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Portrait Of A Lady In A White Silk Dress & Red Drapery, Signed And Dated 1739; John Vanderbank (1694–1739), Oil On Canvas Painting
Status:This item has been sold Sold by:Titan Fine Art
Signed and dated 1739—the final year of John Vanderbank’s life—this is a rare, highly desirable late portrait by one of the leading native painters of early Georgian London. Ambitious in scale and refined in execution, it retains notably fine condition and is housed in a fine carved and gilded eighteenth-century frame, appropriate to an elite commission. The picture offers precisely what discerning collectors seek in early Georgian portraiture: a commanding, life-present sitter, virtuoso handling of satin and jewels, and a quiet but eloquent statement of rank, lineage, and cultivated identity.
The sitter is shown three-quarter length, seated before a softly idealised landscape. Vanderbank’s mature portrait language is strongly evident in the poised balance of grandeur and intimacy, the confident articulation of the hands, and the controlled tonal contrasts that create vivid presence. The face is modelled with restraint and warmth; the direct gaze and self-possessed expression convey... assured social standing without theatricality. The landscape is not literal topography but an estate-coded setting—an emblem of leisure, property, and the values of landed life.
Her costume aligns precisely with the late 1730s and supports the inscribed date of 1739. A white silk gown—luxurious and difficult to keep pristine—was a socially legible signal of wealth, leisure, and refined household command. The low-cut bodice edged with lace and the lace engageantes at the sleeves reflect elite London fashion of the period. Across her lap and shoulder falls a generous sweep of red silk drapery, painted with bravura understanding of satin’s reflective surface—one of Vanderbank’s particular strengths. The red functions not only decoratively but compositionally, warming the palette, flattering the sitter’s complexion, and adding movement and richness without overt allegory.
The bodice is fastened with a striking sequence of diamond-set clasps or jewelled fastenings, their faceted highlights placed with deliberate clarity to register as genuine luxury. A key feature is the sitter’s right hand, raised not to hold an object but to touch the diamonds—an intentional gesture that draws attention to the hand itself and, conspicuously, to a ring worn on the little finger. In eighteenth-century British portraiture, a pinky ring often reads less as a straightforward marital announcement than as a marker of rank, lineage, and cultivated elite identity. Here, the gesture makes the ring a primary point of meaning: an emblem of inherited distinction and social position.
Along the left margin, a climbing vine with leaves and small blossoms—blue bell-shaped flowers, small white blooms, and a single yellow accent—functions as environmental symbolism rather than a personal token. Because the sitter does not hold or touch these flowers, they read as part of an estate-garden vocabulary: cultivated nature, stability, and continuity, balancing the glitter of diamonds and the sheen of satin with softened greenery. The portrait therefore most strongly suggests a sitter drawn from the landed gentry or minor aristocracy, painted in London at the height of early Georgian fashion: secure rank and dynastic standing, rather than office or achievement.
The portrait’s later history is unusually well anchored by physical evidence on the reverse. In the nineteenth century it was in the collection of the Bond Street dealer Eugene Benjamin (168 New Bond Street; earlier 169), active in works of art and high-quality decorative objects. After his death, Christie, Manson & Woods dispersed his entire stock in a substantial multi-day auction in November 1898. The stretcher preserves the Christie’s inventory stencil “476 W” and a handwritten chalk date “Nov. 23–98,” consistent with that sale and suggesting the work has remained on its original stretcher since that time—documentary interest beyond the painted surface.
Full description at: www.titanfineart.com
Much more info about this item at: www.titanfineart.com
In a market saturated with available paintings, Titan Fine Art offers a distinct advantage: we sift through thousands of works to provide a specially curated selection. Each piece is meticulously chosen based on technical merit, provenance, and decorative appeal, ensuring our clients view only the finest examples of British and European art.
With over 20 years of expertise and 1,000+ works placed with collectors and institutions, we are one of the most prolific specialists in 17th and 18th-century portraiture. We combine a scholarly approach with museum-level rigor to replace the uncertainty of the open market with absolute confidence.
Why Buy From Titan Fine Art?
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Each portrait is supported by extensive academic research, often exceeding 40 hours, to establish attribution, sitter identity, and historical context.
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Antique ID Number (AIDN): SA1187621
Dateline of this antique is 18th Century
Height is 144cm (56.7inches)Width is 121cm (47.6inches)Depth is 7cm (2.8inches)
Antique SA1187621 shown on this page was made in the 18th Century. For historical context, the timeline below highlights the period when it was created:
←C18th
ANTIQUE SA1187621
CONTACT DETAILS OF SELLER:
Titan Fine Art
Specialist in 17th & 18thC portraits. Highly curated selection, museum-level research & pro conservation. Exceptional art, expertly vetted.
London
United Kingdom
Tel: 07875 412 111
STATUS
THIS ITEM HAS BEEN SOLD
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