This may be meant to echo the jar found in earlier religious paintings as a symbol of the reformed New Testament sinner Mary Magdalene. 1 The sitter rests her left hand on a golden metal container. Lely’s debt to the earlier court artist Sir Anthony van Dyck (1599–1641) can be see here in the seated three-quarter-length composition with a richly patterned curtain that billows down behind the sitter to the right, and a stone window opening at the left with an empty terracotta vase on its ledge. Highly prolific, he often used other artists to carry out the less individualised areas of his pictures, such as the drapery. With the restoration of the Stuart monarchy in 1660, Lely became principal portrait painter at the court of Charles II. Beckett, Lely, London 1951, p.58, no.421 (as ‘Duchess of Portsmouth’). Collins Baker, Lely and the Stuart Portrait Painters, vol.1, 1912, p.173, reproduced, and vol.2, p.128, no.148 (as ‘Duchess of Portsmouth’) R.B. References Catalogue of the Pictures at Coombe Abbey Warwickshire,, p.5 (as ‘10. Ownership history … in the collection of William, 6th Baron Craven (1738–91) at Coombe Abbey, Warwickshire by June 1769 (as ‘Dutchess of Cleveland … by Sir Peter Lely’) by descent to Cornelia, Countess of Craven, by whom bequeathed to Tate Gallery 1965.Įxhibition history The Stuart Portrait: Status and Legacy, Southampton City Art Gallery, Southampton 2001–2, no.15. Portrait of a Woman c.1670–75 Oil on canvas 1264 x 1015 mm Inscribed ‘Dutchess of Cleveland’ in a later hand on stone ledge, centre left T00755
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