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Manners & G.C. Williamson, Angelica Kauffman R.A., London, 1924. The portrait of Lord Berwick appears on p. 164. 14. See Sara Stevenson, Van Dyck in Check Trousers: Fancy Dress in Art and Life, 1700–1900, Edinburgh, 1978, pp. 1–3, 19–30. See also Aileen Ribeiro, The Dress Worn at Masquerades in England, 1730 to 1790, and its relation to Fancy Dress in Portraiture, New York, 1984, pp. 136–43, 187–204. 15. John Simpson of Bradley Hall, Northumberland, was the father of Maria Susanna, Lady Ravensworth. For an earlier three-quarter-length version of this portrait, see John Simpson by Angelica Kauffman, 1773, oil on canvas, 127.5 x 101.6cm, Österreichische Galerie Belvedere, Vienna, Austria, no. 8504. See Natter, op. cit., p. 124, and Ribeiro, op. cit., p. 201. A visit to the Heinz Archive (National Portrait Gallery) in 2014 revealed other Kauffman portraits from the 1780s and 1790s with the sitters in van Dyck clothing. These include portraits of John Murray, no date, 91.5 x 71.1cm; Hugh Smith Barry, 1780, half-length; John Campbell, c. 1782–83, 91.5 x 71.1cm; William Henry Lambton, 1797, 218.5 x 141cm; and John Duff of Drummuir, 1800, 129.1 x 102cm. 16. Manners and Williamson, op. cit., p. 164. 17. John Ingamells, A Dictionary of British and Irish Travellers in Italy 1701–1800, New Haven & London, 1997, pp. 143–45. 18. Historical Manuscripts Commission, The Manuscripts of the Duke of Somerset, The Marquis of Ailesbury, and the Rev. Sir T.H.G. Puleston, Bart., London, 1898, p. 257. 19. Manners and Williamson, op. cit., p. 166. 20. Ingamells, op. cit.,

pp. 143–45. 21. Shropshire Archives, 112/23/3/8/2. 22. Caroline Chapman, op. cit., p. 68. 23. Otter, op. cit., vol. 1, pp. 131–32. Otter quotes from Clarke’s letter to his mother, 5 December 1792. Thomas Chatterton, the English poet who died in London in 1770 at the age of 17 became a tragic heroic figure in Romantic art. For his poem ‘Goddwyn’, see David Fairer, English Poetry of the Eighteenth Century, 1700–1789, Abingdon, 2002, p. 176. For analysis, see Ruth F. Glancy, Thematic Guide to British Poetry, Westport & London, 2002, pp. 90–91. 24. Goodden, op. cit., p. 129. 25. Manners & Williamson, op. cit., p. 164. 26. Manners & Williamson, op. cit., pp. 165–6. 27. This bozzetto of Euphrosyne wounded by Cupid (40.5 x 34.5cm) was sold in 2010 by Rafael Valls and had previously been in a private collection in Switzerland for 40 years. The bozzetto is now in the USA. For an image, see Art History News website [Accessed 27 February 2018: www.arthistorynews. com/articles/128_Some_gems_ amongst_the_crowds_at_ Maastricht]. 28. Roworth, op. cit., p. 94. 29. Wendy Wassying Roworth, ‘Between Old Tiber and Envious Thames: The Angelica Kauffman Connection’, David R. Marshall, Susan Russell & Karin Wolfe (eds.), Romana Britannica: Art Patronage and Cultural Exchange in Eighteenth-Century Rome, London, 2011, pp. 294–95. 30. Roworth, op. cit., p.94. 31. See Bettina Baumgärtel, Angelika Kauffmann, exh. cat., Düsseldorf, Munich & Bregenz, 1998–99, pp. 134–35. See also Natter, op. cit., pp. 94, 275.

32. See The Academicians of the Royal Academy by Johan Joseph Zoffany (1733–1810), 1771–72, oil on canvas, 101.1 x 147.5cm. Royal Collection Trust, RCIN 400747. See also Linda Nochlin, ‘Why have there been no great women artists?’, Women, Art and Power and Other Essays, New York, 1988, p. 161. This essay was first published in Art News in January 1971. 33. Painting no. 29 in the 1796 exhibition. Her last painting, in 1797, was a portrait. Roworth, op. cit., p. 94. 34. Goodden, op. cit., pp. 187, 297. See also Manners & Williamson, op. cit., p. 101, and Roworth, op.cit., p. 93. 35. British Library, Add MS 39577 f. 14. I am grateful to Wendy Wassying Roworth for this transcription. See also Waltraud Maierhofer (ed.), Angelica Kauffmann: Gesammelte Briefe in den Originalsprachen, Lengwil, 2001, pp. 210–11, no. 129. 36. Shropshire Archives, 112/6/60/314; National Portrait Gallery website [Accessed 2 March 2018: https://www.npg. directory-of-britishframemakers/s]. Saunders was frame maker to Romney and Berwick sat for Romney immediately before and after his Grand Tour, as mentioned in Romney’s diary in 1792 and 1795. The half-length painting hangs in the Inner Library at Attingham today (NT 609047). Listed on the same bill from Saunders are gilt frames for a pair of drawings by Richard Westall (1765–1836), one of which may be the watercolour Hesiod (c. eighth century BC) instructing the Greeks in the Arts of Peace (1796) (NT 607880). Horace Walpole described the watercolour when it was exhibited at the Royal Academy in 1796 as ‘by far one of the finest compositions ever painted in England’. He also commended its ‘beautiful beyond description’ companion picture, showing the female poet Sappho (now lost). See David H. Solkin, Art in Britain 1660–1815, New Haven & London, 2015, p. 254, and Richard J. Westall, ‘The Westall Brothers’, Turner Studies, vol. 4, no. 1 (1984), pp. 23–38. 37. For details of the decoration of the Picture Gallery, see Christopher Rowell, ‘Furniture, Carving and Gilding at Attingham Park by Thomas Donaldson of Shrewsbury’, National Trust Historic Houses and Collections Annual 2015, London, 2015, pp. 12–20. 38. Shropshire Archives, Katherine Plymley MSS, Diary 75 (8 June-6 November 1808). Because of the nature of the diary it is impossible to date the entry precisely. 39. Attingham Sale Catalogue, London, 1827, p. 63, lot 117. A copy of this catalogue is in the National Trust Archive at Attingham. 40. Rowell, op. cit., pp. 12–20; Shropshire Archives, 112/6/Box 53/1a. 41. Shropshire Archives, Katherine Plymley MSS, Diary 75 (8 June-6 November 1808). 42. These are the locations of the paintings in the 1843 list. See Shropshire Archives D3651/B/20/4/3/1, pp. 6, 8, List of paintings showing room locations, 1843 (with later annotations). It would appear that the history paintings never moved from the Drawing Room. The 1847 and 1861 lists of paintings omit the Euphrosyne, but this mistake was due to a misreading of the 1843 list (the mistake was repeated in subsequent lists until 1883). Shropshire Archives, 112/9/2/1/9, Schedule of Collections (1883), pp. 9, 12. 43. Shropshire Archives, 112/15/15/10/26; Cousens, op. cit., p. 51. 44. Shropshire Archives, 112/15/4/117. 45. Two sales were held by Mr Phillips of Bond Street, London, one in 1825 (of 45 paintings) and another in 1826 (of five paintings). 46. Attingham Sale Catalogue, London, 1827, p. 93. 47. See National Trust Archive, Jane Lingard, ‘Dispersal of Contents of Attingham Park for Thomas Noel Hill, second Baron Berwick’, unpublished report, 2005, p. 6. 48. Attingham Sale Catalogue, London, 1829, pp. 77–78, lots 66 & 67; Shropshire Archives, 112/9/2/3/2. There are no annotations in this incomplete catalogue. 49. Shropshire Archives, 112/15/9. I am grateful to Wolf Burchard for this transcription. Euphrosyne was bought in for 125 guineas and Bacchus and Ariadne for 115 guineas (information from inventory record details at the National Trust offices in London). The legal advisers acting for Lord Berwick were Harrison and Tennant. 50. Mrs Walford, the wife of Lord Berwick’s agent, noted in September 1824 that Lord and Lady Berwick were going to go abroad for some years, first to Naples, that Attingham was to be let, and that the furniture was to be sold. See Shropshire Archives, Scott Collection 49/781. Berwick was in Genoa by August 1827. See Shropshire Archives, 112/14/2/Box 66C/140. 51. Shropshire Archives, D3651/B/20/4/2/1, ‘Memorandum of Pictures at Attingham Hall, December 10th 1833’, pp. 8, 15. The valuation of the Kauffmans appears to be for both paintings. 52. Shropshire Archives, D3651.B., List of paintings showing room locations, 1843 (with later annotations), and 1844 valuation, pp. 6, 8. 53. Shropshire Archives, 112/9/2/1/7, ‘Catalogue of Paintings and Engravings at Attingham’, 1847, pp. 2, 10; Shropshire Archives, 112/9/2/1/6/1–2, ‘Descriptive Catalogue of Paintings and Engravings’, c. 1847, pp. 5, 17. 54. The watercolour was painted by Lady Hester Leeke, who in 1847 married Ralph Meyrick Leeke of Longford Hall, Shropshire. See Cousens, op. cit., p. 22, and John Cornforth, English Interiors 1790–1848: The Quest for Comfort, London, 1978, p. 85. 55. Shropshire Archives, 112/9/2/1/7, ‘Catalogue of Paintings and Engravings at Attingham’, 1847, p. 2; Shropshire Archives, 112/9/2/1/6/1–2, ‘Descriptive Catalogue of Paintings and Engravings’, c. 1847, p. 5. For the portrait of Lady BroughtonDelves, see Virginia Museum of Fine Arts, no. 53.33. A later copy is NT 609077. For the portrait of William, third Lord Berwick, see NT 608949. For the portrait of the Marchioness of Ailesbury, see NT 608955. 56. Cousens, op. cit., p. 52.

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