Attributed to Sir William Segar

London, Lane Fine Art, A Perfect Likenesse, 1987, no.7

STRUCTURE The panel has been cradled. PAINT SURFACE The painting appears to be in very good condition, with no apparent damage or loss of paint. The paint is a little thin in the background, but the pigments of the costume and the face are strong. ULTRAVIOLET Examination under ultraviolet light reveals minor old retouching in the flesh tones of the hands and face, and a small area of more recent retouching in the hair. The costume appears to be untouched, and in good original condition, and there are no signs of any significant retouching in the background. FRAME Held in an elaborately carved and gilded wooden frame with stylized oak leaf mofit overall. 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 Emmeline Hallmark on 44 (0)207 293 5407, or at emmeline.hallmark@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."

Elizabeth Hastings was the fourth daughter of Francis Hastings, 2nd Earl of Huntingdon and his wife Catherine, daughter of Henry Pole, Lord Montagu.  In 1571 she married Edward Somerset, 4th Earl of Worcester (1549-1628).  Worcester was both a loyal supporter of Elizabeth I and a close friend of her successor, James I.  He was made Master of the Horse by the Queen in 1601.  Both he and his wife were closely linked to the celebrated Procession picture of c. 1601 (National Portrait Gallery, London), the Earl standing in a central position directly below the sovereign, Elizabeth as Maid of Honour to the Queen, one of the ladies to the right.  It is generally believed that the picture in fact celebrates Worcester's new role as Master of the Horse (see R. Strong, Gloriona, London 1987, pp. 153-155).

The attribution to Segar is supported by comparison with portraits of Sir Francis and Lady Clare, signed by Segar and dated 1586, and with the Portrait of Robert Devereux, Earl of Essex formerly in the Lumley collection (National Gallery of Ireland, Dublin).