Lascelles Raymond Iremonger (1718/19–1793) with Wreaths of Corn and Roses

Lascelles Raymond Iremonger (1718/19–1793) is depicted with wreaths of corn and roses in this 1751 National Trust portrait, part of the extensive Fetherstonhaugh family commission group at Uppark. Iremonger appears to have been connected to the Fetherstonhaugh circle, sitting for Batoni during the same Roman stay. The corn and rose wreaths echo traditional allegorical iconography — corn for fertility and abundance, roses for beauty and love — creating a pastoral-allegorical portrait type distinct from the mythological disguise pictures. The long life of the sitter (dying at seventy-four) contrasts with the ephemeral pastoral imagery of flowers and grain, creating an unintentional meditation on time and beauty that the portrait's survival across centuries emphasizes.

Oil on canvas with the same warm Batoni palette used across the Fetherstonhaugh commission group. The corn and rose wreaths require careful botanical rendering alongside the portraiture, and Batoni's still-life training gives these elements precise material presence. The male portrait with floral attributes occupies a convention different from the female mythological portrait.