Sir Joshua Reynolds, P.R.A. (1723-1792)

Portrait of Lady, traditionally identified as Lady Anne Dawson, as the goddess Diana, three-quarter-length, in a pink dress, with a greyhound, in a landscape

細節

Sir Joshua Reynolds, P.R.A. (1723-1792)
Portrait of Lady, traditionally identified as Lady Anne Dawson, as the goddess Diana, three-quarter-length, in a pink dress, with a greyhound, in a landscape
oil on canvas
50 x 40 in. (127.6 x 102.2 cm.)
in a carved and gilded 18th Century Maratta frame

來源

Mr Fuller; Christie's London, 16 January 1841, lot 112, as 'Portrait of a Lady as Diana' (2 18s to Pennel).
J. Heugh; Christie's London, 10 May 1878, lot 232 (550 gns. to Agnew).
Junius P. Morgan and by descent through his son-in-law Walter H. Burns, of New York and North Mymms Park, Hertfordshire, to his daughter
Mary, wife of Lewis, 1st Viscount Harcourt, of Stanton Harcourt and Nuneham Park, Oxfordshire, and by descent to her daughter Doris, wife of Alexander, 6th Baron Ashburton, and by descent.

出版

A. Graves and W.V. Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., I, London, 1899, p. 235.
To be included in Dr. David Mannings' forthcoming catalogue raisone of the paintings of Sir Joshua Reynolds, as no. 495.

展覽

Leeds, 1868, no. 1024, as 'Portrait of a Lady as Diana', lent by J. W. Faulkner.

拍品專文

Lady Anne Fermor (1733-1769) was the youngest daughter of Thomas Fermor, 1st Earl of Pomfret, of Easton Neston, Northamptonshire, and his wife Henrietta Louisa (d. 1761), daughter of John, 2nd Baron Jeffreys, of Wem, Shropshire. She married Thomas Dawson (1725-1813), of Dawson Grove, co. Monaghan, in 1754. Her husband, the son of the wealthy Dublin banker Richard Dawson, was Member of Parliament for Monaghan, in Ireland, between 1749 and 1768, and was elevated to the peerage of Ireland, as Baron Dartrey, and created Viscount Cremorne in 1785.

Reynolds first painted Lady Anne Dawson in circa 1754, around the time of her marriage (private collection; D. Mannings, op. cit., no. 494). The present work would appear, on stylistic grounds, to date from circa 1763. The two portraits are very similar in composition; in both the sitter is shown in standard three-quarter-length format, dressed as the goddess Diana, with a greyhound at her side, but in the 1754 portrait she is shown facing to her right and holding a spear with her right hand. The identification of the sitter as Lady Anne Dawson in this portrait is traditional. However, Dr. Mannings is not entirely convinced on the basis of a comparison between the two portraits (op.cit., under no. 495).