![]() 90, observes that her gown is based on oriental dress. PhD diss., Courtauld Institute of Art, London. The Dress Worn At Masquerades in England, 1730 to 1790, and Its Relation to Fancy Dress in Portraiture. 48, as probably painted 1767–69, an example of the fact that Reynolds "almost seems to have painted with love. Con capivi senza Giallo / Giallo (who cancelled) quando / era finito / Di Pingere (prima? cancelled) con Lacca e Giallo quasi solo e poi / Glaze with Ultramarine". 122, 124, 142, on January 19 and after August 27, 1767, Reynolds records payments of £26.5.0 each for a portrait of "Miss Hortoun" he notes "Mrs. "The Ledgers of Sir Joshua Reynolds." Walpole Society 42 (1970), pp. "Great Artists as Teachers." American Artist 29 (September 1965), p. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. "English Portraits in the Jules Bache Collection." Connoisseur 113 (March 1944), pp. A Catalogue of Paintings in the Bache Collection. Meisterwerke europäischer Malerei in Amerika. "Die Sammlung Jules Bache in New-York." Pantheon 6 (December 1930), p. Unknown Masterpieces in Public and Private Collections. "The Antiquarian's Picture Gallery." Antiquarian 13 (September 1929), p. New York, 1929, unpaginated, ill., as painted in 1769 from the collections of Viscount Maynard and Frances, Countess of Warwick. A Catalogue of Paintings in the Collection of Jules S. A History of the Works of Sir Joshua Reynolds P.R.A. Horton who later married the duke of Cumberland identify with Nancy Parsons a Mrs. Horton among sitters in February 1767 and January 1769, noting that the references are either to Nancy Parsons or to the widowed Mrs. The state, for a work by Reynolds, is fairly good. A note on technique at the end of the artist’s ledger dates before January 22, 1770, and seems likely, on account of the color scheme, to refer to this picture (Baetjer 2009, p. According to Mannings (2000), Reynolds recorded three appointments for sittings with Mrs. The present work, like Willison’s, shows the sitter in what an eighteenth-century viewer would have called oriental costume. ![]() The Scottish artist George Willison painted her in Turkish dress (Yale Center for British Art, New Haven), a portrait that was engraved by Ridley as a small oval, in 1771, as Miss P. An anonymous, undated print (National Portrait Gallery, London) depicts Nancy Parsons, and she also sat for Gainsborough, but that portrait is lost (see Ellis Waterhouse, Gainsborough, London, 1958, p. According to the Bache Collection catalogues (1929, 1937, 1943), it had belonged to Frances, Countess of Warwick, granddaughter of the third and last Viscount Maynard. ![]() Waterhouse (1973) and Mannings (2000) have accepted the identification of the sitter, though the picture is not recorded until its appearance on the art market in 1928, as Nancy Parsons. She is reported to have died in France in the winter of 1814–15. In 1784 she began an affair with the nineteen-year-old Francis Russell, fifth Duke of Bedford. In 1776 she married Charles Maynard, second Viscount Maynard, who, at twenty-three, was probably at least a decade younger than she. In 1763 she was the mistress of Augustus Henry FitzRoy, third Duke of Grafton, and later, in 1769, of John Frederick Sackville, third Duke of Dorset. She accompanied a slave trader named Horton, or Houghton, to the West Indies, returning to London as Mrs. Little is known of her early life, but she was presumably born Anne, or Nancy, Parsons, the daughter of a Bond Street tailor. The sitter was one of the great courtesans of her day.
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