Historic Pelham

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Friday, April 01, 2016

The Portrait of "Mrs. Bolton" Attributed to Thomas Gainsborough That Once Hung in The Priory of Pelham Manor



"For here are some rare canvases.  There is an exquisite
Gainsborough, his portrait of Mrs. Bolton.  Dating from his
later Bath period, it presents a charming subject alluringly
handled.  The color in particular, with its scheme of
delicate yellows and grays sets it apart and clothes it with
quiet distinction.  It is easily understandable that this canvas
should have remained in the sitter's family until very recently."

-- Description of Gainsborough Portrait of "Mrs. Bolton" that
       Once Hung in the Priory at Pelham Manor Published in 1931.


"Mrs. Bolton," a Portrait Attributed to Thomas Gainsborough
that Once Hung in the Priory at Pelham Manor.  Oil on Canvas,
30 Inches x 25 Inches.  NOTE:  Click on Image to Enlarge.
There once hung in the "Drawing Room" of the Priory School for Girls in Pelham Manor a beautiful oil portrait of a young lady.  The painting was not signed by the artist.  Nor was there any indication of the title of the painting.  For many years members of the Bolton family referenced the painting as "A Lady."  It also was said that the painting depicted an unknown Bolton family ancestor.  

In an early exhibition of the painting, it was referenced as "A Lady."  The painting was loaned by Adele Bolton for an exhibition held at the National Academy of Design in New York City in November, 1894.  The exhibition catalogue for "Portraits of Women" for the benefit of St. .John's Guild and the Orthopedic Hospital confirms Miss Bolton loaned a painting attributed to Thomas Gainsborough entitled "A Lady."  See PORTRAITS OF WOMEN LOAN EXHIBITION FOR THE BENEFIT OF ST. JOHN'S GUILD AND THE ORTHOPEDIC HOSPITAL NATIONAL ACADEMY OF DESIGN NEW YORK NOVEMBER 1894, pp. 26-27 (NY, NY:  The Knickerbocker Press - G.P. Putnam's Sons, 1894) ("THOMAS GAINSBOROUGH, 1727-1788. . . . 117.  A Lady. (Attributed.) Lent by MRS. BOLTON.").

Adele Bolton, the last surviving member of her generation who still lived in the United States (an older sister still lived in England), owned the painting at the time of her death on January 24, 1911.  Prior to her death, Miss Bolton told two of her nieces (Miss Annie Bolton and Miss Arabella Bolton) and one of her nephews (James Bolton) that the picture was "supposed to be the likeness of an ancestor of the Boltons," that it was painted by Thomas Gainsborough, and that it was "worth thousands of dollars."

Shortly after Adele Bolton's death in early 1911, Arabella Bolton consulted a number of art experts including "authorities of the Metropolitan Museum of Art."  All the authorities consulted declared the painting to be a work by Thomas Gainsborough.  

Rumors ran wild.  A number of local newspapers caught wind of the story and reported it.  One reported on October 1, 1912 that " the Bolton estate had been offered $70,000 for it" (about $1.8 million in 2016 dollars).  As one might fear, the legatees of Adele Bolton's will began to dispute ownership of the painting of "A Lady."  One account described the dispute as follows:

"When Mrs. Bolton died she left her possessions to her two nieces [Arabella and Annie Bolton] and her nephew, James Bolton, who now lives in the northern part of New York State.  The will, it was said, specified how all her property was to be divided, with the exception of three paintings, of which the portrait by Gainsborough was one. . . . Miss Annie Bolton and James Bolton are the executors of the will, and in the settlement of the estate they were represented by J. Addison Young of the law firm of Charles H. & J. A. Young.  Miss Arabella Bolton said the painting should go to her because, she alleged, her aunt had often promised that she should inherit it.  She believed, she said, that was the reason it was not mentioned in the will.  Miss Annie Bolton demanded part possession of the portrait under a clause in the will which set forth that any property not specifically mentioned should be divided among the heirs.  The painting, she asserted, was part of the estate, and the heirs should share in its ownership."  

It took more than twelve years to resolve a dispute among Adele Bolton's legatees over ownership of the painting.  Although the record remains unclear, it appears that there was an amicable temporary settlement of the dispute among the two nieces and nephew over ownership of the painting.  The painting appears to have remained in the possession of Arabella Bolton who originally secured its possession to show it to art experts for attribution to Gainsborough.  There apparently, however, was a stipulation among the two nieces and nephew that provided that the painting was not to be sold for an amount less than $7,500 with proceeds to be split among the three.  In 1923, an offer to purchase the painting for $4,500 was received by the family from London, but the offer was refused.

Then, in 1924, however, Arabella's sister (the other niece) Annie (Anne Jay Bolton), died in Brooklyn, New York.  Upon Annie's death, executors of her estate listed as an asset of Annie's estate her claimed interest in the painting.  Although it took some time, this event seems to have prompted resolution of the dispute over the painting.  

In 1929 and 1930, two independent art experts certified the painting as one by Thomas Gainsborough and, by 1930, the painting was owned by Eugene Bolton who resided in London.  More likely than not, although this is speculation, Eugene Bolton of London likely was the source of the original offer in 1923 to acquire the painting for $4,500 -- an offer that was refused at the time.  

The painting was acquired by the Gallery of P. Jackson Higgs for an undisclosed amount in about 1931 and was exhibited among a group of "Master Works" at the gallery located at 32 East Fifty Seventh Street in New York City for a week during November 1931.  (See full text of article on the exhibition below.)  It was at about the time that the Gallery of P. Jackson Higgs took possession of the work that it was referred to as "portrait of Mrs. Bolton" rather than "A Lady."  

The following year (1932), the painting was in an "Exhibition of Eighteenth Century Portraits" at the Art Gallery of Toronto.  Thereafter, also in 1932 with the Great Depression ravaging the economy, the painting was sold at an auction of paintings from the Gallery of P. Jackson Higgs for $2,600 (about $46,000 in 2016 dollars).  See pages from the auction catalogue immediately below.


Pages from 1932 Auction Catalogue for Auction of Art "From
the Gallery of P. JACKSON HIGGS."  Source:  PRIMITIVE
NOTE:  Click on Image to Enlarge.  See transcribed text below.


The catalogue entry above for the Gainsborough painting (next to a handwritten notation suggesting the painting sold for $2,600) reads as follows:

"THOMAS GAINSBOROUGH, R.A.
BRITISH:  1727-1788
53.  MRS. BOLTON
Half-length figure, turned slightly to the right and looking at the observer, of a lady with delicate features and gray eyes, and powdered hair elaborately dressed:  she wears a hat trimmed with dark brown plumes and a full-sleeved greenish white gown.
Height, 30 inches; width, 25 inches

Collection of Eugene Bolton, Esq., London, 1930, a descendant of the sitter

Exhibition of Eighteenth Century Portraits, Art Gallery of Toronto, 1932, No. 14

With the certificates of Mr. W. Roberts, dated Jan. 2, 1929, and Dr. Hermann Voss, dated Berlin, June 20, 1930, which will be given to the purchaser.

[See illustration]"

There are indications that the painting was offered at auction only about one year ago during an auction held February 21-22, 2015.  See MutualArt.com:  By Thomas Gainsborough - Portrait of Mrs. Bolton (visited Mar. 27, 2016).  

*          *          *          *          *

 Immediately below is the text of several additional articles dealing with the history of the painting that came to be known as "Mrs. Bolton" by Thomas Gainsborough.  Each is followed by a citation and link to its source.

 "PRIZE PORTRAIT OLD GAINSBOROUGH
-----
Bolton Estate Heirs Split Over Owernship of Heirloom Worth $70,000.
-----

NEW YORK.  Oct. 1. -- For many the portrait of an attractive young woman hung on a wall of the drawing room in the Priory School for Young Women, conducted by Mrs. Adele Bolton, in New Rochelle.  Mrs. Bolton, who traced her descent from an old English family, members of which came to this country when the cavaliers emigrated to Virginia, had always been told that the painting was the work of a master.  

She had told her nieces, the Misses Annie and Arabella Bolton, of this tradition, so that when she died a year ago, leaving her property to be divided between her two nieces and her nephew, James Bolton, much concern was felt among the heirs, as to the ultimate ownership of the portrait.  This concern has been increased a hundredfold by the discovery that the picture supposed to be the likeness of an ancestor of the Boltons, was painted by Gainsborough and is worth thousands of dollars.  

Some months ago Miss Arabella Bolton, anxious to settle the dispute as to the picture's value, consulted persons concerned in art matters in this city.  They all declared the work to be a Gainsborough.  The authorities of the Metropolitan Museum of Art have examined the painting, and it is said that they have decided Gainsborough executed it.

Bryson Borroughs, curator, is one of those who passed judgment on the painting.  He said that because of a threatened lawsuit over its ownership he did not wish to discuss the genuineness of the painting.  It was reported that the Bolton estate had been offered $70,000 for it.  Friends of the family are working to bring about a settlement of the dispute over the possession of the painting, and it is believed that this will be effected without recourse to the courts.  

The Portrait measures 24 inches by 12 inchesnand represents the head and shoulders of a young woman. The head is thrown well back, and is surrounded by a wealth of hair.  The colors are well defined, and those who have examined the painting have been charmed with the grace of the figure and the technique of the artist.  How long the picture has been in the Bolton family is not known.  The family is one of the oldest and best known in Westchester and one member of the family wrote a history of the county."

Source:  PRIZE PORTRAIT OLD GAINSBOROUGH -- Bolton Estate Heirs Split Over Owernship of Heirloom Worth $70,000, Syracuse Journal, Oct. 1, 1912, p. 8, col. 1.  

"Bolton's [sic] Have a Gainsborough
-----
At Least, So 'Tis Said, and Worth $70,000. -- Ownership in Dispute.

For many years the portrait of an attractive young woman hung on a wall of the drawing room in the Priory School for Young Women, run by Mrs. Adele Bolton, in New Rochelle.  Mrs. Bolton who traced her descent from an old English family, members of which came to this country when the cavaliers emigrated to Virginia, had always been told that the painting was the work of a master.  

She had told her nieces, Miss Annie Bolton and Miss Arabella Bolton, of this tradition, so that when she died a year ago, leaving her property to be divded between her two nieces and her nephew, James Bolton, much concern was felt among the heirs as to the ultimate ownership of the portrait.  This concern has now been increased a hundred fold by the discovery that the picture, which is supposed to be the likeness of an ancestor of the Boltons, was painted by Gainsborough and is worth thousands of dollars.

Some four months ago Miss Arabella Bolton, anxious to settle the dispute as to the pictures [sic] value, consulted many persons learned in art matters in this city.  They all decided Gainsborough executed it.

The authorities of the Metropolitan Museum of Art have examined the painting, and it is said that they have decided Gainsborough executed it.  

Bryson Boroughs, curator of the Metropolitan, is one of those who passed judgment on the painting.  He said yesterday that because of a threatened lawsuit over its ownership he did not wish to discuss the genuineness of the painting.  It was reported that the Bolton estate had been offered $70,000 for it.  Friends of the family are working to bring about a settlement of the dispute over the possession of the painting, and it is believed that this will be effected without recourse to the courts.

Portrait Exquisitely Done.

The portrait, which measures 24 inches by 12 inches, represents the head and shoulders of a young woman.  The head is thrown well back, and is surrounded by a wealth of hair.  The colors are well defined, and those who have examined the painting have been charmed with the grace of the figure and the technique of the artist.  How long the picture has been in the Bolton family, it was said yesterday, is not known.  The family is one of the oldest and best known in Westchester.  

When Mrs. Bolton died she left her possessions to her two nieces and her nephew, James Bolton, who now lives in the northern part of New York State.  The will, it was said, specified how all her property was to be divided, with the exception of three paintings, of which the portrait by Gainsborough was one.  

Miss Arabella Bolton took the painting to the Metropolitan Museum of Art and there, according to the lawyers, it was said to be the work of Gainsborough.  Then the question of its ownership came up in earnest.  Miss Annie Bolton and James Bolton are the executors of the will, and in the settlement of the estate they were represented by J. Addison Young of the law firm of Charles H. & J. A. Young.

Miss Arabella Bolton said the painting should go to her because, she alleged, her aunt had often promised that she should inherit it.  She believed, she said, that was the reason it was not mentioned in the will.  Miss Annie Bolton demanded part possession of the portrait under a clause in the will which set forth that any property not specifically mentioned should be divided among the heirs.  The painting, she asserted, was part of the estate, and the heirs should share in its ownership.  Mr. Young is at present in possession of the painting, and Miss Arabella Bolton's interests are being looked after by Frederick H. Allen, of Pelham Manor.  [NOTE:  He was the husband of the woman who then owned the Priorty once owned by the Bolton family.]  

'I believe the case will be amicably settled,' said Mr. Young.  'The painting, I have been told, has been declared to be a Gainsborough, and its ownership is now in dispute.  As representing the executors, I have it now in my possession, and there it will staay until the questions involved have been settled.' -- N.Y. Times, Oct. 1."

Source:  Bolton's [sic] Have a Gainsborough -- At Least, So 'Tis Said, and Worth $70,000 -- Ownership in Dispute, New Rochelle Pioneer, Oct. 5, 1912, p. 8, col. 4.  

"AT LAW OVER A GAINSBOROUGH
-----

What is said to be a Gainsborough painting is listed in records filed in the Brooklyn Surrogates' Court for the appraisal of the estate of Anne Jay Bolton.  It became known today.  Although Arabella Bolton, its owner, claims the painting as an inheritance from her aunt, Adele Bolton, of Brooklyn, her sister, executrix of the aunt's estate, also demands a share.

Although an offer of $4500 was received for the painting last year in London, it was not accepted, as the stipulation was that it was not to be sold for less than $7500.  It is an oval portrait of a woman.  The authenticity of which has not been disputed."

Source:  AT LAW OVER A GAINSBOROUGH, New York Evening Post, Mar. 22, 1924, p. 11, col. 6.

"Mrs. Bolton, by Gainsborough, on view at the P. Jackson
Higgs Galleries.

 Master Works in Relief Show
-----
Higgs Galleries Opened to Public to Aid Unemployment Fund -- Rare Works Shown.
-----

 It will doubtless prove of interest to art lovers in general, including the numerous class whose acquisitions remain largely in what they can carry away in Memory, that P. Jackson Higgs, 32 East Fifty-seventh street, has decided to continue his exhibition of old masters throughout the week, closing Saturday night.  The display makes a double appeal.

 In addition to the outstanding character of many of the canvases shown there is the fact to be considered that the proceeds of the exhibition are to go to the Emergency Unemployment Relief Committee fund.  This last, however, is a minor consideration.  It is the character of the work shown that counts.  And in this respect even the long lost 'Petuzzi Madonna' of Raphael serves only, as it were, to set the ball rolling.  For there is much more of rare interest besides in this display.  It is one of the sort usually reserved for the private inspection of collectors.  For the general public to be permitted to get in behind the scenes is unusual.

 Three Titians Shown.

 The Raphael has a room virtually to itself, as good showmanship very properly dictates, but in the inner sanctuary the visitor will find, to begin with, Reuben's superb portrait of Antoine Triest, Bishop of Ghent.  Painted about 1625, it was considered by Dr. von Bode, the eminent authority, as in every way superior to the portrait of the same subject that Van Dyck did later.  Van Dyck, too, is represented, and Titian, the ltter by three portraits of interest, and others of the older men besides.  But for all that the visitor may find himself lingering among the eighteenth century English portraits.  For here are some rare canvases.  There is an exquisite Gainsborough, his portrait of Mrs. Bolton.  Dating from his later Bath period, it presents a charming subject alluringly handled.  The color in particular, with its scheme of delicate yellows and grays sets it apart and clothes it with quiet distinction.  It is easily understandable that this canvas should have remained in the sitter's family until very recently.  Another late arrival in the outside world is Reynolds's original portrait of Eliza Falconer.  Although it was exhibited in the Royal Academy in 1787, and though the artist later painted four or five variations of it, he never allowed this canvas to go out of his possession.  On his death it went to his niece.

 Here, also is James Singleton's pastel of Lady Hamilton -- the original of the more or less familiar 'Laughter' in the engraving of Stubbs, made in 1802.  Others of the eighteenth century Englishmen capitally represented are Hoppner and Raeburn and Romney, the latter by two exceptionally fine portraits of Capt. Greer and Mrs. Willet respectively.

 A 'Lost' Raphael.

 Concerning the 'lost' Raphael nothing is more interesting than the manner in which it was found.  As to that the exhibition catalogue has this to say:

 A quarter of  century ago a private collector acquired a painting of the 'Madonna and Child,' believing it to be by Raphael, almost identical in composition to the well-known 'Cowper Madonna' now in the Widener collection.  However, authorities to whom it was subsequently submitted could not reconcile it as a work or Raphael's hand.  The owner, clinging to his belief, kept it in the private part of his collection, refusing to exhibit it or allow its publication among the old 'copies' of lost Raphaels . . . thus it remained in comparative obscurity for many years, enjoyed by its owner.  What might be called the first phase of 'discovery' was the showing of the painting to an expert who expressed the opinion that while the subject was Raphelesque, the pigment, judging by the color nd craquele, was much later than Raphael's time.  However, he noted that the panel on which it was painted was obviously very much older.  Subsequent study convinced him that underlying the visible painting was older pigment.  This was followed by further examination with use of the X-ray which also indicated the possible presence of underpainting in certain outlines.  This proved nothing, however, for frequently an artist will correct a line which will show under the X-ray, but it strengthened the conviction that the painting concealed another still earlier one.

 It was then decided to submit the painting to the infallible test of removing small areas of the painting.  The work was entrusted some two years ago to Helmut Ruhemann, curator and principal restorer of the State Museum in Berlin.

 The first experiment was made on an unimportant part of the painting which resulted in the definite proof that the last painting covered up another, so the process of removing the entire surface painting was begun.  During this delicate process, other eminent experts were in close touch with the operations and as the area of the original paint was uncovered, the greater became their interest.'  In the end the present painting stood revealed, an exquisite example of the master's work, in the opinion of connoisseurs and experts alike."

 Source:  Master Works in Relief Show -- Higgs Galleries Opened to Public to Aid Unemployment Fund -- Rare Works Shown, The New York Sun, Nov. 18, 1931, p. 48, cols. 2-7.

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