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Miss Sophia Hoare
178336 x 28 in. (91.4 x 71.1 cm)
Sir Joshua Reynolds
England (Plymouth, England, 1723 - 1792, London)
Object Type:
Painting
Medium and Support:
Oil on canvas
Credit Line:
George Eastman Collection of the University of Rochester
Accession Number:
1977.1
Location: Not currently on view
Collection:
George Eastman Collection
Joshua Reynolds was the leading portrait painter in 18th-century England, the first president of London’s Royal Academy, and a respected art critic. He frequently modeled his sitters’ poses on those seen in Old Master painting and ancient classical sculpture. Reynolds’ use of rich color, strong lighting, and loose brushwork greatly influenced the next generation of British portraitists, including Sir Thomas Lawrence and Sir Henry Raeburn.
The young woman in this portrait, Sophia Hoare (c. 1765-1836), was the daughter of Richard Hoare, an heir to the founder of England’s oldest private bank. Sophia’s portrait was commissioned by William Grimston, whom she married in February 1783. Reynolds noted the transaction in his account books: “Miss Hoare, paid by Mr. Grimpstone, £ 78 15s.; a very proper attention on the part of the fiancé.”
[Forman Gallery, Summer 2015]
The young woman in this portrait, Sophia Hoare (c. 1765-1836), was the daughter of Richard Hoare, an heir to the founder of England’s oldest private bank. Sophia’s portrait was commissioned by William Grimston, whom she married in February 1783. Reynolds noted the transaction in his account books: “Miss Hoare, paid by Mr. Grimpstone, £ 78 15s.; a very proper attention on the part of the fiancé.”
[Forman Gallery, Summer 2015]
Provenance
The sitter, later Mrs. William Grimston; Mrs. Berkeley Paget; Mrs Frederick Paget, Christie's sale, March 26, 1859; Lord Hylton; M. Knoedler, New York; purchased from them by George Eastman (1854-1932), Rochester, NY, December 1912; his bequest to the University of Rochester, 1932; transferred to the Gallery in 1977
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Exhibition List
This object was included in the following exhibitions:
- Old Masters Royal Academy of Arts 1/1/1884 - 12/31/1884
- Exhibition of Old Masters 10/4/1911 - 12/28/1911
- Loan Exhibition of Paintings and Bronzes Owned by Residents of Rochester 6/16/1916 - 9/17/1916
- A Group of Eighteenth Century Portraits from the Eastman Collection 12/18/1939 - 1/15/1940
- The George Eastman Collection of Paintings end date ca. December 1949
- University Art Treasures Open House Memorial Art Gallery 9/26/1953 - 9/27/1953
- Contrasts/Comparisons 9/28/1973 - 10/28/1973
- Treasures from Rochester Memorial Art Gallery 4/14/1977 - 5/28/1977
- 18th Century Prints and Drawings 10/7/1977 - 10/30/1977
- The George Eastman Collection 12/1/1979 - 1/13/1980
- Out of the Drawing Room 7/8/1995 - 9/17/1995
Bibliography
This object has the following bibliographic references:
- Article Scope: Reproduction only. Susan Dodge Peters, ed. Memorial Art Gallery: An Introduction to the Collection. New York, New York: Memorial Art Gallery in association with Hudson Hills Press, 1988.
- Article Title: A Group of Eighteenth Century Portraits. Article Scope: Article. Memorial Art Gallery. Gallery Notes. Rochester, New York: Memorial Art Gallery, 1935-1995. Volume Number: 5, Issue Number: 3. Issue Date: December 1939-January 1940. Page Number: 2-3
- Article Scope: Reproduction only. Rochester Memorial Art Gallery of the University of Rochester Handbook. Rochester, NY: University of Rochester Press, 1961.
- Article Scope: Entry and reproduction. Denys Sutton. Treasures from Rochester: Exhibited at Wildenstein Galleries, New York, April 14-May 28, 1977: Summary Catalogue. Rochester, New York: Memorial Art Gallery, 1977.
- Article Scope: Entry and reproduction. Donald Rosenthal, ed. The George Eastman Collection. Rochester, New York: University of Rochester Press, 1979.
- Democrat and Chronicle. Rochester, NY: Rochester Print Co.
- Article Scope: Article and reproduction. S. Lane Faison, Jr.. Art Tours and Detours in New York State. New York, New York: Random House, 1964.
- Docent Newsletter. Rochester, NY: Memorial Art Gallery
- Article Scope: Entry. David Mannings. Sir Joshua Reynolds: A Complete Catalogue of his Paintings. New Haven, CT: Yale University Press, 2000. Volume Number: 1
- Article Author: Brayer, Betsy. Article Title: George Eastman Art Collector. Article Scope: Article and reproduction. Rochester Review. Rochester, NY: University of Rochester Press Issue Date: Winter 1979-80. Page Number: 10-14
- Article Scope: Mention. Elizabeth Brayer. Magnum Opus: The Story of the Memorial Art Gallery, 1913-1988. Rochester, NY: Memorial Art Gallery, 1988.
- Article Scope: Reproduction only. Thomas R. Rumsey. Men and Women in Revolution and War, 1600-1815. Wellesley Hills, MA: The Independent School Press, 1985.
- Article Scope: Mention. Joshua Reynolds. Notes and Observations on Pictures, Chiefly of the Venetian School. London, England: John Russell Smith, 1859.
- Charles Robert Leslie and Tom Taylor. Life and times of Sir Joshua Reynolds: with notices of some of his contemporaries. London, England: John Murray, 1865. Volume Number: II
- Algernon Graves and William Vine Cronin. A History of the Works of Sir Joshua Reynolds, PRA. London, England: H. Graves and co., ltd, 1899.
- Sir Walter Armstrong. Sir Joshua Reynolds: first president of the Royal Academy . London, England: Heinemann, 1900.
- C. H. Collins Baker. British Painting. London, England: The Medici Society, 1933.
- Ellis Kirkham Waterhouse. Reynolds. London, England: K. Paul, Trench, Trubner & Co., ltd., 1941.
- John D. Morse. Old master paintings in North America: over 3000 masterpieces by 50 great artists . New York, NY: Abbeville Press, 1979.
- Article Scope: Entry. Loan Exhibition of Paintings and Bronzes Owned by Residents of Rochester. Rochester, NY: Memorial Art Gallery, 1916.
- René Gimpel. Diary of an Art Dealer 1918-1939. New York, NY: Universe Books, 1987.
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About Face: Copley’s Portrait of a Colonial Silversmith
About Face: Copley’s Portrait of a Colonial Silversmith explores the lives and work of two artists within colonial Boston prior to the outbreak of the American Revolution: painter John Singleton Copley and silversmith Nathaniel Hurd. In addition to focusing upon paintings by Copley and silver pieces by Hurd, these works and other objects put into context the daily life of colonial Boston. Primary source documents (art works, objects, and written texts) provide students with a view of the experiences of men and women who were alive around the time of the American Revolution.
Students will develop critical looking and thinking skills as they gain experience in interpreting historical documents; analyze different interpretations of a key political turning point in American history through the study of visual and written documents of the Boston Massacre; explore important social issues through portraiture.; and evaluate the colonial American economy through primary source documents, like Nathaniel Hurd’s Table of Conversions and a colonial coin.
Students will develop critical looking and thinking skills as they gain experience in interpreting historical documents; analyze different interpretations of a key political turning point in American history through the study of visual and written documents of the Boston Massacre; explore important social issues through portraiture.; and evaluate the colonial American economy through primary source documents, like Nathaniel Hurd’s Table of Conversions and a colonial coin.