Portrait of John Shute Barrington, 1st Viscount ...

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Oil on canvas in carved and giltwood period frame, traditionally said to be JOHN SHUTE BARRINGTON, 1st Viscount Barrington of Ardglass, who was born in 1678 at Theobalds, Hertfordshire, England. He was the son of Benjamin Shute and Elizabeth Caryl. He married Anne Daines, daughter of Sir William Daines, on 23 June 1713 at St. Benet's, Paul's Wharf, London, England.
He died on 14 December 1734 at Becket, Berkshire, England and was buried on 27 December 1734 at Shrivenham, Berkshire, England.(See Image 8 for the memorial).

He was given the name of John Shute at birth and was educated at Utrecht, The Netherlands. He was admitted to the Inner Temple entitled to practice as a Barrister-at-Law and held the office of Commissioner of Customs between 1708 and 1711.
In 1710 he also inherited the estate of Tofts in Little Baddow, Essex, from Francis Barrington, married to his cousin; in the same year he inherited the estate of Becket, and considerable property in Berkshire, from a John Wildman.

Barrington held the office of Member of Parliament (Whig) for Berwick-upon-Tweed between 1715 and 1723. In 1716 his name was legally changed to John Barrington by Act of Parliament. He held the office of Master of the Rolls [Ireland] between 5 July 1717 and 10 December 1731. He was created 1st Viscount Barrington of Ardglass, Co. Down [Ireland] on 1 July 1720 and was created 1st Baron Barrington of Newcastle, Co. Limerick [Ireland] on 1 July 1720. On 15 February 1722/23 he was expelled from Parliament for promoting "an infamous fraudulent project," the lottery of Harbourg....one of the bubble speculations of the time...the punishment was considered too severe and was thought to be due to the personal malice of Robert Walpole, the Prime Minister.
Swift described Barrington as "the shrewdest head in England."His last will was dated 2 March 1726. He lived at Becket, Berkshire, England. He has an extensive biographical entry in the Dictionary of National Biography.

Children of John Barrington, 1st Viscount Barrington of Ardglass and Anne Daines:-
1.William Wildman Barrington-Shute, 2nd Viscount Barrington of Ardglass b. 15 Jan 1717, d. 1 Feb 1793
2.Maj.-Gen. Hon. John Barrington b. c 1722, d. 2 Apr 1764
3. Hon. Anne Barrington b. c 1725, d. Sep 1780
4.Hon. Daines Barrington b. 1727, d. 1800
5.Admiral Hon. Samuel Barrington b. 1729, d. 1800
6.Rt. Rev. Hon. Shute Barrington b. 26 May 1734, d. 25 Mar 1826.

Above information from "The Peerage" which illustrates this portrait in its entry on Viscount Barrington.

SIZE: 48.5 x 40 inches inc. frame.
PROVENANCE: with M. Ford Creech Antiques and Fine Art, Memphis, Tennessee, USA.
Private Collection.


Portrait of Richard Temple , ...

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Superb quality portrait, oil on canvas, later mounted on board, in the original fine carved and giltwood 17th century frame. This excellent portrait is typical of the height of the Baroque period; the handsome sitter relaxes in an expensive and fashionable silk 'tea gown', his costly wig flows over his shoulders.

It is believed that the portrait is of Richard Temple , first Viscount Cobham (1675–1749), politician and landowner, was born on 24 October 1675, the first child of Sir Richard Temple, third baronet (1634–1697), of Stowe, Buckinghamshire, and MP for Buckingham. Temple was a British soldier and Whig politician. After serving as a junior officer under William III during the Williamite War in Ireland and during the Nine Years' War, he fought under John Churchill, 1st Duke of Marlborough, during the War of the Spanish Succession. During the War of the Quadruple Alliance Temple led a force of 4,000 troops on a raid on the Spanish coastline which captured Vigo and occupied it for ten days before withdrawing.
In Parliament he generally supported the Whigs but fell out with Sir Robert Walpole in 1733. He was known for his ownership of and modifications to the estate at Stowe and for serving as a political mentor to the young William Pitt.

A full length portrait of Cobham can be seen at Fairfax House, York, painted about the same time as this one. The likeness is remarkable.

JOHN CLOSTERMAN (1660-1711) was born in Osnabruck, the son of an artist. His early training was from his father, but in 1679 he moved to Paris where for two years he studied under the portraitist Francois de Troy.
In 1681 Closterman came to England and entered into partnership with the established portrait painter John Riley.

By 1683 he had developed an independent practice; he was adept at baroque poses still with a slightly French influence, with rather flashily painted drapery
His clients were mainly from the intellectual and professional middle classes, and included some of the leading writers, artists, musicians and physicians of the day.
In the 1690's, as his reputation grew, he painted for more exalted and aristocratic patrons, like the Dukes of Somerset and Marlborough.
He lived in great splendour in his house in Covent Garden, London, with his wife Hannah.
In 1699, after a visit to Rome, he fell under the spell of the Antique and painted his famous full length portraits of the Earl of Shaftesbury in Classical pose.
Closterman's last documented portrait is 1704, and he devoted his last years to dealing in Old Master paintings.

An exhibition of his work was held by the National Portrait Gallery in 1981 under the title of 'Master of the Baroque Portrait'.

SIZE: 37 x 32.5 inches inc. frame.
Provenance: Hampshire Private Collection.

Portrait of a Member of the Palmes ...

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Oil on canvas in gilded oakleaf frame.

The sitter, depicted with a feigned stone oval, wears a faux Roman military tunic beneath his cloak; this was called 'elevating the sitter' and was intended to give the portrait a timeless Classical quality, as was his silk drape....this despite his fashionable full wig and cravat! Lely, and others, used this motif on many occasions.

The PALMES family of Naburn Hall, York, and the cadet branches of Lindley Hall, North Yorkshire; Ashwell, Rutland; and Carcraig in Ireland, are an ancient English aristocratic family, noted for their adherence to Catholicism. The Palmes family of Naburn are directly descended from Mary Boleyn and her daughter, Catherine, who is generally believed to have been the daughter of Henry VIII of England while Mary was his mistress. Mary's sister, Anne Boleyn, afterwards became the second wife of Henry VIII and the mother of Elizabeth I of England:
The family were originally seated at Taunton Deane, Somerset, where Manfred de Palma/Palmes had by the "Gift of Milo Earl of Hereford & Constable of England, 53 Oxgangs of Land and 25 Messages in the Lordship of Taunton Dean". Manfred was "known to be living in the sixth year of the reign of King Stephen, 1140 AD".

The Palmes family of Naburn can trace its ancestry through a maternal line to Robert de Todeni (died 1088), a powerful Norman baron. Todeni's importance is reflected by the 80 estates in 11 counties that he was granted by William across England. His principal Lordship was at Belvoir where he built his home, Belvoir Castle, before establishing Belvoir Priory in 1076. Among Todeni's many estates was Naburn. In 1226, William Palmes of Taunton acquired the Lordship of Naburn through his marriage to Matilda, daughter or sister of Richard de Watterville; a direct descendant of Robert de Todeni from whom the land had passed to the Wattervilles. From then on, the estate continued to descend uninterrupted from father to son within the Palmes family until 1974, on the death of Commander George Bryan Palmes. The Palmes family were said to have been "unique in being able to boast an unbroken heritage". Edmund Burke described the family as "one of serious antiquity".

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, and his Followers, many of them talented artists in their own right, emulated his style to supply this constant market.

SIZE: 37.25 x 32.25 inches inc. frame.
PROVENANCE: By descent through the Palmes family to a branch now resident in Kent.

Portrait of Ernst Casimir, Count of Nassau-Dietz, ...

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Oil on panel.

This 17th century portrait is based on the main version by Wybrand de Geest in the Rijksmuseum, which is 78 x 51 inches; this superb painting is a rather more manageable 24 x 17 inches.

ERNST CASIMIR I (22 December 1573 – 2 June 1632) was a Count of Nassau-Dietz and Stadtholder of Friesland, Groningen and Drenthe. He was the 11th child of John VI, Count of Nassau-Dillenburg, and Countess Elisabeth of Leuchtenberg. After the death of his father, his counties Nassau-Dillenburg, Nassau-Siegen, Nassau-Dietz, and Vianden were divided among his five living sons. Ernest Casimir followed him as Count of Nassau-Dietz. In 1631, he inherited the small county of Spiegelberg near Lauenstein.

Ernest Casimir was primarily known as an outstanding military leader during the Eighty Years' War. He served under Maurice of Nassau, Prince of Orange, in the siege of the cities of Steenwijk and Oldenzaal, and Frederick Henry, Prince of Orange, during the Siege of Groenlo and the Siege of 's-Hertogenbosch. As Stadtholder of Groningen, he founded the Nieuweschans fortress in 1628. Although he owned little in Friesland, he was popular there, and people granted his heir the right to rule after his death.

He was killed by a bullet at the siege of Roermond while he was inspecting the trenches in June 1632. His son, Henry Casimir I, succeeded him as count of Nassau-Dietz and as Stadtholder of Friesland, Groningen and Drenthe.

WYBRAND SIMONSZ. DE GEEST (16 August 1592 – c. 1661) was a Dutch Golden Age portrait painter from Friesland. He was born and died at Leeuwarden. He learned painting from his father, Simon Juckesz, a stained glass worker. He studied later with Abraham Bloemaert. From 1614 to 1618 he travelled in France and Italy on a Grand Tour. In 1616 he met up with Leonard Bramer in Aix-en-Provence. While in Rome he became a member of the painters' circle known as the Bentvueghels. He earned the nickname 'De Friesche Adelaar', or "the Frisian Eagle".

De Geest married Hendrickje Fransdr Uylenburgh in 1622, a niece of Saskia van Uylenburgh, the wife of Rembrandt. In 1634, just before his own marriage, Rembrandt visited De Geest's studio. In 1636 the Frenchman Charles Ogier, secretary to Cardinal Richelieu visited De Geest, to view his large collection of curiosities and coins.
De Geest was the most important portrait painter of Friesland and painted numerous portraits of the well-to-do citizens of his day, many of which survive in the Fries Museum. Perhaps the most intimate portraits he painted were those of his direct family. De Geest influenced Jacob Adriaensz Backer, and his students were Jan Jansz. de Stomme, and Jacob Potma. His sons Julius and Frank also became painters.

SIZE: 29 x 22.5 inches including the frame.
PROVENANCE: English Private Collection for many generations.


Portrait of a Young Child 1797: Attributed ...

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Oil on canvas in an imposing period giltwood frame.

An enchanting portrait of a child holding an apple by a draped table with apples and bread in a basket, a park landscape beyond.

The nudity of the sitter is intended to convey a sense of the innocence and lack of affectation in childhood.
The gender of the sitter is uncertain...the hair style being rather more that for a boy than a girl but, perhaps significantly, the child plays with apples and a basket of them is on the table. Apples are the attributes of the beautiful Three Graces, handmaidens of Venus.
The portrait is signed and dated "A mon cher/ ..eyen..n.. Elisabeth/ 1797". Whether the use of the masculine 'mon cher' refers to the painting being dedicated to the (male) sitter or to a male recipient is not known, but clearly it was someone towards whom Elisabeth Chaudet felt affection.
The Chaudets were married in 1793 so there is a possibility that this was their child, aged four in 1797.

The portrait has a natural informal feel...a snapshot of a fleeting moment, but the artist carefully, and exquisitely, depicts the opulent velvet on the table and the cultured parkland of a great estate; the point is made...this is a child of a wealthy and powerful family.

The frame bears an old label incorrectly naming the artist as Elisabeth Vigee-LeBrun.

JEANNE-ELISABETH CHAUDET née Gabiou (b Paris, 23 Jan 1767; d Paris, 18 April 1832) was an important Empire painter who began her career as a pupil of the renowned 18th Century portrait painter Elisabeth Vigée-Le Brun. She was the wife of Antoine-Denis Chaudet, the celebrated sculptor. She exhibited in the Salon between 1798 and 1817. From the beginning she enjoyed the approval of the public and the critics. The Little Girl Trying to Teach her Dog to Read (exh. Salon, 1799; Rochefort, Mus. Mun.) made her famous.
The Empress Josephine bought Young Girl Feeding Chicks (exh. Salon, 1802; Arenenberg, Napoleonmus.) for the gallery at Malmaison. Chaudet increasingly produced genre scenes incorporating young girls, children and pets, such as Child Sleeping in a Cradle Watched by a Good Dog (exh. Salon, 1801; Rochefort, Mus. Mun.) and Young Girl Crying over her Dead Pigeon (exh. Salon, 1808; Arras, Mus. B.-A.).
She is best known as a genre painter but also produced a large number of portraits, such as the full-length portrait of a Young Child in a Lancer's Costume (c. 1808; Arras, Mus. B.-A.).
Chaudet obtained a Prix d'Encouragement at the Salon of 1812 for the Little Girl Eating Cherries (Paris, Mus. Marmottan), but after 1812 her popularity declined. Her second husband, Pierre-Arsene-Denis Husson, whom she married in 1812, left an important collection of her work to the Musee des Beaux-Arts in the Abbaye St-Vaast, Arras.

SIZE: 53 x 39.75 inches inc. frame to top of crest.
(134.5 cm x 100cm)
Canvas size: 40 x 33 inches (101.2cm x 83 cm).
PROVENANCE: With LeBrun, Paris (old label verso),
Anonymous sale; Tajan, Paris 2004 (as a boy).
Sotheby's, London 2006 (as a girl).


Portrait Of A Gentleman C.1765, Said To ...

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Oil on canvas in a 19th century giltwood frame.
The sitter looks confidently out at the viewer....the very model of a fashionably and expensively dressed gentleman of the mid Georgian era.
There is an elegant swagger to the pose, but no bluster; a gracious dignity was paramount at this time. As was the fashion he wears a subdued coat, but a highly decorated waistcoat and fine lace.
THOMAS HUDSON (1701 – 26 January 1779) was an English portrait painter.
Hudson was born in Devon in 1701.His exact birthplace is unknown. He studied under Jonathan Richardson in London and against his wishes, married Richardson's daughter at some point before 1725.
Hudson was most prolific between 1740 and 1760 and, from 1745 until 1755 was the most successful London portraitist.
He had many assistants, and employed the specialist drapery painter Joseph Van Aken. Joshua Reynolds, Joseph Wright and the drapery painter Peter Toms were his students.
SIZE: 37.25 x 32.50 inches including the frame.
PROVENANCE: Herefordshire private collection.
Internal Ref: 9184

Portrait of Mary Dopping c.1700, by Michael ...

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Oil on canvas in a gilt 19th century frame.

This portrait is a fine example of the artist’s eloquent depiction of aristocratic women. In terms of both draughtmanship and pose Dahl’s female portraits are noticeably softer and gentler than Kneller’s, and thus allow for a greater versatility in the expression of feminine beauty.
Dahl’s works are frequently distinguished by a greater attention to the character of the sitter than those of his rivals, and he particularly allowed a softer aspect to the surfaces of his sitter’s costume and drapery. His colours are silvered and luminous, and there is a great charm and sensitivity in the overall expression of the sitter. In this example, the drapery and sitter’s turned head impart a subtle sense of movement. She wears the fashionable 'undress' and her hair is tied with blue silk ribbons.
This painting is absolutely typical of Dahl's highly skilled sensitive portraiture and is of great quality, allowing one to gain an insight into the character of the sitter; here the sitter looks out at the viewer with a quiet and intelligent good humour, with just a hint of seductiveness in her eyes...in every way this is a superb portrait.

MARY DOPPING (1684-1735) would be between 16 and 20 years of age at the time of this portrait. She was the great-great grandmother of Sir Anthony Arthur Weldon, 6th Baronet of Dunsmore, who was the last owner of the portrait before it was auctioned in Dublin in 1934 by his widow, Winifred Varty-Rodgers Weldon.
Mary Dopping was born on September 17, 1684. She was the daughter of Rev. Anthony Dopping and Jane Molyneux of Meath, Ireland.
Mary’s father was the Reverend Anthony Dopping, the Bishop of Kildare and vice-Chancellor of Trinity College and a Privy Councillor. He was later the Bishop of Meath, Ireland.
Mary Dopping’s Uncle, William Molyneux, (brother to Mary’s mother, Jane Molyneux) was a close friend of philosopher John Locke.
I believe the sitter in this Dahl portrait was Mary Dopping, the second wife of Arthur Weldon. The painting may have been passed down through the family until it was auctioned off by the widow of Sir Anthony Weldon, 6th Baronet of Dunmore.

Weldon Baronets
Sir Anthony Weldon, 4th Baronet (1781–1858)
Sir Anthony Crossdill Weldon, 5th Baronet (1827–1900)
Sir Anthony Arthur Weldon, 6th Baronet (1863–1917)
Sir Anthony Edward Wolseley Weldon, 7th Baronet (1902–1971)
Sir Thomas Brian Weldon, 8th Baronet (1905–1979)
Sir Anthony William Weldon, 9th Baronet (born 1947)
(After Sir Anthony Weldon’s death in 1917, his widow was forced to sell off the contents of Kilmoroney at a Dublin auction in October of 1934.)
(Research by Susan Brazao)

MICHAEL DAHL (1659 - 1743).
Dahl was a painter of exceptional talent and regarded as the only really serious rival to Sir Godfrey Kneller, for royal patronage, during the years 1690-1714. Dahl's patterns were undoubtedly indebted to the fashion set by Kneller, but Dahl had a lighter palette, his brushwork applied in shorter and more careful strokes.
His self portrait hangs in the National Portrait Gallery and he is famed for having painted a series of wonderful female portraits for the Duke of Somerset, now at Petworth House, and known as the Petworth Beauties.
Dahl's portraits of members of the royal family hang at Kensington Palace and Windsor and other examples of his work can be found at the Tate and National Maritime Museum, Greenwich.

SIZE:37 x 32 inches including the frame.
PROVENANCE: In the collection of the Weldon family since at least the 1900s when it was in the inventory compiled by Colonel Weldon.



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Joined armchair, South-West Yorkshire, 1650 - 1700. The chair stands on typical 'gun barrel' legs.

"The most distinctive 'signature' of the Dales armchair is the broad curly profile of the double-scrolled pediment crest, in which the scrolled earpieces are an integral part of the design." ('Oak Furniture: The British Tradition' by Victor Chinnery).
This chair is of good quality, with typical West Riding carving and good colour, but constant use over the centuries has inevitably left its marks.
As these once high status chairs became unfashionable in the 18th century they moved down from gentry houses to farmers and small merchants then into cottages, often being badly treated.
This example has been restored and reconstructed and is firm, solid and ready to use for another 300 years.

DIMENSIONS:45 inches tall, 22.5 inches wide, 23 inches deep.
PROVENANCE:London Private Collection.

Portrait of Gervais Nevile c.1720; attributed ...

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Oil on canvas in good quality period frame (damaged on the reverse of the right hand bottom corner, but barely visible from the front).

This fine quality portrait may be of Gervais Nevile, born c.1676 at Wellingore Hall, Kesteven, Lincolnshire. His parents were Bryan Nevile (1640 - 1754) and Martha Ellis (1652 - 1710).
His first marriage was in the 1690s and he married for a second time in June 1711 and his wife, Honora, bore him nine children, of whom only three survived. Honora was the daughter of Dr. John Richards MD of Chelsea (1655-1697/8).
(Our thanks to Christopher Richards for the bigraphical information).

The Neviles of Aubourn Hall and Wellingore Hall, are an ancient Lincolnshire family, who descend in the male line from Gilbert de Nevile, mentioned in the Doomsday Book and an ancestor of the Nevills, Earls of Westmoreland.

JONATHAN RICHARDSON Snr (c1665 - 1745 was the leading native-born portrait painter of the first forty years of the century. He and Jervas were in rivalry with Kneller and Dahl. Jervas excelled with women's portraits Richardson was best with men. His works were sound, solid, good likenesses, and unpretentious.

SIZE: 36 x 32 inc. frame

By descent through the Nevile family of Aubourn and Wellingore.
Verso: old handwritten label "Living Room. No. 4"

(Image 4 shows Aubourn Hall today, and Image 5 Wellingore Hall).

Portrait of a Lady c. 1690; Circle ...

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Oil on canvas in an appropriate reproduction frame.

The attractive unknown sitter was clearly a lady of wealth and status; she regards us with a quiet confidence. She wears many pearls...the Baroque jewel par excellence... not only highly fashionable but also signifying purity and chastity (concepts more admired than honoured at this time in the Court!).

NICOLAS de LARGILLIERE (baptized Oct. 10, 1656, Paris, France—died March 20, 1746, Paris), French historical and portrait painter who excelled in painting likenesses of the wealthy middle classes. Most artists of his time took as their standard of excellence the adherence to Classical models and an emphasis on drawing, while some broke away in favour of the style of Rubens and an emphasis on colour. Trained in Antwerp and showing great admiration for the Flemish masters, Largillière came to be looked upon as a pioneer by those 18th-century artists who followed the later, more modern course. In 1709, he painted the royal family portrait of The Family of Louis XIV. This portrait shows King Louis XIV, Madame de Ventadour (governess of the children of the Duke of Burgundy), the 3-year old Louis, Duke of Brittany (1707–1712), Louis, Grand Dauphin and Louis, Duke of Burgundy, future Dauphin.
Highly honoured in his lifetime, he was made Chancellor of the Academy in 1743.

SIZE: 33 x 27 including the frame.
PROVENANCE: Cheshire private collection.

Portrait of a Boy with his Pets ...

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Oil on canvas in decorative frame.

An utterly charming naive portrait in which the animals almost have a cartoon quality.
The young boy firmly clutches a whistle and looks out as if lost in thought; meanwhile the cat and the spaniel stare fixedly at each other.
This portrait has such a feeling of humour that it makes the viewer smile.

SIZE: 35 x 29 inches inc. frame.
PROVENANCE:From a Cambridgeshire country house.

Portrait of a Young Lady c.1770; Attributed ...

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69A beautiful portrait of an attractive young woman, painted in the Neoclassical fashion of the second half of the eighteenth century, much favoured by Kauffman.

ANGELICA KAUFFMAN R.A. (1741—1807), in full Maria Anna Catharina Angelica Kauffman, Kauffman also spelled Kauffmann or Kaufmann, was a painter in the early Neoclassical style.

The daughter of Johann Joseph Kauffmann, a painter, Angelica was a precocious child and a talented musician and painter by her 12th year. Her early paintings were influenced by the French Rococo works of Henri Gravelot and François Boucher. In 1754 and 1763 she visited Italy, and while in Rome she was influenced by the Neoclassicism of Anton Raphael Mengs.

She was persuaded by Lady Wentworth, wife of the English ambassador, to accompany her to London in 1766. She was well received and was particularly favoured by the royal family. Sir Joshua Reynolds became a close friend, and most of the numerous portraits and self-portraits done in her English period were influenced by his style of portrait painting.
Her name is found among the signatories to the petition for the establishment of the Royal Academy, and in its first catalogue of 1769 she is listed as a member. She was one of only two women founding members.
During the 1770s Kauffmann was one of a team of artists who supplied the painted decorations for Adam-designed interiors (e.g., the house at 20 Portman Square, London, which was home to the Courtauld Institute Galleries for more than 60 years). Kauffmann retired to Rome in the early 1780s with her second husband, the Venetian painter Antonio Zucchi.

Kauffmann’s pastoral and mythological compositions portray gods and goddesses. Her paintings are Rococo in tone and approach, though her figures are given Neoclassical poses and draperies. Kauffmann’s portraits of female sitters are among her finest works.

SIZE: 27 x 23 inches inc. frame.
PROVENANCE: Anon. sale at Christie's 21 March 1975, lot 113 as by Angelica Kauffman.
Private Collection, Berkshire.

VERSO: old Christie's stencils, catalogue entry from 1975 sale.