STUDIO OF SIR JOSHUA REYNOLDS, P.R.A. | Portrait of Sir James Gray (circa 1708-1714), 2nd Baronet, three-quarter length

Possibly collection of the artist;
Possibly his deceased sale, London, Greenwood's, 14 April 1796, lot 43 (as "Sir Henry Grey");
Captain Walsh;
Marchioness of Thomond;
Her deceased sale, London, Christie's, 18 May 1821, lot 25 (as "Portrait of a Nobleman, with a distant View of the Escorial");
There acquired by Samuel Robertson;
Andrew Robertson;
By whose Estate sold, London, Christie's, 18 June 1881, lot 51 (as "Sir Harry Grey, Minister at Madrid");
T.J. Blakeslee;
His sale, New York, American Art Association, 11 April 1902, lot 156 (as by Reynolds);
There acquired by Joseph Pulitzer;
By whom sold, New York, Parke-Bernet Galleries, 16 October 1941, lot 54 (as by Reynolds);
There acquired by John Nicholson Gallery, New York;
With Newhouse Galleries, New York;
Mr. and Mrs. Arthur Pew, Jr., Bryn Mawr, PA;
By whom sold, New York, Parke-Bernet Galleries, 7 April 1966, lot 70 (as attributed to Reynolds);
There acquired by Central Picture Gallery, New York;
Anthony Morris Clark;
By whom bequeathed to the Minneapolis Institute of Arts in 1981 (inv. no. 81.47).

Wrexham, North Wales, Art Treasures Exhibition of North Wales and the Border Counties, 1876, no. 350 (lent by Samuel Boxill Robertson).

Sir E.K. Waterhouse, "Pompeo Batoni's 'Portrait of John Woodyeare," in The Minneapolis Institute of Arts Bulletin, vol. LXIV, 1978-1980, p. 58, p. 61, notes 26 and 27, reproduced p. 60, fig. 4 (as Studio of Reynolds, but with the head attributable to the artist);
J.M. Kelly, "The Portraits of Sir James Gray (c1708-73)," in The British Art Journal, vol. VIII, Summer 2007, pp. 16-19, reproduced p. 16, fig. 2 (as Studio of Reynolds).

The canvas is lined. The painting preserves some impasto in the white pigments of the sitter's outfit, as well as on the building on the background. The painting has slightly thinned, especially in the darker colors, like for example the column at center and the table at bottom left. A small dot of loss of about one inch is on the green curtain at top left. Further, even smaller dots of loss are on the green curtain like for example at right of the sitter, in the center. Some repairs to old tears are visible to the naked eye, like for example one that runs about 3 inches at center right on the clouds, two others on the green curtain: one at right of the sitter's face, and the other on top of his hair. A spot of filling that appears to have discolored is visible on the red gown of the sitter at right underneath his sleeve. Some small spots of rubbing are also visible here and there like at center bottom on the red robe. Inspection under UV is difficult to read due to an uneven varnish, though small scattered spots of retouches appear to be scattered on the sitter's face and throughout the clouds. Even smaller, and more finely applied retouches are on the right hand of the sitter, as well as some inpainting possibly to address some craquelure. It is suggested that a restorer reviews the condition of this painting. It is offered unframed.
"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."

This portrait portrays the British diplomat, Sir James Gray, leaning against a ledge as he points to the Escorial in the background. The historical residence in the background helped identify the sitter; Sir Gray's first diplomatic position was as ambassador to Spain from 1766 to 1770. The painting was probably done at a later date by Reynolds and his studio. Sir Ellis Kirkham Waterhouse (1905-1985), former director of the National Galleries of Scotland, argued that only the head of the sitter could be attributable to Reynolds. The rest of the composition was probably done by his studio, Waterhouse said.¹ He also suspected that since the ambassador returned from Spain in 1769, and the sitter books Reynolds had of 1769 make no reference to him, the portrait must have been done posthumously. Meanwhile, professor Jason M. Kelly found that the evidence to determine when the painting was made is insufficient, since the artist's sitter books between 1774-1775 are missing, and the portrait could have possibly been done then.²

1. Sir E.K. Waterhouse, "Pompeo Batoni's 'Portrait of John Woodyeare," in The Minneapolis Institute of Arts Bulletin, vol. LXIV, 1978-1980, p. 58.

2. J.M. Kelly, "The Portraits of Sir James Gray (c1708-73)," in The British Art Journal, vol. VIII, Summer 2007, p. 18.