Sir Joshua Reynolds, P.R.A.

Commissioned by the sitter's family in 1757;
By descent to Dryden Henry Sneyd (1833-1913), of Ashcombe Park, Staffordshire;
Sold by order of his executors, London, Puttick and Simpson, 8 April 1913, lot 156, to
Parkinthorpe for 580 gns.;
Gordon Heath, of Englefield Green and later Cape Town, by 1954;
Acquired from Edward Speelman Ltd, London, 19 March 1970.

Cape Town, National Gallery of South Africa, Pictures mostly of the British School, lent by Gordon Heath, 1954, no. 6.

C . R. Leslie and T. Taylor, Life and Times of Sir Joshua Reynols, London 1865, where the painting is recorded as having been done in April 1757;
A. Graves and W.V. Cronin, A History of the Works of Sir Joshua Reynolds, London 1899, vol. III, p. 911;
E. K. Waterhouse, Reynolds, London 1941, pp. 42 & 97;
D. Mannings, Sir Joshua Reynolds. A complete catalogue of his paintings, New Haven and London 2000, text volume, p. 419, no. 1644, plates volume, reproduced, p. 200, fig. 239.

The tone of the painting is warmer, and the colours richer, than the catalogue illustration suggests. The painting appears to be in very good condition, with no extant damage or loss of paint. The canvas has been lined, however the paint surface has not been abraded or pressed into the canvas. The only place where the paint surface is a little thin is in the very lower centre of the picture, in the blue of the sleeve, but for the rest of the painting there is good detail in the brushwork and the impasto is intact in the highlights. This is particularly noticeable in the bow on the hat, and in the white highlights of the lace and the pearl earring. Examination under ultraviolet light reveals a small amount of very minor old retouching, which fluoresces faintly, in the flesh tones of the face. There is also some slightly more extensive over paint to the jaw line and neck. Otherwise, however, there does not appear to be any signs of recent restoration or retouching, or any old structural damage. Overall the picture appears to be in good, well preserved condition, and is particularly good condition by comparison to the usual condition of works by this artist. The picture is held in a magnificent carved gilt wood Chippendale style English rococo frame. To speak to a specialist about this lot please contact Julian Gascoigne on +44 (0)207 293 5482, or at julian.gascoigne@sothebys.com.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Anne was one of the two daughters of William Sneyd of Bishton Hall, Staffordshire, and his wife Susanna Hedges. The Sneyds were an ancient Staffordshire family dating back to the fourteenth century, their main seat being at Keele Hall. This elegant painting is one of four portraits of the family in masquerade dress painted by Reynolds in 1757. These include Anne’s sister Elizabeth and her husband, the Reverend William Lloyd, wearing Circassian masquerade dress, and their brother John (1734-1809), wearing Van Dyck dress, all of which were sold in the Puttick and Simpson sale in 1913. A fifth portrait by Reynolds of Lucy Sneyd, daughter of Major Edward Sneyd, was painted the same year.  

Anne's costume, like that in the portrait of her brother, is based on English seventeenth-century fashions, often referred to in portraiture as 'van Dyck dress'. Masquerade played an integral role in English social life in the eighteenth century. Often referred to as ‘The World Upside-Down,’ masquerades were a popular form of entertainment for both rich and poor, providing participants with a forum for re-establishing and transcending their identities. Often highly erotically charged events, such balls were also inextricably linked with issues of gender, sexuality and role-reversal, and provided participants with the opportunity to act outside of normal social rules.