Joseph Lee (British, 1780-1859) Lady Georgiana Agar Ellis, later Baroness Dover (1804-1860), wearing red velvet pelisse lined with ermine over white lace gown, her brown hair curled and upswept beneath a black hat trimmed with white ostrich feathers, drawing on a glove with her left hand

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Lot 47
Joseph Lee
(British, 1780-1859)
Lady Georgiana Agar Ellis, later Baroness Dover (1804-1860), wearing red velvet pelisse lined with ermine over white lace gown, her brown hair curled and upswept beneath a black hat trimmed with white ostrich feathers, drawing on a glove with her left hand

Sold for £ 3,120 (US$ 4,174) inc. premium
Joseph Lee (British, 1780-1859)
Lady Georgiana Agar Ellis, later Baroness Dover (1804-1860), wearing red velvet pelisse lined with ermine over white lace gown, her brown hair curled and upswept beneath a black hat trimmed with white ostrich feathers, drawing on a glove with her left hand.
Enamel, signed, dated and inscribed on the counter-enamel Lady Georgiana Agar Ellis/ from the original by/ John Jackson Esq. RA/ Painted by Joseph Lee/ 1826, silver-gilt frame with glazed reverse.
Rectangular, 140mm (5 1/2in) high

Provenance: The Robert Bayne-Powell Collection, Sotheby's, 11 October 1994, lot 157
Exhibited: Royal Academy, London, 1827, no,793
Literature: D. Foskett, Collecting Miniatures, Woodbridge, 1979, ill.col.pl.14

Footnotes

  • Lady Georgiana Howard, a daughter of the 6th Earl of Carlisle, married George Agar-Ellis, son of Lord Clifden and MP for Seaford, in 1822. Her husband was noted for the support he gave to the arts and literature and was the leading promoter of the grant of £57,000 for the purchase of the Angerstein picture collection, which formed the nucleus of what would later become the National Gallery. In 1831, George was raised to the peerage in his own right as Baron Dover.

    Together, George and Georgiana had two sons, who became respectively the 3rd and 5th Viscounts Clifden, and a daughter, Lucia Caroline Agar-Ellis, who married the 3rd Baron Bagot in 1851.

    According to Lee's inscription on the counter-enamel, the present lot is a copy after a portrait by John Jackson (1778-1831) painted in 1826. Jackson exhibited at Somerset House repeatedly between 1807 and his election to the Academy in 1818. In his lifetime, he was commended for his sense of colour and brushwork and was even compared to the great Reynolds. The whereabouts of the prototype for the present work are unknown.
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