Attributed to Rosalba Carriera

Possibly Frederick, 3rd Earl of Bessborough;
His sale, London, Christie's, 7 February 1801, lot 6 ('Rosalba Four, the Seasons, very capital, in oil').

All four canvases have old relinings. The paint surfaces are overall in good condition with passages of thick impasto remaining under the old dirty, discoloured varnishes. As can be seen in the catalogue illustration the figure of Summer is damaged centre left along the edge of her dress and Spring at the top of her head. As also visible the varnishes on all four have blanched and discoloured and the paintings would benefit from a surface clean and revarnish. Inspection under UV light is severely impeded by the aforementioned problems with the varnish but some strengthening to Autumn's arms can be detected, as can some retouching to the right of the rabbit in Spring. Offered in matching carved gilt wood frames in fair condition, with some minor losses along the outside edges.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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."

ENGRAVED:
John Simon, London, circa 1730s;
Richard Houston, London, 1775.

Though pastel was Rosalba's favored medium, she was equally adept in oil.  Her earliest works were copies in oil of old masters which were sold to the growing tourist trade.  Rosalba painted one of her most important patrons, Augustus III of Poland, in oil (Vienna, Kunsthistoriches Museum), while another surviving oil – one of the four seasons, Spring – was exhibited in Treasures of Venice (Royal Academy, London, and the National Gallery of Art, Washington) in 1994.  An oil of Winter, in the same pose as here, was offered by Agnew's in 1975.

Rosalba never discarded the pastellist's technique when working in oil. In the present works, the application of the paint is dry and feathery and the colouring remains noticeably soft and matt.  The dramatic backgrounds embodying further references to the subject are identical to Rosalba's pastels, while the typically elegant hands are characteristically modelled, reflecting Rosalba's certain understanding of anatomy as well as facial features. 

An engraving by John Simon (1675-1751) of the present lot, showing exact replications of the four poses, has been dated to the 1730s, thus further indicating their early English provenance. The inscription on the plates reads: Rosalba, pinxt. J. Simon, fecit. The publisher is also given as John Simon, from the Golden Eagle in Villers Street York Buildings. Simon was one of the leading mezzotint engravers of his day, particularly noted for his portraits after Kneller and Dahl.  In 1775, the plates were reworked by Richard Houston, and were inscribed: Rosalba, pinxt; Houston, fecit, 1775.