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Studio of Sir Peter Lely (1618 - 1680)An Unknown Young Man, circa 1660sOil on canvas30 x 25 in. (76.2 x 63.5 cm.)
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After Sir Anthony van Dyck (1599 – 1641)Queen Henrietta Maria (1609 - 1669), circa 1660sOil on canvas86 x 56 in. (223 x 149 cm.)
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John Michael Wright (1617 - 1694)Lord Henry Howard, later 6th Duke of Norfolk (1628 – 1684), circa 1660Oil on canvas52 ¾ x 41 ½ in. (134 x 106 cm.)
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Jan Daemen Cool (c. 1589 – 1660)An Unknown Lady, circa 1630sOil on panel45 ⅛ x 35 ⅝ in. (114.7 x 85.4 cm.)
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Edmund Ashfield (1640 - 1678)King Charles II (1630 - 1685), c.1675Pastel, with gouache, on paper over canvasFramed dimensions: 17 x 15 in. (43.18 x 38.1 cm.)
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Attributed to Martinus van Grevenbroek (1646 – after 1670)An Unknown Lady of the Dalison family, c.1670sOil on canvas28 x 23 in. (72 x 60 cm.)
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Attributed to Joan Carlile (c.1606 - 1679)Anne (d.1689), Philadelphia (1655 - 1722) and their brother Thomas Wharton (1648 - 1715), later 5th Lord Wharton, c.1656Oil on canvas60 1/4 x 66 1/2 in.
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Attributed to Nicolaes van Helt, called Stockade (1614 – 1669)A pair of unknown Dutch siblings, c.1650Oil on unlined canvas46 ½ x 37 in. (118 x 94 cm.)
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Cornelius Johnson (1593 – 1661) and StudioHenry Capel, later Baron Capel of Tewkesbury (1638 – 1696) , c.1640Oil on canvas21 x 24 ½ in. (53.4 x 61 cm.)
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Sir Anthony van Dyck (1599 – 1641)Mary Barber, later Lady Jermyn (d. 1679) [?], c.1637Oil on canvas48 x 37 ¼ in. (122 x 94.5 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), c.1636-40sOil on canvas86 x 56 in. (223 x 149 cm.)
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Studio of Sir Anthony van Dyck (1599 - 1641)King Charles I of England, Scotland and Ireland (1600 - 1649), c.1636Oil on canvas27¼ x 22¾ in. (69.2 x 57.7 cm.)
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Nicolaes Eliasz Pickenoy (1588 – 1650/56)Frederik Dircksz. van Alewijn (1603 – 1665), c.1632 - 1637Oil on panel51 1/8 x 36 1/4 in. (129.9 x 92 cm.)
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Dutch School, c. 1620A noble child with a garland of flowers and coral teething toy , c.1620Oil on canvas30 1/8 x 25 in.
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Paul van Somer (1576 - 1621)Sir Thomas Dallison, 2nd Bt. of Laughton (1591 - 1645) , c.1620Oil on canvas
43 x 35 ¼ in. (109.2 x 90 cm.)Housed in an English 18th century carved giltwood frame -
Circle of Marcus Gheeraerts the Younger (1561 – 1635)Lady Mary Neville, née Sackville (1584 – c.1613), c.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 [?], 1670 - 75Oil on canvas30 x 25 in. (76.2 x 63.5 cm.)
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Adriaen Hanneman (1603 – 1671)An unknown Dutch officer, 1656Oil on canvas32 x 26 in. (81.3 x 66 cm.)
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Cornelius Johnson (1593 - 1661)An Unknown Young Girl, 1643Oil on canvas25 ½ x 20 7/8 in. (64.7 x 52.9 cm.)
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Nicolaes Eliasz. Pickenoy (1588 – 1650/56)An Unknown Gentleman, aged 24, 1628Oil on panel47 x 34 ⅜ in. (119.2 x 87.2 cm.)
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Frans Badens (1571 – 1618)Gerard Reynst (c.1568 – 1615), 2nd Governor-General of the Dutch East Indies , 1613Oil on canvas76 5⁄8 × 46 7⁄8 in. (194.5 × 119 cm.)
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Frans Pourbus the Younger (1569 - 1622)An Unknown Spanish Noblewoman , 1603 - 1604Oil on canvas45 ¼ x 32 3/8 in. (115 x 82.2 cm.)
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Unknown Follower of Custodis (fl. 1592 – 1612)Sir Reginald Mohun, 1st Bt. of Hall and Boconnoc (c.1564 – 1639) and his wife, Dorothy Chudleigh of Ashton, Devon, circa 1604Oil on panel75 x 44 in. (190.5 x 111.4 cm.)
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Robert Peake (1551 – 1619)Mary Senhouse (b.1572), 1605Oil on panel35 1/16 x 28 3/8 in. (89 x 72 cm.)
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Circle of William Larkin (c.1585 - 1619)Christopher Cresacre More (1572-1649), 1611Oil on panel44 3/8 x 31 7/8 in. (112.5 x 81 cm)
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Circle of Daniel Dumonstier (1574 – 1646)An Unknown French Noblewoman , 1612Oil on canvas24 ¼ x 21 in. (61.7 x 53 cm.)
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John de Critz (1552 - 1642)Anne of Denmark (1574 – 1619), Queen of James VI & I, circa 1612Oil on panel44 ½ x 32 ¼ in. (113 x 82 cm.)
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Frans Pourbus the Younger (1569 - 1622)An Unknown Noblewoman of the Bourbon Court, 1615Oil on canvas29 ½ x 22 7/8 in. (75 x 58 cm.)
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Robert Peake (c. 1551 – c. 1619)An unknown lady, traditionally identified as Eleanor Wortley, Lady Lee, later Lady Manchester , 1615Oil on canvas81 ½ x 47 1/6 in. (207 x 119.5 cm.)
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Circle of William Larkin (c. 1580 – 1619)Sir Henry Hobart, 1st Bt. (c.1554 – 1625), 1616Oil on panel44 ¾ x 33 ½ in. (113.7 x 85 cm.)
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Paul van Somer (c.1577 – 1622)Sir Rowland Cotton (1581 – 1634) of Alkington Hall, Whitechurch, and Bellaport Hall, Shropshire, 1618Oil on canvas43 x 34 ¾ in. (111.5 x 87.3 cm.)
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Studio of William Larkin (c. 1580 – 1619)James Hay, 1st Earl of Carlisle (1580 – 1636), circa 1618 - 1619Oil on canvas86 ¾ x 51 ⅜ in. (220.5 x 130.5 cm.)
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Giuseppe Vermiglio (c.1587 – post 1635)The Sacrifice of Isaac, circa 1615 - 1620Oil on canvas51 x 63 ¾ in. (132 x 162 cm.)
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Paul van Somer (c. 1577 – 1622)Elizabeth Wriothesley, née Vernon, Countess of Southampton (1573 – c. 1655), circa 1620Oil on panel27 x 20 in. (69 x 50.8 cm.)
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Paul van Somer (c.1577 – 1621)An Unknown Noblewoman, circa 1620Oil on canvas23 ½ x 21 ¼ in. (59.7 x 54 cm.)
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Anonymous Flemish Artist (fl. Zeeland, 1627)Four Unknown Children and their Dog, 1627Oil on panel32 ½ x 45 ¼ in. (79.5 x 114.8 cm.)
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George Geldorp (c.1590 - 1665)Martha Bertie (née Cockayne), Countess of Lindsey (1605 – 1641), circa 1627Oil on canvas79 ¼ x 50 ½ in. (201.3 x 128 cm.)
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Claude Deruet (1588 – 1660)A Young French Noblewoman, circa 1625 - 1630Oil on panel13 ¼ x 10 ½ in (31.5 x 25.3 cm.)
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Cornelius Johnson (1593 – 1661)An Unknown Lady, presumably from the Dutch Reformist Community in London, 1630Oil on panel30 ¾ x 24 5/8 in. (78.1 x 62.5 cm.)
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Cornelius Johnson (1593 – 1661)Colonel Robert Hammond (1587 – 1650), 1636Oil on canvas28 1/8 x 24 ¾ in. (76.5 x 62.9 cm.)
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Simon Vouet (1590 – 1649) and StudioThe Virgin & Child of the rose; [‘Vierge à l’enfant à la rose’], circa 1638 - 1640sOil on canvas32 1/4 x 27 1/4 in. (82.5 x 60 cm.)
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Michiel Jansz. van Mierevelt (1567 – 1641)An Unknown 58-year-old man, 1639Oil on panel28 ¼ x 23 ½ in. (71.9 x 59.7 cm.)
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Dirck Dircksz. Santvoort (c. 1610 – 1680)An Unknown Young Girl with a Lamb , circa 1640Oil on panel42 ½ x 30 ¾ in. (108.2 x 78.3 cm.)
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Circle of Philippe de Champaigne (1602 - 1674)Johann Martin von Seubert (1626 - 1695), c.1666Oil on canvas33 1/8 x 30 ¼ in.
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Sir Peter Lely (1618 – 1680)An Unknown Noblewoman, circa 1660 - 1665Oil on canvas50 x 40 in. (127 x 101.6 cm.)
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Johann Kerseboom (d. 1708)Two Children, thought to be Emily and Robert Cecil, circa 1690Oil on canvas29 ½ x 28 in. (74.5 x 71 cm.)
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Willem Eversdijck (c. 1620 – 1671)A family group, presumably from Zeeland, 1665Oil on canvas54 ¼ x 76 ¼ in. (138 x 194 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.