CORNELIUS JOHNSON | PORTRAIT OF LADY ELIZABETH CRAVEN (NÉE FAIRFAX), WIFE OF SIR WILLIAM CRAVEN OF LENCHWICK (1610-1655), HALF LENGTH
CORNELIUS JOHNSON | PORTRAIT OF LADY ELIZABETH CRAVEN (NÉE FAIRFAX), WIFE OF SIR WILLIAM CRAVEN OF LENCHWICK (1610-1655), HALF LENGTH
CORNELIUS JOHNSON | PORTRAIT OF LADY ELIZABETH CRAVEN (NÉE FAIRFAX), WIFE OF SIR WILLIAM CRAVEN OF LENCHWICK (1610-1655), HALF LENGTH
CORNELIUS JOHNSON | PORTRAIT OF LADY ELIZABETH CRAVEN (NÉE FAIRFAX), WIFE OF SIR WILLIAM CRAVEN OF LENCHWICK (1610-1655), HALF LENGTH
CORNELIUS JOHNSON | PORTRAIT OF LADY ELIZABETH CRAVEN (NÉE FAIRFAX), WIFE OF SIR WILLIAM CRAVEN OF LENCHWICK (1610-1655), HALF LENGTH
CORNELIUS JOHNSON | PORTRAIT OF LADY ELIZABETH CRAVEN (NÉE FAIRFAX), WIFE OF SIR WILLIAM CRAVEN OF LENCHWICK (1610-1655), HALF LENGTH
4

PROPERTY FROM AN AMERICAN PRIVATE COLLECTION

CORNELIUS JOHNSON | PORTRAIT OF LADY ELIZABETH CRAVEN (NÉE FAIRFAX), WIFE OF SIR WILLIAM CRAVEN OF LENCHWICK (1610-1655), HALF LENGTH

Estimate: 20,000 - 30,000 USD

PROPERTY FROM AN AMERICAN PRIVATE COLLECTION

CORNELIUS JOHNSON | PORTRAIT OF LADY ELIZABETH CRAVEN (NÉE FAIRFAX), WIFE OF SIR WILLIAM CRAVEN OF LENCHWICK (1610-1655), HALF LENGTH

Estimate: 20,000 - 30,000 USD

Lot Sold:25,000USD
(3 bids, reserve met)

Lot Details

Description

PROPERTY FROM AN AMERICAN PRIVATE COLLECTION


CORNELIUS JOHNSON

London 1593 - 1661 Utrecht

PORTRAIT OF LADY ELIZABETH CRAVEN (NÉE FAIRFAX), WIFE OF SIR WILLIAM CRAVEN OF LENCHWICK (1610-1655), HALF LENGTH


oil on canvas

canvas: 30 by 25 in.; 76.2 by 63.5 cm.

framed: 37 by 31⅛ in.; 94 by 79.1 cm.

Condition Report

Canvas is tightly lined. The image reads well and has preserved some of its original impasto, like in the white lace and pearls. Some details such as the shine in her eyes and pearls are beautifully preserved, though there is some minor thinning to the paint surface, especially in the sitter's hair. Some scattered yet minor spots of discoloring are visible here and there. Inspection under UV reveals an uneven varnish. A spot of old repair to the chin and proper left cheek of the sitter fluoresces, along with a few thin lines of inpainting addressing old craquelure scattered in the chest and face of the sitter. Offered in a giltwood frame.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

Cataloguing

Provenance

Earls of Craven, Combe Abbey, since the early 17th century (inv. no. 132, according to plate on frame);

Thence by descent;

With Lane Fine Art, London;

From whom acquired 1 November 1985.

Literature

Catalogue of the pictures at Combe Abbey, Warwickshire: The Seat of William Earl of Craven, 1866, p. 11, cat. no. 132.

Catalogue Note

The sitter in this portrait is Elizabeth Fairfax (b. 1613/4), daughter of Ferdinando Fairfax, 2nd Lord Fairfax of Cameron and Mary Sheffield. She married Sir William Craven of Lenchwick in 1646.


We are grateful to Professor Karen Hearn for suggesting the attribution to Cornelius Johnson on the basis of photographs and a likely date of execution of 1637 based on the fashion the sitter wears. The hairstyle, low square-neck bodice, and deep laced cuffs that are cut before the sitter's hands are details repeated in Johnson's signed and dated Portrait of Margaret Campion last known in Danny House, West Sussex [1].


1. See A. J. Finberg, "A Chronological List of Portraits by Cornelius Johnson, or Jonson", in The Walpole Society, vol. X, Oxford 1922, fig. LVIII.

Old Masters Online
Online bidding closed30 Oct 2019 | 05:11 PM GMT