Project

The Portrait of Lady Ann Bligh: A Conservation Journey

Last updated:: 14 March 2025

Lady Ann Portrait — Lady Ann Bligh Portrait | © National Trust Images/James Dobson

The Portrait of Lady Ann Bligh, later Viscountess Bangor (1718–1789) was acquired for Castle Ward in 2024. National Trust specialists from the Royal Oak Foundation Conservation Studio have now completed conservation work on this appealing 18th-century portrait. Explore the captivating process of conserving this beautiful artwork, gaining insight into the various conservation processes and rich history behind the piece.

The Portrait of Lady Ann Bligh: A Historic Arrival

The portrait of Lady Ann Bligh is the only known depiction of this rather elusive 18th-century doyenne of Castle Ward, making it an invaluable addition to the house collection. Lady Ann, the wife of Bernard, 1st Viscount Bangor (1719–1781), is likely to have been closely involved in the project to design Castle Ward’s distinctive house and its landscape setting in the 1760s. While portraits of her husband and three of her children have long been on view in the house, Lady Ann herself has been absent until now. This newly acquired painting offers fresh insight into women’s history at Castle Ward, enriching our understanding of a woman whose contributions to the place have been marginalised over the past 250 years.

To ensure its preservation, the painting and its frame have undergone a programme of conservation at the National Trust’s Royal Oak Foundation Conservation Studio, located at Knole House, Sevenoaks. This work allows for full appreciation and safe display of the portrait, bringing Lady Ann’s story to life for visitors. Her arrival at Castle Ward marks a momentous occasion, reconnecting the house with one of its most significant characters.

A Carefree Spirit

A wealthy widow, the daughter of an earl and a distant relation of Queen Mary and Queen Anne: Lady Ann Bligh was a ‘good catch’ for the Ward family, which had been steadily increasing its standing and influence since establishing a base in Ireland in the late 1500s. Described at the time as ‘a young lady of very good character,’ she seems to have had a good deal of spirit – her husband Bernard called his sailing ship the Blyth Ann, referring to her light-hearted, carefree personality. She enjoyed the lively social life of the London season and of fashionable resorts such as Bath and Scarborough. Her portrait transmits a confident air – a young woman taking full advantage of the benefits of a privileged lifestyle.

Lady Ann married Bernard Ward in 1748. At first the marriage seems to have been a success, but after bringing up a large family, their relationship broke down. Both strong-willed characters, the distance between them became insurmountable. Lady Ann set up a separate establishment in Dublin, eventually moving to Bath in 1772. The house she had helped to design was still not quite complete when she left Castle Ward for the last time.

Lady Ann Portrait Conservation — Conservation work being carried out at ROF, Knole | © National Trust Images/James Dobson

An Unknown Artist

Lady Ann sat for her portrait in the early to mid 1740s, during or just before her first marriage to Robert Hawkins Magill of Gill Hall. The portrait is unsigned, and no documents such as letters or bills survive to identify the artist. In the 19th century, its owners attributed the painting to the fashionable society portraitist Thomas Hudson (1701-79). When Lady Ann’s image was created, Hudson was the most sought-after portrait painter in London.

More recently, it has been suggested that the artist was James Latham (1696-1747) or a member of his circle or studio. An Irish portraitist, Latham spent a year studying in Antwerp before establishing himself in Dublin. Like Hudson, James Latham was extremely adept at depicting the expensive fabrics worn by the nobility, like Lady Ann’s glistening bodice and petticoat of silk satin.

The painting’s original detailing had been obscured by darkening varnish, later overpainting and an accumulation of dust and candle-smoke. Now that conservation has revealed the original work more clearly, we may be able to identify the artist more securely through careful examination of stylistic details.

The Need for Conservation

Conservation work to the painting and frame were essential to ensure the stability and improve the presentation of the artwork. Prior to conservation, the painting was structurally unstable and at a risk of further deterioration. The historic lining had weakened over time and was no longer supporting the original canvas. At the same time, the surface was severely compromised by layers of grime and very degraded varnish, which made the colours look more yellow, flattened the composition and obscured the artist’s technique.

The ability of an artist to capture the likeness of a sitter is important to any portrait. In this case, extensive non-original overpaint prevented us from appreciating Lady Ann’s likeness as depicted by this 18th century painter. Removing the restoration and aged varnishes which had altered her appearance was crucial to tell her story.

Before & After

Before and after conservation, thanks to the Royal Oak Foundation, their support and dedication made the project a success.

Slider with before and after images

Lady Ann Portrait: Before Conservation — Swipe to see the before and after transformation | © National Trust/Laurence Pordes

Conservation Timeline

Examination and Condition Assessment

Before any conservation work began, conservators carefully assessed the condition of the painting. Using techniques such as examination under magnification and in ultraviolet light, they identified several issues: layers of aged varnish had darkened over time, obscuring details; old restoration overpaint altered the modelling and likeness of the sitter; and ageing of the previous lining required structural intervention. This thorough assessment provided the foundation for an informed treatment plan.