A half-length portrait of Sir Edward Walpole dressed in a blue coat and waistcoat with a red sash. He wears on his breast the insignia of the Order of the Garter
A small scale, full-length portrait in landscape format. Husband and wife gather around an ornate table in an architecturally setting with columns and empty niches that is open to the exterior grounds of the country estate. Sir Robert Walpole in ceremonial robes sits at left. The Chancellors seal and the busts of King George I and King George II signifiy Walpole’s role as first Minister to them. Lady Walpole stands at the opposite end of the table where flowers, shells, a palette and pencils mark her love of the arts. Their hounds in the left foreground are painted by the sporting artist John Wooton who may also have painted the view of Walpole’s Norfolk estate, Houghton, in the distance. The posthumous portraits are based on lifetime miniatures by Zincke
Alternative Title:
Double portrait of Sir Robert Walpole, 1st Earl of Orford (1776-1745) and Lady Walpole (circa 1682-1737)
Description:
Title devised by curator., Title from 2005 Christie's appraisal: Double portrait of Sir Robert Walpole, 1st Earl of Orford (1776-1745) and Lady Walpole (circa 1682-1737)., From the 1774 Description: ... over the chimneypiece ... In a frame of black and gold carved by Gibbons, Sir Robert Walpole and Catharine Shorter; small whole lengths; by Eckardt, after Zinck: the hounds and view of Houghton by Wootton. Sir Robert is sitting; by him, on a table, is the purse of chancellor of the exchequer, leaning against busts of George 1st. and 2d. to denote his being first minister to those kings: by lady Walpole are flowers, shells, a pallet and pencils, to mark her love of the arts. Formerly located in the Blue Bedchamber at Strawberry Hill., In an ornate black and gold frame deeply carved with fruit and flowers by a follower of Grinling Gibbons. The family coat of arms set at center top. Walpole attributed the frame to Gibbons himself., Text from the 1842 Catalogue of the classic contents of Strawberry Hill collected by Horace Walpole: A very interesting and valuable picture, Portraits of Sir Robert Walpole and Catherine Shorter, Lady Walpole, small whole lengths, the former in his robes sitting, on a table near him is the purse of the Chancellor of the Exchequer leaning against busts of George I. and II., to denote his being First Minister to those kings; near Lady Walpole are flowers, shells, a pallet and pencils to mark her love of the arts; their favourite hounds in the foreground and a view of Houghton in the distance. This painting is from the united efforts of Eckardt and Wootton, and is considered a masterpiece of art; the Portraits of Sir Robert and Lady Walpole are from the miniatures by Zincke, the hounds and view of Houghton by Wootton. The black and gold frame enclosing the picture, one of the finest specimens carving, is by Gibbons, displaying with wonderful effect the arms of the family, enriched with Cupid figures as supporters, birds, fruit, grapes and foliage, most beautifully designed and perfect as a work of art. Eckardt and Wootton., and For further information, see library staff.
Subject (Name):
Walpole, Robert, Earl of Orford, 1676-1745, and Walpole, Catherine, Lady, 1681 or 1682-1737,
A three-quarter length portrait of Sir William Killigrew. He stands before large columns on the left and a treed landscape on the right. He wears 17th century court attire and Text from both the 1774 and 1784 editions of Description of the villa of Mr. Horace Walpole, at Strawberry Hill: Over the chimney, an original half-length of Milton, aet. 45, in black, a ring tied to one of his button holes
Alternative Title:
Portrait of John Milton
Description:
Title from 2005 Christie's appraisal., Horace Walpole incorrectly, or aspirationally, believed this to be a portrait of John Milton whose name is inscribed on the frame., Unknown creator., Copy after Anthony Van Dyck., and Text from the 1842 Catalogue of the classic contents of Strawberry Hill collected by Horace Walpole: A Portrait of Milton.
Subject (Name):
Strawberry Hill (Twickenham, London, England) and Killigrew, William, Sir, 1606-1695,
LWL Ptg. 155 Framed, on view in Administration Area
Image Count:
1
Resource Type:
still image
Abstract:
Half-length portrait of Theodosia Burr Alston, depicting a young woman in a white empire dress with lace trim, her hair up in a cap, curls in front. In a 19th century gilt frame with rope twist inner molding, bearing a plaque with artist and subject, verso with a William Macbeth Gallery label, hand written note reads: From Mrs. J.P. Overman, and another label: Yale University Art Gallery, envelope on the back with another William Macbeth label; ss: 17 1/2" h., 14' W., some inpainting where the panel has checked and some crackling, frame reinforced with mahogany. Theodosia, the daughter of Aaron Burr, was married to the Governor of South Carolina Joseph Alston, she died off the coast of Cape Hatteras in January of 1813 having been kidnapped (according to information accompanying the work).
Description:
Title from 2005 Christie's appraisal., Also known as the 'Nags Head Portrait.', and Formerly wrongly attributed to John Vanderlyn.
Half-length portrait of Thomas Gray in profile. Gray wears a powdered wig and dark coat and vest. He gazes through a window at a landscape. Visible in the distance is St. Giles’s church at Stoke Poges, Buckinghamshire, England. The church is the setting of his Gray’s An Elegy Written in a Country Churchyard. The author is buried in St. Giles’s Churchyard
A half-length portrait of Mason in profile facing left. The esteemed poet is portrayed holding a manuscript of his epitaph for his wife’s grave in Bristol Cathedral
Description:
Title from 2005 Christie's appraisal., Attributed to Falconet based on dealer correspondence in object file and confirmed by Christie’s appraisal. Dealer correspondence notes it is a slightly different version of a Falconet reproduced in Ketton-Cremer’s Thomas Gray (1955)., and William Mason was an esteemed poet, and biographer of Thomas Gray and editor of his letters. Mason was among Horace Walpole’s chief correspondents.
Aymar, Gordon C. (Gordon Christian), 1893-1989, artist
Published / Created:
[not after 1979]
Call Number:
LWL Ptg. 167 Framed, on view in Cowles House
Image Count:
1
Resource Type:
still image
Abstract:
In a gilt molded frame, a half-length portrait of Wilmarth Lewis, wearing in a dark vest and jacket with a light gray tie and collar, gray hair parted in the middle. The subject is writing a note with pen in hand; on the verso a label from Portraits Incorporated, Portrait Center of America 136 E. 57th St. NY, NY.
Description:
Title from inventory. and Signed in the lower right.
A full-length portrait of a boy in three-quarter view facing left. The subject stands on an ornate rug and rests one hand on the back of a red chair. He wears a black hat with red band atop a long curly wig and lavish gold and red garments over a white cravat and ruffled sleeves. Through an open passage on the right is a landscape with a large architectural structure. A distant figure stands before it. This portrait hung at Strawberry Hill and was identified by Horace Walpole as Dorothy Townshend painted by Godfrey Kneller. Dorothy Walpole Townshend was Horace Walpole’s aunt and godmother
Description:
Title from 2005 Christie's appraisal. and Formerly attributed to Sir Godfrey Kneller and but now (2005) attributed to the Circle of Jacob Huysman.
At center a portrait of an Indian Groom, flanked by three British Children with Ponies and two dogs set in a landscape, possibly Calcutta or Patna
Alternative Title:
Triple portrait of three children and their ponies and Three children with ponies, groom and dogs
Description:
Title devised by curator., Title from 2005 Christie's appraisal: Triple portrait of three children and their ponies, Dated in Christie's appraisal: Circa 1840., and Unidentified artist, Anglo-Indian School. Formerly attributed to Chinnery.
Title from inventory., Signed and dated LL with "L/ '51", in molded and painted barn board type frame., and Inscriptions and labels on verso: Newport (Rhode Island), Leonid '51 ; New Britain Museum of American Art label indicating it was deaccessioned and returned to owner in June 1996, #1982. 1 (T).