Marcus Gheeraerts the Younger

With Mr Morant, by whom sold to;
Ivor Churchill Guest, 1st Viscount Wimborne (1873-1939), Canford Manor, Dorset;
By whom sold, London, Sotheby's, 18 July 1928, lot 62A, for 32 gns. to Moore (as by Gilbert Jackson);
Ferargil Galleries, New York, pre. 1955;
By whom sold to Casson Galleries, Boston.

A Catalogue of the Pictures at Canford Manor, privately printed, 1888, p. 82, no. 197.

STRUCTURE The painting is on a flat cradled panel consisting of three boards. PAINT SURFACE The painting appears to be in fair overall condition. The panel joins are visible and there is evidence of some further minor splits down the grain of the wood, most notably down the middle and left hand edge of the central board, and to the right hand edge of the left hand board. There are some minor paint losses associated with these, particularly noticeable towards the bottom of the panel and in the dark pigments of the hat and background around the left hand panel join. There are some further scattered minor losses which are visible in the catalogue illustration. There is evidence of a thick discoloured varnish and surface dirt overall and a small test cleaning window has been opened up in the sitter's left sleeve. There are also localised spots of what appear to be retouching to the panel edge centre left, parallel with the sitter's shoulder and to the background centre right. ULTRAVIOLET Examination under ultraviolet light confirms the presence of the varnish and reveals several campaigns of retouching scattered throughout the background and to the aforementioned two spots. There is also minor retouching to the panel joins and aforementioned splits except to that in the middle of the central panel. There is also minor retouching to the hat and throughout the costume however the lacework appears to be for the most part untouched. There is also minor retouching throughout the face and to the neck however this appears to be cosmetic. Given the picture's age, it would appear well preserved but would benefit from a clean and some minor restoration. FRAME Held in a carved gilt wood frame with minor losses. 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."

Previously thought to be by Gilbert Jackson, this work can be correctly attributed to Marcus Gheeraerts the Younger both on stylistic grounds, and through the distinctive lettering of the inscription, upper right.¹ Furthermore there are a number of striking comparisons, both in terms of composition and dress, with the artist's signed Portrait of Anne Hale, Mrs Hoskins, painted in 1629.² 

The sitter has traditionally been identified as Martha, daughter of Sir William Cokayne, of Rushton (1561-1626), and second wife of John Ramsay, Earl of Holderness (c.1580-1625). Following his death she married secondly, in 1627, Montagu Bertie, 2^nd Earl of Lindsey (1608-1666), a direct ancestor of Viscount Wimbourne. However as she was baptised in 1605, and assuming this was done in the year of her birth, would have been twenty three years old in 1628 when this picture was painted, the identity seems unlikely. 

1. See R. Strong, 'Elizabethan Painting: An Approach Through Inscriptions - III Marcus Gheeraerts the Younger', Burlington Magazine, vol. 105, no. 721, April 1963, pp. 149-150, 157 & 159.
2. See K. Hearn, Marcus Gheeraerts II, Elizabethan Artist, Tate Gallery exhibition catalogue, London 2002, p. 48, no. 39.