Sarah, Countess of Essex

Sarah Capel-Coningsby
Countess of Essex
Ch. Turner after Robert Fagan. Sarah Capell-Coningsby, Countess of Essex/ mezzotint
Born11 July 1759
Saint Helena
Died16 January 1838
Spouse(s)Edward Stephenson
George Capel-Coningsby, 5th Earl of Essex
FatherHenry William Bazett of St Helena
MotherClarissa Penelope Pritchard
OccupationPainter

Edward Courtenay, 1st Earl of Devon (d.1556), copy portrait by Sarah, Countess of Essex, published in Memoirs of the Court of Queen Elizabeth (1825)
Copy c. 1800 of portrait of Edward Courtenay, 1st Earl of Devon (d.1556) by Steven Van Der Meulen (c1543-1564). Inscribed 'E. Corteney Comes Devonié' (lower right), 42"x31¾", was offered for sale at £4,500 on 23 February 2013 by Timothy Langston Fine Art & Antiques of London at the Powderham Castle Antiques and Fine Art Fair. Similar painting sold by Christie's South Kensington, London, Thursday November 11, 2004, Lot 227, described as oil on panel 42" x 32"

Sarah Capel-Coningsby, Countess of Essex (née Bazett; 11 July 1759[1] – 16 January 1838)[2] was an English amateur artist. She specialised in making watercolour copies of old portraits of 16th century personages and other paintings,[3] and her surviving copies in many instances are the only evidence of the now lost originals.[4] Over a hundred of her portraits in watercolour and gouache on paper were published in the 1825 edition of Lucy Aikin's Memoirs of the Court of Queen Elizabeth, first published in 1818 as a two-volume work and re-issued in several editions (4th edition 1819,[1] further edition 1823). The fact that she frequently added the subject's coat of arms and other heraldic devices to her copy portraits suggests that she was knowledgeable in the field of heraldry.

  1. ^ Diocese of St. Helena, Registers, 1680-1986, Wits University
  2. ^ Mosley, Charles, ed. (2003). Burke's Peerage, Baronetage & Knighthood (107 ed.). Burke's Peerage & Gentry. p. 1348. ISBN 0-9711966-2-1.
  3. ^ See the catalogue of the Bridgeman Art Library
  4. ^ The locations of many of the original paintings which she copied, as referenced in the Bridgeman Art Library, are no longer known.