Miss Mathew, Later Lady Elisabeth Mathew
Represented work of art
Artist
Joshua Reynolds
Dimensions0.775 x 0.635 (30 1/2 x 25 inches)
Provenance
- Thomas Hamlet, by whom sold at Messrs George Robins, August 1st, 1833; ; Wynn Ellis, sold his sale, Christie's, May 6 1876 (96), bought Graves; ; William Stuart Stirling-Crawford, Milton who bequeathed it to his widow, Caroline, Duchess of Montrose, sold her sale Christie's, July 14, 1914 (36) bought Lawrie; Sold by Lawrie to Henry J. Pfungst from whom it passed to Arthur Smith; Sir Lionel Phillips, bought Tynlney Hall, Winchfield, Hants; sold his sale, Christie's, April 25th, 1913, bought agnew; Arthur Hamilton Lee, later Viscount Lee of Fareham (1868-1947), Anonymous sale, Sotheby's, 13 July 1988 (51)
Exhibition history
- British Institution 1831 (148) (lent bby Thomas Hamlet)
Publication history
- A.Graves and W.V. Cronin A History of the of the Works of Sir Joshua Reynolds PRA 1899 Vol III pp 1120, Vol IV 1448; E..K. Waterhouse Reynolds 1941 P 70
Previous owner
Thomas Agnew and Sons Ltd.
Photographic source
Object FormatPhotographic Print
Photograph Source
Sotheby's Auction House
Negative NumberE22516
Archival context
Object numberPA-F02453-0023
Archival context
- Fonds:Paul Mellon Centre Photographic Archive
- Series:Artists, A–Z
- Folder:PA-F02453
- Item:Miss Mathew, Later Lady Elisabeth Mathew
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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