Articles similaires à c.1700 Gentleman Portrait with Wig and Blue Cloak, Thomas Murray Oil Painting
Vous voulez plus d
images ou de vidéos ?
Demander au vendeur plus d
images ou de vidéos
1 sur 13
Thomas Murrayc.1700 Gentleman Portrait with Wig and Blue Cloak, Thomas Murray Oil Paintingcirca 1695-1710
circa 1695-1710
10 435,03 €
À propos de cet article
Portrait of a Gentleman with Periwig and Blue Cloak c.1695-1710
Attributed to Thomas Murray (1663–1734)
This accomplished oil-on-canvas portrait, presented by Titan Fine Art, was almost certainly commissioned to assert social identity, respectability, and continuity. Such portraits were typically displayed in principal rooms of country houses or town residences, functioning as statements of lineage and status. The sitter appears to be a member of the professional or landed gentry, rather than a courtier or aristocrat. He may plausibly have been a lawyer, landowner, administrator, or merchant-gentleman—someone whose position depended upon education, property, and reputation rather than inherited title alone.
Life for such a man around 1700 was shaped by a period of profound political and social transition. The Glorious Revolution of 1688 had established a constitutional monarchy, strengthening Parliament and redefining loyalty and authority. Under William III and later Queen Anne, England was increasingly engaged in continental conflict, culminating in the War of the Spanish Succession (1701–1714). At the same time, commerce expanded, London grew rapidly, and polite culture—clubs, coffeehouses, and professional networks—played an ever greater role in shaping elite male identity. A gentleman of this class would likely have divided his time between estate management or professional duties, participation in local governance or parish affairs, and periodic engagement with the cultural and political life of London.
The portrait is attributed to Thomas Murray (1663–1734), the Scottish-born painter who enjoyed a successful career in London during the late Stuart and early Georgian periods. Murray trained under John Riley, one of the leading portraitists of his generation, and, like his master, specialised primarily as a face-painter. Contemporary sources indicate that Murray frequently worked within a collaborative studio practice, painting the head while assistants completed wigs, drapery, and backgrounds. The present work accords closely with this documented method.
The handling of the sitter’s face is refined and restrained. The flesh is modelled through soft tonal transitions rather than linear definition, producing a calm, dignified expression. Heavy upper eyelids, muted highlights, and the carefully controlled construction of the nose and mouth are all characteristic of Murray’s securely attributed portraits and of the broader Riley tradition. The upper eyelid is heavy and slightly swollen, with a soft crease rather than a drawn line whilst the lower lid is defined by a cool grey-blue tone (likely black + lead white), not by a line. The eye socket is built tonally, not architecturally. The mouth is particularly telling: the upper lip is thin and tightly controlled, the philtrum is understated, almost suppressed, the lower lip is modelled with red lake + white, and softly glazed. This technique is very characteristic of Murray’s heads, and since it is finished with greater care than the surrounding elements, while the wig, blue drapery, and dark recessive background are executed more schematically, this reinforces the likelihood of collaborative production typical of Murray’s professional practice. This quiet, disciplined manner distinguishes the painting from the more assertive and theatrical style of Sir Godfrey Kneller, whose work dominated court portraiture at the time.
The sitter’s costume and hair provide a secure date of c. 1695–1710. He wears a full-bottomed curled wig, still fashionable at the turn of the century but already softened from the rigid, architectural wigs of the 1670s and 1680s. The narrow white cravat corresponds to late William III and early Queen Anne taste, before the emergence of broader and more relaxed neckwear after about 1715. Draped across the figure is a rich blue mantle, likely painted with smalt, a pigment widely used in late 17th-century England and now characteristically subdued through age. Blue drapery of this type conveyed dignity, loyalty, and social standing, and was frequently employed in portraits of gentlemen of means.
On the reverse of the canvas are several later labels, including a handwritten inscription naming “Thomas Murray” accompanied by incorrect life dates. These annotations were most likely added in the 19th or early 20th century, a period when works were frequently re-identified during estate inventories, sales, or family reorganisations. The inaccurate dates may reflect imperfect knowledge or reliance on secondary sources, and possibly confusion between sitter and artist—an error not uncommon in later provenance traditions. While these labels cannot be treated as documentary proof, they suggest a persistent association of the work with the name Thomas Murray and do not contradict the stylistic and chronological evidence supporting the present attribution.
The painting survives in a fine carved and gilded period frame, richly ornamented with scrolling foliage. Frames of this quality were integral to the original presentation of portraits in elite interiors, enhancing both their visual impact and their function as symbols of permanence and authority.
Taken together, the stylistic evidence, technical handling, costume analysis, and later attributional history support the identification of this painting as a portrait attributed to Thomas Murray. As such, it stands as a compelling and historically resonant example of English portraiture around 1700, offering insight into the professional practices of a significant painter and the social world of the gentleman he portrayed.
Measurements: Height 93cm, Width 80cm framed (Height 36.5”, Width 31.5” framed)
- Créateur:Thomas Murray (1663 - 1734)
- Année de création:circa 1695-1710
- Dimensions:Hauteur : 93 cm (36,62 po)Largeur : 80 cm (31,5 po)Profondeur : 6 cm (2,37 po)
- Support:
- Mouvement et style:
- Période:
- État:The condition is very good and can be hung and enjoyed immediately. The painting has passed a strict condition assessment by a professional conservator prior to going on sale.
- Adresse de la galerie:London, GB
- Numéro de référence:1stDibs : LU1199117387512
À propos du vendeur
5,0
Vendeur professionnel agréé
Chaque vendeur répond à des normes strictes en matière d
authenticité et de fiabilité
Établi en 1998
Vendeur 1stDibs depuis 2019
45 ventes sur 1stDibs
- ExpéditionRecherche du devis...Expédition depuis : London, Royaume-Uni
- Politique des retours
Certaines parties de cette page ont été traduites automatiquement. 1stDibs ne garantit pas l
exactitude des traductions. L
anglais est la langue par défaut de ce site web.
Plus d articles de ce vendeur
Tout afficherPortrait d
un gentleman, Sir Henry Hobart, cape et cravate bleues, toile à l
huile de Wissing
Par Willem Wissing
Portrait d'un gentleman, Sir Henry Hobart Manteau et cravate bleus C.1683-1684
Attribué à Willem Wissing (1656-1687)
Cet impressionnant portrait, présenté par Titan Fine Art, représ...
Catégorie
17ème siècle, Maîtres anciens, Peintures - Portrait
Matériaux
Toile de coton, Huile
Portrait of a Gentleman in a Blue Coat Standing by a Curtain c.1695, Netscher
Portrait of a Gentleman in Blue Coat Standing by Curtain c.1695
Attributed to Constantyn Netscher (c.1668-c.1723)
The gentleman in this portrait has been depicted standing on a porc...
Catégorie
17ème siècle, Maîtres anciens, Peintures - Portrait
Matériaux
Toile, Huile
Portrait d
un gentleman, David Iskine, 13e laird de Dun, portant une armure, c.C.1700.
Dans ce portrait exquis à l'huile sur toile, présenté par Titan Fine Art, le gentleman est représenté avec la grandiloquence caractéristique de l'école anglaise de peinture. Il est ...
Catégorie
17ème siècle, Maîtres anciens, Peintures - Portrait
Matériaux
Huile, Toile
Portrait d
un gentilhomme en armure, manteau bleu, broche en diamant C.1700 Cadre français sculpté
Par Joseph Vivien
Portrait d'un gentilhomme en armure et manteau d'azur avec broche en diamant c.1700
Attribué à Joseph Vivienne (1657-1735)
Dans ce superbe portrait, proposé par Titan Fine Art, le ...
Catégorie
17ème siècle, Maîtres anciens, Peintures - Portrait
Matériaux
Huile, Toile de coton
Portrait de Gentleman Blue
Cloak, Portrait of Lady, cadres sculptés et dorés
Portrait d'un gentilhomme au manteau bleu et portrait d'une dame en robe rousse c.I.C.
Thomas Murray (1663-1735)
Ces portraits fascinants sont des exemples exquis de l'art du portra...
Catégorie
17ème siècle, Maîtres anciens, Peintures - Portrait
Matériaux
Huile, Toile
Portrait de Lady, Barbara Herbert, comtesse de Pembroke c.1708, grande peinture
Portrait de Barbara Herbert, comtesse de Pembroke c.1708
Charles d'Agar (1669-1723)
Ce magnifique portrait à grande échelle, présenté par Titan Fine Art, représente la noble et fon...
Catégorie
17ème siècle, Maîtres anciens, Peintures - Portrait
Matériaux
Toile de coton, Huile
Suggestions
Portrait de A James Butler, 2e duc d
Ormonde (1665-1745), de trois-quarts.
Par Sir Godfrey Kneller
Portrait de James Butler, 2e duc d'Ormonde (1665-1745), de trois-quarts, debout en armure, tenant son bâton, une escarmouche au delà
Huile sur toile
Dans un cadre en bois sculpté
...
Catégorie
XVIIe siècle, Peintures - Portrait
Matériaux
Huile
Portrait de George Gordon, 7eird de Buckie (1707-1756)
Par John Alexander
John Alexander (écossais, 1686-1766)
Portrait de George Gordon, 7e laird de Buckie (Écossais, 1707-1756), c. 1743
Huile sur toile
Dans un cadre ébonisé sculpté, avec une légère bord...
Catégorie
années 1740, Maîtres anciens, Peintures - Portrait
Matériaux
Huile
6 995 € Prix de vente
20 % de remise
1780 Antique 18c. peinture à l
huile originale sur toile Portrait d
un noble signé
Cette huile sur toile originale est un portrait britannique raffiné et plein de caractère du XVIIIe siècle. Elle est signée et datée en bas à gauche : "Js. Jones P.X. 1780." L'œuvre ...
Catégorie
Fin du XVIIIe siècle, Impressionnisme, Peintures - Portrait
Matériaux
Huile
3 659 € Prix de vente
50 % de remise
Portrait d
un gentilhomme, huile sur toile anglaise du 17e siècle
Par (Circle of) Mary Beale
Cercle de Mary Beale
1633 - 1699
Portrait d'un Gentleman
Huile sur toile
Taille de l'image : 30 x 25 pouces
Cadre doré contemporain
Fille d'un ecclésiastique du Suffolk, Mary ...
Catégorie
XVIIe siècle, Peintures - Portrait
Matériaux
Toile, Huile
Grand portrait anglais du fondateur de l
entreprise Gilbert Charity, datant du 17ème et 18ème siècle
Portrait de M. Gilbert (que l'on pense être le fondateur de l'association Gilberts Charity, Bridgwater, Somerset)
Artiste de l'école anglaise, fin 17e/début 18e siècle
peinture à l'h...
Catégorie
Fin du XVIIe siècle, Maîtres anciens, Peintures - Portrait
Matériaux
Huile, Toile
« Sir John Wynn, 5th Baronet », portrait de trois quarts, huile sur toile
Par John Vanderbank
Sir John Wynn, 5ème Baronet
Taille de la toile : 50 x 40" (127 x 102cm)
Dimensions extérieures du cadre : 58 x 48" (147 x 122cm)
Sir John Wynn, 5e baronnet (1628 - 11 janvier 1719) ...
Catégorie
années 1710, École anglaise, Peintures - Portrait
Matériaux
Huile
10 260 €
Livraison gratuite