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George RomneyStudy - Hon. Catherine Trevor, Viscountess Hampden with Verso Lady Anne Gower1779
1779
About the Item
PROVENANCE
Private Collection, England
Colonel Charles William Garnde Walker (1882 - 1974)
Thence by descent to;
Sir Michael Walker (1916 - 2001)
Thence by descent
We are grateful to Alex Kidson for his assistance in cataloguing this work. It will be included in his upcoming catalogue on Romney’s work.
Framed measurements are 28 x 35 inches / 71.1 x 88.9 cm
This large study on paper by George Romney would almost certainly have been created in May 1779 in preparation for the full length portrait of Catherine Trevor, later Viscountess Hampden, now at the Carnegie Museum of Art, Pittsburg.
The commission came from the sitter's husband and saw Viscountess Hampden sit twice to Romney, on the 24th and 26th May 1779. Alex Kidson notes that the 'small number of sittings suggests that Romney hit his stride immediately, and the painting registers as one of his most effortless masterpieces'.
It can be presumed that the work was commissioned to celebrate the 30th birthday of Catherine as she had already been married for 11 years by 1779. It is known when looking at Romney's account book that the sitter's father-in-law paid 70 guineas for the portrait. In looking at the composition of the work on paper, it is clear to see that Romney explored the position of the arms originally showing the lyre near Mrs Trevor's head. This is changed in the final composition although the contraposto of the sitter remains similar.
The verso of this sheet has a study of Lady Anne Gower from Romney's masterpiece The Children of Granville Gower, 2nd Earl Gower, at Abbot Hall. Kidson has noted in private correspondence that by May 1779 the Leveson Gower Family picture 'was then unfinished (though well on) in Romney's studio. Maybe he was unsatisfied with the pose he had for Lady Anne at that point. Maybe it was even a jeu d'esprit...'
Catherine Trevor was born in 1749 and was the only daughter of General David Graeme of Braco Castle, who was responsible for taking George III's proposal to Princess Charlotte of Mecklenburg-Strelitz.
Catherine married Thomas Hampden-Trevor in 1768, the eldest son and heir of Robert, 1st Viscount Hampden, who had inherited the estates of his cousin John Hampden, the last male descendent of the Parliamentarian John Hampden, 'the Patriot'. Catherine and Thomas failed to have any children and on the death of John, Thomas' younger brother the title became extinct. It was then created for a second time for John's cousin and heir Henry Brand, 21st Baron Dacre, who as a result inherited Glynde Place which remains the seat of the Viscounts Hampden to this day.
A very similar study by Romney, presumably dating to the same time, was sold at Bonhams in 2005 and shows how Romney had explored this composition throughout the initial stages of the commission. Interestingly it would appear that he changed is mind for the layout of the the finished oil some time after the initial ideas were put to paper. In comparison with the Bonhams work, this newly discovered example appears more worked and perhaps indicates further exploration by Romney of the composition.
It is likely, considering the large size of the sheet, that it was not from a sketchbook but was an independent piece used to sketch Viscountess Hampden from life while she sat to Romney in his studio. The pages in Romney’s sketchbooks tended to measure 14 x 25 cm which would appear to support this.
Although we are unable to say with certainty, it would seem highly probable that our work was in Romney's studio at the time of his death and sold by his daughter Elizabeth in the Romney sale at Christie's in May 1894. Romney had a large collection of studies and works on paper such as this example which predominantly seem to have been dispersed in this 1894 sale. It was at some point in the early 20th century that the work was acquired by Colonel Charles Walker who worked for the Foreign Office and War Office and after his death his son the diplomat Sir Michael Walker inherited the work. It is from his estate that it is offered today.
- Creator:George Romney (1734 - 1802, English)
- Creation Year:1779
- Dimensions:Height: 17 in (43.18 cm)Width: 8 in (20.32 cm)
- Medium:
- Movement & Style:
- Period:1770-1779
- Condition:A condition report can be obtained if requested.
- Gallery Location:London, GB
- Reference Number:1stDibs: LU1959214290002
George Romney
George Romney is best known as one of British society’s foremost portrait painters of the 18th century, rivaling other widely acknowledged portraitists such as Thomas Gainsborough and Joshua Reynolds.
Born in 1734 in Dalton-on-Furness, Romney was the son of a cabinetmaker. In 1755, he began his artistic career as an apprentice to portrait painter Christopher Steele before traveling to northern England to establish a painting studio in Kendal. Romney’s talent in portraiture proved fruitful. By 1762, he had made enough money to set up a studio in London, where he became renowned for an “ability to paint flattering images regardless of personality.”
During the 1760s, Romney had hoped to become a history painter but was unsuccessful. To refine and improve his technique, he traveled to Rome in 1773, where he spent two years studying the Old Masters, including Titian, Correggio and Raphael. While there, he was also influenced by the works of Swiss painter Henry Fuseli.
Upon his return to London, in 1775, and with his newly honed painting style, Romney became even more popular among the British aristocracy and nobility. Although his primary aspiration was to make a living as a historical painter, Romney was in demand as a portraitist. His favorite subjects were children and women, particularly his muse, Emma Hart — who later became Lady Hamilton and mistress of Admiral Lord Nelson. Romney painted several Romantic portraits and drew many sketches of Lady Hamilton, whom he considered to represent the ideal of feminine beauty.
In his later years, Romney produced several portraits and drawings of Shakespearean subjects for John Boydell’s Shakespeare Gallery in 1790.
Romney’s figurative works, portraits and prints are held in collections of numerous major museums and galleries, including the National Portrait Gallery in London, the National Gallery of Canada in Ottawa, the Metropolitan Museum of Art and the Frick Collection in New York. In 2002, an exhibition commemorating the bicentenary of Romney’s death was organized by the National Museums Liverpool in partnership with the National Portrait Gallery and the Huntington Library, Art Collections and Gardens in San Marino, California.
On 1stDibs, find a range of original George Romney drawings, paintings and prints.
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