John Russell R.A. 1745-1806

Both three-quarter length, seated in a landscape, he wearing a blue coat and yellow breeches, with his spaniel, she wearing a white dress with a green sash and hat

By descent from the sitters to Mrs Perkins, The Grove, Stonehouse, Gloucestershire;
Sotheby's, 30th November 2000, lot 12

George C. Williamson, John Russell, R.A., 1894, p158

Both paintings have been cleaned and lined. Both paintings are ready to hang and are in generally excellent condition. Examination under ultraviolet light reveals some very minor touches of repaint to the portrait of Thomas. Examination under ultraviolet light reveals some retouching to Mary's left shoe, as well as some other minor flecks of repaint. Both held in carved wood frames.
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NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The sitters were the children of Edward Sheppard (1741- 1808), and Elizabeth, daughter of the heir of John Harmer of Stonehouse, Gloucestershire, who had married in 1777. The Sheppard's were an old West-Country family of Fromefield, Somerset, and Edward was descended by marriage from Joseph Houlton, of Farley Castle, Somerset, High Sheriff of Wiltshire in 1696. Edward Sheppard was a merchant in the city of London, and moved to Stonehouse, Gloucestershire, where the family remained until the twentieth century. Thomas Harmer-Sheppard married firstly Isabella, daughter of his uncle, Henry Sheppard of Frome Selwood, and had a son, Edward. He married, secondly, Mary, the daughter of his uncle, John Sheppard, and had a son, John, and daughter, Mary. His sister, Mary, married Richard-Wilsonne Sheppard, and died in 1840, leaving a daughter.

At the time of these paintings, Russell was one of the most fashionable artists in England and it is interesting to note that in the late 1790's he priced his half length portraits at £80.15 compared to £70 for the equivelent from the late president of the Royal Academy, Sir Joshua Reynolds. Russell's distinction was further re-inforced by his royal appointments, coincidentally made in 1790 and 1792 the two years in which the present works were painted. In 1790, his principle exhibit at the Royal Academy was 'Her Majesty the Queen' and then he was styled as 'Painter to the King and Prince of Wales, and also to the Duke of York', exhibiting that year at the Academy a portrait of the Prince of Wales as President of the Royal Kentish Bowmen.

Russell's royal commissions had begun in 1789 with a portrait of Dr Willis, the celebrated Physician who had been summoned to attend to the King. The King's pleasure on seeing this work led to him commissioning the Queen's portrait and that of the Prince of Wales with the infant Princess Charlotte on her knee. This portrait was subsequently given to the Duchess of Brunswick Russell went on to paint Frederick, Duke of York on four occasions and he became a particular favourite at Court. Williamson (see Literature) relates how Russell's popularity with the Royal family led to Queen Charlotte herself helping collect his crayons from the floor when he let them slip from his hand whilst sketching her. Russell's sister-in-law, later handed down the story of how Russell took her into one of the royal palaces to see a particular picture in private quarters and gained easy access because the Prince Regent had unbuckled the 'Garter' from his knee, given it to Russell and told him to 'show them that and I expect they'll let you in at once' (Williamson, op.cit., p.59).