Visual Materials
Daily: 10 A.M.–5 P.M.
Closed on Tuesdays
1151 Oxford Road
San Marino, CA 91108
Visual Materials
The entranceway with the main staircase. The painting on the left is after Sir Henry Raeburn, Lady Elizabeth Crichton, later Viscountess Mount-Stuart (circa 1791). On the right is Sir Thomas Lawrence's The Hon. Emma (Crewe) Cunliffe, later Emma Cunliffe-Offley (1809-1830). In white, on the lower right hand corner: "Keystone L.A." MS note on verso reads "HEH residence as art gallery: staircase." Stamp on verso reads "This Photograph is made for the Huntington Library and Art Gallery by Keystone Photo Service, Los Angeles."
photCL 107 fld23 (25)
Visual Materials
The portraits on the walls, from left to right: Sir Joshua Reynolds' Diana (Sackville), Viscountess Crosbie (1777); Sir Thomas Lawrence's Sarah Goodin Barrett Moulton: "Pinkie" (1794) above a bronze sculpture, Renommée (Fame) by an unknown foundry, after Antoine Coysevox, made between 1700 and 1710; Reynolds' Jane Fleming, later Countess of Harrington (1778-1779); Reynolds' Lavinia (Bingham), Countess Spencer, and John Charles Spencer, Viscount Althorp, later Earl Spencer (1783-1784); Thomas Gainsborough's Karl Friedrich Abel (circa 1777); George Romney's Penelope (Rycroft) Lee Acton (1791); Reynolds' Sarah (Kemble) Siddons as the Tragic Muse (1783-1784); MS note on verso reads "HEH art gallery: new wing, c. 1933." Stamp on verso reads "Hiller Studio, 336 So. Hudson, TE. 6904 Pasadena."
photCL 107 fld23 (38)
Visual Materials
The portraits on the walls, from left to right: George Romney's Penelope (Rycroft) Lee Acton (1791); Sir Joshua Reynolds' Sarah (Kemble) Siddons as the Tragic Muse (1783-1784); Reynolds' Georgiana (Spencer) Cavendish, Duchess of Devonshire (1775-1776); John Hoppner's Isabella (Ingram) Seymour Conway, Viscountess Beauchamp, later Marchioness of Hertford (circa 1789); Thomas Gainsborough's Henrietta Read, later Henrietta Meares (circa 1777); Gainsborough's The Hon. Anne (Batson) Fane (circa 1782); George Romney's Jeremiah Milles (1780-1783); Gainsborough's Jonathan Buttall: the blue boy (1770). The bronze sculpture beneath "Blue Boy" is Mercure (Mercury) by an unknown foundry, after Antoine Coysevox, made between 1700 and 1710. MS note on verso reads "HEH art gallery: new wing (interior view)."
photCL 107 fld23 (39)
Visual Materials
A view facing west down the main hall of residence. Three Sir Joshua Reynolds paintings: (from left to right) Diana (Sackville), Viscountess Crosbie (1777); Georgiana (Spencer) Cavendish, Duchess of Devonshire (1775-1776); and Jane Fleming, later Countess of Harrington (1778-1779). MS note on verso reads "HEH residence as art gallery: hall." Stamp on verso reads "This print is released as a personal courtesy and is not for publication. All syndicate and publication rights reserved. Eyre Powell Press Service."
photCL 107 fld23 (22)
Visual Materials
A table with six chairs around it, with three more chairs arranged against the wall. Four women stand in pairs looking at the portraits on the walls. The paintings are, from left to right, George Romney's Catherine (Halhead) Burton (1789), Sir Thomas Lawrence's Emily Anderson: Little red riding hood (circa 1821), and Sir Martin Archer Shee's Frances (Woodis) Borlase, later Frances Grenfell, and Pascoe George Norman Grenfell (circa 1804). MS notes on verso read "HEH residence as art gallery: dining room" and "L.A. Chamber of Commerce."
photCL 107 fld23 (18)
Visual Materials
Thomas Gainsborough's Jonathan Buttall: the blue boy (1770) and Sir Thomas Lawrence's Sarah Goodin Barrett Moulton: "Pinkie" (1794) hanging in the large drawing room of the Huntington residence. The desk in the foreground (bureau plat) is attributed to Andre-Charles Boulle, with substantial later alterations. The date of the original work is between 1700 and 1750. Beneath "Blue Boy" is a chest of drawers (commode) by Daniel De Loose, from around 1770. Beneath "Pinkie" is a chest of drawers by Martin Carlin, from around 1775. The terracotta sculptures in glass cases on either side of the door are by Claude Michel, called Clodion, and his workshop, and date to approximately 1780 to 1790. On the left is Jeune Femme présente son enfant à un autel (A young Woman Presenting Her Child at an Altar). On the right is Jeune Femme tenant un enfant devant elle (Young Woman Holding Her Child in front of Her). Appeared in Los Angeles Times, Annual Midwinter Number, on January 2, 1930. MS note on verso reads "HEH residence as art gallery: large drawing room."
photCL 107 fld23 (9.1)