(Swiss, 1741-1807)

Portrait of Albinia Brodrick, Viscountess Midleton, in an ermine trimmed stole, and holding a silk winder, unsigned, oil on canvas, 36-1/8 x 28 in. (91.44 x 71.12 cm.); carved and gilt wood frame, 44-3/4 x 36-7/8 x 3 in. (111.76 x 91.44 x 7.62 cm.)

Provenance: Messrs. Knoedler, London, (See: file:///C:/Users/lcrockett/Downloads/AngelicaKauffmannRA_10876268.pdf); Dr. Thomas Culley, Missouri (label verso stretcher); Private Winston-Salem Estate

Note: Brunk Auctions would like to thank Dr Bettina Baumgartel, Head of the Angelica Kauffman Research Project, for contributing her detailed expertise, based on high resolution photographs, to the writing of this note. The painting will be included in her forthcoming catalogue raisonne of the of the paintings, prints
and drawings by Angelica Kauffman as an original painting by Angelica Kauffman.

Comments from Dr. Baumgartel: The beautiful portrait remained unknown for a long time. In 1924, almost 100 years ago, it was first listed in Lady V. Manners and Dr C. G. Williamsons "Angelica Kauffmann. R.A.", called "Lady Midleton" and owned by the art dealers Messrs. Knoedler in London. The last time the picture was mentioned was in 1941, continued to be called "Viscountess Midleton" as "Courtesy M. Knoedler & Co."
Among the various 'Ladies Midleton' I was able to determine the identity of the sitter. It is in all probability Albinia Brodrick, Viscountess Midleton of Midleton (ca. 1730-1808), born Townshend. She was the daughter of Hon. Thomas Townshend and Albinia Selwyn and married George Brodrick, 3rd Viscount Midleton of Midleton in 1752, with whom she had four children. Her husband died already in 1765, so that her eldest son George Brodrick was raised to 4th Viscount already on 22th of August 1765.
Kauffman portrayed George Brodrick, 4th Viscount Midleton in 1766. His appointment as Viscount could have been the reason for the commission to Kauffman for the portrait of the young Brodrick and probably also for that of his mother. Since she does not wear a widow's habit and her clothing first echoes of the Oriental fashion, the portrait of the Viscountess
could have been executed somewhat later than that of her son, about the beginning of the 1770s.

Angelica Kauffman shows the Viscountess Midleton sitting in a red armchair in richly decorated clothes against a dark neutral background. She wears a dove-blue dress embroidered with pearls and a gold border at the neckline and sleeves, perhaps an entari after the latest oriental fashion, held together by a wide red cloth belt. Above it, the stole of gold
brocade lined with an ermine fur indicates her ducal rank. A richly embroidered, transparent shawl drapes fabric-richly from her right shoulder. Her hair is adorned by a jeweled band
with a large pearl. Interesting is a kind of miniature weaving frame on her lap, with which she seems to be making a decorative border of silver thread. According to Manners and Williamson, it is said to be a device with a handle and a bobbin used to stretch or unwind certain pieces of silk onto
a spool. Aristocratic ladies liked to be depicted doing needlework at this time, a reference to their artistry and their good taste. This type of portrait a la turque was very popular with Kauffman's English clients. The charming portrait is thus one of the characteristic works from her heyday in London.

This lot accompanied by the letter of authenticity from Dr Bettina Baumgartel and a facsimile of correspondance with Professor Wendy Wassying Roworth discussing the painting.

Literature: Manners, V., & Williamson, G. C. (1976). Angelica Kauffmann, R.A., her life and her works, pp. 194;

G. Bernhard Hughes, Angelica Kauffmann, in: Apollo, 34, Oct. 1941, pp. 100-103, ill.;

Unpublished letter of Wendy W. Roworth to Thomas Culley, Alexandria, January 29, 1991:
"[...] Thus is very likely that a dealer in Chicago had it for sale in 1949. [...]"

Wendy Wassyng Roworth, "The Angelica Kauffmann Inventories: An Artist's Property and Legacy in Early-Nineteenth-Century Rome," Getty Research Journal, no. 7 (2015): 157-68.

lined, restretched, crackle, retouch under heavy varnish layer; frame with abrasions