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Studio of Sir Peter Lely
Portrait of Lady Anna Maria Brudenell, Countess of Shrewsbury (1642-1702)
circa 1665-1668

Name: Portrait of Lady Anna Maria Brudenell, Countess of Shrewsbury (1642-1702)
Brand: Studio of Sir Peter Lely
Rating: 5 (7 reviews)

$36,135.64List Price

About the Item

This elegant and beautiful portrait represents Lady Anna Maria Brudenell, Countess of Shrewsbury. Presented by Titan Fine Art, it is an excellent example of English Baroque portraiture. Meticulously rendered, the sitter is three-quarter length and is seated in an outdoor setting beside a potted orange tree. In her hand she clutches a cluster of flowers. Once Charles II was restored as King in 1660 a priority was to re-form the previous royal court, which was a highly visible stage on which powerful men and woman played and lead to increased levels of power and wealth. Part of this was through artistic patronage following fashions set by the royal family and the most important courtiers. As such, the King named Peter Lely, acknowledged as the best artist in England, his official painter and ‘image maker’. This portrait exemplifies Lely’s virtuosity at the height of his success in the mid to late 1660s. In the mid-1660s Lely began to employ frequently the frontal pose seen here – it may have gained popularity among his sitters because he had used it in one of the portraits now known collectively as the “Windsor Beauties”. The sitter’s hairstyle suggests a date of c.1668 although the composition also corresponds with portraits ranging in date from 1665 to 1670. Lady Anna Maria was well-known both in her day, and long after her death, as a ‘beauty amongst beauties’ at the court of Charles II and was certainly among the most talked about women at court. The contemporary writer Anthony Hamilton wrote of the Countess: “As for Lady Shrewsbury, she is prodigious; I would take my oath that a man might be killed for her every day, and she would hold up her head the higher on account of it. You would think that she received plenary indulgence for everything she did”. She was the eldest daughter of Robert Brudenell, second Earl of Cardigan. She married at St. Giles's-in-the-Fields, London on January 10, 1659, Francis Talbot, eleventh Earl of Shrewsbury, a widower. The couple had one son, Charles Talbot, 1st Duke of Shrewsbury, born on 24 July 1660, and John. Of her many lovers, earliest in the throng was Richard, Earl of Arran. She had by then however already commenced her career in more ways than one. In the year preceding him, two of her lovers, Captain Thomas Howard and Henry Jermyn, Lord Dover, fought a celebrated duel over her and this encounter ended in mortal combat. Jermyn was left for dead and his second, Colonel Giles Rawlings, Privy-purse to the Duke of York was killed. Next, she encountered on an affair with George Villiers, second Duke of Buckingham, whose mistress she had long been and by whom she had one son. This culminated in a duel between the Duke and her husband and ended with the death of later. In later accounts, it is said that in the disguise of a page, the Countess held the Duke’s horse, and was a witness of the combat however there is no real evidence to support this. This affair eventually ended and the Countess married George Rodney Bridges, Esq., fourth son of Sir Thomas Bridges, Knight, of Keynsham, Somerset, and of Avington, Hants about 1680. He was a groom of the bedchamber to Charles II. The former Countess died April 20, 1702 and was laid to rest in the church wherein she had given her hand to her first husband. Her second son, John Talbot, was killed in a duel by Henry, first Duke of Grafton in 1685, and by Mr Bridges, she had one child, who drowned in a canal in 1751 whilst endeavouring to save his favourite dog. Lely and his studio often produced several versions of a portrait to satisfy the demand for them. Sitters gave them to relatives or friends and portraits of popular ladies at court, such as our sitter, were highly in demand. The best-known type of Lady Anna Maria is a three-quarter length version in the Buccleuch Collection, Duke of Buccleuch Queensberry at Boughton House, Northamptonshire, and a bust-length is the National Portrait Gallery in London (formerly in the collection of the Marquess of Hastings, Donnington Park, 1869). Other versions are presently or formally in the collections at Goodwood, Althorp, Dean Park, and Drayton Manor. On verso there is a paper label ‘HIRAM H. HOELZER / BOX 333, G.P.O. NEW YORK 1 N.Y. / Restorer of Paintings / No. 16860’. Held in a fine quality and condition period gilded frame with a presentation label. Peter Lely, the son of a Dutch military officer, was born in Germany at Soest in Westphalia in 1618. He studied in Haarlem before moving to London in 1641, and in 1647 he became a freeman of the Painter-Stainers’ Company. Initially, Lely painted landscapes, religious, and mythological scenes, however, he quickly recognised the strength of the English market for portraiture and this is where he turned his attention. He was employed by the Duke of Northumberland, who had the royal children in his care, and he was able to study the Northumberland Collection of works by Van Dyke and Dobson. By the end of the Commonwealth he had become the best-known portraitist in England. In 1661 he was appointed Principle Painter to the King and from then on he maintained a busy and successful practise painting the most elite and influential members of the court and of everyone of importance. His studio was prolific and employed many assistants, as was the common studio method. His success thus meant that he established the basic English portrait style for decades. Lely was a connoisseur and was known for his own fine art collection. By the end of his life he had assembled one the finest non-princely collections in Europe including more than 25 of Van Dyke’s major English works of Old Masters including Veronese, Titian, Claude Lorrain and Rubens, and a fabulous collection of drawings, was broken up and sold after his death, raising the immense sum of £26,000. Some items in it which had been acquired by Lely from the Commonwealth dispersal of Charles I's art collections, such as the Lely Venus, were re-acquired by the Royal Collection. Measurements: Height 144cm, Width 120cm framed (Height 56.75”, Width 47.25” framed)

Creator:
Studio of Sir Peter Lely
Creation Year:
circa 1665-1668
Dimensions:
Height: 56.7 in (144 cm)Width: 47.25 in (120 cm)Depth: 2.76 in (7 cm)
Medium:
Canvas,Cotton Canvas,Oil
Movement Style:
Old Masters
Period:
17th Century
Condition:
This painting has passed a strict condition assessment by a professional conservator prior to going on sale. The condition is therefore very good and it can be hung and enjoyed immediately.
Gallery Location:
London, GB
Reference Number:
1stDibs: LU1199110159652

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Studio of Sir Peter LelyPortrait of Lady Anna Maria Brudenell, Countess of Shrewsbury (1642-1702)circa 1665-1668

About the Item