|Artist||Thomas Watson after Sir Joshua Reynolds|
|Published||Publish'd Octr. 25th, 1773 for S. Hooper No. 25 Ludgate Street, W. Shropshire No. 158 & T. Watson No. 142 New Bond Street.|
|Dimensions||Image 620 x 380 mm, Plate 620 x 380 mm, Sheet 640 x 395 mm|
A full-length portrait of Theresa Parker. Theresa is depicted standing, casually leaning on a large pedestal to the left with a large decorative urn on it. Her right arm is supporting her, whilst her left is holding onto her wrist. She is wearing a delicate dress which is partly covered by a robe, which has decorative brocade edging. Theresa is looking off to the right, a stream in a wooded area is visible amongst a rolling landscape.
Theresa Parker (née Robinson) (1745 - 1775) was the second daughter of Thomas Robinson, 1st Baron Grantham and Frances Worsley, who was a British diplomat and politician. Theresa married John Parker, 1st Baron Boringdon in 1769. John's second wife, he and Theresa had two children. Theresa and her husband were patrons and good friends of Reynolds, Reynolds taking two years to complete this portrait and writing Theresa's obituary when she died just three years after the completion of this painting.
Thomas Watson (1743 - 1781) was a mezzotinter, who died at the young age of 38. His father of the same name was a printseller at 33 Strand, and survived his son. From 1771-9 the son was in partnership with Walter Shropshire and he then took over the business in partnership with William Dickinson. In 1786 Strutt stated that the father had his son's copper plates and sold the greater part of his son's work through sales in 1784 (Christie's 29 March and 7 May 1784) and 1792 (25 January, of the copper plates.)
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 28, ii/ii, Hamilton 125, iii/iii, O'Donoghue 1
Condition: 5 mm margin from plate mark on sides, 10 mm on bottom and 4 mm on top, some time toning to sheet.