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Studio Of Sir Peter Lely - Portrait Of Lady Francklin Of Bedfordshire1670
1670
$9,091.58
£6,500
€7,762.42
CA$12,437.10
A$13,917.47
CHF 7,267.05
MX$171,100.77
NOK 91,682.18
SEK 86,272.48
DKK 57,913.61
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About the Item
Portrait Of Lady Francklin of Bedfordshire, 17th Century
Studio of Sir Peter Lely (1618-1680)
Fine 17th Century English portrait of Lady Franklin of Bedfordshire, oil on canvas. Bust scale study of the young lady with parted curly hair and a low cut blue dress. Beautiful little example of Lely's painting for the English nobility of the period and a rare early portrait of the Francklin family. The work is independently authenticated by Roseberys of London. Presented in an antique gilt frame.
Provenance: Roseberys, London
Private Collector, London
Measurements: 65cm x 55cm framed approx
- Attributed to:Sir Peter Lely (1618 - 1680, Dutch)
- Creation Year:1670
- Dimensions:Height: 27.56 in (70 cm)Width: 23.63 in (60 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Blackwater, GB
- Reference Number:Seller: 7704141stDibs: LU157728258882
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This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last.
The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date.
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