Lady Elizabeth Alicia Maria Herbert, Later Countess of Carnarvon and Her Son Charles Herbert
Represented work of art
Artist
Joshua Reynolds
Dimensions1.125 x 1.39 (54 3/4 x 44 1/4 inches)
Provenance
- Probably the sitter's only daughter, Frances Herbert, who marrieds Thomas Moreton, 1 Earl of Ducie (1776-1840), Thence by descent to his son, Henry Morton, 2 Earl of Ducie (1802-53), and included in the sale of the contents of his London, house, Searle's 7 December 1853 (685) (bt. In.), By Descent to his grandson Capel Morton, 5 Earl of Ducie, is sale, of paintings removed from Torthworth Court, Falfield, glos., Christie's, 17 June 1949 (125) (Bt. Cooling), James R. Herbert Boone sold for the benefit of the Johns Hopkins University sale, Sotheby's, 16 November 1988 (32)
Publication history
- Sir Walter Armstrong Sir Joshua Reynolds 1900 p. 212
Photographic source
Object FormatPhotographic Print
Photograph Source
Sotheby's Auction House
Negative NumberE23488
Archival context
Object numberPA-F02381-0195
Archival context
- Fonds:Paul Mellon Centre Photographic Archive
- Series:Artists, A–Z
- Folder:PA-F02381
- Item:Lady Elizabeth Alicia Maria Herbert, Later Countess of Carnarvon and Her Son Charles Herbert
ClassificationsArchival Document
Scope and content This series comprises images of works by artists who were British by birth, foreign artists who worked in Britain or foreign artists who painted British sitters abroad. The works featured date from c.1500 to c.1900. The images in this series form by far the largest part of the Photographic Archive. Images remain in their original order: organised A–Z by artist name. Significant artists, or those for which there is a wealth of material, have multiple folders of images. In these cases, images are further subdivided by genre or type, depending on the artist. They may also be organised in ‘catalogue raisonné order’. The images predominantly depict oil paintings but prints and other works on paper are also included.
Acquisition information The collection has always been in the possession of the Paul Mellon Centre for Studies in British Art (or its predecessor institution, the Paul Mellon Foundation).
ArrangementThe archive has been arranged in its original order.
Conditions governing use The images in the Photographic Archive are derived from a variety of sources, so copyright in the collection is varied. The copyright status of each image is detailed at item level in the catalogue.
Accruals It is anticipated that new images may be added to the Centre’s Photographic Archive in future. These may be generated via the Centre’s everyday activities (such as the publishing programme). They may also come from external sources (such as donations by scholars or institutions).
Rights and reproductions
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Rights Statementhttps://rightsstatements.org/vocab/NoC-CR/1.0/
Data Formats
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