English School

George John Yarburgh (1811-1875), Heslington Hall;
thence by direct descent to Stephen Nicholas de Yarburgh-Bateson (1903-1964), 5th Baron Deramore, who lent the picture to Ampleforth;
at the death of Lord Deramore the painting was acquired by the Abbey

R. Strong, Portraits of Elizabeth I, London 1963, no. 90, p. 83

The following condition report is provided by Hamish Dewar, who is an external expert and not an employee of Sotheby's. UNCONDITIONAL AND WITHOUT PREJUDICE Structural Condition The panel is reasonably even but there is quite extensive blistering across the paint surface, in particularly in the upper left and upper right of the paint surface where there are some small flecks of paint loss. The panel, which has been coated with what looks like a brown resin on the reverse, also has two vertical canvas strips applied to secure the two joins in the panel. There is also a horizontal insert in the upper right as viewed from the reverse. The panel is not structurally secure and does require structural conservation to ensure an even and secure support. Paint Surface The paint surface has an uneven and discoloured varnish layer as well as surface dust and abrasions. There are the small losses mentioned above and quite extensive blistering. Inspection under ultra-violet light shows a few recent small retouchings including a vertical line in the upper right background which is approximately 4 cm in length and an area measuring approximately 1 x 2 cm in the upper left of the background. There are earlier retouchings on the hands and face of Queen Elizabeth and a number of retouchings which fluoresce very faintly under ultra-violet light most significantly in the dark background in the the upper left and upper right and along the two vertical joins. It would also appear that there are a number of retouchings which are beneath the old varnish layers which are not identifiable under ultraviolet light. It is encouraging to note, however, that the finer details of the lace work and pearls appear to be in good condition. Summary The painting does therefore require structural consolidation and treatment to ensure that further paint loss does not occur and that the areas of blistering paint are stabilised.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Painted circa 1590-1600 this painting belongs to an important group of portraits which adhere to what is known as the Weavers' Company type, after a portrait in the Guildhall Art Gallery. Adopting the Darnley face pattern, the most influential pattern of the reign, here used in reverse, this group offers evidence of a resurgence in the use of this type in the last decade of the reign, after the official Armada pattern had come into circulation.