Posts filed under Oil on Board

Attributed to The Unknown Follower of Custodis (Fl. 1531-1607)

Attributed to

THE UNKNOWN FOLLOWER OF CUSTODIS (fl. 1590-1612)

Painted 1597

 ‘Sir John Fortescue (c.1531-1607)’

Oil on panel: 42 x 32 inches

Inscribed upper right with date and sitter’s age ‘Ano Domini. 1597/ Aetatis Suae.64.’ and upper left with family coat of arms. 

Provenance: Gabriel Goodman (1529-1601), Dean of Westminster, The Warden, Christ’s Hospital, Ruthin, Private collection, England

Literature: John Steegman, A Survey of Portraits in Welsh Houses, Vol. I, Houses in North Wales, National Museum of Wales, Cardiff, 1957, p.91 Thomas, Lord Clermont, A History of the Family of Fortescue in all its Branches, London, 1880, p.94

Sir John Fortescue (c.1531-1607), Chancellor of the Duchy of Lancaster (1601-1607), was descended from a distinguished West Country family of administrators and lawyers. He was the eldest of three sons of Sir Adrian Fortescue (c.1481-1539), who was executed for alleged treason on 9th July 1539, most likely because of his close kinship to Anne Boleyn (1500-1536). Nonetheless, the family’s fortunes changed for in 1540 Fortescue’s mother married the royal household administrator, Sir Thomas Parry (1515-1560) and subsequent to this, the family estate was restituted to her eldest son, John Fortescue, by an act of Parliament in 1551. Probably on the instigation of his step-father, sometime around 1555 John Fortescue entered Princess Elizabeth’s household at Woodstock, Oxfordshire, where he was appointed clerk of the library in 1556 and was later appointed Superintendent of the Princess Elizabeth’s studies. Subsequent to Elizabeth’s accession to the throne in 1558, Fortescue was made Master (or Keeper) of the Great Wardrobe, a post he held until his death. On 10th February 1588, Fortescue’s loyal and long-standing service was rewarded with his appointment as Privy Councillor to Elizabeth I.  Considered a very able administrator, he rose to prominence as Chancellor of the Exchequer to both Queen Elizabeth I and King James I. Whilst the office of Chancellor of the Exchequer can be traced from the twelfth century, its significance as an administrative and financial office is generally dated to the late sixteenth century, during Fortescue’s tenure

Our painting has been attributed to an anonymous artist identified as the Unknown Follower of Custodis (fl. 1590-1612). It is characteristic of the artist’s style with an iconic, two dimensional format and limited palate. Hieronimo Custodis himself was a protestant émigré from Antwerp who had fled to England after the capture of the city by the Duke of Parma in 1585. His dated works are from 1589 until his death in 1593, therefore our painter seems likely to have been an assistant of Custodis and perhaps even inherited his pattern book.

 Identification of our sitter is based on the elaborate family armorial displayed top left on a red marble pillar. Sir John Fortescue is shown three-quarter-length, wearing a black doublet, white ruff, a high-crowned beaver hat and resting his right hand on the knob of a walking cane. Suspended on a gold cord around his waist, he wears a cameo jewel depicting a bust-profile of Elizabeth I. A noted scholar, Fortescue counted Sir Thomas Bodley (1545-1613), the founder of the Bodleian library, and Sir Gabriel Goodman (1529-1601), Dean of Westminster, among his friends. It is likely that the portrait was painted as a gift for Goodman and it is almost certain that Goodman gave the painting to Christ’s Hospital or the Grammar School at Ruthin, both of which institutions he founded. For many years our painting of Sir John Fortescue hung in the Cloisters of St Peter’s Church at Ruthin. The Cloisters also held a portrait of his good friend, Sir Gabriel Goodman, painted in 1600, and these portraits most likely hung together at Ruthin.

John Fortescue (d. 1432) of Holbeton in Devon, was an administrator in the service of the Courtenay family. His eldest son, Henry (d.1490)  held the post of chief justice of the king's bench of Ireland between 1426 and 1429, whilst his second son, Sir John (c.1397–1479), was revered as a justice and political theorist.

Oxford Dictionary of National Biography, accessed 18/05/09. Arnold, J ( 1988)  ‘Queen Elizabeth’s Wardrobe Unlock’d’, pp.163-165.  Maney and Sons: Leeds.

As Keeper, Fortescue was responsible for the care of the Queen’s royal attire, textiles and jewellery as well as armour, furniture, state documents and the occasional detention and interrogation of prisoners.

Even after that date, the chancellorship remained a comparatively administrative position, concerned more with the daily administration of the realm rather than parliamentarian policy. However, it grew in importance in line with a shifting balance of power between the crown and parliament and key resolutions passed by the House of Commons in 1706 and 1713 endowed the executive, rather than the monarchy, with the authority to initiate and approve financial legislation. These changes meant that the office of chancellor, formerly administrative, became increasingly political. Since the early nineteenth century, the Chancellor of the Exchequer has been the cabinet minister responsible for finance and the head of HM Treasury.

The artist was first identified by Sir Roy Strong on the basis of an identical form of inscription used. See: Strong, R. (1963) Elizabethan Painting: an approach through Inscriptions – Hieronimo Custodis, Burlington Magazine, CV, 1963, p.104. The small corpus of work by this artist was latter published in his seminal work, Strong, R. (1969)  The English Icon, pp.207-214

Our thanks to Timothy Duke, Chester Herald, College of Arms for his assistance in identifying the sitter. He confirms that the quarterly Arms and Crest on this portrait are also recorded (with some minor differences) in the funeral certificate of Sir John Fortescue

John Steegman, A Survey of Portraits in Welsh Houses, Vol. I, Houses in North Wales, National Museum of Wales, Cardiff, 1957, p.91

 

George Morland (1763-1804)

George Morland (1763-1804)

Bedtime

Oil on Panel, 36 x 28cm / 60 x 52cm 

POA

A touching subject matter and an excellent example of the work of one of Britain's most famous 18th Century painters. George Morland lived a very full and prolific life. He exhibited at the Royal Academy at the very young age of 10, and escaping from his father and taskmaster who apparently kept him virtual prisoner, making him draw and then selling his works and keeping the money, he went to Margate where he continued and developed his taste for a rollicking lifestyle of excess. 

Morland is infamous both for his excesses and for his skill as a draughtsman and his works are extremely sought after and well represented in National museums and private collections. 

 

Charles Simpson (1878-1942)

Charles Simpson (1878-1942)

Barnacle Geese in Flight 

Oil on Board, 70 x 80cm / 75 x 85cm 

 

Charles Simpson was born in Camberley, Surrey. Having failed to get in to the army due to health reasons Simpson went on to study painting. He studied under the famous animal and genre artist Lucy Kemp-Welch and then at the Atelier Julian in Paris (1910). Drawn to painting horses, Simpson studied under Sir Alfred J Munnings in the early 1900's. Under Munnings' suggestion Simpson went to Cornwall where he eventually settled with the artist Ruth Alison. With Alison, Simpson set up and ran Piazza Studios until 1924. Following a brief sojourn in London, then Lamorna, they finally settled near Penzance. 

 

Simpson was particularly known for his paintings of birds and animals, which were both exhibited (including at the Royal Academy) and used as illustrations for books and for magazines such as ‘Country Life’.

Fred Yates (1922-2008)

yates3.jpg

Fred Yates (1922-2008)

On The Bridge

Oil on Bard, 37 x 44cm / 53.5 x 60cm 

 

Fred Yates was botn in Urmston, Lancashire. He worked as an insurance clerk until the second world war broke out. Following his service Yates worked as a painter and decorator and then began training to become a teacher. While doing this he took up painting proper and worked in the style of L S Lowry. 

Yates strove for recognition beyond the style of Lowry, and in the 1970's, while working in Cornwall and exhibiting in the St Ives 1939-64 Exhibition, that his work gained recognition and commercial success. His paintings during this time show outdoor scenes painted from life in the Cornwall landscapes. Following a solo exhibition in Geneva Henri Cartier-Bresson purchased some of his work.

Moving to France in the 1990's Yates again painted his local surroundings, in particular a small chapel in the woods near where he lived, called Saint-Sulpice. He was a very proactive artist, supporting other artists and working with them on their visits to his locale.

Fred Yates died in 2008, while on a return visit to England and is buried in a favourite spot in Cornwall. The Fred Yates Society promotes and preserves his work and he is now a well collected British artist. 

  

Roland Wheelwright (1870-1955)

Roland Wheelwright (1870-1955)

Rider and Horse

Oil on Board, 29 x 39cm / 40 x 47cm 

POA

The painter Roland Wheelwright, born in Queensland, Australia, came, while very young to England, and after attending Tonbridge School, went to Herkomer’s School in Bushey. Lucy Kemp-Welch studied there at the same time, and like her, Wheelwright settled in the area (first Watford, then in Bushey itself), and painted a lot of horses. He exhibited at the Royal Academy from 1895 all the way through till 1930. His work falls into three areas. Firstly, historical and romantic paintings in a realist style, usually choosing subjects with an excuse to feature horses, such as Don Quixote, and perhaps his best known painting, Joan of Arc taken Prisoner (1906). Later in his career he cut out the literature and produced rather conventional though bright pictures of horses in rustic surroundings, without any story. His third subject area was rather different – girls in Edwardian swimsuits, bathing or boating or sunning themselves. These latter were rather characteristic – short-haired rather than long-haired, as we might expect for Edwardians, and normally rather buxom figures, the curves emphasized by the folded drapery, which is treated with some care.

Wheelwright also did a fair amount of illustrative work, including Dickens, Scott, Dumas and the works of other great literary figures.