Joshua Reynolds BRITISH 1792 LADY PORTRAIT MUSEUM OIL

EXCELLENT PROVENANCE PURCHASED BY THE DELGADOMUSEUM IN MARCH OF 1936 (plaque and typed notation on verso also museum inventory numbers in red) TITLED ON OLD LABEL VERSO AND NUMBERD. MAGNIFICENT MUSEUM QUALITY OIL ON CANVAS IN A MUSEUM FRAME.

ARTIST:
circle: Joshua Reynolds (BRITISH, 1723-1792)

CONDITION
Very good, scattered cracquelure and restoration work done to canvas. (Re-lined)
in good stable condition. Museum restored.
In art, craquelure is the fine pattern of cracks formed on old paintings. It is sometimes used to detect forged art, as craquelure is a hard-to-forge signature of authenticity. The precise pattern of craquelure depends upon w the picture was painted. T appear to be distinct French, Italian and Dutch "styles" of craquelure. Craquelure can furnish a record of the environmental conditions the painting has experienced during its lifetime, and also can reveal details about the painting's history of handling, transportation, and restoration.

SIGNED:
BEARS MUSEUM PLAQUE ON FRONT AND OLD MUSEUM LABEL VERSO. ALSO INVENTORY NUMBERS IN RED ON FRAME AND STRETCHER BARS.

TITLE:
"Mrs eliza hartley"
TITLED VERSO ON LABEL.

MEDIUM AND SIZE:
Oil On Canvas.
The actual Size of painting not including the frame is: 21" x 17"

FRAME AND SIZE:

ARTIST INFO
Reynolds was born in Plympton, Devon, on 16 July 1723. As one of eleven children, and the son of the village school-master, Reynolds was restricted to a formal education provided by his father. He exhibited a natural curiosity and, as a boy, came under the influence of Zachariah Mudge, whose Platonistic philosophy stayed with him all his life. Showing an early interest in art, Reynolds was apprenticed in 1740 to the fashionable portrait painter Thomas Hudson, with whom he remained until 1743. From 1749 to 1752, he spent over two years in Italy, w he studied the Old Masters and acquired a taste for the "Grand Style". Unfortunately, whilst in Rome, Reynolds suffered a severe cold which left him partially deaf and, as a result, he began to carry a small ear trumpet with which he is often pictured. From 1753 until the end of his life he lived in London, his talents gaining recognition soon after his arrival in France. Reynolds worked long hours in his studio, rarely taking a holiday. He was both gregarious and keenly intellectual, with a great number of friends from London's intelligentsia, numbered amongst whom were Dr Samuel Johnson, Oliver Goldsmith, Edmund Burke, Giuseppe Baretti, Henry Thrale, David Garrick and fellow artist Angelica Kauffmann. Because of his popularity as a portrait painter, Reynolds enjoyed constant interaction with the wealthy and famous men and women of the day, and it was he who first brought together the famous figures of "The" Club. By 1761 Reynolds could command a fee of 80 Guineas for a full-length portrait (Mr Fane); in 1764 he was paid 100 Guineas for a portrait of Lord Burghersh.[1] With his rival Thomas Gainsborough, Reynolds was the dominant English portraitist of 'the Age of Johnson'. It is said that in his long life he painted as many as three thousand portraits. In 1789 he lost the sight of his left eye, which finally forced him into retirement. In 1791 James Boswell dedicated his Life of Samuel Johnson to Reynolds. Reynolds died on 23 February 1792 in his house in Leicester Fields in London. He was buried at St. Paul's Cathedral.

PREVIOUS AUCTION SALES INFO

Circle Of Joshua Reynolds
Title Portrait of a lady
Medium Oil on Canvas
Size Height 50 in.; Width 39 in. / Height 127 cm.; Width 99.1 cm. Sale of Sotheby's New York: Thursday, May 20, 1993 [Lot 00308] IMPORTANT OLD MASTER PAINTINGS
Estimate 8,000 - 12,000 US$
Sold For 33,350 US$

Circle Of Joshua Reynolds
Title Portrait of William Robert Fitzgerald, 2nd Duke of Leinster, K.P., in...

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