Portrait oil painting of a gentleman, C1750, circle of Allan Ramsay

Circle of Allan Ramsay
Scottish, (1713-1784)
Portrait of a Gentleman in a Blue Jacket & Lace Jabot
Oil on canvas
Provenance: Beal House, Yorkshire

A fine three quarter length portrait of a gentleman, circle of Allan Ramsay, C1750.  The sitter is pictured in a fashionable blue jacket and matching waistcoat with a white chemise and lace jabot. He wears a powdered wig in the fashionable style of the day and is posed with the fingers of his left hand stretched out. At court, long fingers signified wealth, culture and intelligence. The inclusion of extended fingers in portraiture was not only used to show off the sitter but was also a device designed to add detail and proportion and bring dynamism to the portrait. All these elements indicate the sitter is a gentleman of some standing in society and was most likely commissioned to commemorate an important event such as a marriage. The painting has clearly been executed by an artist of great ability who has been influenced by Allan Ramsay. 

Allan Ramsay was born in 1713 the eldest son of the poet and author Allan Ramsay. He attended the new Academy of St Luke, Edinburgh before moving to London around 1723 to study at the St. Martin's Lane Academy under the Swedish painter Hans Hysing. In 1736 he travelled to Rome and Naples to continue his art education.

He returned to Edinburgh in 1738 and began receiving commissions to paint portraits from important patrons such as the Duke of Argyll. He later moved to London where he set up a studio and his artistic skill and charming personality helped him become highly successful. In 1752 after the death of his first wife, he married one of his drawing pupils Margaret Lindsay, the eldest daughter of Sir Alexander Lindsay of Evelick. Together they spent time in Italy where Ramsay continued to paint and draw old masters, antiquities and archaeological sites. After returning to England in 1761, Ramsay was appointed Principal Painter in Ordinary to George III.  He died in Dover in 1784.

Many of his paintings are held by public collections including the Ashmolean Museum, Dundee Art Gallery, Glasgow Museum, National Gallery, Scottish National Gallery, Warwickshire Museum and the National Trust.

Presentation: The painting is housed in its original period gilt frame which is in excellent condition.
Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished.

© Benton Fine Art

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This object is eligible for a Certificate of BADA Provenance