Supporting museums Art we've helped buy Portrait of Mary Thomas, the Artist's Second Wife
Portrait of Mary Thomas, the Artist's Second Wife Portrait of Mary Thomas, the Artist's Second Wife

© Ashmolean Museum


Portrait of Mary Thomas, the Artist's Second Wife

Johann Zoffany

Art Funded
1979
Dimensions
75 x 62 cm
The second Mrs Zoffany, was a girl of humble origin and descibed by her friend as, 'a perfect beauty, good natured, kind and very charitable'.

In spite of Mary's lack of education, she rapidly acquiring polished manners and gained not only acceptance but favour in Anglo-Florentine society. Like her husband, she is buried in Kew churchyard.

Provenance

Mary Thomas; by descent.

Oil on canvas

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Swan Bowl, No.1
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Silver bowl
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Siena
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Sheet of figure studies
 Acquired 2002
Sheba and Solomon
 Acquired 2001
Shallow bowl
 Acquired 2003
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 Acquired 1959
Self Portrait
 Acquired 1997
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Seated Shepherd with Cows and Sheep in a Landscape
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Scaffolding inside St. Paul's & Fishmongers' Hall & London Street
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Savery Collection of bronze antiquities
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Saturday Afternoon
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Roman relief portrait
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Rococo watch and case
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Ricketts Collection
 Acquired 1932
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Proctor-Mosley ewer & basin
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 Acquired 1979
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 Acquired 1977
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Intaglio of Isis and Serapis
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Imari porcelain
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Ideal Head
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Head of the Roman emperor Marcus Aurelius
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Head of a Boy
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Group of works on paper
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Group of drawings and prints
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Greystone
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Greek Vase (Calyx Crater)
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Grave monument
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Grange Bridge, Borrowdale, Cumberland
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Gold Ring
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Gold pendant
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Girls dressing
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Girl Feeding Chickens
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Gilbert Cannan at his Mill
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Four albums of drawings
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Etna from Taormina; Dawn & Boston Stump; Sunset
 Acquired 1929
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Embroidered hanging: Musical Party in an Exotic Setting
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Elijah at the Brook Cherith
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Eight prints 1936-74
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Danseuse assise
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 Acquired 1950
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Collision of Particles
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Collection of sculpture
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 Acquired 1949
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Collection of furniture
 Acquired 1967
Collection of English Gold Coins
 Acquired 1946
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 Acquired 1943
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 Acquired 2004
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 Acquired 1995
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 Acquired 1961
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 Acquired 1961
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 Acquired 2016
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 Acquired 1962
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 Acquired 1968
Coast Scene with Fisherfolk gathering Seaweed
 Acquired 1988
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Christ and the Woman of Samaria
 Acquired 1986
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Chinese ritual vessel
 Acquired 1996
Chalgrove II Hoard
 Acquired 2004
Ceiling Sketch for Mannheim Castle
 Acquired 1938
Cattle and Haystack, Twilight & Essex Fields
 Acquired 1929
Catching the Steamer
 Acquired 1947
Castle Crag, Derwentwater
 Acquired 1923
Capriccio Landscape with Figures, a Bridge over a Stream
 Acquired 1989
Calm Contortion Wine Cooler
 Acquired 2010
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 Acquired 1999
Cain & Abraham and Isaac
 Acquired 1968
Bust of Thomas Howard, Earl of Arundel
 Acquired 1987
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Bronze figure - Fortuna
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British Troops in the Bois de Boulogne
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Bramerton Hills near Norwich
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 Acquired 1989
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Boar's Head Tureen
 Acquired 2006
Berck, Cloudy Landscape
 Acquired 1989
Bell salt
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Basin with the arms of Spannocchi
 Acquired 2004
Autumn Landscape
 Acquired 2001
Attendant bodhisattva
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Assyrian relief
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Apples in a Bag
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Anglo-Saxon bowl
 Acquired 1977
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Album of portrait drawings
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Album of drawings
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Abraham and Hagar Surprised by Sarah
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A View of Southampton water
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A Study of Henry Irving as Becket
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A Seated Bodhisattva
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A painted fan on silk
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A Mourning Knight
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A Man leading a Horse
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A Highland Scene - 'In Connernara'
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A Head of a Woman
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A Farmyard with a Well
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A drawing of the Virgin and Child
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A collection of Japanese metalwork sword fittings
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A collection of 45 gold snuff boxes and objects of vertu
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A Beach Scene with Fisherfolk
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9th century seated Buddha
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3 Drawings
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21 pieces of Meiji ceramics
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 Acquired 2010
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 Acquired 2008
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 Acquired 2009
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 Acquired 1931

Nominally inspired by Lucretius' De rerum natura, Piero di Cosimo's The Forest Fire takes its scientific subject and embellishes it with fantastical creatures from the artist's imagination: Bulls, bears, lions and deer-like creatures with human faces all flee wearily from a fire.

Rubens' portrait of Thomas Howard, 2nd Earl of Arundel dates from about 1629. The Earl was a great collector, and Rubens had painted the earl's wife a few years earlier on a visit to Antwerp. This drawing in pen and ink with a chalk base is unusually informal, reflecting perhaps the comfortable relationship between artist and patron.

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