拍品专文
The sitter was the second daughter of Clotworthy Upton, 1st Baron Templetown, of Castle Upton, Co. Antrim, and his wife Elizabeth daughter of Shuckburgh Boughton of Poston Court, Herefordshire. She died unmarried in 1853.
After the death of Sally Siddons in 1803, Lawrence is believed to have transferred his affections to one of the Upton sisters, whom he had met at Norbury Park, the home of the Lock family. The likelihood is that it was Caroline Upton (later Marchioness of Bristol), the eldest sister, who spurned Lawrence, and moved him to write the poem The Cold Cogrette. Sophia, in turn, seems to have set her sights on the son of the house, William (II) Lock, although shortly afterwards he married the beautiful Miss Jennings. The diarist Fanny Burney wrote as follows in late 1798: "Miss Caroline Upton seems extremely pleasing, very sensible, and remarkably well bred. Miss Sophia, the youngest, appears to have many traits of genius and originality in her composition, but mixed with many more of caprice, fantasies and airs. She sings delightfully, with a low man's voice, but a fine Italian expression, and a real feeling and enchantment in the act - But I do not wish her the Mistress of future Norbury Park! Though she most evidently sighs to become it, and almost sings herself into security - but the impression and the song cease at the same moment with William, who sees his power to be too general to be in any danger of yielding merely to its gratification. The gentler and sweeter Caroline is not, I believe - less susceptible to his merit - but she has not the potent-charm of song, and therefore attracts less notice, though, I think, she deserves, solidly, more. They are both extremely improved in person and become very fine young women'...(The Journals and Letters of Fanny Burney, ed. J. Hemlow, 1973, IV, p.183)
Sophia and her elder sister Caroline were both painted by Lawrence in 1800-1801, the latter in profile (Sterling and Francine Clark Institute, Williamstown, Mass). The pictures remained together by descent in the Templetown family until their sale in 1911, only being dispersed at the break-up of the Edward T. Stotesbury Collection in New York in 1944. An unfinished sketch for the portrait was sold in the Templetown sale (lot 76) though its present whereabouts are not known. Garlick (loc. cit. 1964, p.246) also records a black and red chalk sketch in the Arbury Hall Collection. At about the same time as these portraits were painted, Lawrence completed a full-length of their sister-in-law Lady Mary Montagu wife of John Henry Upton, 2nd Lord Templetown, and her son Henry (now in the National Gallery of Art Washington DC.)
After the death of Sally Siddons in 1803, Lawrence is believed to have transferred his affections to one of the Upton sisters, whom he had met at Norbury Park, the home of the Lock family. The likelihood is that it was Caroline Upton (later Marchioness of Bristol), the eldest sister, who spurned Lawrence, and moved him to write the poem The Cold Cogrette. Sophia, in turn, seems to have set her sights on the son of the house, William (II) Lock, although shortly afterwards he married the beautiful Miss Jennings. The diarist Fanny Burney wrote as follows in late 1798: "Miss Caroline Upton seems extremely pleasing, very sensible, and remarkably well bred. Miss Sophia, the youngest, appears to have many traits of genius and originality in her composition, but mixed with many more of caprice, fantasies and airs. She sings delightfully, with a low man's voice, but a fine Italian expression, and a real feeling and enchantment in the act - But I do not wish her the Mistress of future Norbury Park! Though she most evidently sighs to become it, and almost sings herself into security - but the impression and the song cease at the same moment with William, who sees his power to be too general to be in any danger of yielding merely to its gratification. The gentler and sweeter Caroline is not, I believe - less susceptible to his merit - but she has not the potent-charm of song, and therefore attracts less notice, though, I think, she deserves, solidly, more. They are both extremely improved in person and become very fine young women'...(The Journals and Letters of Fanny Burney, ed. J. Hemlow, 1973, IV, p.183)
Sophia and her elder sister Caroline were both painted by Lawrence in 1800-1801, the latter in profile (Sterling and Francine Clark Institute, Williamstown, Mass). The pictures remained together by descent in the Templetown family until their sale in 1911, only being dispersed at the break-up of the Edward T. Stotesbury Collection in New York in 1944. An unfinished sketch for the portrait was sold in the Templetown sale (lot 76) though its present whereabouts are not known. Garlick (loc. cit. 1964, p.246) also records a black and red chalk sketch in the Arbury Hall Collection. At about the same time as these portraits were painted, Lawrence completed a full-length of their sister-in-law Lady Mary Montagu wife of John Henry Upton, 2nd Lord Templetown, and her son Henry (now in the National Gallery of Art Washington DC.)