Attributed to Allan Ramsay (Edinburgh 1713-1784 Dover)
No VAT will be charged on the hammer price, but VA… 顯示更多 The Property of a Descendant of James Thursby Pelham (lots 160-163) (Lots 112-124 in the Old Master & British Pictures sale at Christie's South Kensington on 5 December 2007 are from the same property)
Attributed to Allan Ramsay (Edinburgh 1713-1784 Dover)

Portrait of Nicholas Hardinge, M.P. (1699-1758), three-quarter-length, in a black mantle, seated at his desk, a quill in his right hand

細節
Attributed to Allan Ramsay (Edinburgh 1713-1784 Dover)
Portrait of Nicholas Hardinge, M.P. (1699-1758), three-quarter-length, in a black mantle, seated at his desk, a quill in his right hand
oil on canvas
50½ x 40 in. (128.4 x 101.6 cm.)
出版
A. Smart, Allan Ramsay: A Complete Catalogue of his Paintings, J. Ingamells, ed., New Haven and London, 1999, p. 209, no. 644 (under 'doubtful attributions', but only Meyer engraving recorded, original picture seemingly unknown).
刻印
H. Meyer (in reduced format)
注意事項
No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍品專文

The sitter, a politician and Latin poet, was the eldest son of Gideon Hardinge (d. 1712), vicar of Kingston, and Mary Westbrooke. He studied Classics at King's College, Cambridge, before pursuing a career in Law. Called to the bar in 1725, Hardinge was appointed Chief Clerk to the House of Commons in 1731, and later Joint Secretary of the Treasury. In 1738, Hardinge married Jane, daughter of Sir John Pratt, the Lord Chief Justice, with whom he had nine sons and three daughters. Hardinge went on to become a Member of Parliament for the borough of Eye, Suffolk between 1748 and 1758. Throughout his political career, he maintained his academic interest in the Classics; a collection of Latin verses he had composed were published posthumously by his eldest son, the politician and barrister George Hardinge, in 1780.

The execution of this portrait is wholly characteristic of Ramsay, however, the treatment of certain aspects, for example the chair, are less accomplished and may suggest a degree of delegation in the execution. The format of the painting, even more so than the engraving (which shows the sitter half-length), shows a debt to Jean-Baptiste van Loo.