple had six children, four daughters and two sons; their eldest son died in infancy, so the Marquessate was inherited by the younger, George, who himself died aged thirteen, at which point the title devolved on his uncle.

By the time of the present portrait Allan Ramsay had been working in London for a decade, and had firmly established his position as a leading portraitist of the age, attracting the patronage of some of Britain's most important families. His female portraits in particular were lauded for their elegance and sophistication, elements which are widely attributed to his travels and studies in Italy in the 1730s, where he crossed paths with Pompeo Batoni. Also much remarked upon were his refined technique for depicting fine costume details, and perhaps most importantly, his assured capacity to bring his sitters to life in their portraits.

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