This oil on canvas portrait is of Lady Albert Conyngham, otherwise known as Lady Henrietta Maria Conyngham formerly Weld Forester, born in Bottesford, Leicester in 1809, daughter of the 1st Baron Forester and sister of the Countess Selina, who was married to the 3rd Earl of Bradford. Her Ladyship was married to Lord Albert Conyngham (later becoming the 1st Baron Londesborough), the third son of the 1st Marquess Conyngham, on July 6th 1833, in Hanover Square, London, until her death at Mickleham Hall, Surrey, on 22nd April 1841 aged 31.
The portrait of her Ladyship was commissioned by Lord Albert Conyngham and painted by Sir Francis Grant P.R.A. the fourth son of the Laird of Kilgraston. He was a prominent portrait artist of the time and painted for many distinguished aristocratic figures including Her Royal Highness Queen Victoria, who commissioned him to paint ‘Queen Victoria Riding Out’ along with other portraits of herself and His Royal Highness Prince Albert. Other works by Sir Francis are held by The Tate, The National Galleries Of Scotland and The National Portrait Gallery.
A later copy of Her Ladyship's portrait, painted in 1861 for her son, presumably gifted to him by his aunt the Countess Selina, exists in the collection at Weston Park, Shropshire.
External frame: 69cm by 78cm
Potrait: 44cm by 54cm
The canvas is unlined and on its original stretcher, which is providing good support. There is some surface cracking, most notably in the flesh tones.. There are some areas of old paint shrinkage in the sky, which have been restored and a few minor areas of craquelure.
Under UV examination, there is some infilling to craquelure on the left hand side of the sky. There are areas of overpainting to the sky, mostly in the upper half. There is some retouching along the lower right edge of her dress. There are some areas of strengthening to the outer edges of her hair and there are also one or two other minor spots of retouching.
The portrait is presented in its original frame which overall remains in presentable condition. There is some separation between the outer frame and the insert section of the frame. Some small pieces of the gilt plaster to the edges and corners are no longer intact.
The portrait is of exceptional quality and a delight to study.
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