Attributed to Paul van Somer

By descent in the family of the sitter's second husband, Thomas Bruce, 1st Earl of Elgin (1599-1663).

STRUCTURE The work is painted on a flat three piece panel, levelled top and bottom and sixteen butterfly supports on the central body. PAINT SURFACE The painting appears to be in very good condition with no apparent areas of damage or loss of paint except for evidence of an old repaired split running parrallel to the right hand panel join. There is a fine uneven craquelure overall. ULTRAVIOLET Examination under ultraviolet light reveals evidence of old minor scattered retouching to the sitter's costume primarily to the sleeves and background . There is also evidence of a more recent campaign of retouching along the panel joins and split and infilling to the craquelure in the sitter's cheek. FRAME Held in a carved and gilded British Baroque frame. To speak to a specialist about this lot please contact Julian Gascoigne on +44 (0)207 293 5482, or at julian.gascoigne@sothebys.com, or Ludo Shaw Stewart on +44 (0)207 293 5816, or at ludovic.shawstewart@sothebys.com.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The sitter was the daughter and coheir of William Cecil 2^nd Earl of Exeter (1566-1640) and Elizabeth Drury. As this portrait attests, Lady Diana's beauty was legendary. In 1618 aged only 22 she sat for this portrait and capitalised upon the recent appearance of a comet which is depicted upper right. Such a rare occurence triggered widespread fascination and speculation about its possible providential meaning. Was the "blazeing starr" a sign of God's displeasure, or a portent of disaster to come? Some predicted war, some a crisis in religion or the death of kings. King James himself wrote a rather nervous poem speculating on the meaning of the 'Angry starr' (Bodleian MS Rawl.Poet. 84,fol. 72r).

For Lady Diana the comet appears to have been added to emphasise her distinctive appeal. Few portraits exist which display a comet and these have rather charmingly been attributed to the 'Comet Master.' Lady Diana's beauty was matched by the attraction of her immense dowry- a staggering fortune of £30,000. She married firstly Henry de Vere, 18th Earl of Oxford (1593-1625) in 1624 and secondly Thomas Bruce, 1st Earl of Elgin (1599-1663).