About this lot

Description

Attributed to John Michael Wright (1617-1694) Portraits of Lord Henry Howard, later 6th Duke of Norfolk (1628-1684) and his first wife Lady Anne Somerset (1631-1662) both half-length, Lord Henry in armour with a white lace cravat, Lady Anne wearing a blue dress and pearls oil on canvas 66.5 x 57cm, a pair Provenance: Acquired by the vendor's Great Uncle in the decade 1930-40, Thence by descent Although previously thought to represent the 3rd Lord and Lady Arundell of Wardour (as inscribed to the reverse) the present portraits can now be securely identified as of Henry Howard, 6th Duke of Norfolk and his first wife Lady Anne Somerset, eldest daughter of the 2nd Marquess of Worcester. The likeness of the Duke corresponds closely with Wright’s three-quarter-length portrait, of which at least four versions are known (see Exhibition catalogue John Michael Wright, Edinburgh, 1982, p. 70, under no. 15) which depict him at a parapet holding a plumed helmet in a landscape with a page and horse beyond; all were formerly described as various other sitters, but the Duke’s identity in these portraits has since the 1982 Edinburgh exhibition (op. cit.) been verified by a 1660 work by Adriaen Hanneman at Arundel Castle. The former Wardour Castle three-quarter length of the Duke exhibited in 1982 (ibid) proposes a date based on the style of the sword to circa 1660. Therefore, at the time of these portraits, Lord Henry was not yet Duke as he only succeeded his insane elder brother in 1677 and Lady Anne dies in 1662 so they must predate that year. From Lord Henry's apparent age in this portrait, he is therefore still only Lord Henry Howard and certainly not even yet Baron Howard of Castle Rising or Earl of Norwich which he was created in 1669 and 1672 respectively. In 1672, he would also be created Earl Marshal and thus become the most senior citizen in the Kingdom. In 1669, he was appointed Ambassador to Morocco where the city of Tangiers, which was a Portuguese enclave, had already been ceded to England as part of the dowry of Charles II's consort Catherine of Braganza in 1662. Lady Anne's distinctive appearance likewise corresponds with Wright’s three-quarter-length portrayal of her at Powis Castle (NT 1180957). Two other half-length compositions, similar to her present portrait, are also recorded but appear of inferior quality. It is therefore possible that the present work is Wright’s prototype for the half-length composition of Lady Anne, to which a companion portrait of the Duke was added based on the artist’s three-quarter-length version. As a matched pair, the present works are therefore significant in corroborating the iconography of both sitters. Both paintings are executed in oil on canvas supports attached to wooden stretchers. At some stage in the paintings history they have been cut down to ovals. It is possible that they were conceived as oval portraits, however, Wright painted fictive ovals which were fashionable in portraiture of the time. On the portrait of the Duke, faint diagonal lines are visible in the top corners which possibly suggest the painting was at one time attached to a rectangular wooden stretcher with diagonal cross braces, further research would be required to verify this. The portraits have been made into rectangular formats with canvas additions at all four corners prior to being lined. The direction of the canvas weave is slightly skewed at some of the corners suggesting they were never part of the original picture. Cracks have formed in the paint layers following the seam. The canvas tension is good and the pictures are in plane. The paint layers are in a good, stable condition overall. There are a few small, localised losses. The portrait of the Duke has some areas of slightly raised craquelure, but this is secure. The overpaint at the corners is well executed and the original paint layers are blended well to the additions when seen from a normal viewing distance. The portraits have been partially cleaned at some stage in their history with thicker layers of varnish present in the background and dress compared to the faces. This may have been done to preserve the overpaint at the corners. There is some overpaint present in the blue of the dress which now has a slight green hue when compared to the original. Both pictures have areas of wear and abrasion mainly located in the dress and armour, where the paint passages have been thinly applied. Both sitter’s hairstyles have been reinforced, under ultraviolet light dark touches to emphasis the outline and form are present, this is more extensive on the Duke. It is unclear if an earlier campaign of restoration lies beneath the old varnish layers. The sitter’s features are well preserved, an age crack pattern has developed in the flesh paint and there appears to be little overpaint apart from a few small touches. The paint on either sides of the join on both pictures has a slightly uneven texture which is probably related to too much heat being used during the lining process in these areas. The varnish layers are clear, semi-matte and even. There is a light layer of surface dirt present. The portraits are framed in wooden frames with carved decorative elements at the corners. The frames have been prepared with a warm red bole before gilding. A toning layer has created a craquelure pattern across the surface which is uniform across the surface of both frame. There are a few chips, losses and surface scuffs to the frames but overall they are in a good condition. Poorly held in place with bent nails. Protrude at reverse. Framed 82 x 72.5cm

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