STUDIO OF SIR PETER LELY | PORTRAIT OF ANNE HYDE, DUCHESS OF YORK AND ALBANY (1637-1671), FULL-LENGTH, IN A BLUE GOWN TRIMMED WITH ERMINE, STANDING BEFORE A GOLD CURTAIN WITH HER CROWN ON A TABLE
STUDIO OF SIR PETER LELY | PORTRAIT OF ANNE HYDE, DUCHESS OF YORK AND ALBANY (1637-1671), FULL-LENGTH, IN A BLUE GOWN TRIMMED WITH ERMINE, STANDING BEFORE A GOLD CURTAIN WITH HER CROWN ON A TABLE
STUDIO OF SIR PETER LELY | PORTRAIT OF ANNE HYDE, DUCHESS OF YORK AND ALBANY (1637-1671), FULL-LENGTH, IN A BLUE GOWN TRIMMED WITH ERMINE, STANDING BEFORE A GOLD CURTAIN WITH HER CROWN ON A TABLE
STUDIO OF SIR PETER LELY | PORTRAIT OF ANNE HYDE, DUCHESS OF YORK AND ALBANY (1637-1671), FULL-LENGTH, IN A BLUE GOWN TRIMMED WITH ERMINE, STANDING BEFORE A GOLD CURTAIN WITH HER CROWN ON A TABLE
STUDIO OF SIR PETER LELY | PORTRAIT OF ANNE HYDE, DUCHESS OF YORK AND ALBANY (1637-1671), FULL-LENGTH, IN A BLUE GOWN TRIMMED WITH ERMINE, STANDING BEFORE A GOLD CURTAIN WITH HER CROWN ON A TABLE
STUDIO OF SIR PETER LELY | PORTRAIT OF ANNE HYDE, DUCHESS OF YORK AND ALBANY (1637-1671), FULL-LENGTH, IN A BLUE GOWN TRIMMED WITH ERMINE, STANDING BEFORE A GOLD CURTAIN WITH HER CROWN ON A TABLE
45

SOLD WITHOUT RESERVE

STUDIO OF SIR PETER LELY | PORTRAIT OF ANNE HYDE, DUCHESS OF YORK AND ALBANY (1637-1671), FULL-LENGTH, IN A BLUE GOWN TRIMMED WITH ERMINE, STANDING BEFORE A GOLD CURTAIN WITH HER CROWN ON A TABLE

Estimate: 5,000 - 7,000 USD

SOLD WITHOUT RESERVE

STUDIO OF SIR PETER LELY | PORTRAIT OF ANNE HYDE, DUCHESS OF YORK AND ALBANY (1637-1671), FULL-LENGTH, IN A BLUE GOWN TRIMMED WITH ERMINE, STANDING BEFORE A GOLD CURTAIN WITH HER CROWN ON A TABLE

Estimate: 5,000 - 7,000 USD

Lot Sold:12,500USD
(41 bids, reserve met)

Lot Details

Description

SOLD WITHOUT RESERVE


STUDIO OF SIR PETER LELY

Soest 1618 - 1680 London

PORTRAIT OF ANNE HYDE, DUCHESS OF YORK AND ALBANY (1637-1671), FULL-LENGTH, IN A BLUE GOWN TRIMMED WITH ERMINE, STANDING BEFORE A GOLD CURTAIN WITH HER CROWN ON A TABLE


inscribed at bottom edge: ANN HIDE DUTCHESS OF YORK, DAUGHTER TO E.D.E. OF CLARENDON

oil on canvas

canvas: 86 by 50 in.; 218.4 by 127 cm.

framed: 92½ by 57½ in.; 235 by 146.1 cm.

Condition Report

Canvas is lined. Painting presents a striking image in overall good condition given its size. Details in the fabric of the gown and pearls are well preserved. Minor frame abrasions are along the edges. A spot of repair is at center right. Inspection under UV shows a few scattered spots of retouching here and there, like at center left, below the sitter's proper right arm. Painting can hang as is. Offered framed.


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

Probably commissioned by Edward Hyde, 1st Earl of Clarendon (1609-1674), the sitter’s father;

Thence by descent to George Herbert Hyde Villiers, 6th Earl of Clarendon (1877-1955);

By whom sold ("Property of the Rt. Hon. the Earl of Clarendon"), London, Christie's, 4 July 1924, lot 65 (as ‘Lely’) [1];

James W. DeLasho;

By whose estate sold ("Property from the Estate of James W. DeLasho"), Hudson, Stair Galleries, 3 November 2018, lot 231;

There acquired. 


1. In the Frick Digital Collections. See: https://digitalcollections.frick.org/digico/#/details/bibRecordNumber/b13948726/Photoarchive

Catalogue Note

This portrait is inspired by the multiple prototypes Sir Peter Lely painted of Anne Hyde, eldest daughter of Sir Edward Hyde (1609–1674), 1st Earl of Clarendon, and Frances, daughter of Sir Thomas Aylesbury, bt (d. 1667). While her father served at Charles II's court in Paris, Anne and her mother settled in the Low Countries. Anne was introduced to her future husband, James, Duke of York and later King James II, through his sister Princess Mary. James fell very much in love with Anne, and the two secretly married in September 1660, despite hesitations from James's mother, Queen Henrietta Maria who loathed Anne's family, and his brother, Charles who was concerned with the implications James's choice of wife had during the Restoration of the monarchy.


While married, Anne played a key role in the political life of her husband, and exercised a strong influence over him. As Pepys noted: 'the duke of York, in all things but his cod-piece, is led by the nose by his wife' [1]. They had eight children, two of whom later became queens of Britain: Mary and Anne.


1. S. Pepys and M. Bright, in H.B. Wheatley (ed.), The Diary of Samuel Pepys, M.A., F.R.S.: Clerk of the Acts and Secretary to the Admiralty, vol. VIII, London 1898, p. 127.

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