Overview

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Inscription

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Marks and Labels

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Provenance

Painted for the sitter, John Musters [1753-1827], Colwick Hall, Nottinghamshire; probably by inheritance to his son, John Musters [1777-1849], Colwick Hall; (his estate sale, at Colwick Hall by J.M. Pott, 9-13 and 16 December 1850, 4th day [Dec. 12], no. 680, bought in); by inheritance to his grandson, John Chaworth Musters [1838-1887], Annesley Park, Colwick Hall, and Wiverton Hall. (William Lockett Agnew, London), by 1895. private collection ["a lady"]; consigned for her by (William Lockett Agnew, London) to (sale, Christie, Manson & Woods, London, 27 April 1901, no.101); (Thos. Agnew & Sons, Ltd., London); sold two days later to Charles Richard John Spencer-Churchill, 9th duke of Marlborough [1871-1934];[1] (sale, Christie, Manson & Woods, London, 14 June 1907, no. 104); bought by (Lane) for Sir W. Hutcheson Poë, Bt., Batchwood Hall, near St. Albans;[2] (sale, Christie, Manson & Woods, London, 8 July 1927, no. 58); (Thos. Agnew & Sons, Ltd., London);[3] sold the same month to Alvan T. Fuller [1878-1958], Boston; The Fuller Foundation, Boston; gift 1961 to NGA.

Exhibition History

1878
Opening Exhibition of the Midland Counties Art Museum, Castle, Nottingham, 1878-1879, no. 57.
1885
Works by the Old Masters, and by Deceased Masters of the British School. Winter Exhibition, Royal Academy of Arts, London, 1885, no. 189.
1895
20 Masterpieces of the English School, Thos. Agnew & Sons, Ltd., London, 1895, no. 15.
1910
Japan-British Exhibition, Shepherd's Bush, London, 1910, no. 9, repro.
1928
Exhibition of Paintings Loaned by Governor Alvan T. Fuller, Art Club, Boston, 1928, no. 24.
1939
Art in New England: Paintings, Drawings, Prints from Private Collections in New England, Museum of Fine Arts, Boston, 1939, no. 109, pl. 56.
1959
A Memorial Exhibition of the Collection of the Honorable Alvan T. Fuller, Museum of Fine Arts, Boston, 1959, no. 20, repro.
2002
Loan to display with permanent collection, The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California, 2002-2003.

Bibliography

1865
Leslie, Charles Robert and Tom Taylor. Life and Times of Sir Joshua Reynolds. 2 vols. London, 1865: 2:202, 302.
1899
Graves, Algernon and William Vine Cronin. A History of the Works of Sir Joshua Reynolds. 4 vols. London, 1899-1901: 2:487-488.
1900
Armstrong, Sir Walter. Sir Joshua Reynolds. London, 1900: 221.
1941
Waterhouse, Sir Ellis. Reynolds. London, 1941: 69, pl. 192.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 319, repro., as Squire Musters.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 114, as Squire Musters.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 101, repro., as Squire Musters.
1969
Watson, Ross. "British Paintings in the National Gallery of Art." The Connoisseur 172 (1969): 56, repro., 57-58.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 304, repro., as Squire Musters.
1975
Walker, John. National Gallery of Art, Washington. New York, 1975: no. 505, color repro.
1981
Williams 1981, 12, repro. 14, as Squire Musters.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 361, no. 502, color repro., as Squire Musters.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 349, repro., as Squire Musters.
1992
Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 215-217, repro. 216.

Conservation Notes

The canvas is twill woven; it has been lined. The ground is white, of moderate thickness. What remains of the original paint in the face and figure is freely applied in thick, opaque layers, blended wet into wet. The sky and background are severely abraded and very heavily overpainted; the sitter's hair and neck are also overpainted. The costume was overpainted c. 1820; this overpaint was removed and the picture restored to its original state in 1872.[1] The coat is badly abraded and has been extensively retouched. The impasto has been flattened during lining. The heavy natural resin varnish has not discolored.


[1] Graves and Cronin 1899-1901, 2:682.

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