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207:, 10th Earl of Northumberland, 'inspired numerous later grand manner images, including Sir Joshua Reynolds's Philip Gell'. Susan Sloman suggests rather than Reynolds 'Gainsborough was the more intent upon painting in van Dyck's manner.' However, she accepts that Philip Gell was 'a more literal interpretation' of the Percy portrait.
250:), by 1921, and was later owned by the Trustees of the Hardwicke Marriage settlement who sold it at Christie's on 7th July 1967. Its current whereabouts are unknown. Only a few such modelli by the artist are known, and it presumably acted as both a study for the picture and a model to show his prospective client his intentions.
158:
The picture broke new ground for the artist as his first notable portrait of full-length format to place a sitter in a relatively informal pose in a country setting. In this
Reynolds was not only formulating an appropriate way of expressing Gell's social position as a country gentleman, as opposed to
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The Gell portrait has not been seen publicly since 2007, and its current whereabouts remain unknown. It is thought to be one of the last of
Reynolds' full-length masterpieces to remain in private hands. (The picture is presumed to be located within the UK, as it would almost certainly have been
188:
argued that it was in fact
Gainsborough who drew inspiration from the Gell portrait and 'it seems likely on visual evidence that Gainsborough saw Reynolds's portrait of Philip Gell painted in 1760-61. Gainsborough includes the same elements as the Gell portrait rearranging them to show his merits as
51:
Philip Eyre Gell was the son of
Isabella, co-heir to the Jessop family of Broom Hall, Sheffield, and John Eyre, and grandson of Catherine Gell of Hopton Hall. Philip's father assumed the surname Gell after inheriting the Gell family fortune in 1732, via his mother Catherine Gell, daughter of
253:
Art historians have long considered Philip Gell to be one of
Reynolds's masterpieces. The picture stands in a near perfect state of condition and was painted when the artist was at the height of his powers in his 'golden period' of the 1760s. The doyen of all Reynolds scholars,
213:
points out that although Gell is posed with gun and dog, he is not dressed for hunting but instead wears a semi-formal embroidered French frock suit, white stockings and buckled shoes. This seems consistent with his reputation as a smart young man about town.
245:
Interestingly, the detailed attention which
Reynolds gave to Gell's portrait is reflected in the existence of a small scale whole-length study for it. This was first recorded in the collection of Ernest Duveen (brother and partner of legendary art dealer Sir
184:, then Gainsborough.' However, as Mannings observes, 'the evidence of the pocket books suggests that Reynolds had already begun this picture before Gainsborough's was exhibited in 1762' which suggests a less linear level of influence at play. More recently
293:
which had been offered at
Sotheby's in 2001 with an estimate of $ 8 to $ 10 million (£6/£8m) and sold for $ 11 million (£9m). The Gell portrait was bought-in and sold by Christie's post-auction for an undisclosed sum (purported to be $ 4 million/£2m).
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considered
Reynolds's portrait of Gell 'a deliberate answer to Gainsborough's William Poyntz', commenting that 'Reynolds was exceedingly sensitive to competition and was determined to beat every competitor at his own game-first
498:"The History and Gazetteer of the County of Derby: Drawn up from Actual Observation, and from the Best Authorities; Containing a Variety of Geological, Mineralogical, Commercial and Statistical Information"
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who had died in 1719 without a direct heir. When John Eyre died in 1739, the Hopton Hall estate, and Gell name, passed to son Philip Eyre, as eldest of seven children, which also included brother
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the more formal approach he had adopted for portraits of his aristocratic patrons, but also seems to have been reacting to the challenge set by the work of his contemporary and soon to be rival
258:, wrote: 'It was in the 1760s that Reynolds' genius came to full flower in the diversity and geniality he was able to give to his full-length portraits' the Philip Gell.'
572:
Susan J.Barnes /Oliver Millar/Horst Vey and Nora De
Poorter, Van Dyck a Complete Catalogue of the Paintings, Published by Yale University Press, New Haven, 2004, p 567
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with an estimate of $ 3 to $ 5 million (£1.5/£2.5m). At the time this was the second-highest estimate ever put on a
Reynolds full-length portrait surpassed only by
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There is speculation that there is a connection between the painting of Philip Gell and the model for Reynolds' well-known child portrait titled
29:, full-length, in a purple embroidered French frock suit, holding a gun, a spaniel at his feet, in a landscape (94 x 58 in. / 238.7 x 147.3 cm)
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A. Graves and W.V.Cronin, A History of the works of Sir Joshua Reynolds P.R.A., London, 1899, 1,p. 355, when at Hopton Hall, Derbyshire.
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The painting remained in the possession of descendants of the Gell family until 2007. In 2007 the portrait was offered for sale at
629:
Getty Press release,Joshua Reynolds’ Portrait of Mai Jointly Acquired by the National Portrait Gallery and Getty, April 25th 2023.
175:). Like Gell, Poyntz is shown in the country in an informal and naturalistic pose with a gun in his hand and a dog at his feet.
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Although unexhibited during Reynolds' lifetime, the picture was exhibited at the landmark Reynolds exhibition at the
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D. Mannings and N. Penny, 'Arising from the Reynolds exhibition',The Burlington Magazine, October 1986, p760.
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122:(daughter and co-heir of William Milnes of Aldercar Park), in 1774, with her parents' consent as she was 16.
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D. Mannings, Sir Joshua Reynolds, A Complete Catalogue of his paintings, New Haven and London, 2000, p213.
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Derbyshire Church of England Parish Registers, Derbyshire Record Office, Matlock, Derbyshire, England.
638:
Export Controls on Objects of Cultural Interest, Department of Culture, Media and Sport, March 2015.
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William Ellis-Rees, Reynolds’s Lost Children: The Strawberry Girl and Others, 2nd April, 2018.
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234:. William Ellis-Rees says 'another suggestion is that the sitter is a child who lived near
133:. Philip was succeeded by daughter Isabella, who died in 1878, thus ending the Gell line.
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banned from export had an export license been applied for, as the portrait satisfies the
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224:, small full-length, oil on paper laid on canvas (20 3/4 x 13 3/4 in./ 52.7 x 44.9 cm)
563:
H. Belsely, Thomas Gainsborough Catalogue Raisonné, Yale University Press, 2019 p688.
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Edited by Karen Hearn, Van Dyck and Britain, Tate Publishing, 2009, p 116 and p224.
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comments, Gainsborough perfected this genre of portrait in his full-length of
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Antony Thorncroft, New money for old faces, Financial Times Newspaper, 2007.
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as a nod to his family's unfounded claim of descent from the Romans. He was
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Important Old Master and British Pictures, Evening Sale, 5 July 2007, p130.
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242:, where Reynolds had once travelled to paint the incumbent, Philip Gell.'
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An archive of documents from the Gell family of Hopton Hall is held by the
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When Philip Eyre Gell died in 1795 he left the Hopton estate to eldest son
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83:. Gell is known for building the road between his lead-mining interests at
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A genealogical and heraldic history of the extinct and dormant baronetcies
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a landscapist and colourist and adapting the position of the gun.'
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Gell was married relatively late, when aged 50, to the poet
437:"WIRKSWORTH-Parish Records 1608-1899-Hopton Hall Auction"
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Completed in about 1763, the portrait of Philip Gell by
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MP (1775–1842). His second son was renowned antiquarian
467:, Manchester: Manchester University Press, p. 57,
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was resold in 2023 for $ 65 million (£50m) to the UK's
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71:, through ownership of the lead tithes in the mines of
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leased a corn mill from Gell and converted it to spin
111:. It was the first cotton mill in the world to use a
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334:. Archived from the original on 24 October 2019
155:is considered to be one of his greatest works.
279:by Sir Joshua Reynolds, oil on canvas, c.1776
67:The family's fortune was founded on the local
515:EK Waterhouse, Reynolds, London 1973 p39.
545:N. Penny.ed.,Reynolds, London 1986 p217.
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97:High Sheriff of Derbyshire
54:Sir John Gell, 2nd Baronet
352:: CS1 maint: unfit URL (
300:National Portrait Gallery
496:Glover, Stephen (1831).
391:Derbyshire Record Office
222:A study for the portrait
138:Derbyshire Record Office
145:Portrait of Philip Gell
27:Portrait of Philip Gell
461:Fitton, R. S. (1989),
332:"GELL of Hopton,Derby"
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277:Portrait of Mai (Omai)
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199:have both argued that
147:by Sir Joshua Reynolds
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25:Sir Joshua Reynolds's
441:www.wirksworth.org.uk
414:. Derbyshire Heritage
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87:and a new smelter at
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263:Royal Academy London
304:J Paul Getty Museum
231:The Strawberry Girl
161:Thomas Gainsborough
153:Sir Joshua Reynolds
91:, naming the route
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267:Grand Palais Paris
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201:Anthony van Dyck's
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474:978-0-7190-2646-1
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113:steam engine
107:, using his
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660:1795 deaths
655:1723 births
236:Hopton Hall
197:Karen Hearn
186:Hugh Belsey
127:Philip Gell
109:water frame
38:Hopton Hall
649:Categories
396:20 January
318:References
285:Christie's
240:Derbyshire
93:Via Gellia
46:Derbyshire
42:Wirksworth
81:Tideswell
412:"Hopton"
348:cite web
302:and the
89:Cromford
73:Bakewell
338:29 June
173:Althorp
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446:2 July
182:Ramsay
105:cotton
85:Hopton
163:. As
40:near
469:ISBN
448:2020
420:2021
398:2021
354:link
340:2020
296:Omai
195:and
79:and
77:Hope
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314:.)
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238:in
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