John Closterman

Anonymous sale, New York, Sotheby's, 27th January 2007, lot 590

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in very good condition, with no apparent extant damage or loss of paint. There is an old, discoloured and opaque varnish overall. ULTRAVIOLET Examination under ultraviolet light confirms the condition above and reveals ingrained dirt in the craquelure. FRAME Held in a carved and gilded wooden 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."

Born in Osnabrück in 1673, Closterman pursued his instruction in Paris where he worked under François de Troy. In 1681 he came to England, and painted draperies for John Riley. At the death of this latter, in 1691, Closterman finished several of his portraits. In 1696 he was invited to the court of Spain, and executed the portraits of the King and Queen. He also went to Italy twice, and made several acquisitions of works of art. On returning to England he obtained considerable employment, and married an Englishwoman. Among his works hanging in the National Portrait Gallery, should be mentioned a whole-length portrait, formerly in the Guildhall, of Queen Anne in her coronation robes, a portrait of John Churchill, 1^st Duke of Marlborough, and of the composer Henry Purcell.

The sitter, William Paul (1673-1711) of Bray, Berkshire, was a member of the parliament for Windsor (1710-1711). He "should not be confused with his namesake, an Anglican cleric executed in 1716 for treason following the Jacobite rebellion. [...]" Although he was classed as a Whig on the 'Hanover list' of 1710, Hon. James Brydges seems to have been better informed, including Paul's victory other Viscount Fitzhardinge at Windsor in 1710 on a list a Tory gains. His name appears on a list of the 1710-11 session denoting 'worthy patriots' who helped to detect the mismanagement of the previous administration. The list also named him as a member of the "October Club", a group of Tory MPs, active around 1711 to 1714.

The group took its name from the strong ale they reportedly drank. After Lord Robert Harley refused to set up an inquiry into the former administrations' financial policies, on 5 February 1711 some Tories passed resolutions calling for inquiries into suspected financial abuses. Initially 70 to 80 strong, the October Club attracted not just young and inexperienced backbenchers but older Tories such as Sir John Pakington and Sir Thomas Hanmer.

William Paul's political career was cut short by death in May 1711.

We thank Malcolm Rogers, curator of MFA Boston, for confirming the attribution to Closterman on the basis of a photograph.