Stephen Pearce Study for Portrait of Francis Russell, 7th Duke of Bedford

Oil on board

Image size: 5 ½ x 4 ½ inches (11.4 x 14.1 cm)

Giltwood frame

Exhibited:

Royal Academy, 1863

Engraved and published in the same year

This charming portrait is a study for a later oil painting of Francis Russell, 7th Duke of Bedford, KG, Grand Visitor of the Bedford County Hospital. The Duke had passed away in 1861, and the board of the Bedford General Infirmary - of which Russell’s family had been instrumental in opening - decided to commission a portrait to commemorate him. This little portrait was likely presented as a preliminary representation of what the larger scale image would look like, which was eventually completed in 1862. The completed portrait was exhibited at the Royal Academy in 1863 and was also engraved.

Our study carries an air of spontaneity, created by the thicker brushstrokes. It contains the key elements of the later, larger portrait - the sphinx paperweight, the composed posture, the scattering of papers over the desk, the smart brown jacket - but paints them in a looser manner, aimed at becoming more detailed at a later stage. Nonetheless, the detail of Russell’s face is notable, with his ears and jowls being identifiable in both our study and the later, final version of the painting. Unsurprisingly, the board of the General Infirmary were so enamoured by the depiction of the Duke as a diligent administrator that they commissioned Pearce to produce the final memorial to pay testament to Francis Russell.

Stephen Pearce

Stephen Pearce was born in November 1819 in Charing Cross, the son of Buckingham Palace’s Master of the Horse. This proximity to equestrian subjects undoubtedly shaped his artistic career by providing him early access to study equine anatomy. He began his formal artistic education at Sass’ Academy before studying at the Royal Academy and becoming a pupil to Martin Archer Shee.

Pearce was the artistic secretary to Charles Lever in the early 1840s, whilst also exhibiting paintings of his favourite horses from the Royal Mews at the Royal Academy in 1839 and 1841. His first painting shown at the Academy was of the King’s favourite horse. Pearce then travelled to Italy - upon his return in 1849, he resumed his contributions of portraits and equestrian art to the Royal Academy.

Pearce earned an important commission from his friend John Barrow, which was to paint the Arctic Council planning the search for Sir John Franklin. The work was completed in 1851 and exhibited at the RA two years later. It was an immense success and earned Pearce many further portrait commissions. Another crucial commission was an equestrian portrait for the Earl of Craven, depicting almost 60 horses and Lords preparing for a hunt. These two pieces are those which Pearce is best known for.

Pearce retired in 1888, having exhibited almost 100 works at the Royal Academy. His paintings have been engraved many times, demonstrating his high levels of success. He died in West London in 1904, bequeathing many of his works to the National Portrait Gallery in London. Pearce’s artistic genres are emblematic of the tastes of the 19th century British gentry - portraits, and equestrian art.