描述：depicted three-quarter length, seated, in canonical habit, holding a book, oil on canvas, 126cm x 102.5cm
來源：The sitter, and thence by descent; the Library at Milton Abbey, Dorset (commissioned as part of the Dorset Yeomanry officer series): the Earls of Portarlington, Came House, Dorchester (recorded by Hutchings as being at Came House following the Dawson-Damer acquisition of the Milton Abbey assets); Mrs Henry Mallock (by 1934); Private Collection, New York/New Jersey, USA; Private Collection, Virginia, USA. Literature: Elise S. Beach, Thomas Beach: A Dorset Portrait Painter, London, 1934, p. 56, cat. no. 43. ?John Hutchins, The History and Antiquities of the County of Dorset, cited in correspondence from U. Parry Okeden, Dec 1900. ?J. Heneage Jesse, Memoirs of the Life and Reign of King George III, vol. V, p. 198. This portrait is a rare survival from one of the most celebrated regional commissions of the late 18th century. As recorded in the artist’s own diary (September 1798), Beach stayed at Chettle House with his lifelong friend, the Reverend William Chafin, before returning to Milton Abbey to "prepare easel and canvas" for the sitting. Catalogue Essay:? The Milton Abbey Series: The work was originally part of a prestigious set of three-quarter length portraits depicting the Captains of the Dorset Yeomanry Cavalry and their Chaplain. Historical correspondence from 1900 between Uvedale Parry Okeden and the scholar A.M. Broadley confirms that the portrait was later moved from the library at Milton Abbey to Came House, the seat of the Earls of Portarlington. This move followed the pattern of many of the great "Milton Abbey sleepers" that entered the Dawson-Damer collection. ?The Sitter and the Author: While Chafin was a formidable figure in the Dorset Yeomanry, he was equally renowned as an author. A 1901 letter from G.J. Chafyn-Grove confirms the sitter’s authorship of the definitive History of Cranbourne Chase. This literary connection explains the sitter's pose, holding a book—a nod to his dual identity as a scholar-cleric and a leader of the local gentry. The painting’s significance is further enhanced by its recorded reception by King George III during his 1804 visit to Milton Abbey. The King was reportedly "much struck" by the likeness, noting it as a "good likeness" of a "remarkable-looking person."
傭金：Buyer's premium: 30.00%

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