Thomas Hudson Paintings
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Artist: Thomas Hudson
Portrait of Mrs Faber, 18th Century Oil Painting
By Thomas Hudson
Located in London, GB
THOMAS HUDSON
1701 – 1779
Portrait of Mrs Faber
Oil on canvas
Image size: 29 x 24 ½ inches
Contemporary gilt frame
Mrs Faber was the wife of John Faber J...
Category
18th Century and Earlier Thomas Hudson Paintings
Materials
Oil, Canvas
Portrait of a Lady, Old Masters 18th Century Oil
By Thomas Hudson
Located in London, GB
Thomas Hudson
1701 – 1779
Portrait of a Lady
Oil on canvas
Image size: 30 x 25 inches
Original carved giltwood frame
Hudson had many assistants, and employed the specialist drapery ...
Category
18th Century Old Masters Thomas Hudson Paintings
Materials
Oil, Canvas
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Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki)
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with initials, lower centre: 'G D RA'; and signed and inscribed verso:
'Geo Dawe RA Pinxit 1819 St Petersburgh';
Also inscribed on the stretcher by Cornelius Varley with varnishing instructions.
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These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits.
1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil
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Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution.
The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801.
During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader.
2. Description of the two portraits and biographical details of the sitters
The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment.
He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta.
Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823.
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Previously Available Items
18th century portrait of Miss Furneaux-Pelham
By Thomas Hudson
Located in Bath, Somerset
Portrait of a Miss Furneaux Pelham, in a 'Van Dyck' style black gown with white sleeves trimmed with pink ribbon, the bodice adorned with jewels and pearls, resting her arm on a stone pedestal.
Bears a Christie's stencil on the reverse 629HT and a Sotheby's auction chalk mark.
Oil on canvas housed in a period giltwood frame.
Canvas size: 92 x 71cm
In frame: 109 x 89cm
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Property of Edward Hockley when sold at Christie's London, 3 May 1946, lot 79 (as by Allan Ramsay), bt. by 'Nicholl'
Sotheby's London sale, 'British Paintings 1500-1805', 10 July 1991, lot 22 (as by Thomas Hudson)
Private collection, Sussex
From 1740 to about 1760 Thomas Hudson was one of the most successful portrait painters in England. Having come to London in the mid-1720's, shortly after the death of Sir Godfrey Kneller in 1723, Hudson gradually rose to a position of prominence, which he held until the 1750's. Hudson painted only portraits, working first under the influence of his teacher Jonathan Richardson, and then turning in the 1740's to the baroque portrait compositions of Sir Anthony Van Dyck and Sir Peter Lely. From this time, with the assistance of drapery painters such as Joseph Van Aken, Hudson produced large numbers of portraits of ladies, gentlemen, judges and clergymen.
He married his teacher's daughter Mary...
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English 18th century portrait of Walter Edwards Freeman (c.1725-1747)
By Thomas Hudson
Located in Bath, Somerset
Walter Edwards Freeman, three-quarter length, standing in a landscape (probably the grounds of Batsford Park) wearing a dark green velvet jacket with gold buttons and a white cravat, an ivory silk waistcoat with his hat tucked under his arm, his hair worn 'en queue'. Oil on canvas.
Walter Edwards Freeman (born circa 1725) was the son of Mary (nee Freeman) and Walter Edwards Senior whose family came from Bristol. Mary's father was Richard Freeman (Senior), a landowner with extensive properties in several counties and was appointed Lord Chancellor of Ireland in 1702. After the death of his uncle, Richard Freeman (the Younger) in 1745, he inherited the estate of Batsford Park, Gloucestershire, and he and his family took the surname Freeman. Sadly Walter died two years later and his brother Thomas then inherited the Batsford Estate. When Thomas died without a direct heir in 1808, the estate passed on to his wife's nephew John Mitford and so on through the Mitford family. In 1916 it was inherited by the eccentric David Freeman-Mitford, 2nd Baron Redesdale and father of the famous Mitford sisters. His eldest daughter, Nancy Mitford, based part of her novels 'The Pursuit of Love' and 'Love in a Cold Climate' on their time living at Batsford.
Provenance:
The property of a Mrs E. Redburn when sold with Sotheby's London, 23 November 1977
With Lane Fine Art, London
The property of Eric Dare, Melbourne, Australia when sold with Sotheby's, 13 November 1995.
Christie's London, British Pictures, 24 November, 1998, lot 27
From 1740 to about 1760 Thomas Hudson was one of the most successful portrait painters in England. Having come to London in the mid-1720's, shortly after the death of Sir Godfrey Kneller in 1723, Hudson gradually rose to a position of prominence, which he held until the 1750's. Hudson painted only portraits, working first under the influence of his teacher Jonathan Richardson, and then turning in the 1740's to the baroque portrait compositions of Sir Anthony Van Dyck and Sir Peter Lely. From this time, with the assistance of drapery painters such as Joseph Van Aken, Hudson produced large numbers of portraits of ladies, gentlemen, judges and clergymen. He married his teacher's daughter Mary Richardson...
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Mid-18th Century English School Thomas Hudson Paintings
Materials
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Portrait of an Aristocratic Gentleman in Crimson Velvet Jacket Oil Painting
By Thomas Hudson
Located in Cirencester, Gloucestershire
Portrait of an Aristocratic Gentleman
attributed to Thomas Hudson (British 1701-1779)
oil painting on canvas, framed
canvas: 30 x 25 inches
framed: 33 x 28 inches
provenance: private collection, England
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English 18th century Portrait of a Lady wearing blue silk
By Thomas Hudson
Located in Bath, Somerset
A rare signed portrait of a young lady by Thomas Hudson (1701-1779) circa 1736. Inscribed lower right 'D.G. 18 years' and signed 'Hudson'.
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H 41.54 in W 31.11 in
Thomas Hudson - Pair of portraits - 4th Duke of Beauforts children
By Thomas Hudson
Located in Stoke, Hampshire
Thomas Hudson 1701-1779
The eldest children of Charles Noel, 4th Duke of Beaufort: Head and shoulders portraits of Henry (1744-1803; later 5th Duke) a little boy dressed in blue Van Dyck costume, and his sister Lady Anne Somerset, (1741-1763) in a white dress set with pink ribbons, and a lace ruff.
Oil paintings on canvas each 20 x 15 inches in carved and giltwood frames
Painted circa 1747/8
Thomas Hudson, a native of Devon, was by far the leading portrait painter in London for two decades in the middle years of the 18th century. He had arrived in London in the 1720’s after the death of Sir Godfrey Kneller, who had dominated London society portraiture for decades. He was taught to paint portraits by the redoubtable Jonathan Richardson, the artist, connoisseur, collector and theoretician of the arts.
His portrait practice by 1740 was substantial and highly successful, and numerous paintings by him survive. He continued the tradition of Van Dyck and Lely, and maintained a large studio with numerous talented young artists whom he taught: Henry Pickering, Joseph Wright of Derby, Sir Joshua Reynolds and others. He usually employed Joseph Van Aken as his drapery painter, and the consequence is that many of the works of these artists in these two decades are often difficult to distinguish one from another.
His quality, though, is consistent, and his likenesses truthful: they are the sound Georgian Prose and may be contrasted with the feathery rococo poetry of painters of the next generation, most notably Gainsborough.
The present paintings illustrate the high fashion of the 1750-60's, when the “Van Dyck” falling lace collar enjoyed a substantial, if rather brief, popularity. Hudson used the style on numerous occasions for both male and female sitters. The present pictures are autograph replicas of two of the group of portraits by Hudson of the 4th Duke's children painted towards the end of the 1740's, and which remain at Badminton House...
Category
18th Century Thomas Hudson Paintings
Materials
Oil
Thomas Hudson paintings for sale on 1stDibs.
Find a wide variety of authentic Thomas Hudson paintings available for sale on 1stDibs. You can also browse by medium to find art by Thomas Hudson in canvas, fabric, oil paint and more. Much of the original work by this artist or collective was created during the 18th century and earlier and is mostly associated with the Old Masters style. Not every interior allows for large Thomas Hudson paintings, so small editions measuring 25 inches across are available. Customers who are interested in this artist might also find the work of Sir Godfrey Kneller, John Emms, and George Wright . Thomas Hudson paintings prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $24,540 and tops out at $25,307, while the average work can sell for $24,591.