Dual Legacy Portrait of Charles Stanhope, 3rd Earl of Harrington with Marcus Richard Fitzroy Thomas, c. 1783

🎨 Dual Legacy: Portrait of Charles Stanhope, 3rd Earl of Harrington with Marcus Richard Fitzroy Thomas, c. 1783

Executed in the Manner of Sir Joshua Reynolds

🖼️ Subject & Medium

A remarkable and complex watercolour portrait on paper, this late 18th-century work captures Charles Stanhope, 3rd Earl of Harrington, dressed in ceremonial armor, alongside Marcus Richard Fitzroy Thomas, a young Jamaican boy. Painted circa 1783 in the Grand Manner tradition, the portrait intertwines aristocratic idealism with the stark realities of colonial history — visually arresting and deeply meaningful.

🖌️ Composition & Technique

Executed in the theatrical style reminiscent of Sir Joshua Reynolds, the painting uses watercolour — a medium rarely associated with this genre — to achieve a luminous delicacy. Stanhope stands confidently in the foreground, clad in lustrous armor painted in cool greys and silvers, accented by a crimson sash. Behind him, sweeping skies in layered washes of indigo, ochre, and smoky blue create an atmosphere of tension and grandeur.

At his side, Marcus Richard Fitzroy Thomas cradles the Earl’s helmet with quiet dignity. Clothed in dark livery, Marcus is rendered with a rare naturalism — his expression poised, his presence grounded. Unlike the elevated theatricality of Stanhope, Marcus’s portrayal is direct and unembellished, anchoring the composition with emotional truth.

The triangular structure — Marcus, Stanhope, and the sky — forms a classical visual hierarchy that doubles as metaphor: a reflection on empire, race, and power. Stanhope is mythologized; Marcus is real — unidealized, yet profoundly dignified.

More than a portrait, this is a visual dialogue on privilege, service, and the unseen hands behind inherited power — a double portrait where one figure dominates, but the other defines.

📜 Historical Context & Biography

Charles Stanhope (1753–1829) served in Jamaica, Britain’s most heavily fortified slave colony, during the closing years of the American Revolutionary War. Returning in 1782, he was promoted to Colonel and named Aide-de-Camp to King George III before succeeding his father as Earl. That same year, he married Jane Fleming, whose wealth stemmed from Caribbean plantation holdings.

Marcus Richard Fitzroy Thomas, just 14 when painted, likely accompanied Stanhope from Jamaica as part of his retinue. Historical records reveal a compelling life: Marcus was baptized in London — on the same day as one of Stanhope’s children — later joined the Westminster militia as a drummer, married, raised a family, and died in poverty in 1816. He is buried in St. Martin’s Gardens, Camden — a testament to a life lived in the margins of empire.

🧑🎨 Attributed Style: Sir Joshua Reynolds

Though unsigned, the portrait closely follows the mature style of Sir Joshua Reynolds (1723–1792), the influential first president of the Royal Academy. Reynolds favored allegorical and heroic treatments of his subjects, often using classical postures and tempestuous skies to elevate his sitters. The Earl’s armor, stance, and background echo these hallmarks — but the humanizing portrayal of Marcus diverges, injecting the piece with an uncharacteristic realism that subtly critiques the Grand Manner itself.

🖼️ Frame

Presented in a recently fitted reverse-profile moulded gold-leaf frame, the work gains a period-authentic aura and enhanced visual impact. It has been professionally conserved and reglazed using museum-grade AR70 glass — a premium, low-reflective UV-filtering pane that safeguards and enhances the delicate detail of the watercolour, allowing the portrait to be viewed clearly under any lighting.

📏 Framed Dimensions: 55 cm (Height) × 47 cm (Width)
Depth: 1.5 cm

📚 Provenance

• Private Scottish Collection

• Acquired via a notable Scottish auction

• Curated by Cheshire Antiques Consultant LTD

• Exhibited at a regional shire museum

💖 Why You’ll Love It

✅ A rare watercolour portrait blending aesthetic sophistication and historical weight
✅ Features a named Black subject — exceedingly rare in 18th-century British portraiture
✅ Tackles layered themes of empire, race, hierarchy, and memory
✅ Museum-quality AR70 conservation glazing for premium presentation and protection
✅ Ideal for collectors, historians, and institutions seeking a statement piece

🧼 Condition

Overall good condition for its age. The paper remains stable, and the pigments are still fresh and vibrant. There is some light foxing, minor fading, and retouching in the lower background corner, along with small areas of paint loss. The frame is in excellent handmade condition — clean, structurally sound, and ready to display.

🌍 Worldwide Shipping Available
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🖼️ Available exclusively through Cheshire Antiques Consultant LTD

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