The Ladies Waldegrave: Lady Maria, Lady Laura and Lady Horatia
Represented work of art
Artist
Joshua Reynolds
Dimensions1.397 x 1.651 (55 x 65 inches)
Provenance
- Painted for Horace Walpole, great-uncle of the sitters; acquired by 6 Earl Waldegrave in : 1811 from Mrs Damer to whom Walpole had left it; sold by 7 Earl waldegrave in Strawberry Hill sale, May 18, 1842 bought in; left by Frances, his widow, to her 4 husband, Lord Carlingford; Daniel Thwaites; Mrs R. A. Yerburgh; Lord Alvingham.
Exhibition history
- British Institution, 1823 (15) and 1856 (157) ; National Portrait Exhn., 1867 (452); Grosvenor Gallery, 1884 (27) ; Agnew's 1899 (11); Red Cross Society, 1910; Royal Academy of Arts, British Art, 1934 (157) Royal Academy of Arts, Firts Hundred Years of the Royal Academy of Arts, Winter 1951-52 (82) ; Royal Academy of Arts, Reywolds,1986 (122)
Publication history
- St. James's Chronicle, No. 187; Moring Herald, No. 187; Walpole, Strawberry Hill Cat. , And letter to Rev. Wm. Mason, 28, 1780; Leslie and Taylor, Reynolds, 1856, II, 294; Graves and Cronin, Reynolds, (1899) III, p. 1017; Waterhouse, Reynolds, (1941) p. 72; Engr: Valentine Green 1781; J. Brown, 1858; R. B. Parkes, 1863; G. S. Shury, 1875
Previous owner
Thomas Agnew and Sons Ltd.
Photographic source
Object FormatPhotographic Print
Photograph Source
Royal Academy of Arts
Negative Number100/82
Archival context
Object numberPA-F02453-0171
Archival context
- Fonds:Paul Mellon Centre Photographic Archive
- Series:Artists, A–Z
- Folder:PA-F02453
- Item:The Ladies Waldegrave: Lady Maria, Lady Laura and Lady Horatia
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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