Rare c.1783 Grand Manner Portrait in the Manner of Sir Joshua Reynolds — Charles Stanhope & Marcus Richard Fitzroy Thomas | Watercolour ️ Subject & Medium An exceptional and historically layered watercolour painting on paper, this portrait features Charles Stanhope, 3rd Earl of Harrington, in ceremonial armor, accompanied by Marcus Richard Fitzroy Thomas, a young Jamaican boy. Rendered in the Grand Manner tradition circa 1783 late 18th century, the painting fuses aristocratic display with colonial reality, making it not only visually striking but socially resonant. ️ Composition & Technique This painting is composed in the grand theatrical style associated with Sir Joshua Reynolds, yet the choice of watercolour lends it an unusual and delicate immediacy. Stanhope stands confidently at the center, clad in shimmering armor rendered in layers of cool blues, silvers, and soft greys, accented with a crimson sash. Behind him swirl dramatic skies in wet-on-wet washes of indigo, ochre, and smoky blue — evoking turbulence both literal and political. At his side, Marcus Richard Fitzroy Thomas holds the Earl’s helmet with solemn grace. Dressed in dark livery, Marcus is rendered with a naturalistic humanity rare in works of this genre. His expression, posture, and grounded presence contrast the aristocratic elevation of Stanhope — offering not just balance, but narrative weight. The triangular composition leads the eye from Marcus to the Earl and into the sky, a classical structure that here becomes a metaphor: a hierarchy of empire, race, and visibility. Where Stanhope is mythologized, Marcus is authentically present, unidealized, and quietly powerful. This painting is more than a portrait — it is a visual performance of power, and a double portrait in unequal measure. It glorifies British nobility while revealing the overlooked lives that supported it. In doing so, it offers a compelling critique of its own genre. Historical Context & Biography Charles Stanhope (1753–1829) served in Jamaica, Britain’s most fortified slave colony, during the final years of the American Revolutionary War. Upon returning in 1782, he was promoted to Colonel and appointed Aide-de-Camp to King George III, before inheriting the title of Earl of Harrington. That same year he married Jane Fleming, whose family profited from Caribbean plantations. Marcus Richard Fitzroy Thomas, just 14 years old when painted, was likely brought from Jamaica as part of Stanhope’s military entourage or household. Later parish and military records reveal a remarkable life: Marcus was baptized in London (on the same day as one of Stanhope’s children), joined the Westminster militia as a drummer, married, had children, and eventually died in poverty in 1816. He is buried in St. Martin’s Gardens, Camden. ‍ About the Artist (in the Manner of Sir Joshua Reynolds) Though unsigned, the painting is executed in the mature style of Sir Joshua Reynolds (1723–1792), first president of the Royal Academy. Reynolds was known for elevating his sitters through allegory, classical references, and rich theatricality. The armor, posture, and stormy background are unmistakable signatures of this style — but the realist portrayal of Marcus introduces a modern tension, disrupting the fantasy and grounding the work in empire’s human cost. ️ Frame The painting is housed in a recently added beautifully reverse-profile moulded gold leaf distressed finish frame, adding period authenticity and refined presence. The piece has been professionally conserved and reglazed with quality AR70 glass — a low-reflective, UV-filtering protective front that dramatically reduces glare while preserving the fine watercolor detail underneath. This premium conservation glazing allows the portrait to be displayed with clarity, safety, and confidence, in any lighting condition. The size given is of the framed dimensions. Provenance Private Scottish Collection Acquired via notable Scottish auction Curated by Cheshire Antiques Consultant LTD Privately Loaned & Exhibited at the Famous Lord Hill Museum Why You’ll Love It ✅ A rare, finely executed watercolour portrait with both visual elegance and historical depth ✅ Features a named Black subject — almost unheard of in 18th-century British portraiture ✅ Richly layered with themes of empire, race, identity, and legacy ✅ Framed with high-quality AR70 glass for premium conservation and display ✅ Perfect for collectors, historians, institutions, or anyone seeking a conversation-starting, museum-worthy work