Simon Pietersz. Verelst

Anonymous sale, New York, Sotheby's, 27 May 2004, lot 220, for $60,000;
Private Collection, France;
With Historical Portraits, London, where aquired by the present owner.

STRUCTURE The canvas has a relatively firm lining. PAINT SURFACE The painting appears to be in generally good condition, with no apparent extant damage or loss of paint. The surface is a little flat as a result of the relining, and slightly abraded in the flesh tones, and in areas of the background. The painting is well represented in the catalogue illustration. ULTRAVIOLET Examination under ultraviolet light reveals extensive hatched retouching in the flesh tones, especially in the chest, shoulders and neck, as well as around the eyes, around the mouth, and in the forehead. There is retouching in the folds of the drapery, particularly the darker areas, as well as in some of the background areas. There is some retouching to abrasion along the lower edge of the picture, and some infilling to craquelure. The still life of flowers, upper left, however appears to be largely untouched and in very good condition. FRAME Held in a British Baroque style 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 Maria Beatrice d'Este, and known in England as Mary of Modena, the sitter was the only daughter of Alfonso IV, Duke of Modena. In 1673 she married James, Duke of York, younger brother of King Charles II, who would later succeed as King James II. The present work can be dated to circa 1677, based on the style of the sitter's hair in comparison with dated portraits of her by Lely, and possibly commemorates the birth of her son, Charles, Duke of Cambridge, who was born on 7^th November 1677 but died in infancy.¹ It is one of a number of known autograph versions of the composition, and is characteristic of Verelst's work in its hardness of line and exaggerated treatment of light and shade, which imbue his paintings with an almost otherworldly quality. The artist's idiosyncratic style was popular among Charles II's courtiers, and he was widely patronised, particularly among the ladies at court, including Louise de Kéroualle, Duchess of Portsmouth, and Nell Gwyn.²

The importance of this composition within the iconography of Mary's portrait types is indicated by the existence of both a contemporary miniature copy by Susannah-Penelope Rosse (Royal Collection) and an oval copy by Benedetto Gennari (1633-1715) which was sent to Italy. That it was a copy of Verelst's portrait which Mary chose to be sent home to Italy suggests that, at the time, this type was considered among the finest of the sitter, and the one that appealed most to her own taste.

A notice in the inventory of the Royal Collection made during the reign of Queen Anne mentions a picture described as 'Verhelst. The Late Dutchess of York at 1/2 length'.³ Another version of this portrait was sold in these Rooms on 23^rd November 1977, lot 43, and is now in the Paul Mellon Collection (New Haven, Yale Centre for British Art).

1. See C. MacLeod and J. Marciari Alexander (eds.), Painted Ladies; Women at the Court of Charles II, exhibition catalogue, New Haven and London 2001, p. 161.
2. A half length portrait by Verelst of Nell Gwyn, signed by the artist, is in the National Portrait Gallery, London.
3. O. Millar, Tudor, Stuart and Early Georgian Pictures in the Collection of her Majesty the Queen, London 1963, p. 132.