Live Auction 21052Ombersley Court: The Collection of Lord and Lady Sandys
ATTRIBUTED TO CHARLES JERVAS (DUBLIN C. 1675-1739 LONDON)
Lot 180

ATTRIBUTED TO CHARLES JERVAS (DUBLIN C. 1675-1739 LONDON)

Portrait of Viscountess Blundell, née Mary Chetwynd (1680-1756), half-length, in a blue dress

Closed29 November 2023

Estimate

GBP 6,000–9,000

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ATTRIBUTED TO CHARLES JERVAS (DUBLIN C. 1675-1739 LONDON)
Portrait of Viscountess Blundell, née Mary Chetwynd (1680-1756), half-length, in a blue dress
oil on canvas
30 ¼ x 25 ¼ in. (77 x 64 cm.)
with identifying inscription 'Viscountess Blundell' (lower right) and inscribed 'Dahl / Pinxit.' (reverse, on the relining canvas)
in a frame of foliate carved and pierced giltwood, applied to an ebonised subframe

Please note that 100% of the hammer proceeds from this auction will be paid to the Sandys Trust, registered charity number: 1168357, with the exception of limited deductions towards sale costs across the auction which cannot be accurately calculated at this time, capped at a total of £10,000.

(Presumably) by descent to the sitter's daughter,
Chetwynd Trumbull, née Blundell (1715-1766), and by descent to her daughter,
Mary Sandys, née Trumbull (1741-1769), and by descent to her daughter,
Mary, Marchioness of Downshire and 1st Baroness Sandys (1764-1836), and by descent to her second son,
Lieutenant-General Arthur Hill, 2nd Baron Sandys (1792-1860), and by inheritance to his younger brother,
Arthur Marcus Sandys, 3rd Baron Sandys (1798-1863), and thence by descent to,
Richard Hill, 7th Baron Sandys (1931-2013), at Ombersley Court, Worcestershire.

Specialist note

The present lot is presumably a portrait of Mary Chetwynd, Viscountess Blundell (see lot 128), great-grandmother of Mary, Marchioness of Downshire. It is interesting to note that the painting bears a close resemblance to a portrait of Lady Elizabeth Egerton, née Churchill, Countess of Bridgewater (1687-1714), by Charles Jervas, sold at Christie's, London, 19 November 1982, lot 82. Despite the inscription on the reverse attributing the painting to Michael Dahl (1656/9-1743), it appears to be closer to the work of Jervas, and was described by Sir Oliver Millar as a 'Jervas type' of c.1720 (op. cit., p. 27).