The writer Lady Louisa Stuart (1757-1851) was the daughter of George III’s prime minister Lord Bute. She is shown in a cluttered interior seated in an upholstered armchair at small table desk. She leans in to closely to read an open book that she holds in her hands. Lady Louisa Stuart’s manuscript notes on John Heneage Jesse's George Selwyn and his Contemporaries,” 1843-1844 sparked W.S. Lewis’s interest in the eighteenth century
Alternative Title:
Portrait of Lady Louisa Stuart, in an interior, reading book
Description:
Title devised by curator. and Title from 2005 Christie's appraisal: Portrait of Lady Louisa Stuart (1757-1851), in an interior, reading book
One of a number of related versions of this portrait in the style of Liotard. The sitter, identified as Maria Gunning, was a notable beauty of her time. She wears Turkish dress, a pearl choker necklace and large pearl earrings. Her pale complexion is achieved by lead white make-up know to be poisonous
Description:
Title from 2005 Christie's appraisal. and Artist thought to be a follower of Jean-Etienne Liotard.
Subject (Name):
Coventry, Maria Gunning Coventry, Countess of, 1733-1760,
Full-length portrait of a woman, likely to be Mary Anne Clarke, wearing a white neoclassical dress and standing on a balcony with a curtain drapped from the left corner
Description:
Title devised by cataloger., Signed and dated by the artist in lower left: Adam Buck, London 1804., Identity of the sitter based on the known partronage of Adam Buck by both Prince Frederick, Duke of York and Albany, and his mistress Mary Anne Clarke. In addition, there exist other examples of similar portraits of Clarke by Buck., and Removed from frame, which is stored separately in LSF Bin 14.
A three-quarter-length portrait of Robert Walpole in a wooded landscape. He wears a blue coat and red waistcoat with the insignia of the Order of the Garter. He holds a riding crop in his proper right hand. His gloves are tucked in his belt while he holds his hat in his left hand which rests at his waist. Two horses with grooms are visible in the distant landscape
Description:
Title from 2005 Christie's appraisal., Artist not identified, but English School, circa 1725., and Previously attributed to John Wootton.
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,
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.
Title devised by curator., Unsigned; artist unidentified., Date supplied by cataloger, based on the date assigned to the scrapbook in which the drawing is found., and Mounted on leaf 41 in volume 1 of Anne Damer's Scrapbooks.