William Grimaldi
A Lady, possibly Caroline Spencer, Duchess of Marlborough (1743-1811), wearing ‘Van Dyck’ style collar set with large pearl-bordered brooch with letter ‘M’, her hair powdered and decorated with further pearls, 1780
Watercolour on ivory
Oval, 2 5/8 in (67 mm) high
Philip Mould & Co.
To view all current artworks for sale visit philipmould.com Wearing Van Dyck style ‘fancy’ dress, the sitter in this portrait is likely from the upper echelons of society. She...
To view all current artworks for sale visit philipmould.com
Wearing Van Dyck style ‘fancy’ dress, the sitter in this portrait is likely from the upper echelons of society. She is painted in similar costume to Georgiana, Duchess of Devonshire, who was portrayed by the society portrait miniaturist Richard Cosway around the same date (Royal Collection Trust, RCIN 420124).
The ‘M’ initial brooch worn by the sitter may be a clue to her identity. It is possible that she may be Caroline, Duchess of Marlborough. Caroline was the daughter of the Duke of Bedford so her marriage to the 4th Duke of Marlborough in 1762 represented the coming together of two great aristocratic dynasties. The eight children born to the couple also went on to make advantageous marriages and alliances themselves. The duchess was painted by the great artists of the day, including George Romney and Sir Joshua Reynolds. Grimaldi, who painted the present portrait, often copied large oil paintings by these artists but it has not been possible to find an oil portrait on which this miniature was based.
William Grimaldi was the son of the 7th Marquess Grimaldi and succeeded to the title, as 8th Marquess, in 1800. He was descended from the family of Grimaldi of Genŏa, the Merovingian Kings of France and the Princes of Monaco. He was therefore well placed to be appointed Miniature Painter in turn to the Duke and Duchess of York (1791), to George IV when Prince of Wales (1806) and then King (1824). He was trained by his uncle Thomas Worlidge and worked for several years in Paris (1777-83), although he exhibited regularly in London. Daphne Foskett, the art historian describes his miniatures as ‘of outstanding merit’.
Wearing Van Dyck style ‘fancy’ dress, the sitter in this portrait is likely from the upper echelons of society. She is painted in similar costume to Georgiana, Duchess of Devonshire, who was portrayed by the society portrait miniaturist Richard Cosway around the same date (Royal Collection Trust, RCIN 420124).
The ‘M’ initial brooch worn by the sitter may be a clue to her identity. It is possible that she may be Caroline, Duchess of Marlborough. Caroline was the daughter of the Duke of Bedford so her marriage to the 4th Duke of Marlborough in 1762 represented the coming together of two great aristocratic dynasties. The eight children born to the couple also went on to make advantageous marriages and alliances themselves. The duchess was painted by the great artists of the day, including George Romney and Sir Joshua Reynolds. Grimaldi, who painted the present portrait, often copied large oil paintings by these artists but it has not been possible to find an oil portrait on which this miniature was based.
William Grimaldi was the son of the 7th Marquess Grimaldi and succeeded to the title, as 8th Marquess, in 1800. He was descended from the family of Grimaldi of Genŏa, the Merovingian Kings of France and the Princes of Monaco. He was therefore well placed to be appointed Miniature Painter in turn to the Duke and Duchess of York (1791), to George IV when Prince of Wales (1806) and then King (1824). He was trained by his uncle Thomas Worlidge and worked for several years in Paris (1777-83), although he exhibited regularly in London. Daphne Foskett, the art historian describes his miniatures as ‘of outstanding merit’.