Philip de László MVO RBA (Hungarian, 1869-1937)

Portrait of Lady Susan Townley (née Lady Susan Keppel, 1868-1953)
signed and dated to the reverse 'P. A. László / 1911. Sept.' and inscribed with the sitter's identity
oil on board, oval
61 x 47cm

Provenance:
With Colnaghi, London, 1985, where acquired by the family of the sitter

Exhibited:
London, Colnaghi and Clarendon, Society Portraits 1850–1939, 1985, no. 76

Literature:
C Newall, Society Portraits 1850–1939, Colnaghi and Clarendon, 1985, no. 76, p. 168, ill. p. 169;
Sandra de Laszlo, ed., A Brush With Grandeur, 2004, p. 111, ill. fig. 67;
K Field ed., Transcribed by Susan de Laszlo, The Diaries of Lucy de László Volume I: (1890-1913), de Laszlo Archive Trust, 2019, ill. p. 188

The sitter, Lady Susan Townley, was the fifth of the seven daughters of William Keppel (1832-1894) 7th Earl of Albemarle, and Sophia Mary (1832-1917) second daughter of the Hon. Sir Allan Napier McNab, first Baronet and Prime Minister of Canada. In 1896, she married the diplomat Walter Townley (1863-1945) who throughout his long career held postings in numerous cities including Bucharest, Teheran, Peking, Paris and Buenos Aires amongst others. Lady Susan recorded her experiences of life in these places in her autobiography The Indiscretions of Lady Susan, published in 1922.

The present portrait was executed during Lady Susan's stay with Lady Wantage in Lockinge, Berkshire, where she and her husband were staying for over a month on their way from Buenos Aires to Bucharest. De László was himself a guest at Lady Wantage's home from 10th to 15th September 1911. The sitter had met the artist earlier that year when she accompanied her husband to sittings for his formal full length portrait completed in July 1911. Lady Susan's sister-in-law, Lady Gertrude Egerton, wife of her brother, the 8th Earl of Albemarle, also sat to De László.

The present portrait is recorded under number 7360 in the Catalogue Raisonné of Works by Philip de László being compiled by Sandra de László and The de László Archive Trust.

Condition Report

The sketch is executed in oil on a composite thick board support. The board bows forward at the centre and is secured in the frame with horizontal battens which appear to be attached to the frame rather than the reverse of the painting. The support appears to be have been reduced in size into an oval format – the inscription on the reverse has been trimmed in this process. The artists’ signature has been kept and secured to the reverse. The paint layers are in a good, stable condition. There are lumps across the surface associated with the texture of the board and the support has probably discoloured with age, but overall the appearance of the work is good.