|Artist||William Dickinson after Sir Joshua Reynolds|
|Published||London. Publish'd Jan. 15th. 1776. by Wm. Dickinson, at Mrs. Sledges, Henrietta Street, Covent Garden.|
|Dimensions||Image 450 x 350 mm, Plate 505 x 350 mm, Sheet 515 x 360 mm|
A three-quarter length portrait of Lady Mary Spencer. Mary is depicted standing, looking off to the left. Her right arm is is wrapped around the nose of a horse and she is dressed for riding, with her hat in her left hand. She is situated in a wooded area, with the shadows from nearby trees visible on her skirt.
Lady Mary Spencer (née Beauclerk) (1743 - 1812) was the youngest child of Admiral Vere Beauclerk and Mary Chambers. She was also a great-granddaughter of King Charles II by his mistress, Nell Gwyn. Mary married Lord Charles Spencer, son of the 3rd Duke of Marlborough, in 1762. Charles was a member of Parliament, Postmaster General, Master of Mint and Gentleman of the Bedchamber to George III. They had three children together.
William Dickinson (1746 - 1823) was a British mezzotinter who began his career with Bowles and was awarded premium of Society of Arts in 1767. In 1773 he set up as his own publisher and from 1779-81 in partnership with Thomas Watson, in 1797 went bankrupt, and emigrated to Paris where he died in 1823.
Sir Joshua Reynolds (1723-1792) was one of the most important figures of the eighteenth century art world. He was the first President of the Royal Academy and Britain's leading portrait painter. Through a series of lectures on the Discourses on Art at the Royal Academy he defined the style later known as the Grand Manner, an idealised Classical aesthetic. He had a profound impact on the theory and practice of art and helped to raise the status of portrait painting into the realm of fine art. A flamboyant socialite, Reynolds used his social contacts to promote himself and advance his career becoming one of the most prominent portrait painters of the period.
Chaloner Smith 77, ii/iii, Hamilton 132, ii/ii, O'Donoghue 1
Condition: Some loss of margin to top and bottom edge, small tear to inscriptions space. Framed in an an antique frame.