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Portrait of Sir Edward Lloyd
National Museum Wales, Cardiff
Richard Wilson (1713/14-1782)
Portrait of Sir Edward Lloyd
1750
Oil on canvas
127.5 x 102 cm
50 1/4 x 40 1/4 in.
NMW A 74
P32
The sitter is shown three-quarter length almost full face, sitting cross-legged by a table, on which is a paper. He wears a formal wig and grey trousers, with a coat and waistcoat over light grey stockings. His cravat is crisply tied and there is fine lace at his cuffs. His left arm rests on the table and he points to the paper with his index finger.
London 1925 (62 - Portrait of a Gentleman); Bangor 1925 (2); Manchester 1925 (59 - Portrait of a Gentleman); Christie's, London 2005, The Dragon and the Thistle
Anon sale Christie's 5 July 1907 (93) bt Agnew (75 guineas); Marquis of Ripon, 1907; Ripon sale, J. & R. Kemp & Co., London, 23 February 1925 (293 - Portrait of a Gentleman); bt National Museum of Wales, February 1925
Signed and dated lower right: R. Wilson f / 1750
No inscription
The double layer of grey lining is typical for this period. There is a high degree of finish in the face compared with the loose brushwork reserved for the rendering of the sitter's costume. Infra-red imagery reveals changes made to the table and chair leg. There is a pentiment around the sitter's proper left hand and necktie.
Edward Lloyd of Pengwern owned esates in Flintshire and Denbighshire and was created 1st Baronet in 1778
The relaxed, informal pose, appropriate to a landed gentleman and characteristic of Wilson's approach to portraiture before his journey to Italy, is balanced by the direct gesture through which the sitter indicates necessary action from the paper on the table.
Old accession number: 25.87
Old registration number: 285
1925.1
Sermoneta 1940, pp. 3-4 as William Lock of Norbury; WGC, pp. 62, 155, pl. 9a
This was once thought to be a portrait of William Lock of Norbury but there is insufficient evidence for the attribution, especially as Lock was only 18 years old when this work was painted (see WGC p. 155).
Relined
Kate Lowry has noted:
Original linen canvas, simple weave with c.15 threads per sq. cm. Turnover edges removed at time of lining but original cusping present at all edges, so original image not reduced. X-ray shows that the original canvas is in good condition apart from a small tear just above the sitters right hand (lower left). Lined with wax-resin adhesive onto a slightly finer weave linen canvas. This lining was carried out at the National Museum of Wales in 1977. Prior to this, it was lined using animal glue. Pine stretcher dates from present lining. Pale grey commercially prepared oil ground with some coarse particles pressed through the paint film and appearing as white dots scattered over the surface of the painting. Cross-sections show a ground consisting of 2 grey layers with intermediate size layer. Oil medium with simple layer structure. Cross-sections from costume and background show a single paint layer over the ground preparation. The face is underpainted in grey with flesh tones over this. IR image shows some changes in the design of the table and chair legs. Pentiment around the sitters left hand and necktie. Mature cracks widespread and particularly visible in the face and upper background. No drying cracks. Damages confined to the small tear just above sitters right hand and a narrow line across the canvas from cuff lower left through waistline to signature, caused by a seam in the previous lining canvas. All these damages have been filled and retouched. Good condition overall.