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Frans Pourbus the Younger (1569 - 1622)Vincenzo Gonzaga, Duke of Mantua (1562 – 1612)Oil on canvas30 ½ x 24 in. (77.5 x 61 cm.)
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Mary Beale (1633 – 1699)An oil study of Charles Beale (1632 – 1705), the artist’s husband, Painted circa 1660Oil on canvas11 ½ x 10 1/8 in. (29 x 25.7 cm.)
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Nicolaes Eliasz. Pickenoy (1588 – 1650/56)Frederik Dircksz. van Alewijn (1603 – 1665), Painted circa 1632 - 1637Oil on panel51 1/8 x 36 1/4 in. (129.9 x 92 cm.)
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Pieter Isaacsz. (1568 – 1625)An Unknown Danish Nobleman, Painted circa 1610 - 1614Oil on canvas38 ¾ x 30 ½ in. (101.5 x 72.8 cm.)
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Frans Pourbus the Younger (1569 - 1622)An Unknown Noblewoman of the Bourbon Court, Painted in 1615Oil on canvas29 ½ x 22 7/8 in. (75 x 58 cm.)
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Cornelius Johnson (1593 - 1661)Charles de L'Aubespine, Marquis de Chateauneuf (1580 - 1653)Oil on panel30 ¾ x 24 ¼ in. (78.1 x 61.6 cm.)
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Sir Peter Lely (1618 – 1680)An Unknown Noblewoman, Painted circa 1660 - 1665Oil on canvas50 x 40 in. (127 x 101.6 cm.)
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Pieter Nason (1612 – c.1688)A Dutch noblewoman, possibly Adriana Sophia van Raesfeld (c.1650 – 1694), Painted 1671Oil on canvas48 ¾ x 39 ¾ in. (124 x 101 cm.)
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Attributed to Paul van SomerA young girl with her dogOil on canvas, laid on panel42 ½ x 31 ¾ in. (108 x 80.5 cm.)
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George Geldorp (c.1590 - 1665)Mary Vere, Lady Townshend (1608 - 1669), later Countess of Westmorland [?], Painted circa 1627Oil on canvas62 ½ x 41 in. (158 x 104 cm.)
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Cornelius Johnson (1593 – 1661) and StudioHenry Capel, later Baron Capel of Tewkesbury (1638 – 1696) , Painted circa 1640Oil on canvas21 x 24 ½ in. (53.4 x 61 cm.)
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Salomon Mesdach (d. before 1644)Four unknown siblings with their dog, Painted 1627Oil on panel32 ½ x 45 ¼ in. (79.5 x 114.8 cm.)
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Attributed to Jan Albertsz. Rotius (1624 – 1666)An Unknown Young Girl with a Lamb , Painted circa 1650Oil on panel42 ½ x 30 ¾ in. (108.2 x 78.3 cm.)
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Michiel Jansz. van Mierevelt (1567 – 1641)An unknown 58-year-old man, Painted 1639Oil on panel28 ¼ x 23 ½ in. (71.9 x 59.7 cm.)
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Adriaen Hanneman (1603 – 1671)An unknown Dutch officer, Painted 1656Oil on canvas32 x 26 in. (81.3 x 66 cm.)
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Attributed to John Hoskins I (c.1590 – 1665)An unknown Englishman, probably a member of the Warner family, Painted circa 1610 – 1615Oil on panel22 x 17 ½ in. (56 x 44.5 cm.)
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Bartholomeus Spranger (1546 – 1611)Venus and Cupid with Mercury and Psyche - an allegory, Painted circa 1600Oil on canvas55 1⁄8 × 40 1⁄8 in. (140 × 101.9 cm.)
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Studio of Sir Anthony van Dyck (1599 – 1641)King Charles I (1600 - 1649) in coronation robes (one of a pair), Painted circa 1636 - 1640sOil on canvas86 x 56 in. (223 x 149 cm.)
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After Sir Anthony van Dyck (1599 – 1641)Queen Henrietta Maria (1609 - 1669) (one of a pair), Painted circa 1660sOil on canvas86 x 56 in. (223 x 149 cm.)
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Sir Anthony van Dyck (1599 – 1641)Mary Newton, later Lady Jermyn (d. 1679) [?], Painted circa 1637Oil on canvas48 x 37 ¼ in. (122 x 94.5 cm.)
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Studio of William Larkin (c.1585 – 1619)James Hay, 1st Earl of Carlisle (1580 – 1636), Painted circa 1618 - 1619Oil on canvas86 ¾ x 51 ⅜ in. (220.5 x 130.5 cm.)
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George Geldorp (c.1590 - 1665)Martha Bertie (née Cockayne), Countess of Lindsey (1605 – 1641), Painted circa 1627Oil on canvas79 ¼ x 50 ½ in. (201.3 x 128 cm.)
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Circle of Marcus Gheeraerts the Younger (1561 – 1635)Lady Mary Neville, née Sackville (1584 – c.1613), Painted circa 1610Oil on panel44 ½ x 33 ¾ in. (113.3 x 86 cm.)
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Jakob Ferdinand Voet (1639 - 1689)John Offley (1650 – 1688) of Madeley and Crewe Hall [?], Painted circa 1670 - 1675Oil on canvas30 x 25 in. (76.2 x 63.5 cm.)
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Attributed to Paul van Somer (c.1577 – 1621)An unknown noblewoman, Painted circa 1620Oil on canvas23 ½ x 21 ¼ in. (59.7 x 54 cm.)
ABOUT 17TH CENTURY PORTRAITURE
The beginning of the seventeenth century was disctinctly marked with a changing of monarchal style from the death of Elizabeth I and the coronation of James VI & I in 1603. Not only did it present the beginning of a new royal dynasty but it also introduced a new form of intellectualised culture in the royal court. Portraitists such as Robert Peake, John de Critz and Marcus Gheeraerts carried forth the stylised mannering of their sitters that had been fashionable in the late Elizabethan era, whilst the newly arrived wave of Flemish artists, like Paul van Somer and George Geldorp, as well as the English-born William Larkin, characterised the newly installed courtiers in a more naturalistic, though still strictly formal, fashion.The artist Cornelius Johnson, whose paintings line the walls of all the great English country houses, began his working life just as the leading Elizabethan and early Jacobean painters, such as those mentioned above, were at the end of theirs. He was the first British-born artist working 'in large' to sign his paintings as a matter of course, and his sensitive likenesses helped shift portraiture in a direction that Antwerp artist Anthony Van Dyck would ultimately perfect. In 1632, Van Dyck was named as Charles I's 'Principalle Paynter in Ordinary', and ennobled with a knighthood. His prodigious genius ushered in a seismic artistic shift to the status quo. He so brilliantly captured the necessary ingredients of the noble portrait, in pose, gesture, costume and self-assurance, that his influence can be seen ever since. He invented an apparently relaxed image of grandeur, though the quality of the costume depicted remained as critical for his sitters then as for the preceding generations of their families.