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Portrait of Archbishop Richard Robinson of Armagh - By Sir Joshua Reynolds P.r.a.
Period Portraits
for sale €25,740     $27,940
£22,000
Period Portraits

Period Portraits

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Portrait of Archbishop Richard Robinson of Armagh - By Sir Joshua Reynolds P.r.a.

19th century
For Sale by Period Portraits
Description

A fine and imposing portrait of Archbishop Richard Robinson of Armagh - by Sir Joshua Reynolds P.R.A. The sitter is depicted three-quarter length, seated, wearing clerical dress. This work was painted in 1758 when the sitter was Bishop of Killala (1751-59)

Sir Joshua Reynolds P.R.A (1723 -1792)

Reynolds was the leading English portraitist of the 18th century. Through study of ancient and Italian Renaissance art, and of the work of Rembrandt, Rubens and Van Dyck, he brought great variety and dignity to British portraiture.

Reynolds was born at Plympton in Devon, the son of a headmaster and fellow of Balliol College, Oxford: a more educated background than that of most painters. He was apprenticed in 1740 to the fashionable London portraitist Thomas Hudson, who also trained Wright of Derby He spent 1749-52 abroad, mainly in Italy, and set up practice in London shortly after his return.

He soon established himself as the leading portrait painter, though he was never popular with George III. He was a key figure in the intellectual life of London, and a friend of Dr Johnson. When the Royal Academy was founded in 1768, Reynolds was elected its first President. Although believing that history painting was the noblest work of the painter, he had little opportunity to practise it, and his greatest works are his portraits.

Archbishop Richard Robinson (1708–1794)

Born into a wealthy family in Rokeby, Yorkshire in 1708, Richard Robinson first came to Ireland in 1751 as Chaplain to the Lord Lieutenant, the King's representative in Ireland. He was made Archbishop of Armagh in 1765.

As an educated and enlightened man, he resolved to use his wealth and power to found and maintain charitable and educational institutions, particularly in Armagh. He employed some of the foremost architects of his day, Thomas Cooley and Francis Johnston, to design buildings and plan his cathedral city.

He had excellent social and political connections, coming into contact with intellectuals such as Dr Johnson and Edmund Burke and therefore with all the issues of the day. Richard Robinson, Lord Archbishop of Armagh, was a rich and influential man who embodied the spirit of his age.

Provenance: The Robertson - Glasgow family collection. Leeds Castle Kent until deaccessioned.

Literature: The Rev. J. Nightingale, The Beauties of England and Wales, vol. XIII - part 1, London 1813, p.456;

1848 Inventory, p. 5; D. Mannings, Sir Joshua Reynolds, London 2000, text vol. pp. 394-95, no. 1534, plate vol. fig. 359

Higher resolution images on request.

Worldwide shipping available.

Canvas: 50” x 40” / 127cm x 102cm

Frame: 56.5” x 48” /144cm x 122cm

Price: £22000

Physical Dimensions
Height
144cm (56.69")
Width
122cm (48.03")
Depth
5cm (1.97")
Declaration

Period Portraits has dated this Georgian Oil Portrait Painting to the 19th Century.

Reference Numbers
Sellingantiques Reference
SA1227280
Description
A fine and imposing portrait of Archbishop Richard Robinson of Armagh - by Sir Joshua Reynolds P.R.A. The sitter is depicted three-quarter length, seated, wearing clerical dress. This work was painted in 1758 when the sitter was Bishop of Killala (1751-59)
fig 1. An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.
fig 1. Portrait of Archbishop Richard Robinson of Armagh - By Sir Joshua Reynolds P.r.a.

Sir Joshua Reynolds P.R.A (1723 -1792)

Reynolds was the leading English portraitist of the 18th century.

Through study of ancient and Italian Renaissance art, and of the work of Rembrandt, Rubens and Van Dyck, he brought great variety and dignity to British portraiture.
Period Portraits
fig 2. An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.
fig 2. Portrait of Archbishop Richard Robinson of Armagh - By Sir Joshua Reynolds P.r.a.

Reynolds was born at Plympton in Devon, the son of a headmaster and fellow of Balliol College, Oxford: a more educated background than that of most painters. He was apprenticed in 1740 to the fashionable London portraitist Thomas Hudson, who also trained Wright of Derby He spent 1749-52 abroad, mainly in Italy, and set up practice in London shortly after his return.

fig 3. An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.
fig 3. Portrait of Archbishop Richard Robinson of Armagh - By Sir Joshua Reynolds P.r.a.

He soon established himself as the leading portrait painter, though he was never popular with George III. He was a key figure in the intellectual life of London, and a friend of Dr Johnson. When the Royal Academy was founded in 1768, Reynolds was elected its first President. Although believing that history painting was the noblest work of the painter, he had little opportunity to practise it, and his greatest works are his portraits.

fig 4. An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.
fig 4. Portrait of Archbishop Richard Robinson of Armagh - By Sir Joshua Reynolds P.r.a.

Archbishop Richard Robinson (1708–1794)

Born into a wealthy family in Rokeby, Yorkshire in 1708, Richard Robinson first came to Ireland in 1751 as Chaplain to the Lord Lieutenant, the King's representative in Ireland. He was made Archbishop of Armagh in 1765.

fig 5. An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.
fig 5. Portrait of Archbishop Richard Robinson of Armagh - By Sir Joshua Reynolds P.r.a.

As an educated and enlightened man, he resolved to use his wealth and power to found and maintain charitable and educational institutions, particularly in Armagh. He employed some of the foremost architects of his day, Thomas Cooley and Francis Johnston, to design buildings and plan his cathedral city.

fig 6. An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.
fig 6. Portrait of Archbishop Richard Robinson of Armagh - By Sir Joshua Reynolds P.r.a.

He had excellent social and political connections, coming into contact with intellectuals such as Dr Johnson and Edmund Burke and therefore with all the issues of the day. Richard Robinson, Lord Archbishop of Armagh, was a rich and influential man who embodied the spirit of his age.

fig 7. An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.
fig 7. Portrait of Archbishop Richard Robinson of Armagh - By Sir Joshua Reynolds P.r.a.

Provenance: The Robertson - Glasgow family collection. Leeds Castle Kent until deaccessioned.

Literature: The Rev. J. Nightingale, The Beauties of England and Wales, vol. XIII - part 1, London 1813, p.456;

1848 Inventory, p. 5; D. Mannings, Sir Joshua Reynolds, London 2000, text vol. pp. 394-95, no. 1534, plate vol. fig. 359

Higher resolution images on request.

Worldwide shipping available.

Canvas: 50” x 40” / 127cm x 102cm

Frame: 56.5” x 48” /144cm x 122cm

Price: £22000

Height
144cm (56.69")
Width
122cm (48.03")
Depth
5cm (1.97")
Date of Manufacture

Period Portraits has dated this Georgian Oil Portrait Painting to the 19th Century.

Reference Numbers
Sellingantiques Ref
SA1227280
Period Portraits
Period Portraits
Sellingantiques verified Since Jan 2017

Specialist dealer in portraits from the 17th century to the 20th century. Our stock includes quality oil paintings, drawings, and mezzotints

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An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.
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Archive I An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.

PORTRAIT OF ARCHBISHOP RICHARD ROBINSON OF ARMAGH - BY SIR JOSHUA REYNOLDS P.R.A.

Archive II An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting. View II
Archive III An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting. View III
Archive IV An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting. View IV
Archive V An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting. View V
Archive VI An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting. View VI
Archive VII An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting. View VII
Archive VIII An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting. View VIII
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An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.
PORTRAIT OF ARCHBISHOP RICHARD ROBINSON OF ARMAGH - BY SIR JOSHUA REYNOLDS P.R.A.
Ref: SA1227280
An 18th-century oil portrait painting of an archbishop in clerical vestments housed in a carved giltwood frame topped with a mitre cresting.
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Antiques are the ultimate green purchase. By choosing historical pieces over newly manufactured goods, you completely eliminate the carbon footprint of modern mass production while preserving exceptional, timeless craftsmanship.

Georgian portraiture from the 18th century is defined by the Grand Manner style, which emphasised dignity, formal posture, and symbolic drapery or architectural backdrops, primarily created for prominent nobility and clergy.

Paintings from this era were executed in oil pigments ground with natural oils on hand-woven linen canvas, while the frames were crafted from hand-carved wood lined with gesso and layered with real gold leaf gilding.

Authentic period portraits exhibit natural age-related craquelure across the paint surface, hand-planed wooden stretcher frames, hand-forged canvas tacks, and traditional water gilding on the frame moulding.

A grand oil portrait can be positioned above a fireplace mantelpiece or console table as a focal point, creating visual contrast against contemporary minimalist architecture or dark wood panelling.

Keep the painting positioned away from direct sunlight and artificial heat sources, maintain stable relative humidity, and dust the giltwood frame gently using only a dry, soft-bristled brush.
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