Jacques Laurent Agasse

Private collection, England;

Robert Early Strawbridge (1871–1963), Pennsylvania, USA, before 1930;

By inheritance to his son, Robert Early Strawbridge Jr. (1896–1986), Pennsylvania, USA;

By inheritance to his son, Robert Early Strawbridge III by 1986;

Private collection, England;

With Stair Sainty Gallery, London;

From whom acquired by the present collector.

Born into a wealthy and politically influential Huguenot family at Geneva, Agasse first trained at the École du Colibri, before moving to Paris in 1787, where he trained under Jacques-Louis David, and possibly also with Horace Vernet. His interest in animal portraiture eventually led him to London, where, following the precedent of George Stubbs, his evident talent found a ready demand at the hands of the great patrons of the Turf. Such was his success in England that he emigrated there permanently in 1800. With support of important supporters, such as the French-born George Pitt, 2nd Baron Rivers (1751–1828), the artist was swiftly put to work producing paintings and portraits for Lord Rivers and likeminded patrons in his circle.

The sitter of this equestrian portrait has traditionally been identified as Miss Mary Jane Keith (1811–1891). Little evidence survives detailing her life, apart from the fact that she married James Booth (1812–1882) in 1836. It is possible that this portrait was executed on the occasion of her marriage in that year. Notably, the Booth family were notable friends and patrons of the artist. It is almost certain that James was related to George Booth, the artist's landlord at No. 4 Newman Street in London from the year 1810, whose children and family were a constant source of inspiration for the artist's brush.¹

Agasse was fastidious record keeper, and many of his surviving paintings and portraits can be identified in his manuscript Record Book, now held by the Musée d'Art et d'Histoire in Geneva, which covers the period from November 1800 until his death in 1849. Although several portraits of unidentified ladies on horseback are listed for the years 1813, 1825, 1835 and 1842 respectively, this portrait of Miss Keith cannot be readily identified within the manuscript. Despite this, scholars have not been able to link every single surviving work of his with those encountered in the document.

The gentleman in the background of this portrait has also traditionally been identified as the groom of Lord Rivers. It is possible that the portrait is set in a quiet corner of Stratfield Saye, Hampshire, the home of the family which also served as the site for his famous stud. Agasse had produced a very striking painting showing a Groom under the employment of his lordship leading a chestnut hunter towards a coursing party in Hampshire, a work which is now in the collection at Tate Britain.² The costume of this groom, which a gentleman in a top hat with a distinctive yellow collar and belt, is not too dissimilar to the gentleman found in the background of this painting. However, there is little surviving evidence to either confirm or deny this identification.

This painting, which shows the sitter against a backdrop of softly painted foliage, is typical for the artist's interest for capturing sensitive light and textures. It is also clear that the artist made subtle changes to the composition, as there are pentimenti visible in the lower outline of the black cloth and the positioning of the horses back right leg.

We are grateful to Renée Loche for her assistance in providing information regarding the sitter of this portrait.

¹ R. Loche and C. Sanger (eds), Jacques-Laurent Agasse 1767–1849, exh. cat., London 1988, pp. 172–73, no. 67.

² Oil on canvas; 67.9 x 52.5 cm.; https://www.tate.org.uk/art/artworks/agasse-lord-riverss-groom-leading-a-chestnut-hunter-towards-a-coursing-party-in-hampshire-t02351