William Hoare Nude Painting - The Bath Beauty
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William Hoare
The Bath Beauty

About

William Hoare of Bath, RA 1707/8–1792,  “The Bath Beauty” Oil painting on canvas 28 ½ x 23 inches / 72 x 58 cm.. and contained in its fine contemporary Maratta carved giltwood frame Provenace: by descent from a European royal collection to a private collection in Hampshire Subject engraved as “The Bath Beauty” published by by John Bowles, London, undated but circa 1750. Also engraved as “The lady from bathing” published by Robert Sayer, 53 Fleet Street, London, circa 1750-60 Hoare was born near Eye, Suffolk, the eldest of the three children of John Hoare, a prosperous farmer and land agent. The family soon moved to Berkshire and William was sent to school in Faringdon, Oxfordshire, where he showed an early talent for drawing. His father was persuaded to send him to London in the early 1720s, where he joined the studio of Giuseppe Grisoni, an Italian who had come to England in 1718. When Grisoni returned to Italy in 1728, he took Hoare with him. Once in Rome, Hoare shared lodgings in via Gregoriana with Peter Angillis, Laurent Delvaux, and Peter Scheemakers. He joined the studio of Francesco Imperiali, a history painter, and also frequented the studios of the French Academy nearby in the Corso. Personable and well educated, he formed lasting friendships with many young grand tourists who became his patrons: Henry Bathurst, the future third and fourth dukes of Beaufort, Robert Dingley, Henry Hoare (1705–1785) (no relation), George Lyttelton, Charles Hanbury Williams, and Joseph Spence, tutor to the future second duke of Dorset and later to the earl of Lincoln. Hoare returned to England in 1737 or 1738. He had connections with the entourage of Frederick, prince of Wales, and drew the Prince's Portrait in pastel (ex Sothebys, 11 April 1991, lot 28), but he did not prosper and decided to move to Bath, where his brother Prince (d. 1769) was a sculptor and where the Bath seasons were to furnish him with a constant stream of sitters. He quickly came to the notice of Beau Nash and Ralph Allen, whose portraits he painted in oil (1749, Bath corporation; 1758, Exeter Health Authority). In 1742 Hoare was elected a visitor to the Mineral Water Hospital, the duty of which he performed regularly until 1779. This appointment brought him many commissions and the hospital itself still contains a fine collection of Hoare's works, including Self Portrait (pastel, 1742) and Dr Oliver & Mr Peirce Examining Patients (oil; exh. Society of Artists, 1761). He obtained a major commission for an altarpiece for the Octagon Chapel in Bath, The Pool of Bethesda (1765; Bath Masonic Hall Association). An habitué of Stourhead, he furnished the younger Henry Hoare with many family portraits still in situ. On 4 October 1742 Hoare married at Lincoln's Inn chapel, London, Elizabeth Barker (d. 1793); they had five children: Mary (1744–1820), who was also an artist, mainly in crayon, Anne (1751–1821), William jun. (1752–1809), the playwright and painter Prince Hoare (1755–1834), and Georgiana (b. 1759), who died in infancy. Many of Hoare's old Rome acquaintances had become his patrons, and a very substantial part of his income came from politicians' portraits (for example, William Pitt the Elder, c.1754; NPG), their replicas, and the fine mezzotints by Richard Houston commissioned after them. Hoare remained in close touch with the London art milieu. He was connected to the Foundling Hospital and to the Magdalen Hospital, to which he presented a Portrait of Robert Dingley, its founder, in 1762. In 1755 he joined others in signing a request for the founding of an academy. He first exhibited publicly at the Society of Artists in 1761 and in 1769 became a founder member of the Royal Academy at the king's special request, exhibiting intermittently  Hoare died in Edgar Buildings, Bath, on 10 December 1792, and his wife on 30 November 1793. There is a wall tablet to both in Walcot church, near Bath, and a wall monument to Hoare by Chantrey (1828) in Bath Abbey. The present composition enjoyed considerable popularity in the mid-18th century, and it is known in several autograph pictures in pastel by Hoare as well as the present oil painting. The composition derives from the marble Venus Kalipyge in the Farnese collection in Rome where it would have been seen by Hoare, although he has Venus looking demurely forward rather than over her shoulder.The composition was Summer in the set of four seasons after antique sculptures which Hoare popularised, of which a typical set in pastels was sold from Westhorpe Hall, Nottinghamshire, at Christies on 19th November 1985 (lot 195).

Details

  • Artist
    William Hoare (British)
  • Medium
  • Period
  • Dimensions
    H 28.35 in. x W 22.84 in.H 72 cm x W 58 cm
  • Gallery Location
    London, GB
  • Reference Number
    LU44634673472
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About the Seller

5 / 5
Vetted
Recognized
1stdibs seller since 2016
Located in London, GB
Associations:
LAPADA - The Association of Arts & Antiques Dealers
International Confederation of Art and Antique Dealers' Associations
The British Antique Dealers' Association
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