This exceedingly charming early 19th-century half-length portrait by a follower of Thomas Gainsborough RA FRSA (1727-1788) depicts a lady traditionally identified as ‘Miss Sparrow’. It’s after the original, which is at the Met Museum in New York and was previously believed to be a study by Gainsborough himself.
Dressed in a blue coat edged with ermine, exquisite ruby and pearl brooch, high powdered hair trimmed with further pearls, and a wrapping gown, she conveys elegance and gentility in abundance. Her outfit dates to circa 1770 and is similar to that worn by Mrs. Thomas Mathews in Gainsborough’s portrait of 1772.
Little is known about Miss Sparrow, as this identification was designated following the publishing of a print in 1870, of which The National Portrait Gallery holds a copy. It’s been speculated that this could in fact be Maria Walpole (1739-1807), the Duchess of Gloucester and Edinburgh, although the likeness is rather slight.
If it is indeed Miss Sparrow, it could relate to the Sparrow family of Ipswich, as Gainsborough produced a portrait of John Sparrow, which is currently at the Auckland Art Gallery. The portrait hung in the ‘Ancient House’, famous for its beautifully decorated plaster façade, until the early 20th century.
Our portrait first appeared on the art market in 1917 at a Christie’s sale relating to the collection of the late Henry Joseph Pfungst (1844-1917), a prolific collector of studies by Gainsborough. It was then acquired by Connell & Sons of London and has since been held by private collectors. At some point between 1917 and 2023, it lost its attribution.
It’s intriguing to consider how this portrait came into existence as, if it’s not a study by Gainsborough, then why is it noticeably different to the original and the engraving? The peculiarities are the eyes, the shading on the right-hand side, the lack of form on the necklace (coupled with its prominence in terms of colouring versus the coat), and the mere suggestion of colour of the coat without further refinement. In addition, on the engraving, Miss Sparrow appears to be wearing jewellery, which can be seen in the ‘niche’ of her hair. This isn’t present on either the original or our copy.
In Hugh Belsey’s catalogue raisonnée (no. 832c), he refers to it as ‘Perhaps British School, 19th Century, Whereabouts Unknown’ having not seen the piece. We’ve tried to contact him for an opinion but with no success.
Either way, copy or study, it’s a fascinating portrait.
Held in a 19th-century gilt frame.
Medium: Oil on canvas
Overall size: 14” x 16” / 35cm x 41cm
Year of creation: c. 1830
Labels & Inscriptions: A label on the reverse states ‘Study for the portrait of Miss Sparrow, married the Duke of Gloucester’ (which is incorrect). It also refers to the identification being made following consultation with ‘Graves Illustrations of Gainsboroughs, works engraved about 1877’.
Provenance: With Henry Joseph Pfungst (1844-1917) / His posthumous sale (Catalogue of the Collection of Works by Thomas Gainsborough), Christie’s, London, 15 June 1917, lot 77 (as by Gainsborough) / With Connell & Sons, London / Private collection, UK / Auction, London, 2023, UK / Private collection, UK.
Condition: Cleaned. Canvas relined. Areas of fine and settled craquelure, as you would expect. The paint layer is stable. Frame with various marks and showing its age.
Our reference: BRV2130
