Cheffins
Los 212
Circle of Claude Deruet (French, 1588-1660) or Jean Ducayer (French, fl. 1605-1635) Portrait of a lady, previously believed to be the Countess of Somerset, head and shoulders, in black and white, wearing a pearl aigrette in her hair oil on panel 34 x 25cm (13 x 10in) Provenance: Dr Edward Kenealy by 1866; H H Brindley, Cambridge; Mrs Ackroyd by 1975: The Old House, Great Chesterford, Essex, and by descent Exhibited: London, The South Kensington Museum, in the first 'Exhibition of National Portraits' (508) from 16th April - 18th August 1866, which contained portraits of persons linked to the history of England, up to the 'Glorious Revolution' of 1688 - the deposition of King James II (as of the Countess of Somerset - sic); Southampton, Southampton City Art Gallery, on loan from April 1975 The painting was lent to the museum by Dr Edward Kenealy, the Irish barrister, famous for the Tichborne case, and later a Member of Parliament representing Stoke-upon-Trent. Other Notes: The present portrait is very different from the Larkin and Simon de Passe images in the National Portrait Gallery of the Countess of Somerset, and this label is likely to be erroneous. Indeed, the sitter's jewels are compatible with a later date, circa 1630. The aigrette, at the back of the head, like a sprig bent under the weight of the drop shaped pearls, the pear pearl earring, the round pearl collar and chain were all highly prized at that time. Artists were required to depict the pearls larger than reality, as Eleanor, Countess of Sussex wrote of her Van Dyck portrait in 1640, it was "No great matter for another age to think me richer than I was". We are grateful to Diana Scarisbrick for her assistance with the catalogue entry. Cleaned and restored in 1924 - according to an old label to the reverse. The painting is executed on a wooden panel with a horizontal grain. The name at the bottom of the painting is an addition and both parts have been attached to a wooden stretcher. The paint layers are stable. The hair and face are thinly painted. There are areas of overpaint. The varnish is even and semi-glossy. There is a loss to the ebonised finish of the frame at the upper right corner.
