Sir Peter Lely

James Walker, Aberdeen, circa 1881;
Anonymous sale ("The Property of a Gentleman"), London, Christie's, 1 December 2000, lot 20.

Aberdeen, City Art Gallery, 1881, no. 70 (lent by James Walker).

The catalogue illustration is representative. The canvas has been relined and as a result the paint is a little thin in places, particularly noticeable in the darker pigments, however the paint surface otherwise appears in good overall condition with no apparent areas of damage or loss of paint except for what appears to be an area of discoloured retouching above the sitter's right shoulder as can be seen in the catalogue illustration. Examination under ultraviolet reveals some very minor flecks of scattered retouching to the sitter's nostril and some minor cosmetic retouching to her neck and chest. There are a small number of further very minor areas of retouching scattered through the flesh tones of her hands and her costume however the work remains well preserved overall. Offered in a grand early eighteenth-century gilt gesso frame, with nineteenth-century aggrandisements, with some minor damage but generally in good overall condition as can be seen in the catalogue illustration.
"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."

This beautiful portrait dates to the early 1650s, and shows the strong influence of Van Dyck on Lely's early work, particularly in the composition which is based on Van Dyck's portrait of Mary, Lady Killigrew, painted in 1688 (Tate Gallery, London). The late Sir Oliver Millar suggested that the sitter could be Lady Elizabeth Percy, daughter of Algernon Percy, 10^th Earl of Northumberland (1602-1668), who married Arthur Capell, 1st Earl of Essex (1631-1683) at Petworth in 1653, and by whom she had two children, including Algernon Capell, 2^nd Earl of Essex (1670-1710). Elizabeth sat to Lely on a number of occasions and facial comparison between this picture and a portrait of her painted at the time of her wedding in 1653 (Petworth, Sussex), as well as with two portraits in the Northumberland Collection (Syon Park), reveal some striking similarities.

The magnificent early 18th-century shaped gilt-gesso frame (with later 19th-century extensions) is characteristic of the work of John Moore and very similar to those commissioned by the antiquarian, art collector and amateur architect Sir Andrew Fountaine (1676-1753), circa 1733.