Lot 174
  • 174

CHARLES JERVAS | Portrait of Lady Mary Churchill, Duchess of Montagu (1689–1751)

Estimate
15,000 - 20,000 GBP
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Description

  • Charles Jervas
  • Portrait of Lady Mary Churchill, Duchess of Montagu (1689–1751)
  • oil on canvas
  • 127.4 x 102.5 cm.; 50 1/8  x 40 3/8  in.

Provenance

Henry Pelham-Clinton, 4th Duke of Newcastle (1785–1851), or Henry Pelham-Clinton, 5th Duke of Newcastle (1811–1864), Clumber Park, Nottinghamshire;
Henry Pelham-Clinton, 6th Duke of Newcastle (1834–1879), Clumber Park, Nottinghamshire;
Thence by descent to Henry Francis Hope Pelham-Clinton-Hope, Earl of Lincoln, later 8th Duke of Newcastle (1866–1941), Clumber Park, Nottinghamshire;
His sale, London, Christie's, 31 March 1939, lot 48, for £15–15s. to Agnew;
With Thomas Agnew & Sons, London, by whom sold on 22 July 1947 for £60, and back with them again on 1 June 1951, when sold for £75;
Peter Tennant, Esq.;
By whom sold, Glasgow, Christie's, 19–20 November 1986, lot 488;
Bought by the present owners in Long Melford, England, in the 1990s.

Exhibited

London, South Kensington Museum, Second Special Exhibition of National Portraits, 1 May – 31 August 1867, no. 250 (as depicting Lady Mary Wortley Montagu);
Nottingham, Museum and Art Gallery, Pictures from the Clumber Collection, 1929, no. 37;
Nottingham, Museum and Art Gallery, 1933, on loan;
London, Royal Academy, Exhibition of British Art c. 1000 – 1860, 6 January – 17 March 1934, no. 254.

Literature

Catalogue of pictures being part of the Clumber collection: the property of His Grace the Duke of Newcastle, 1872, p. 21, cat. no. 130 (listed in the Smoking Room, as depicting Lady Mary Wortley Montagu);
W.J. Hipkin, Descriptive catalogue of the pictures... belonging to His Grace the Duke of Newcastle at Clumber House, London 1923, p. 40, cat. no. 97;
J. Kerslake, Early Georgian Portraits, London 1977, vol. I, p. 191.

Condition

The canvas has a rather firm relining, the paint surface is relatively clean, and the varnish is clear. A slight degree of wear is visible throughout, where the weave of the canvas has become marginally more obvious. Inspection under ultraviolet light reveals some very fine retouchings along the profile of the sitter's jaw, her right eye socket, ear, and around her mouth, as well as fine lines of older retouching to disguise the network of craquelure in her forehead and chest, and some small, spot retouchings scattered mainly through the upper half of her dress. There are fine lines of retouching to disguise further craquelure in the landscape and lower right-hand side. In overall fair condition without a need for further intervention.
"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."

Catalogue Note

Lady Mary Churchill, Duchess of Montagu, wife of John, 2nd Duke of Montagu (1690–1749), was the youngest surviving daughter of John Churchill, 1st Duke of Marlborough (1650–1722) and his wife, the infamous Sarah Jennings, Duchess of Marlborough (1660–1744) – one of the most influential and notorious women of her time, due to her close friendship with Queen Anne. Formerly believed to depict Lady Mary Wortley Montagu (1689–1762), this portrait is of the same type as Jonathan Richardson's likeness of that sitter, today in the Sheffield Museum, itself related to Charles Jervas' full-length portrait of Lady Mary Wortley Montagu in the National Gallery of Ireland, Dublin.1

1 See Kerslake 1977, vol. I, p. 190, reproduced vol. II, fig. 551.