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  • The actress Frances (Fanny) Barton, better known as Mrs. Abington, was one of the most popular stars of the London stage. She grew up in the slums near Drury Lane; sold flowers in Covent Garden (where she was called “Nosegay Fan”); worked for a French milliner in Cockspur Street; and was employed by the cook and future comedian Robert Baddeley, who gave Fanny her first big break. She married James Abington, one of the king's trumpeters, and became a star in the Drury Lane Company, managed by the actor-manager David Garrick. She created the role of Lady Teazle in Richard Brinsley Sheridan’s “The School for Scandal” (1777). In this portrait, Reynolds (an admirer) portrays Mrs. Abington in one of her most successful roles, that of the young ingénue Miss Prue in William Congreve’s somewhat dated 1694 comedy “Love for Love”. She played that part for the first time in December 1769, and the sittings for this portrait took place either in December or in March and April 1771. Showing her in character (and adopting what was then taken to be a suggestive, or at least unrefined, pose—unthinkable for a lady—and exploiting as a strategically positioned fascinator the Hepplewhite chairback upon which she rests her arms), the work is both a portrait of unusual directness and candor, her thumb coyly hovering on the lower lip, and a “historical” picture, whose associations went beyond the subject's likeness, which Horace Walpole thought “easy and very like” (Mannings and Postle, 2000, p. 56). Reynolds painted at least half a dozen portraits of Mrs. Abington in 1771 and two further paintings that must correspond to surviving notes in Reynolds's appointment books for 1773 and 1780. The latter of these, which is untraced, showed the actress in character once again, this time in the role of Roxalana, the English slave in Isaac Bickerstaff’s play “The Sultan”, which was first performed in 1775 in Drury Lane. In that drama, “the playful, unequal, coquettish Roxalana,” wrote Sir Uvedale Price, “full of sudden turns and caprices, is opposed to the beautiful, tender, and constant Elvira; and the effects of irritation, to those of softness and languor” (Graves and Cronin, 1899–1901, vol. 1, p. 5).
?:PX_curatorial_comment
  • The actress Frances (Fanny) Barton, better known as Mrs. Abington, was one of the most popular stars of the London stage. She grew up in the slums near Drury Lane; sold flowers in Covent Garden (where she was called "Nosegay Fan"); worked for a French milliner in Cockspur Street; and was employed by the cook and future comedian Robert Baddeley, who gave Fanny her first big break. She married James Abington, one of the king's trumpeters, and became a star in the Drury Lane Company, managed by the actor-manager David Garrick. She created the role of Lady Teazle in Richard Brinsley Sheridan's The School for Scandal (1777). In this portrait, Reynolds (an admirer) portrays Mrs. Abington in one of her most successful roles, that of the young ingénue Miss Prue in William Congreve's somewhat dated 1694 comedy Love for Love. She played that part for the first time in December 1769, and the sittings for this portrait took place either in December or in March and April 1771. Showing her in character (and adopting what was then taken to be a suggestive, or at least unrefined, pose.-.unthinkable for a lady.-.and exploiting as a strategically positioned fascinator the Hepplewhite chairback upon which she rests her arms), the work is both a portrait of unusual directness and candor, her thumb coyly hovering on the lower lip, and a "historical" picture, whose associations went beyond the subject's likeness, which Horace Walpole thought "easy and very like" (Mannings and Postle, 2000, p. 56). Reynolds painted at least half a dozen portraits of Mrs. Abington in 1771 and two further paintings that must correspond to surviving notes in Reynolds's appointment books for 1773 and 1780. The latter of these, which is untraced, showed the actress in character once again, this time in the role of Roxalana, the English slave in Isaac Bickerstaff's play The Sultan, which was first performed in 1775 in Drury Lane. In that drama, "the playful, unequal, coquettish Roxalana," wrote Sir Uvedale Price, "full of sudden turns and caprices, is opposed to the beautiful, tender, and constant Elvira; and the effects of irritation, to those of softness and languor" (Graves and Cronin, 1899.-.1901, vol. 1, p. 5).
  • The actress Frances (Fanny) Barton, better known as Mrs. Abington, was one of the most popular stars of the London stage. She grew up in the slums near Drury Lane; sold flowers in Covent Garden (where she was called “Nosegay Fan”); worked for a French milliner in Cockspur Street; and was employed by the cook and future comedian Robert Baddeley, who gave Fanny her first big break. She married James Abington, one of the king's trumpeters, and became a star in the Drury Lane Company, managed by the actor-manager David Garrick. She created the role of Lady Teazle in Richard Brinsley Sheridan’s The School for Scandal (1777). In this portrait, Reynolds (an admirer) portrays Mrs. Abington in one of her most successful roles, that of the young ingénue Miss Prue in William Congreve’s somewhat dated 1694 comedy Love for Love. She played that part for the first time in December 1769, and the sittings for this portrait took place either in December or in March and April 1771. Showing her in character (and adopting what was then taken to be a suggestive, or at least unrefined, pose—unthinkable for a lady—and exploiting as a strategically positioned fascinator the Hepplewhite chairback upon which she rests her arms), the work is both a portrait of unusual directness and candor, her thumb coyly hovering on the lower lip, and a “historical” picture, whose associations went beyond the subject's likeness, which Horace Walpole thought “easy and very like” (Mannings and Postle, 2000, p. 56). Reynolds painted at least half a dozen portraits of Mrs. Abington in 1771 and two further paintings that must correspond to surviving notes in Reynolds's appointment books for 1773 and 1780. The latter of these, which is untraced, showed the actress in character once again, this time in the role of Roxalana, the English slave in Isaac Bickerstaff’s play The Sultan, which was first performed in 1775 in Drury Lane. In that drama, “the playful, unequal, coquettish Roxalana,” wrote Sir Uvedale Price, “full of sudden turns and caprices, is opposed to the beautiful, tender, and constant Elvira; and the effects of irritation, to those of softness and languor” (Graves and Cronin, 1899–1901, vol. 1, p. 5).
  • The actress Frances (Fanny) Barton, better known as Mrs. Abington, was one of the most popular stars of the London stage. She grew up in the slums near Drury Lane; sold flowers in Covent Garden (where she was called “Nosegay Fan”); worked for a French milliner in Cockspur Street; and was employed by the cook and future comedian Robert Baddeley, who gave Fanny her first big break. She married James Abington, one of the king's trumpeters, and became a star in the Drury Lane Company, managed by the actor-manager David Garrick. She created the role of Lady Teazle in Richard Brinsley Sheridan’s “The School for Scandal” (1777). In this portrait, Reynolds (an admirer) portrays Mrs. Abington in one of her most successful roles, that of the young ingénue Miss Prue in William Congreve’s somewhat dated 1694 comedy “Love for Love”. She played that part for the first time in December 1769, and the sittings for this portrait took place either in December or in March and April 1771. Showing her in character (and adopting what was then taken to be a suggestive, or at least unrefined, pose—unthinkable for a lady—and exploiting as a strategically positioned fascinator the Hepplewhite chairback upon which she rests her arms), the work is both a portrait of unusual directness and candor, her thumb coyly hovering on the lower lip, and a “historical” picture, whose associations went beyond the subject's likeness, which Horace Walpole thought “easy and very like” (Mannings and Postle, 2000, p. 56). Reynolds painted at least half a dozen portraits of Mrs. Abington in 1771 and two further paintings that must correspond to surviving notes in Reynolds's appointment books for 1773 and 1780. The latter of these, which is untraced, showed the actress in character once again, this time in the role of Roxalana, the English slave in Isaac Bickerstaff’s play “The Sultan”, which was first performed in 1775 in Drury Lane. In that drama, “the playful, unequal, coquettish Roxalana,” wrote Sir Uvedale Price, “full of sudden turns and caprices, is opposed to the beautiful, tender, and constant Elvira; and the effects of irritation, to those of softness and languor” (Graves and Cronin, 1899–1901, vol. 1, p. 5).
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  • Alternate title :: Mrs. Abington as Miss Prue in William Congreve's "Love for Love"
  • Alternate title :: [ Portrait ] of a Lady (three Quarters)
  • Bibliograpic reference :: A Plethora of Portraits, Economist, vol. 299, 1 February 1986, p. 97, Available online : Gale Cengage Economist Historical Archive , Also available in hardcopy at LSF; see Orbis for call numbers
  • Bibliograpic reference :: Abington [nee Barton], Francis [Fanny] (1737-1815), Oxford Dictionary of National Biography, vol. 1, 2004, p. 109, DA28 D5 2004 (YCBA) , Also available Online
  • Bibliograpic reference :: Abington, Francis (1737-1815), Oxford Dictionary of National Biography, 1885, Available Online (Archive within ODNB)
  • Bibliograpic reference :: Aileen Ribeiro, The art of dress, fashion in England and France 1750 to 1820, Yale University Press, New Haven, CT, 1995, p.65, , pl. 67, GT736 R53 1995 (YCBA)
  • Bibliograpic reference :: Algernon Graves, A history of the works of Sir Joshua Reynolds, P.R.A., Henry Graves & Co., London, UK, 1899, p. 4, NJ18 R36 G73 OVERSIZE (YCBA) , Also available on Microfiche: Fiche B6 (YCBA)
  • Bibliograpic reference :: Allard Sebastien, Portraits publics, portraits privâes, 1770-1830, Galeries nationales du Grand Palais, Paris, 4 octobre 2006-9 janvier 2007 ; the Royal Academy of Arts, Londres, 3 fâevrier-20 avril 2007 ; the Solomon R. Guggenheim Museum, New York, 18 mai-10 septembre 2007, Réunion des Musées Nationaux, Paris, 2006, pp. 93, 122-3, cat. 28, ND1314.4 P67 2006 + (YCBA)
  • Bibliograpic reference :: Andrew Graham-Dixon, A history of British art, BBC, London, UK, 1996, pp. 107-8, no. 38, N6761 G72 1996 (YCBA)
  • Bibliograpic reference :: Angela Rosenthal, Angelica Kauffman, art and sensibility, Yale University Press, New Haven, 2006, p. 70, no. 32, NJ18 K218 R67 2006 + (YCBA)
  • Bibliograpic reference :: Angus Trumble, The Finger : A Handbook, , Farrar, Straus and Giroux, New York, 2010, p. 128, GT498.F46 T78 2010 (YCBA)
  • Bibliograpic reference :: Angus Trumble, The finger, a handbook, Farrar, Straus and Giroux, New York, 2010, p. 128, GT498.F46 T78 2010 (YCBA)
  • Bibliograpic reference :: Brian Allen, The Sport of Collecting : Paul Mellon and British Art, Apollo, v.165,no.542, April 2007, pp. 38,39, fig. 10, N1 A54 + (YCBA)
  • Bibliograpic reference :: Brian Allen, The Sport of Collecting: Paul Mellon and British Art, Apollo, v.165,no.542, April 2007, pp. 38,39, fig. 10, N1 A54 + (YCBA)
  • Bibliograpic reference :: Britain in the world: Highlights from the Yale Center for British Art in honor of Amy Meyers, Yale University Press, New Haven, London, p. 68, N6761 .Y33 2019 (LC) (YCBA)
  • Bibliograpic reference :: British Art at Yale, Apollo, v.105, no. 182, April 1977, pp. 246-7, cover, N5220 M552 A7 1977 OVERSIZE (YCBA) , Published as April 1977 issue of Apollo; all of the articles may also be found in bound Apollo Volume [N1 A54 105:2 +]
  • Bibliograpic reference :: British Institution, Catalogue of pictures by the late Sir Joshua Reynolds, exhibited by the permission of the proprietors, in honor of the memory of that distinguished artist and for the improvement of British Art., W. Bulmer & Co., London, 1813, no. 103, N5055 B7 A13 1813 + (RARE BOOKS, YCBA)
  • Bibliograpic reference :: Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 57, ND466 G67 (YCBA)
  • Bibliograpic reference :: Charles Hindlip, An Auctioneer's Lot Triumphs & Disasters at Christie's, Third Millennum Publishing, p.87, N8604 C57 H56 2016 (YCBA)
  • Bibliograpic reference :: Charles Robert Leslie, Life and Times of Sir Joshua Reynolds, With Notices of Some of His Contemporaries, John Murray, London, 1865, vol 1: p. 226 vol 2: p. 408, 11b, no. 2 (vol 2), NJ18 R36 L47 (YCBA)
  • Bibliograpic reference :: Charles Robert Leslie, Life and times of Sir Joshua Reynolds, with notices of some of his contemporaries., John Murray, London, 1865, pp. 226-7, NJ18 R36 L47 (YCBA) , Also available on Microfche: The Nineteenth Century: Visual Arts ; Pos: Fiche.N.4.2.357) (SML Fiche B1244 Fiche.N.4.2.357)
  • Bibliograpic reference :: Christie's Sale Catalogue : Highly Important English Pictures c.1600 - c. 1850 : 23 June 1972, Christie's, 1972, p. 60, lot 116, pl. 116, Sales Catalogues (YCBA)
  • Bibliograpic reference :: Citizens and kings, portraits in the age of revolution 1760-1830., Royal Academy of Arts, London, 2007, pp. 84-5, fig. 43, ND1314.4 C5713 2007 + (YCBA)
  • Bibliograpic reference :: David Mannings, Sir Joshua Reynolds, a complete catalogue of his paintings, Yale University Press, New Haven, 2000, v. 1, p. 55-56; v. 2, pp. 67, 417, no. 29, pl. 67, fig.1017, NJ18 R36 A12 M35 2000 OVERSIZE (YCBA)
  • Bibliograpic reference :: Desmond Shawe-Taylor, The Georgians, eighteenth-century portraiture & society, Barrie & Jenkins, London, 1990, p. 110, fig. 72, ND1314.4 S52 1990 (YCBA)
  • Bibliograpic reference :: Ellis Waterhouse, An Impressive Panorama of British Portraiture, Apollo, v. 105, no. 182, April 1977, pp. 246-7, cover, N1 A54 + (YCBA) , Another copy of this article may be found in a separately bound and catalogued copy of this issue located on the Mellon Shelf [call number : N5220 M552 A7 1977 + (YCBA)]
  • Bibliograpic reference :: Ellis Waterhouse, Reynolds, Kegan Paul, Trench Trübner, London, 1941, p. 61, pl. 136, NJ18 R36 W37 (YCBA)
  • Bibliograpic reference :: Ellis Waterhouse, Reynolds, Phaidon, New York, NY, 1973, pl. 54, NJ18 R36 W37 1973 + (YCBA)
  • Bibliograpic reference :: Exhibition of works by Sir Joshua Reynolds P.R.A., 1723-1792, 18th February to 19th March 1961., Birmingham Museum & Art Gallery, Birmingham, 1961, pp. 31-32, no. 50, NJ18 R36 E85 1961 (YCBA)
  • Bibliograpic reference :: Felicity Nussbaum, Rival queens, actresses, performance, and the eighteenth-century British theater, University of Pennsylvania Press, Philadelphia, 2010, pp. 261, 262, fig. 23, PN2582.W65 N87 2010 (YCBA)
  • Bibliograpic reference :: Geoffrey Agnew, Yale's 1700 Mellon Pictures, The Times (London), issue no. 59989, Thursday, April 28, 1977, p. 9, Available Online : Times Digital Archive , Also available on Microfilm : Film An T842 (SML)
  • Bibliograpic reference :: Giles Waterfield, Mr Mellon, RA : the magazine for the Friends of the Royal Academy, No. 96, Autumn 2007, pp. 71, 73, V 1905 (YCBA) , Detached from RA, no.96 (2007:Autumn)
  • Bibliograpic reference :: Gillen D'Arcy Wood, The Shock of the Real : Romanticism and Visual Culture, 1760-1860, , Palgrave Macmillan, New York, N.Y., 2001, pp. 63-66, fig. 1.7, NX452.5 R64 W66 2001 (YCBA)
  • Bibliograpic reference :: Gillen D'Arcy Wood, The shock of the real, romanticism and visual culture, 1760-1860, Palgrave Macmillan, New York, N.Y., 2001, pp. 63-66, fig. 1.7, NX452.5 R64 W66 2001 (YCBA)
  • Bibliograpic reference :: Gillian Perry, The first actresses Nell Gwyn to Sarah Siddons /, National Portrait Gallery, London, 2011, pp. 44-45, 110, 112, fig.28 and p.112, PN2582.W65 P472 2011 + OVERSIZE (YCBA)
  • Bibliograpic reference :: Gillian Perry, The first actresses Nell Gwyn to Sarah Siddons, National Portrait Gallery, London, 2011, pp. 44-45, 110, 112, fig.28 and p.112, PN2582.W65 P472 2011 + OVERSIZE (YCBA)
  • Bibliograpic reference :: Grosvenor Gallery, Catalogue of the works of Sir Joshua Reynolds exhibited at the Grosvenor Gallery MDCCCLXXXIII-IV, illustrated with photo-intaglio plates after the originals by Alfred Dawson., Chiswick Press, London, 1884, pp. 11-12, no. 7, NJ18 R36 G76 + (YCBA)
  • Bibliograpic reference :: Ian McIntyre, Garrick, Allen Lane, London, 1999, no. 24, PN2598 G3 Z9 M25 1999 (YCBA)
  • Bibliograpic reference :: In honor of Paul Mellon, collector and benefactor, Essays, National Gallery of Art, Washington, DC & Hanover, NH, 1986, pp. 2-3 5, fig. 1, N7442.2 M455 1986 (YCBA)
  • Bibliograpic reference :: In honor of Paul Mellon, collector and benefactor, Essays, Patrick Noon, Washington, DC & Hanover, NH, 1986, pp. 2-3 5, fig. 1, N7442.2 M455 1986 (YCBA)
  • Bibliograpic reference :: James Northcote, Memoirs of Sir Joshua Reynolds ..., Comprising original anecdotes, of many distinguished persons, his contemporaries: and a brief analysis of his discourses. To which are added, Varieties on art., M. Carey & Son, Philadelphia, 1817, p. 159, Available Online (Internet Archive)
  • Bibliograpic reference :: James Northcote, Memoirs of Sir Joshua Reynolds, KNT. ..., comprising original anecdotes of many distinguished persons, his contemporaries, and a brief analysis of his discourses : to which are added, Varieties on art, London, 1813, p. (6) appendix, ND497.R4 N8 1813 Oversize (YCBA Rare)
  • Bibliograpic reference :: John Baskett, Paul Mellon's legacy, a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, pp. 28, 255, no. 31, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: John McDonald, A Feast of Mellon, Sydney Morning Herald, May 9, 1998, p. 14, Film An Sy25 (SML) , Also Available Online (Factiva database)
  • Bibliograpic reference :: Joseph Burke, English art 1714-1800, Clarendon Press, Oxford, 1976, p. 208, pl. 56c, N6761 O9 9 (YCBA)
  • Bibliograpic reference :: Joseph Musser Jr., Sir Joshua Reynold's 'Mrs. Abington as Miss Prue', South Atlantic Quarterly, vol. 83, Spring 1984, pp. 176-92, A89 250 (SML)
  • Bibliograpic reference :: Joshua Reynolds : experiments in paint, The Wallace Collection, London, London, 2015, pp. 180-182, no. 17, col pl. and fig. 108, NJ18.R36 J6752 2015 OVERSIZE (YCBA)
  • Bibliograpic reference :: Julia Marciari-Alexander, This other Eden, paintings from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1998, pp. 98-99, no. 35, ND1314.3 Y36 1998 (YCBA)
  • Bibliograpic reference :: Kinda Kalof, A cultural history of animals, Berg, Oxford, UK; New York, NY, 2007, p. 183 (v. 4), fig. 7.14, QL85 C85 2007 (YCBA)
  • Bibliograpic reference :: Lindsay Duguid, The Recollected Works, TLS, the Times Literary Supplement, Issue no. 5458, November 8, 2007, p. 17, Available Online : TLS Archive , Also Available on microfilm : Film S748 (SML)
  • Bibliograpic reference :: Lindsay Rothwell, Paul Mellon's legacy, an American's passion for British art : Sackler Wing of Galleries, 20 October 2007 - 27 January 2008 : an introduction to the exhibition for teachers and students., Royal Academy of Arts, London, UK, 2007, pp. 18-20, no. 31, V 2038 (YCBA)
  • Bibliograpic reference :: Malcolm Cormack, A Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 184, 185, N590.2 A83 (YCBA)
  • Bibliograpic reference :: Malcolm Cormack, A concise catalogue of paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 184, 185, N590.2 A83 (YCBA)
  • Bibliograpic reference :: Malcolm Cormack, Star Quality, ART News, Summer 1983, pp. 112-113, N1 A6 OVERSIZE (HAAS)
  • Bibliograpic reference :: Malcolm Warner, Great British paintings from American collections, Holbein to Hockney, Yale Center for British Art, New Haven, CT, 2001, pp. 119-21, no. 29, ND464 W27 2001 (YCBA)
  • Bibliograpic reference :: Mark Hallett, Diary : Mark Hallett on his long-term relationship with Reynolds, Apollo, vol. 181, March 2015, p. 46, fig. 1, N1 A54 OVERSIZE (YCBA)
  • Bibliograpic reference :: Mark Hallett, Reynolds : portraiture in action, The Paul Mellon Centre for Studies in British Art, New Haven, 2014, pp. 393-94, fig. no. 376, NJ18.R36 H35 2014 OVERSIZE (YCBA)
  • Bibliograpic reference :: Martin Postle, Joshua Reynolds, the creation of celebrity, Tate Publishing, London New York, 2005, p. 190, no. 54, NJ18 R36 J68 2005 + (YCBA)
  • Bibliograpic reference :: Mary Webster, Johan Zoffany, 1733-1810, Yale University Press, New Haven, CT, 2011, p. 222, NJ18 Z68 W43 2011 + (YCBA)
  • Bibliograpic reference :: Michael Glover, Scenes from Afar, The Times (London), Saturday, September 22, 2007, p. 28, Available Online : Times Digital Arcive , Also available on Microfilm: Film An T482 (SML)
  • Bibliograpic reference :: Musée du Petit Palais, Peinture romantique anglaise et les preraphaelites., Exposition: 21 janvier-16 avril 1972., Paris, 1972, No. 214, ND467 P37 1972 (YCBA)
  • Bibliograpic reference :: Paul Mellon's Legacy, a passion for British art. [large print labels], Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)
  • Bibliograpic reference :: Paul Mellon's legacy, a passion for British art : April 18-July 29, 2007, Yale Center for British Art, New Haven, Conn., 2007, p. 13, V 1735 (YCBA)
  • Bibliograpic reference :: Paul Mellon's legacy, a passion for British art. [large print labels], Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 +P381 2007, Mellon Shelf (YCBA)
  • Bibliograpic reference :: Representing emotions, new connections in the histories of art, music, and medicine, Ashgate Publishing, Aldershot, Hants, England Burlington, VT, 2005, p. 158, fig. 9.2, RC480.5 R386X 2005 (Haas)
  • Bibliograpic reference :: Reynolds, Royal Academy of Arts, London, 1986, pp. 123, 246-47, no. 78, NJ18 R36 P452 (YCBA)
  • Bibliograpic reference :: Richard Brinsley Sheridan, The Rivals, The Duenna, A Trip to Scarborough, The School for Scandal, The Critic, Oxford University Press, Oxford, New York, 1998, book cover, PR3681 C67 1998
  • Bibliograpic reference :: Richard Wendorf, Sir Joshua Reynolds, the painter in society, Harvard University Press, Cambridge, Mass., 1996, p. 128, NJ18 R36 W46 1996 (YCBA)
  • Bibliograpic reference :: Robin Simon, Reynolds and the Double-entendre, The Society of Dilettanti Portraits, British Art Journal, vol. 3, no. 1, Spring, 2001, p. 77, Pl. 9, N6761 B74 + (YCBA)
  • Bibliograpic reference :: Royal Academy of Arts, Exhibition Catalogue. 1771. 3d, Exhibition of the Royal Academy of Arts, no. 3, London, 1771, p. 16, no. 161, N5054 A53 (YCBA)
  • Bibliograpic reference :: Royal Academy of Arts, Exhibition of works by old masters and by deceased masters of the British School : winter exhibition, 7th year, London, 1876, p.6, no. 31, Fiche B112 (YCBA)
  • Bibliograpic reference :: Simon Schama, The Yale Centre for British Art, TLS, the Times Literary Supplement, Issue no. 3923, May 20, 1977, p. 620, Film S748 (SML) , Also avaiable online in TLS Historical Archive (ORBIS)
  • Bibliograpic reference :: Sir Joshua Reynolds :, A plethora of portraits, Economist, February 1, 1986, p. 97, Available Online (Economist Archive)
  • Bibliograpic reference :: Sir Joshua Reynolds, 1723-1792, Galeries nationales du Grand Palais, Paris, 7 octobre - 16 December, 1985 [and] Royal Academy of Arts, Londres, 16 janvier - 30 mars, 1986., Editions Réunion des Musées Nationaux, Paris, 1985, pp. 35, 188-90, no. 38, NJ18 R36 P4514 (YCBA)
  • Bibliograpic reference :: Sir Joshua Reynolds, loan exhibition in aid of the Royal Northern Hospital., Royal Northern Hospital, London, 1937, p. 36, no. 56, NJ18 R36 L65 (YCBA)
  • Bibliograpic reference :: Sotheby's sale catalogue : Important British Pictures : 27 November 2003, Sotheby's, Sotheby's, London, November 27, 2003, p. 35, Fig. 2, Auction Catalogues (YCBA)
  • Bibliograpic reference :: South Kensington Museum, Catalogue of the second special exhibition of national portraits commencing with the reign of William and Mary and ending with the year MDCCC, on loan to the South Kensington museum. May 1, 1867., London, 1867, pp. 133-4, no. 601, N7598 S6 1867 (YCBA)
  • Bibliograpic reference :: The Grosvenor Exhibition (First Notice), Athenaeum, no. 2931, December 29 1883, pp. 873-4, Available Online: British Periodicals II , Also Available: A88 At421 + (SML)
  • Bibliograpic reference :: The Yale Center for British Art, An Anniversary Celebration of Paul Mellon's Great Legacy, Apollo, April 2007, p. 39, fig. 10, N5220 M552 A7 OVERSIZE (YCBA) , Appeared as April 2007 issue of Apollo;; all of the articles may also be found in bound Apollo Volume [N1 A54 165:2 +]
  • Bibliograpic reference :: William Cotton Esq., A Catalogue of the Portraits Painted by Sir Joshua Reynolds, Knt., P.R.A., Compiled from his autograph memorandum books, and from printed catalogues, Longman, London and Plymouth, UK, 1857, p. 110, no. 72, NJ18 R36 C65 (YCBA)
  • Dimension height :: 76.8cm
  • Dimension width :: 63.8cm
  • Exhibition :: "Brilliant Effects" [ Jewels ]
  • Exhibition :: 2016 Installation YCBA - 401
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Caught in the Act - Portraits of Women in the Eighteenth Century
  • Exhibition :: Citizens and Kings, Portraiture in the Age of David and Goya - 1770-1830
  • Exhibition :: Great British Paintings from American Collections: Holbein to Hockney
  • Exhibition :: Joshua Reynolds : the Creation of Celebrity
  • Exhibition :: Sir Joshua Reynolds (RA)
  • Exhibition :: Sir Joshua Reynolds - experiments in paint
  • Exhibition :: This Other Eden : British Paintings from the Paul Mellon Collection at Yale
  • Exhibition :: Yale University Art Gallery 2015 - 2016
  • Located in :: 401
  • Located in :: Bay01
  • Located in :: New Haven
  • Located in :: On view
  • Located in :: YCBA, 401, Bay01
  • Located in :: Yale Center for British Art
  • Object type :: painting
  • Subject Concept :: actress
  • Subject Concept :: bracelets (jewelry)
  • Subject Concept :: chair
  • Subject Concept :: costume
  • Subject Concept :: dog (animal)
  • Subject Concept :: gesture
  • Subject Concept :: hand
  • Subject Concept :: love
  • Subject Concept :: performance
  • Subject Concept :: portrait
  • Subject Concept :: pose
  • Subject Concept :: sky
  • Subject Concept :: stage
  • Subject Concept :: theater (discipline)
  • Subject Concept :: woman
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  • ...
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  • Yale Center for British Art, Paul Mellon Collection
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?:label
  • Mrs. Abington as Miss Prue in "Love for Love" by William Congreve
?:type