the weiss gallery 25 years

THE WEISS GALLERY59 JERMYN STREETLONDON SW1Y 6LX

TEL 020 7409 0035FAX 020 7491 9604

www.weissgallery.com

1 9 8 5

2 0 1 0

25years

44

4 4

T H E W E I S S G A L L E R Y25years

4


5

THE WEISS GALLERY: 25 YEARS Mark Weiss 7 – 15

AN ADVOCATE FOR EARLY

ENGLISH PORTRAITS Roy Strong 16

MUSEUM ACQUISITIONS Malcolm Rogers 17

MARK WEISS AND

SCOTTISH HERITAGE Duncan Thomson 18 – 19

ACQUISITIONS FOR THE HUNTINGTON ART GALLERY,

SAN MARINO, CALIFORNIA John Murdoch 20 – 21

PLATES 22 – 169

ARTISTS’ INDEX 170 – 171

A C K N O W L E D G E M E N T S C O N T E N T S

This book has been published to coincide with

my 25th Anniversary Exhibition, held in the gallery

24th June – 10th July 2010.

I would like to offer my heartfelt gratitude to both the

institutional lenders, the Bristol City Museum and Art Gallery,

English Heritage, Historic Scotland, the National Portrait Gallery,

The Shakespeare Birthplace Trust and Tate Britain as well as

the private lenders including Mr & Mrs Michael J. Allen,

Sir Victor & Lady Blank, Jasper Conran,

Mr & Mrs Terry Hughes and Mr & Mrs David Kowitz.

I would also like to thank my researcher

Natasha Blumenthal, my wife Catherine and especially my

Associate Director, Florence Evans, for all their hard work and

kind assistance in the production of this commemorative

publication; and a special thank you to

Ashted Dastor for the design and production.

4 4 4

4 4 4

4 4 4

4 4 4

4 4 4

4 4 4

T H E W E I S S G A L L E R Y25yearsT H E W E I S S G A L L E R Y25years

6 7

I would like to dedicate this book and exhibition

to the memory of my father, Ivor, and especially to my beloved mother Joan,

without whose love, support and inspiration I could not

have achieved what I have over these last twenty-five years.

This summer marks the 25th anniversary of the founding of The Weiss Gallery, and I

thought it only appropriate to celebrate this significant milestone with an exhibition and book

to commemorate the event. What follows is not meant to be a comprehensive history, but a

personal ricordo of the gallery with a selection of the paintings that I have handled.

My career began in 1972 having left school aged nineteen, when I started work in my parents’

business, Ivor and Joan Weiss. My mother and father were artists who had drifted into art

dealing in the early 1960s. They quickly built up a very successful business in Essex, originally

dealing from our small home in the seaside town of Brightlingsea, then moving to a large

Victorian mansion in Colchester and subsequently opening an art gallery in the town centre

with its own framing business and restoration studio. At the height of their success, my

parents had a staff of sixteen people working for them. Our market at the time was primarily

Victorian paintings, yet for some reason for which I have no explanation, I was drawn to,

and always made a point of buying, 16th and early 17th century portraits whenever I came

across them in country auctions.

My first notable discovery came in 1977 with a portrait of a young girl identified as Elizabeth

of Bohemia, which had come from a distinguished private collection in Suffolk. It turned out

to be the earliest known portrait of Queen Christina of Sweden, dating from 1634, and we

were able to sell it to the National Museum of Fine Arts in Stockholm. The next significant

discovery was in 1984 when having bought a striking late Elizabethan panel portrait of an

unknown lady, it was identified by Sir Roy Strong, then director of the V&A, as a work by

the Elizabethan court painter George Gower (76). Sir Roy’s support enabled me to sell the

painting to the Art Gallery of South Australia in Adelaide. By this time it was clear to me that

our family business in East Anglia had reached the limit of its potential, and that to expand we

needed to be in the heart of the London art market. If we were to have any chance of success,

this new gallery would have to have a unique area of specialisation in order to compete and

stand out from the rest – and so the concept of The Weiss Gallery was born.

My vision was to open a gallery dealing exclusively in Tudor and Jacobean portraits, building

on my earlier successes. The business was launched in 1985 with money raised under the

Thatcherite Business Expansion Scheme (or BES) which enabled individuals to invest up to

£40,000 in a new start-up company and write it off against the then high tax rate of 60%. So that

1985-1990

4 4 4

T H E W E I S S G A L L E R Y : 2 5 Y E A R S

Ivor, Joan and Mark Weiss, April 1983

D E D I C A T I O N


8 9

autumn, having raised £600,000 through the blue-chip stockbrokers W. Greenwell & Sons, The

Weiss Gallery began its life as a PLC and a new shell premises was acquired in Mayfair at 1b

Albemarle Street. As with all building projects, the work took far longer than anticipated and

the gallery did not formally open until April 1986. Sadly my father did not

live to see this proud day, having died suddenly of heart disease two months

earlier aged only sixty-seven. Therefore I was very much reliant in the early

years for the strong support of my mother and also sister Debra, who together

undertook much of the picture restoration, invaluable work which Debra

continues to do to this day. The gallery in Albemarle Street was quite small

and indeed quite awkward on the basement level, however our designer

made the most of what space we had and most importantly, he created a

very beautiful and eye-catching bronze shop front which was particularly

effective when lit at night (opp. right).

I was very proud when my new business got off to a flying start with the very

first sale made to the Tate, a noble and magnificent portrait by Soest which is

now an honoured guest in our anniversary exhibition (145). For the first few

years, I relied a great deal on the expertise and friendly advice that I received

from Sir David Piper, who was employed as my art advisor. David, or Pete as

he was known to his closest friends, had just retired as Director of the Ashmolean Museum in

Oxford, and prior to that had been Director of the National Portrait

Gallery and subsequently the Fitzwilliam Museum in Cambridge.

I could not have asked for a better mentor; he had a brilliant eye

and was a conscientious scholar. He was also incredibly gentle

and kind, freely sharing his knowledge with me. Unfortunately,

his health was to be increasingly compromised by emphysema

which ultimately left him bed-ridden, and so I used to have to

carry paintings up to his bedroom for him to see. His death in 1990

was, in its way, as sad to me as the death of my own father.

My first major client was Bruce Toll, who lived in Philadelphia

and made his fortune as the largest builder of executive homes

in America. His initial purchase in 1987 was one of my early

important discoveries, a hitherto undocumented child portrait

by William Larkin that I had bought from Christie’s in New York

as ‘English School’ (114). This beautiful image subsequently

graced the front cover of Sir Roy Strong’s monograph on the

artist published by Franco Maria Ricci in 1993. Over the next few years Bruce went on to

buy a number of my most important pictures including works by Cornelius Johnson (123 &

124) and Robert Peake (87), as well as a remarkable late Elizabethan three-quarter-length of

Mary Fitton (98).

The first five years, as perhaps to be expected, were not easy. Apart from the pressure of

endeavouring to build up the business in the very new for me and highly competitive London

art market, I was answerable to my outside co-directors and shareholders for its success, or

more worryingly, the occasional lack of it. I have always been a very independent person and

the pressure of working within the confines

of a corporate business eventually came to

a head over what proved to be a seminal

acquisition.

In November 1989, a ravishing portrait by

Robert Peake came up for auction which had

been identified as one of the Pope family, and

which formerly had been part of the great col-

lection that once hung at Wroxton Abbey (103).

Estimated at £80,000-£120,000, I bought the

painting against a competitor in the trade for

£200,000. Fortuitously, my subsequent research

revealed that it was a highly important royal

portrait of Elizabeth Stuart, later known as the

‘Winter Queen’. As a result I was able to sell the

painting for £300,000 to the National Maritime

Museum. It was to hang in the newly refur-

bished Queen’s House at Greenwich, which

was formally opened by Her Majesty in the

summer of 1990, where I even managed to meet her. However, since I had neglected to discuss

this significant expenditure with other directors, it was decided that it would be the best for

all concerned if I took the business private. Thus, in 1990, ‘The Weiss Gallery PLC’ became

‘Mark Weiss Ltd’. The start of this new decade and new direction for the gallery was marked

by another substantial sale, that of a very rare early family group portrait by the sixteenth

century Bruges painter, Anthonis Claessins (14). This was purchased by The Shakespeare

Birthplace Trust for one of their properties in the bard’s home town of Stratford-upon-Avon.

1990-1995

Mark and Joan Weiss, openingday of new gallery, April 1986.

Mark and Debra Weiss, October 1997

1b Albermarle Street


10 11

It is also the period when I met my next significant client, Frederick W. Hughes – and what

an extraordinary, unforgettable man he was. In truth, I found him rather intimidating; he had

a witheringly quick wit, a brilliant mind and profound knowledge of English history and its

nobility, allied to a very acerbic sense of humour that sometimes verged on the cruel. An arch

socialite, Fred had been Andy Warhol’s business partner and upon Warhol’s death in 1987,

he became the sole executor of his vast artistic estate from which he created the immensely

powerful Andy Warhol Foundation for the Visual Arts. Like Warhol, Fred was a compulsive

collector and his ivy-covered town house on the Upper East Side of Manhattan, which he

called Hotel Anglomania, was stuffed to the gills with the most extraordinarily eclectic

objects: Russian Empire vying with early American furniture; a collection of bat skeletons

mixed with native American art and early Mickey Mouse models; my early portraits hung

with Orientalist works, and, of course, the obligatory Warhols. Sadly by the time I came to

know him well, he was increasingly crippled by multiple sclerosis, the disease which was

ultimately to kill him. However, in a buying spree that only lasted a few years, Fred acquired

some wonderful paintings from me including a masterpiece by John Michael Wright (146)

and a highly important portrait of James V of Scotland by Corneille de Lyon (8).

Some of my most memorable experiences I had with Fred included the last time he visited

London in 1991 when he decorated his suite at the Ritz with five paintings that he had

‘borrowed’ from my gallery. On the day of his departure, I went to collect them to be waived

away with an imperious gesture and a curtly barked comment not to touch his paintings.

And thus he bought the lot on the spot! The following year, on a visit to Paris, staying at Le

Meurice, he invited me to join him for breakfast in his suite. I arrived to witness that Fred

had ordered literally everything on the breakfast menu, delivered by a phalanx of waiters

pushing trolley after trolley into the room… and, whilst I ate like a king, he barely touched

a thing. Such extravagance would strain any wallet, and to his assistant’s dismay, American

Express stopped his card, and I had to assist in settling his bill. By 1993, Fred’s illness was

such that he ceased to be an active buyer, and indeed in the years leading up to his death in

2001, and in the subsequent estate sale, I bought back the majority of these works and sold

them on to other collectors.

Another client I held in particularly high regard was Guy Acloque, who died only recently.

In the mid-1990s he bought a number of significant Tudor and Jacobean portraits of British

royalty and nobility including a rare profile portrait of Edward VI by William Scrots (68),

a spectacular full-length of Anne of Denmark from the studio of Marcus Gheeraerts (102),

another William Larkin discovery that I made of William Cavendish and, best of all, an

absolutely ravishing portrait of Elizabeth of Bohemia, the ‘Winter Queen’ (38), her hair in

artful disarray over a sumptuously embroidered

costume. Guy was an ‘old school’ connoisseur

collector, a man with a keen eye for quality and

an encyclopaedic knowledge of the genealogy

of the English aristocracy.

Around this time, I also became good friends with

Jim Welu, Director of the Worcester Art Museum

in Massachussets (left), and within a short period

he had acquired two remarkable works. The first

was a rare Elizabethan three-quarter-length of

John Farnham by Steven Cornelisz. van Herwijck

(73), and the second was an intimate small-scale

portrait by Frans Hals of his friend, the painter

Frans Post (53).

1995 was a significant year as it saw the opening of Dynasties, the Tate’s first exhibition

dedicated to early British painting for over twenty-five years. The last, in 1969, had been Roy

Strong’s hugely acclaimed show The Elizabethan Image, to coincide with which Strong also

published his seminal, and now renowned, book The Elizabethan Image. In 1991, I had been

approached by Nick Serota, the Tate’s Director, to ask if I could help raise some funds to assist

in the financing of a new curatorial position dedicated to Tudor and Jacobean painting, the

curator’s first task being to prepare and curate this new exhibition. I made a small personal

donation and managed to persuade Fred Hughes, through the Warhol Foundation, to give

a substantial one. All of which helped fund the appointment of Karen Hearn, the current

curator of sixteenth and seventeenth century British painting.

It was only natural that I should want to put on my own exhibition to coincide with the

opening of the Tate’s, and Roy very kindly agreed to assist with my show. Looking back on it

now, I am quite proud of the impressive selection of portraits that I gathered together which

were part loan and part for sale. Included were important royal portraits of Henry VIII (sold

to The Peter Moores Foundation, 66), Edward VI (67), Elizabeth I (loaned from Hever Castle),

Anne of Denmark (sold to the National Maritime Museum, 101) and Elizabeth of Bohemia

(103), as well as James V (8) and James VI of Scotland (sold to Historic Scotland, 68). The

most noteworthy painting was a magnificent late Van Dyck of Pompone de Bellièvre, who

had been the French ambassador to London (52).

1995-2003Mark and Jim Welu, inWorcester Art Museum, October 1994


12 13

2003-2010

The new millennium saw my business expand with three new clients, who became increas-

ingly important to the gallery, and they have all proved to be representative of a new breed

of buyer of Old Masters. David Kowitz, Terry Hughes and Brace Young, all Goldman Sachs

trained, quickly became very successful financiers in the emerging world of hedge funds.

They and their wives have become very good friends as well, and over the years, I am proud

of the paintings that I have helped these families acquire. David in particular is a significant

buyer in the Old Master market, building a burgeoning collection of major paintings.

With my business growing ever more successful, it became clear that the gallery in Albemarle

Street was too cramped. Though it had served me well for nearly twenty years, it was now

time to look for larger premises and again, as so often has happened in my life, a confluence

of events conspired to assist me. First was the lucky purchase in 2002 of an unrecognised

masterpiece in Sotheby’s first Old Master auction to be held in Paris. Mistakenly catalogued

as a copy, and missed by all, I bought for about £40,000 a full-length portrait of Louis XIII

by Frans Pourbus the Younger (25). The painting, which was clearly signed and dated, was

in virtually pristine condition and on an unlined canvas. What nobody, including the then

curator of the Louvre, had failed to notice was that the so-called original, which was in the

Pitti Palace in Florence, clearly depicted the sitter at a slightly older age, even leaving aside

the obvious subtle changes in the design. Research subsequently proved that my painting

was the original, likely commissioned as a marriage portrait to be sent to Spain, and that

the portrait in the Pitti was a later, second version. The painting quickly sold in 2003 to the

Cleveland Art Museum for £650,000.

This sale coincided with the opportunity to

acquire 59 Jermyn Street (right), one of the

greatest and most prestigious gallery spaces

in London. Formerly the home for some

forty years of the renowned Old Master

dealership, the Heim Gallery, it had been

occupied for the last ten years by the emi-

nent sculpture dealer Danny Katz. Deciding

that he wanted to move to Old Bond Street,

Danny approached me thinking I was the

best person to take it over. In truth, though

flattered, I was somewhat intimidated at the

prospect of taking on a gallery with such a

The Van Dyck was a great discovery, both for the attribution and sitter, and in order to

assist in maximising its potential, I brought in as a partner Tim Bathurst and his gallery,

Artemis, which was based in Duke Street, St. James’s. Tim, who sadly died last year,

was a doyen of the art trade and a man whom I hugely admired for his integrity and

connoisseurship. Above all, over the years he had proven to be a great and incredibly

supportive friend and I trusted him implicitly. Sure enough, with his assistance, I achieved

a brilliant success with the Van Dyck. It sold to the Seattle Art Museum in October 1997,

for just under two million dollars, at that time easily the biggest deal of my life.

Earlier that year, I was invited by Rex Irwin to put on a selling exhibition in his gallery in

Sydney, Australia. Though it was a risky gamble, as Rex’s business was predominantly

contemporary indigenous artists, it was a tempting opportunity. I had a huge stroke of

luck on the eve of the opening. Since my reputation as a passionate collector of great

Burgundy wine had preceded me, I was invited to a tasting dinner where one of the

other attendees informed me that the sitter in my Elizabethan portrait of Frances Reynell

was an ancestress of his (89). His family had been one of the earliest settlers in Adelaide,

establishing one of the first commercial vineyards in Australia called Chateau Reynella,

which still exists today. This exciting news made it very easy for me to convince Ron

Radford, the Director of the Art Gallery of South Australia, to agree to buy the painting.

This sale, combined with a few others, encouraged me to return two years later, and

again the show was a success. However, a third visit during the Sydney Olympics in 2000

was a disaster, and my show had virtually no visitors – art and sport do not mix!

The summer of 2001, was a time of great joy for me, as after a life of bachelordom, I

married Catherine in August 2001, in New York’s Central Park, with six friends as

witnesses. My new wife was now to join me working in the gallery, and it is largely due

to her tremendous organisational skills that I have subsequently been able to grow the

business as much as I have.

Mention must be made of Jasper Conran who, in a short burst of activity in the late

1990s, bought a number of early English portraits from me including works by Robert

Peake (109) and William Larkin (113). Subsequent publicity for his exquisitely designed

homes, displaying my paintings in interiors with a striking contemporary edge, has

proved to be important in showing clients that you do not need a period setting to

display early portraits. Our business relationship was not all one way, and Catherine

and I will also be eternally grateful to Jasper for giving us the opportunity to buy his

fabulous house in the south-west of France where we now happily spend as much time

as we possibly can.

59 Jermyn Street, June 2003


14 15

In recent years, due to the ever diminishing supply of good examples of Elizabethan and

Jacobethan portraits, I have taken an increasing interest in French and, in particular, Flemish

portraiture, and am proud to have handled some undoubted masterpieces such as Jean

Clouet’s portrait of Francois I’s daughter, Madeleine of France (3), Frans Pourbus the Younger’s

portrait of Vicenzo Gonzaga, Duke of Mantua (24) and the highly significant sale of Anthony

van Dyck’s The Martyrdom of St. Sebastian (49, opp. right) which was purchased by the Spanish

government and restituted to its former home in the royal collection at the palace of the

Escorial. Apart from these great paintings, I have also been privileged to broker the sale of

an extraordinarily rare triptych by the father of Flemish landscape painting, Joachim Patinir

(1). This remarkable work will be publicly displayed for the first time ever in this country

during my 25th anniversary exhibition.

So what might the future hold for an Old Master gallery such as mine? Without a doubt, there

is a dwindling supply of pictures coming on the market, as can be seen by the decreasing

scale and number of auctions held by the major houses. However, my business model has

never been based on a high turnover with multiple purchases. Rather, my success has come

more from scholarly research and discovery, combined with connoisseurship and an eye for

a great painting, and above all, integrity both in business and in the vision I have always had

for the gallery. With these tools, I feel not only confident but excited at what the future holds;

for there are always new discoveries to be made and I am convinced that my gallery will

continue to be an invaluable resource for collectors and museums alike looking for unique

and compelling sixteenth and seventeenth century paintings.

Mark Weiss

quantum increase in scale. However, instilled with the confidence of the Cleveland sale, I was

excited at the prospect and eventually, after a somewhat fraught negotiation, we successfully

closed a deal. With the contracts signed, I could not believe my good fortune. This was fol-

lowed by yet more good news, when we received an invitation to exhibit the following year

at TEFAF in Maastricht, the greatest art fair in the world. We have been successfully exhibiting

there ever since, putting on what is widely regarded as one of the most dramatic displays in

the Old Master section.

... my success has come more from scholarly research and discovery, combined with connoisseurship and an eye for a great painting “ ”

Mark Weiss, October 2008

TEFAF Maastricht, March 2008


16 17

Few reassessments in the history of English art have been as dramatic as those affecting

early portraiture. Sixty years ago when I first became obsessed by such pictures they

were regarded at the most with condescension. Holbein and the miniaturists

were of course accorded their due but, otherwise, large-scale painting

from about 1550 to 1620 was appreciated mainly in terms of antiquar-

ian curiosity rather than as having an aesthetic merit of its own. That

that has changed is a reflection not only of the work of scholars in

the field, but also to a rising appreciation of such pictures within

the art trade. For twenty-five years Mark Weiss has been their ad-

vocate, recognising and handling some of the most exciting items

to surface during those decades. More, he has assisted in guiding

some of them into their place as star items in one or other of our

national collections.

In addition, the presence of the gallery on Jermyn Street guarantees

such pictures a shop window open to every passer-by, and that I think

is important. It is always exhilarating to peer in and see what is on the walls

of this gallery, for Mark has a remarkable ability to surprise

with his discoveries. And they can only be made by someone

with a sure eye and a keen sense of the research demanded to

elucidate the status of such objects. To that we can add the

benefits of the enormous advances in our knowledge of the

technique of such pictures which has rendered their careful

restoration often so revelatory. In this way The Weiss Gallery

has contributed substantially to the rediscovery and appreciation

of a magic period of English painting.

Sir Roy Strong

“

”

... The Weiss Gallery has contributed substantially to the rediscovery and appreciation of a magic period of English painting

In the twenty-five years since it was founded, The Weiss Gallery has played a significant role

in identifying major works and placing them in museums in Britain and abroad. Consider

just the portraits: the gallery’s first ever sale – invoice no. 1 – was the haunting portrait of

Mr Tipping and his dog by Gilbert Soest (145), now in the Tate Gallery; Robert Peake’s

full-length portrait of Princess Elizabeth, later Queen of Bohemia (103), purchased by the

National Maritime Museum in 1990 and now hanging in The Queen’s House, Greenwich;

and, in the late 1990s, Van Dyck’s portrait of Pompone de Bellièvre (52), purchased by the

Seattle Art Museum.

Outside the field of the portrait, imagine, most recently, the satisfaction in returning to its

former home – no less than the Escorial in Spain – Van Dyck’s group of The Martyrdom of

St. Sebastian (49). The sale of works to institutions often takes patience, but it also takes the

ability to recognize works of the highest quality and artistic interest. In this Mark Weiss has

succeeded again and again.

Malcolm RogersDirector of the Museum of Fine Arts, Boston

A N A D V O C A T E F O R E A R L Y E N G L I S H P O R T R A I T S

M U S E U M A C Q U I S I T I O N S

”“ ... The Weiss Gallery has played a significant role in identifying major works and placing them in museums in Britain and abroad

Holbein (61)Larkin (114)

Soest (145)

Invoice No. 1


18 19

Of the many extraordinary early British paintings that have passed through the hands of

Mark Weiss in the past twenty years, a fair number have had a Scottish dimension. However,

before saying a little about these paintings it is worth emphasising what a major contribu-

tion Mark and his gallery have made to the study and understanding of the painting of this

period, a contribution not only appreciated by private collectors but by public institutions

worldwide. No-one has a surer eye for quality and a firmer grasp of what is significant – and

such dedication to the thorough research of his acquisitions. This is perfectly exemplified

in his most recent publication, the multi-authored book on the astonishing portrait of the

musician Nicholas Lanier of 1613 (119).

My own links with Mark were forged shortly after I became Keeper of the Scottish National

Portrait Gallery in the early 1980s. Although our discussions were nearly always about early

British portraiture, he did step out of his own territory on one memorable occasion and

bought on my gallery’s behalf a portrait of Alexander Carlyle by Sir Henry Raeburn, painted

in 1798 for Lord Haddington’s library at Tyninghame, where Mark made the purchase. But

generally, our exchanges were about earlier painters close to both our

hearts – none more so than Daniel Mytens and John Michael Wright.

The Wright exhibition I had curated in 1982 included the artist’s

documented portrait of Lady Bagot and her little granddaughter from

Wolverhampton Art Gallery – but lacked its companion piece of Mrs

Salusbury with two other grandchildren of the same family – a picture

lost since 1945 and known only from old photographs. Dropping into

his gallery one day, Mark was able to tell me that he had found the

painting in a private collection in Madrid!

Wright had trained in Edinburgh in the 1630s with the Scottish painter

George Jamesone, and had married a Scottish noblewoman. An artist

whose work should be represented in Scotland’s national collection,

the opportunity presented itself in 1986 when Mark acquired one of

the most lusciously decorative of all Wright’s portraits, the three-

quarter-length of Sir Edward Turnour (146). We agreed that its home

ought to be in Edinburgh, but at the time its acquisition proved not

to be possible.

The beautiful and touching portrait of the seven-year-old Lady Mary Feilding by Daniel

Mytens (117) could also find itself in a Scottish context. In 1622 she would marry the future

first Duke of Hamilton, one of the great political players of the age and the subject of what

many believe to be Mytens’s masterpiece, the full-length of 1629 now in the Scottish National

Portrait Gallery. The portrait of Mary Feilding (left), one of the most evocative of all portraits

of children, was the subject of an essay I wrote for the Weiss Gallery’s website in 2006.

Two other portraits, one of them certainly Scottish, that I can recall discussing exhaustively

with Mark, were a portrait of the young James VI (68), now happily housed in Stirling Castle,

and a superb portrait by Corneille de Lyon that was believed to be of James V (8) – the words

‘le roi’ that were once recorded on the reverse the only certain testimony

for that identification. There was no portrait of this king of comparable

quality and that made certainty difficult for me. We differed, but as time

passed I began to get a sneaking feeling that I was wrong! Recently it

appeared on the 62 pence postage stamp.

But there were no such doubts about the portrait of James VI, a man

painted by a number of accomplished artists, though he hated sitting

for his portrait. Almost certainly the work of Adrian Vanson, one of the

‘progenitors’ of early modern Scottish art, the inscription suggests that

it was sent from Scotland to play its part at a European protestant court.

These, and a whole range of other portraits, were the subject of intensive

research before they reached their present homes, published in a series

of Weiss Gallery catalogues which have become enticing, even indispen-

sable, compendia of the art of the period.

Dr. Duncan Thomson

M A R K W E I S S A N D S C O T T I S H H E R I T A G E

... No-one has a surer eye for quality and a firmer grasp of what is significant – and such dedication to the thorough research of his acquisitions ”“

Mytens (117)

Corneille (8)


20 21

More recently, however, the Weiss Gallery has been able to supply other desiderata. In 2007,

a wonderfully epicene portrait of the medallist Jacques Roettiers IV, a late work by Nicolas

de Largillière was acquired (150). Largillière exemplifies the complexity of relations between

England, the Netherlands and France during the later 17th and early 18th centuries. Trained

in Antwerp and London, Largillière was associated with Lely before escaping the anti-French

political mood in England in the 1670s. Safely in Paris, he became the supreme exponent of

the French cult of luxury and elegance, and to a great extent represented almost everything

that the British political culture of John Bull most wanted to differentiate itself from. This is

remarkably evident in the portrait of Roettiers, yet Roettiers was himself later to be appointed

to an English office as Engraver to the Royal Mint. A distant descendant of the artists and

craftsmen of Van Dyck’s Iconographia, Largillière’s portrait of Roettiers stands in the sharp-

est contrast to English portraits of metropolitan artists and intellectuals from the period. The

Huntington’s main representation of this latter tradition is in the work of Hogarth and his

succesors, so the Largillière reminds us of the collection’s gap in the period dominated in

England by Kneller.

Finally, in 2010, the Huntington acquired from Mark the portrait of M. de Thévenot (151),

the distinguished French Levantine traveller and natural philosopher, painted by Flemish-

born Philippe de Champaigne in the early 1660s. The painting is something of a discovery,

being only recently attributed to the artist on the basis of a larger version in a French private

collection, and the sitter identified by his convincing likeness to the engraved frontispiece of

de Thévenot’s Relation d’en Voyage fait au Levant of 1664. Even more than the sumptuously

painted Turkish costume, the naturalism of the veined hands, and slightly bloated flush of

the cheeks and nose, are aesthetically dominant in the image. The picture thus continues the

theme of painters whose fundamental vision and expertise are rooted in Flemish art of the

early 17th century, but in whose hands the style, iconography and social affiliation of the art

of portraiture develop freely in response to the changing cultural and historical circumstances

of early modern Europe.

These four paintings are splendid acquisitions for a scholarly, research-oriented institution

like the Huntington. They are also a proud reminder that the tradition of the scholar-dealer

is alive and well in the London art trade, not least in the beautiful premises that Mark Weiss

now occupies in worthy succession to Heim's Andrew Ciechanowiecki, and to Danny Katz.

John MurdochDirector of Art Collections, The Huntington Library Art Collections, San Marino, California

A C Q U I S I T I O N S F O R T H E H U N T I N G T O N A R T G A L L E R Y , S A N M A R I N O , C A L I F O R N I A

... a proud reminder that the tradition of the scholar-dealer is alive and well in the London art trade ”“

Johnson (131)

Champaigne (151)

Until the British Art Center at Yale University opened in 1977, the Huntington was the

principal US institution dedicated to British art. Under the direction of Robert Wark, the

collections had developed significantly beyond the grand manner portraits, which had been

acquired by Henry Huntington mostly from Joseph Duveen at the height of the Gilded Age.

The most spectacular of Wark’s purchases for the British collections was the Van Dyck portrait

of Mrs Kirke, acquired through Agnews in 1983. Since his retirement, his successors have

continued with his policies, extending coverage of the field of British art deep into the 19th

century, and opening new galleries for both the 19th century and the Italian, Netherlandish

and French collections which had been founded, but somewhat hidden, by Mr Huntington

himself when he established the Arabella Huntington Memorial Collection in side rooms

of his library building in 1927. Purchases by the Huntington from the Weiss Gallery over

the period since 1995 have reflected the same broad ambitions to extend the scope of the

collection and to set the history of art in Britain more securely in its continental context –

especially, given Mark Weiss’s specialism, in the 17th century.

At the Huntington, Wark’s successor, Ed Nygren, bought from the Weiss Gallery in 1996 the

beautiful head and shoulders of an unknown sitter by Cornelius Johnson, dated 1632 (131).

This was the year of Van Dyck’s arrival in London, and the painting showed, arguably, a

consciousness of Flemish baroque portrait design in response to Van Dyck. One could also

argue that the particular turn and flourish of the sitter’s posture, and closely observed

naturalism of the face, had already been introduced to English court portraiture by Van Dyck’s

predecessors for at least a decade by 1632 – but it is exactly that sort of discussion that the

acquisition was intended to stimulate. The same discussion was forwarded by the purchase

again from Mark of a painting by Jan Weesop, another Flemish painter who worked in England

and continued after Van Dyck’s death to endow his sitters with a semblance of the triumphalist

Van Dyckian 1630s. In this case, the sitter was putatively identified as Marmaduke d’Arcy,

an officer in the king’s service, caught in mid-swagger, his blue sash, polished armour and

gorgeous golden-thread coat catching a broad beam of oblique light (143). Weesop’s oeuvre

had been quite recently resurrected by Sir Oliver Millar, and the purchase of this portrait was

astute. But like all good museum acquisitions, this one serves to highlight other gaps – for

example Lely’s early work in England for the Carnarvons, the emergence of a naturalistic

‘sad-coloured’ portraiture during the war years, and the spread of portraiture in metropolitan

non-Court circles during the 1650s – 60s. For the Huntington, this remains a significant gap.


22

T T H E W E I S S G A L L E R Y 25years

23

1. Joachim Patinir and Workshop (c.1480 – 1524) Triptych with St. Jerome, St. John, St. Anthony and Mary Magdalene

Oil on panel: central panel 35 5⁄8 x 35 in. (90.5 x 89 cm.) and side panels 35 x 15 in. (89 x38 cm.)c.1517 – 24


24 25

3. Jan van Scorel (1495 – 1562)An unknown nobleman

Oil on panel: 17 ¾ x 14 ¼ in. (45.5 x 36.3 cm.) c.1547

2. Jan van Scorel (1495 – 1562)An unknown gentleman

Oil on panel: 24 1⁄4 x 16 3⁄4 in. (61.6 x 42.5 cm.)c.1530 – 1535


26 27

4. Jean Clouet (c.1485 – 1541)Madeleine of France (1520 – 1537)

Oil on panel: 6 3⁄5 x 5 1⁄4 in. (16.7 x 13.3 cm.) c.1522

5. Studio of François Clouet (c.1515 – 1572)Hercule-François, Duke of Alençon, Anjou and Brabant (1555 – 1584)

Oil on panel: 12 x 9 ¼ in. (31.2 x 23.2 cm.) c.1556 – 1558

6. François Clouet (c.1515 – 1572)Madeleine Le Clerc du Tremblay

Oil on panel: 13 9⁄16 x 9 13⁄16 in. (34.5 x 24.9 cm.) c.1570 – 72

“... painted for François I, the king of France, one of only 13 surviving autograph works by the father of French portraiture”


28 29

7. Corneille de Lyon (c.1510 – 1575)Jean d’Albon, Sieur de Saint-André (c.1505 – 1562)


8. Corneille de Lyon (c.1510 – 1575) James V of Scotland (1512 – 1542)

Oil on panel: 6 ¾ x 5 1⁄2 in. (17 x 14.5 cm.) c.1536 – 1537

9. Corneille de Lyon (c.1510 – 1575)An unknown gentleman

Oil on paper: 16 3⁄8 x 12 ¼ in. (41.6 x 31.1 cm.) c.1540 – 1545

“... the only known portrait of the king to be painted in his lifetime”


30 31

10. The Monogrammist G.E.C. (fl.1560 – 1575)Christine of Denmark, Dowager-Duchess of Milan and Lorraine (1522 – 1590)

Oil on panel: 13 ½ x 10 in. (36 x 26.5 cm.) c.1568 – 72


32 33

11. Pieter Jansz. Pourbus (c.1523/4 – c.1584)An unknown lady, holding a pomander on a gold chain

Oil on panel: 18 7⁄8 x 15 in. (48 x 38 cm.) c.1560 – 1565

12. Pieter Jansz. Pourbus (c.1523/4 – 1584)Sebastian I of Portugal (1554 – c.1578)



34 35

13. Pieter Jansz. Pourbus (c.1523/4 – 1584)The Last Supper

Oil on panel: 63 13⁄16 x 77 13⁄16 in. (162.1 x 195.2 cm.)c.1562 – 1565

14. Anthonius Claeissins (c.1538 – 1613)A family saying grace before a meal

Oil on panel: 38 x 56 in. (96.5 x 142 cm.)c.1585

The Shakespeare Birthplace Trust, Stratford-upon-Avon


36 37

15. Hieronymus Francken the Elder (c.1540 – 1610)The Family of Adrien de Witte, Lord of Buerstedde and Wekene (1555 – 1616)

Oil on panel: 46 ½ x 81 in. (118 x 206 cm.)1608

16. Flemish School, c.1605 – 1610 The del Prado family

Oil on canvas: 60 x 120 in. (152.4 x 304.8 cm.)c.1605 – 1610


38 39

17. Martino Rota (1520 – 1583)Archduke Ernst of Austria (1553 – 1595)

Oil on canvas: 43 5⁄8 x 35 7⁄8 in. (110.8 x 91.1 cm.) c.1580


40 41

18. Adriaen Thomasz. Key (fl.1544 – 1589)Jacob Claesz. Basgen of Bas (1536 – 1589), burgomaster of Amsterdam

Oil on panel: 39 ¼ x 28 in. (101.2 x 71.3 cm.)c.1586

Private collection, on loan to the Royal Museum of Fine Arts, Antwerp

19. Pieter Pietersz. (c.1540/1 – 1603)Cornelis Jorisz. Roodhoorn (1564-1599)

Oil on panel: 45 ½ x 34 ½ in. (116.2 x 87.7 cm.)c.1589


42 43

20. Gortzius Geldorp (1553 – 1616)Bernhard Sigismund von und zum Pütz (1558 – 1628) and his three sons

Sigismund, Johann and JacobOil on panel: 39 x 28 ½ in. (98 x 72 cm.)

1598

21. Gortzius Geldorp (1553 – 1616)Catharina von und zum Pütz, née Broelman (b.1559) and her four daughters

Sophia, Gertrud, Christine and CatharinaOil on panel: 39 x 28 ½ in. (98 x 72 cm.)

1598

22. Frans Pourbus the Younger (c.1569 – 1622)Catherine van Damme, wife of François de Groote

Oil on panel: 41 ¾ x 29 ½ in. (106 x 75 cm.)1591

23. Frans Pourbus the Younger (c.1569 – 1622)Joost Lips, called Justus Lipsius (1547 – 1606)

Oil on panel: 26 ¼ x 20 ¼ in. (67.1 x 51.4 cm.)c.1595 – 1599

Private collection, on loan to the Royal Museum of Fine Arts, Antwerp


44 45

25. Frans Pourbus the Younger (c.1569 – 1622)Louis XIII of France (1601 – 1643)

Oil on canvas: 62 ½ x 37 in. (158 x 94 cm.) 1611

The Cleveland Museum of Art, Ohio

24. Frans Pourbus the Younger (c.1569 – 1622)Vincenzo Gonzaga, Duke of Mantua (1562 – 1612)Oil on canvas: 78 13⁄16 x 43 3⁄8 in. (202 x 112 cm.)

c.1604 – 1605

“... a prodigious and historic masterpiece, of one of the greatest collectors of all time”

“... painted for Marie de’ Medici, and a pristine state of preservation, this acquisition was one of my greatest coups”


46 47

26. Frans Pourbus the Younger (c.1569 – 1622)Henri IV of France (1553 – 1610)

Oil on panel: 15 x 9 ¼ in. (37.9 x 24.9 cm.) c.1610

27. Circle of Frans Pourbus the Younger (1569 – 1662)

Charlotte-Marguerite de Montmorency, La Princesse de Condé (1594 – 1650) Oil on canvas: 27 7⁄8 x 22 in. (70.8 x 55.9 cm)

c.1605 – 1610


48 49

28. Pieter Fransz. Isaacsz. (1569 – 1625)Christian, Prince of Denmark (1603 – 1647)Oil on canvas: 39 x 29 in. (98 x 74.3 cm.)

c.1615 – 1617Frederiksborg Castle, Hillerød,

Denmark

29. Jacob van der Doort (? – 1629)Duke Ulrik, Prince of Denmark

(1611 – 1633)Oil on canvas: 43 ½ x 37 ½ in.

(110.6 x 82.6 cm.) c.1615 – 1616


50 51

30. Pieter Fransz. Isaacsz. (1569 – 1625)The family of Johann Friedrich, Duke of Württemberg (1557 – 1608)

Oil on copper: 12 x 9 ½ in. (30.5 x 24 cm.) c.1610 – 15

Württemberg Museum, Stuttgart

32. Flemish School, c.1619Jacqueline de Rodoan de Berleghem, Lady Coudenhove

Oil on canvas: 76 ¾ x 42 7⁄8 in. (195 x 109 cm.) c.1619

31. Flemish School, c.1619Jean V de Coudenhove (d.1625)

Oil on canvas: 76 ¾ x 42 7⁄8 in. (195 x 109 cm.) c.1619


52 53

33. Juan Pantoja de la Cruz (c.1553 – 1608)Don Pedro Henriquez de Avecedo, Count of Fuentes

(1560 – 1610)Oil on canvas: 87 ½ x 47 7⁄8 in. (223 x 119.5 cm.)

c.1596 – 1600

“... Fuentes and van den Bergh were both formidable soldiers and each ruled as Governor-Generals of the Spanish occupied Netherlands”

34. Otto van Veen (c.1556 – 1629)Count Hendrik van den Bergh (1573 – 1638)

Oil on canvas: 75 ¼ x 45 ¼ in. (191 x 115.5 cm.) c.1618

Huis Berg, ‘s-Heerenberg, the Netherlands


54 55

35. Michiel Jansz. van Miereveld (1567 – 1641)Ambrogio Spinola, 1st Marquis of Los Balbases (1569 – 1630)

Oil on canvas: 42 ¾ x 34 in. (108.6 x 84.5 cm.) 1611

36. Michiel Jansz. van Miereveld (1567 – 1641)Sir Henry Wotton (1568 – 1639)

Oil on panel: 44 ½ x 32 7⁄8 in. (113 x 83.5 cm.) 1620

37. Nicolaes Eliasz. Pickenoy (1588 – c.1650/6) An unknown gentleman

Oil on panel: 48 x 33 ¼ in (121.9 x 84.3 cm.) c.1622


56 57

39. Michiel Jansz. van Miereveld (1567 – 1641)Elizabeth Stuart, Electress of Palatine and Queen of Bohemia (1596 – 1662)

Oil on panel: 32 x 43 ¾ in. (81 x 111 cm.) c.1626

38. Master of the Informal Court Half-Lengths (c.1620 – 1630)Elizabeth Stuart, Electress of Palatine and Queen of Bohemia (1596 – 1662)

Oil on panel: 26 ½ x 21 in. (67.5 x 53 cm.) 1622

“... another discovery and, along with the 1603 portrait by Peake, the most beautiful and best preserved of her portraits”


58 59

40. Michiel Jansz. van Miereveld (1567 – 1641)An unknown old man

Oil on panel: 27 ¼ x 21 ¾ in. (69 x 55 cm.) 1629


60 61

41. Jan Anthonisz. van Ravesteyn (1570 – 1657)Marten Adriaansz. Stuylingh (1583 – 1635)

Oil on panel: 26 3⁄8 x 23 in. (68.2 x 58.5 cm.) 1632

42. Jan Anthonisz. van Ravesteyn (1570 – 1657)Brechtje Stuylingh, née Gerritsdr. van der DoesOil on panel: 26 3⁄8 x 23 in. (68.2 x 58.5 cm.)

1632

43. Jan Anthonisz. van Ravesteyn (1570 – 1657)An unknown officer

Oil on canvas: 49 ¼ x 35 ¼ in. (125 x 89.5 cm.) 1634

44. Jan Anthonisz. van Ravesteyn (1570 – 1657)Maria van Gogh, wife of Hendrik Thibaut (d.1669)

Oil on panel: 48 x 35 in. (122 x 89 cm.) 1632


62 63

45. Cornelis Cornelisz. van Haarlem (1562 – 1638)An unknown man, as Adonis


46. Cornelis Cornelisz. van Haarlem (1562 – 1638)An unknown woman, as Venus


47. Wybrand de Geest (1592 – 1660)An unknown officer

Oil on canvas: 42 x 32 in. (107 x 81 cm.) c.1625 – 1630

48. Wybrand de Geest (1592 – 1660)Lucia van Walta (1609 – 1674)

Oil on canvas: 40 x 31 ½ in. (102 x 80 cm.) 1629


64 65

49. Sir Anthony van Dyck (1599 – 1641)The Martyrdom of St. Sebastian

Oil on canvas: 55 7⁄8 x 76 3⁄8 in. (142 x 194 cm.) c.1622 – 1623

Patrimonio Nacional, San Lorenzo de El Escorial, Madrid

“... the restitution back to Spain of this lost masterpiece will surely always remain a crowning moment in my career”


66 67

52. Sir Anthony van Dyck (1599 – 1641)

Pompone II de Bellièvre, Chevalier seigneur de Grignon

(1606 – 1657)Oil on canvas: 54 x 43 ½ in.

(137.2 x 110.5 cm.) c.1640 – 1641

Seattle Art Museum, USA

50. Sir Anthony van Dyck (1599 – 1641)An unknown gentleman

Oil on canvas: 22 ½ x 19 ¼ in. (57 x 39 cm.) c.1628 – 29

51. Sir Anthony van Dyck (1599 – 1641)An unknown cleric

Oil on canvas: 22 ½ x 18 in. (57 x 46 cm.) c.1625 – 1630


68 69

53. Frans Hals (c.1581 – 1666)Frans Post

Oil on panel: 10 ¾ x 9 in. (27.2 x 23 cm.) c.1663 – 1664

Worcester Art Museum, Massachusetts

54. Pieter Hermansz. Verelst (c.1618 – after 1671)An unknown old man

Oil on panel: 29 x 23 1⁄2 in. (74 x 59.5 cm.)c.1647 – 1650


70 71

55. Nicolas Tournier (1590 – 1639)Christ Carrying the Cross

Oil on canvas: 86 5⁄8 x 47 5⁄8 in. (220 x 121 cm.) c.1632 – 1635

“... maybe an unusual purchase, but I fell in love with the poetic symmetry of Christ”


72 73

56. Otto van Veen (c.1556 – 1629)An unknown family

Oil on canvas: 75 ¼ x 45 ¼ in. (191 x 115.5 cm.) c.1615 – 1620

57. Jan van Teylingen (c.1600 – 1654)An unknown family from Hoorn, Holland

Oil on canvas: 59 x 85 ½ in. (150 x 218 cm.) c.1640


74 75

59. Dirck Dircksz. Santvoort (1610 – 1680)An unknown family from Amsterdam

Oil on canvas: 50 ¼ x 73 ¾ in. (152 x 220 cm.) c.1640 – 1645

58. Jacob Fransz. van der Merck (c.1610 – 1664)An unknown family in a landscape

Oil on canvas: 59 ½ x 66 7⁄8 in. (151 x 170 cm.) 1635 – 1640


76 77

60. Circle of Adriaen van der Linde (1580 – 1630)

An unknown boy holding a kolf club and ballOil on panel: 41 x 31 in. (107.3 x 78.7 cm.)

1603

62. Adam Camerarius (fl.1644 – 1685)Five children and their pet antelope

Oil on canvas: 60 x 74 in. (152.4 x 188 cm.) c.1650

61. Circle of Jan Claesz. (before 1570 – after 1618)Portrait of an eight-year-old boy, possibly of the Blauhulc. family, holding a horse

Oil on panel: 44 x 32 ½ in. (111.8 x 82.5 cm.)1618


78 79

63. Jacob Gerritsz. Cuyp (1594 – 1652)Maria Strik van Scharlaken (1646 – 1669), as a shepherdess

Oil on panel: 32 ¾ x 25 ½ in. (83.2 x 64.8 cm.) 1650


80 81

65. Hans Holbein the Younger (c.1497/8 – 1543) Sir Thomas Wyatt the Younger (1521 – 1554)

Oil on tondo panel: diameter 12 5⁄8 in. (32 cm.) c.1540 – 1542

64. Studio of Hans Holbein the Younger (c.1497/8 – 1543) Lady Alice More (c.1474 – c.1551)

Oil on panel: 14 ½ x 10 ½ in. (36.9 x 26.7 cm.) c.1530


82 83

67. Follower of Hans Holbein the Younger (c.1497/8 – 1543) Edward VI, as Prince of Wales (1537 – 1553)

Oil on panel: 20 7⁄8 x 16 ¼ in. (53 x 41.5 cm.) c.1542 – 1547

68. Studio of William Scrots (fl.1537 – 1553)Edward VI, as Prince of Wales (1537 – 1553)Oil on panel: 13 ½ x 11 ¾ in. (35 x 30 cm.)

c.1546

66. Follower of Hans Holbein the Younger (c.1497/8 - 1543) Henry VIII of England (1491 – 1547)

Oil on panel: 38 5⁄8 x 16 1⁄8 in. (98 x 72 cm.) c.1544 – 1550

Peter Moores Foundation, Compton Verney House, Warwickshire


84 85

71. The Master of the Countess of Warwick (fl.1560 – 1570s)A group of four children making music

Oil on panel: 30 x 54 in. (76 x 137 cm.) c.1565

“... an incredibly rare, indeed unique, Elizabethan group portrait of a musical theme”

70. The Master of the Countess of Warwick (fl.1560 – 1570s) A young boy holding a book and flowers

Oil on panel: 19 x 14 ¼ ins. (48 x 36 cm.)1576

69. English School, c.1557Elizabeth I, as Princess Royal (1533 – 1603)

Oil on panel: 20 1⁄4 x 14 1⁄8 in. (51.5 x 36 cm.)c.1557

Hever Castle, Kent


86 87

72. Steven Cornelisz. van Herwijck (c.1530 – c.1565/67)Henry Carey, 1st Baron Hunsdon (1526 – 1596)Oil on panel: 24 ¼ x 16 ¾ in. (61.5 x 42.5 cm.)

c.1561 – 1563 Private collection, on loan to Shakespeare’s Globe Theatre, London

73. Steven Cornelisz. van Herwijck (c.1530 – c.1565/67)John Farnham, Gentleman-Pensioner to Elizabeth I

Oil on panel: 43 ½ x 32 ¾ in. (110.5 x 83.2 cm.) 1563

Worcester Art Museum, Massachusetts


88 89

74. English School, c.1590An allegory of man

Oil on panel: 22 ½ x 20 ¼ in. (57 x 51.4 cm.) c.1590

Tate Britain, London

75. English School, c.1588John Dunch (b.c.1586) and his nurse, Elizabeth Field

Oil on panel: 31 ¼ x 25 in. (79.3 x 63.5 cm.) c.1588

76. George Gower (c.1540 – 1596)A lady thought to be Isabel Biddulph, née Gifford

Oil on panel: 32 ¾ x 23 ½ in. (83 x 60 cm.) c.1570 – 1575

“... another unique Elizabethan painting of a servant and her charge”


90 91

77. Adrian Vanson (fl.1580 – 1601)James VI of Scotland, and later I

of England (1566 – 1625)Oil on panel: 32 ½ x 24 in. (82.5 x 61 cm.)

c.1585Historic Scotland, Stirling Castle

78. English School, c.1590 – 1595Elizabeth I of England (1533 – 1603)

Oil on panel: 36 5⁄8 x 26 ¾ in. (93 x 68 cm.) c.1590 – 1595


92 93

80. George Gower (c.1540 – 1596)An unknown lady

Oil on panel: 31 x 25 in. (79 x 63.5 cm.) c.1590

Art Gallery of South Australia, Adelaide

79. Cornelius Ketel (1548 – 1616)Richard Goodricke of Ribston,

Yorkshire (1560 – 1601)Oil on panel: 41 ¾ x 32 in. (106 x 81 cm.)

1577 Art Gallery of South Australia,

Adelaide

“... a rare signed portrait, painted during the year of the Great Comet, a celestial event that amazed all Europe”


94 95

83. Attributed to Robert Peake (c.1551 – 1619)John Croker of Hook Norton (b.c.1565)

Oil on panel: 25 x 21 in. (63.5 x 53.5 cm.) 1584

82. Sir William Segar (c.1565 – 1633)Elizabeth Drury (1579 – 1654), later Lady Burghley

and Countess of ExeterOil on panel: 27 x 20 ¾ in. (68.5 x 52.5 cm.)

c.1591 – 1595

81. Sir William Segar (c.1565 – 1633)An unknown lady

Oil on panel: 36 ¼ x 25 ¼ in. (92 x 64 cm.) c.1585 – 1590

“... I bought this from the estate sale of the legendary Rudolf Nureyev”


96 97

86. John Bettes II (c.1550 – 1616)Thomas Cavendish (1560 – 1592), circumnavigator

Oil on panel: 35 x 29 in. (89 x 74 cm.) c.1588 – 1591

Chatsworth House, Derbyshire

85. John Bettes II (c.1550 – 1616)An unknown gentleman

Oil on panel: 27 ½ x 20 ¾ in. (70 x 52.5 cm.) 1586

84. English School, c.1589 – 1590 Sir Robert Sidney, Viscount de L’Isle and

Earl of Leicester (1563 – 1626)Oil on canvas: 73 ½ 42 in. (187.7 x 106.8 cm.)

c.1589 – 1590

“... the earliest known depiction in English art of MELANCHOLY , a modish affectation assumed by courtiers with artistic or philosophical aspirations”


98 99

87. Robert Peake (c.1551 – 1619)Lady Catherine Drury and her son Drue DruryOil on panel: 36 x 29¼ in. (91.5 x 74.2 cm.)

1594


100 101

89. Attributed to Robert Peake (c.1551 – 1619)Lady Frances Reynell of West Ogwell, Devon (d.1605)

Oil on panel: 44 ¾ x 34 ¾ in. (113.5 x 88.5 cm.) c.1595

Art Gallery of South Australia, Adelaide

“... Lady Frances was an ancestress of early settlers who established the first winery in South Australia, still known today as Chateau Reynella ”

88. Robert Peake (c.1551 – 1619)An unknown lady

Oil on panel: 36 ½ x 28 in. (92.7 x 71.1 cm.) 1591


102 103

90. English School, c.1593 - 1595Dorothy Dormer (b.1577), wife of Henry Huddleston

of SawstonOil on canvas: 48 x 36 in.

(121.6 x 91.5 cm.) c.1593 – 1595

91. Marcus Gheeraerts the Younger (c.1561/2 – 1636)

Lady Lucy Reynell of Forde, Devon (1577 – 1652)

Oil on canvas: 44 ½ x 35 in. (112.5 x 89 cm.)

c.1600


104 105

92. Marcus Gheeraerts the Younger (c.1561/2 – 1636)An unknown gentleman

Oil on canvas: 41 ½ x 32 ¼ in. (105.5 x 81.5 cm.) c.1590s

94. Circle of Marcus Gheeraerts the Younger (c.1561/2 – 1636)A courtier and his lady

Oil on panel: 35 ½ x 29 ¾ in. (90.2 x 75.5 cm.) c.1590 – 1595

93. English School c.1596Robert Devereux, 2nd Earl of Essex (1565 – 1601)

Oil on panel: 30 x 24 in. (76 x 61 cm.) c.1596 – 1597


106 107

97. English School, 1598Lord Thomas Howard, 1st Earl of Suffolk (1561 – 1626)

Oil on canvas: 83 x 49 in. (210.8 x 124.5 cm.) 1598

English Heritage, Kenwood House, London

95. Robert Peake (c.1551 –1619)Sir Edward Coke (1552 – 1634) as Attorney-General,

later Lord Chief JusticeOil on panel: 39 ¾ x 32 ¼ in. (101 x 82 cm.)

1609

96. John de Critz (c.1552 – 1642)Robert Cecil, 1st Earl of Salisbury (c.1562 – 1612)Oil on panel: 44 ½ x 32 ½ in. (113 x 82.5 cm.)

c.1608 – 1610

“...Having lost his identity, my researches restituted this fine portrait of the Earl who was to become one of the richest and most powerful men in England. His house Audley End, the largest in the country, was cryptically described by James I as ‘too big for a King but not for a Lord Treasurer’”


108 109

98. English School, c.1600A lady thought to be Mary Fitton (b.1578)

Oil on panel: 44 ½ x 34 ¾ in. (113 x 86 cm.) c.1600


110 111

99. English School, c.1600 – 1603Anne Russell, Lady Herbert, later Countess of Worcester (d.1639)

Oil on canvas: 76 x 38 in. (192 x 96.5 cm.) c.1600 – 1603


112 113

100. English School, c.1618James VI of Scotland and I of England (1566 – 1625)

Oil on canvas: 76 ½ x 47 in. (194 x 119 cm.) c.1618

101. John de Critz (c.1552 – 1642)Anne of Denmark (1574 – 1619)

Oil on panel: 45 x 34 ¼ in. (114 x 87 cm.) c.1603 – 1605

National Maritime Museum, Greenwich

“...The ghostly pentiment of faces from an earlier painting can be seen on the legs of King James”


114 115

102. Studio of Marcus Gheeraerts the Younger (c.1561/2 – 1636)

Anne of Denmark (1574 – 1619)Oil on canvas: 82 x 45 in. (208.2 x 114.2)

c.1615


116 117

103. Robert Peake (c.1551 – 1619)Elizabeth Stuart (1596 – 1662),

Princess Royal, later Electress of Palatine and Queen of Bohemia

Oil on canvas: 53 ½ x 37 ½ in. (136 x 95.2 cm.) 1603

National Maritime Museum, Greenwich

“... undoubtedly the most beautiful of all Peake’s portraits, also the earliest example of a British royal depicted in a landscape setting”


118 119

105. Robert Peake (c.1551 – 1619)Charles I of England, as Duke of York and Albany

(1600 – 1649)Oil on canvas: 57 ¼ x 36 ¾ in. (146 x 93.5 cm.)

c.1611 – 1612

104. English School, 1614Three unknown children

Oil on canvas: 42 x 50 in. (106.7 x 127 cm.)1614


120 121

107. English School, 1612Sir Edward Pytts (1546 – 1618) and

his grandson, Edward Pytts(c.1606 – 1672)Oil on panel: 72 ½ x 42 ½ in. (183.5 x 110.5 cm.)

1612

106. English School, c.1604Sir Reginald Mohun, 1st Bt. of Hall and Boconnoc (1564 – 1639)

and his wife Dorothy, née Chudleigh, of Ashton, DevonOil on panel: 75 x 44 in. (190.5 x 111.4 cm.)

c.1604


122 123

108. Robert Peake (c.1551 – 1619)Elizabeth Coningsby and her eldest son, Sir Edmund Wyndham (c.1601 – 1683)

Oil on canvas: 74 x 39 in. (188 x 99 cm.) c.1608

109. Robert Peake (c.1551 – 1619)Cecilia Nevill, wife of Fitzwilliam Coningsby

of Hampton Court, Herefordshire (d. after 1652)Oil on canvas: 83 x 46 in. (211 x 117 cm.)

c.1617


124 125

110. English School, c.1605 – 1610 Alice Spencer,

Countess of Derby (1559 – 1637)Oil on canvas: 45 x 35 ½ in.

(114.5 x 90 cm.) c.1605 – 1610


A Lady thought to be Lady Anne WaddOil on panel: 44 x 32.5 in.

(111.8 x 82.5 cm.) c.1610


126 127

115. William Larkin (c.1580/5 – 1619)Lady Catherine Stanhope, widow of Sir John Stanhope

of Shelford and Elvaston (d.1611)Oil on canvas: 80 x 48 in. (203 x 122 cm.)

c.1615

112. William Larkin (c.1580/5 – 1619)An unknown lady

Oil on panel: 22 ½ x 17 in. (57 x 43.2 cm.) c.1615 – 1618

113. William Larkin (c.1580/5 – 1619)An unknown gentleman

Oil on panel: 22 ¾ x 17 ½ in. (57.7 x 44.7 cm.) c.1616 – 1619

114. William Larkin (c.1580/5 – 1619)A baby, said to be Lady Waugh

Oil on panel: 35 ½ x 28 in. (90.2 x 71 cm.) c.1615

“... no other artist provides us with such a spectacular parade of Jacobeancourt splendour than William Larkin”


128 129

116. William Larkin (c.1580/5 – 1619)Lady Jane Thornhagh (d.1660)Oil on panel: 44 ¾ x 33 in.

(113.8 x 83.8 cm.) 1617


130 131

117. Daniel Mytens (c.1590 – 1647)Lady Mary Feilding as Countess of Arran, later

Marchioness of Hamilton (1613 – 1638)Oil on panel: 45 x 30 ½ in.

(115 x 78 cm.) 1620


Elizabeth Vernon, Countess of Southampton (1572 – 1655)Oil on canvas: 79 x 51 in.

(200 x 129 cm.) 1622

“... one of the finest child portraits of the Jacobean age, depicting the seven- year-old niece of the Duke of Buckingham at the time of her marriage”


132 133

119. Anglo-Flemish School, 1613Nicholas Lanier (1588 – 1666) with The Liberation of St. Peter by Hendrik van Steenwyck the Younger (c.1580 – 1649)

Oil on panel transferred to canvas35 5⁄8 x 28 3⁄8 in. (90.5 x 72 cm.)

1613

120. Daniel Mytens (c.1590 – 1647)Charles I of England as Prince of Wales (1600 – 1649)

Oil on canvas: 27 ½ x 25 ¾ in. (70 x 60 cm.) 1624


134 135

121. Paul van Somer (1576 – 1621)A lady and her daughter holding a bunch of cherries

Oil on canvas: 43 ½ x 37 in. (110.5 x 94 cm.) c.1620

122. Paul van Somer (1576 – 1621)Frances, Lady Willoughby with her son Lord Francis,

5th Lord Willoughby of Parham, Suffolk (1614 – 1666)Oil on canvas: 43 ½ x 37 in. (110.5 x 94 cm.)

c.1618 – 1620

"... the earliest depiction in English art of a tennis racket and ball"


136 137

123. Cornelius Johnson (1593 – 1661)Sir Thomas Boothby

Oil on panel: 45 x 33 ½ in. (109.2 x 85 cm.) 1619

124. Cornelius Johnson (1593 – 1661)Anne Grafton, wife of Sir Thomas Boothby

Oil on panel: 45 x 33 ½ in. (109.2 x 85 cm.) 1619

125. Cornelius Johnson (1593 – 1661)Thomas, 1st Baron Coventry,

Lord Keeper of the Great Seal (1578 – 1640)Oil on canvas: 46 ¾ x 38 ½ in. (118.8 x 97.8 cm.)

1627

126. Cornelius Johnson (1593 – 1661)Thomas Coventry, later 1st Baron Coventry, Lord Keeper of the Great Seal (1578 – 1640)

Oil on canvas: 50 x 40 in. (127 x 101.7 cm.) 1623

“... Lord Coventry was Johnson’s most faithful patron, and these two portraits are part of a series of four for which he sat over a ten year period”

“... these are two of Johnson’s earliest works, dated 1619, the year he likely finished his apprenticeship”


138 139

127. Cornelius Johnson (1593 – 1661)William Lenthall, Speaker of The House of Commons (1591 – 1662)

Oil on panel: 26 ½ x 20 in. (67 x 51 cm.) 1620

128. Cornelius Johnson (1593 – 1661)Sir Robert Heath, Attorney-General (1575 – 1649)

Oil on panel: 31 x 24 ¼ in. (78.8 x 62.2 cm.) 1630

130. Cornelius Johnson (1593 – 1661)Judith, Countess of Dover (1590 – 1629)

Oil on panel: 30 x 25 in. (76 x 63.5 cm.) 1628

129. Cornelius Johnson (1593 – 1661)Peter Courthope of Goddards Green, Sussex (1577 – 1657)

Oil on panel: 30 1⁄8 x 24 in. (76.5 x 61 cm.) 1631


140 141

131. Cornelius Johnson (1593 – 1661)An unknown gentleman

Oil on canvas: 30 x 24 in. (76 x 61 cm.) 1632

The Huntington Art Collections, San Marino, California

132. Cornelius Johnson (1593 – 1661)An unknown Cavalier

Oil on copper: 12 5⁄8 x 9 3⁄8 in. (32 x 24 cm.) c.1620s


142 143

133. Circle of Gilbert Jackson (fl.c.1621 – 1640)A gentleman of the Vaughans of Crosswood

Oil on canvas: 76 x 47 in. (193 x 119.5 cm.) 1630

134. Circle of Gilbert Jackson (fl.c.1621 – 1640)A lady of the Vaughans of Crosswood

Oil on canvas: 76 x 47 ins. (193 x 119.5 cm.) 1630


144 145

135. Circle of Gilbert Jackson (fl.c.1621 – 1640)Florence Poulett, daughter of John, 1st Lord Poulett (c.1585 – 1649), and her husband Thomas Smyth (b.1609), of Ashton Court, Somerset

Oil on canvas: 79 x 64 in. (197 x 160 cm) c.1630

136 Circle of Gilbert Jackson (fl.c.1621 – 1640)A young girl thought to be Florence Smyth (b.1634), daughter of Thomas and

Florence Smyth of Ashton Court, Somerset, with her black pageOil on canvas: 33 x 26 in. (84 x 66 cm.)

c.1640Bristol City Museum and Art Gallery


146 147

137. Franco-Flemish School, 1630 Charles II, as Prince of Wales (1630 – 1685)Oil on canvas: 47 x 35 ¾ in. (119 x 91 cm.)

1630National Portrait Gallery, London


148 149

139. John Weesop (fl.1640 – c.1655)Esmé Stuart, 2nd Duke of Richmond and Lennox (1649 – 1660)

Oil on canvas: 50 x 43 ¾ in. (127 x 111.5 cm.) c.1652

The Rienzi Collection, The Museum of Fine Arts, Houston

138. Cornelius Johnson (1593 – 1661)Charles II, as Prince of Wales

Oil on copper: 10 x 8 ¼ in. (25.5 x 21 cm.) c.1632


150 151

140. Thomas Wyck (1616 – 1677)Oliver Cromwell, The Lord Protector (1599 - 1658)

Oil on canvas: 35 ¼ x 29 ¼ in. (90 x 74 cm.) 1655 – 1658

141. John Weesop (fl. 1640s – c.1655), after Sir Anthony van Dyck

Charles I (1600 - 1649)Oil on canvas: 37 3⁄8 x 33 1⁄2 in. (95.1 x 84.9 cm.)

after c.1637


152 153

142. William Dobson (1611 – 1646)William Ashburnham (1623 – 1655)

Oil on canvas: 34 x 25 in. (86 x 63.5 cm.) c.1642 – 1644

143. John Weesop (fl.1640 – c.1655)Marmaduke d’Arcy (1615 – 1687)

Oil on canvas: 29 1⁄4 x 23 1⁄2 in. (74.2 x 59.6 cm.)

c.1645 – 1648The Huntington Art Collections,

San Marino, California


154 155

144. Sir Peter Lely (1618 – 1680)Samuel Crew (d.1660)

Oil on canvas: 30 x 25 in. (76.2 x 63.5 cm.) c.1648 – 1652


156


157

145. Gilbert Soest (1600 – 1681)A gentleman, thought to be Sir Thomas Tipping (1615 - 1693)

Oil on canvas: 45 ¼ x 37 in. (94 x 115 cm.) c.1660

Tate Britain, London


158 159

146. John Michael Wright (1617 – 1694)Sir Edward Turnour of Great Hallingbury, Essex (1643 – 1721)

Oil on canvas: 49 x 39 in. (124.5 x 99 cm.) 1672


160 161

147. John Michael Wright (1617 – 1694)A lady, thought to be Lady Wilbraham, later Lady Myddleton (1653 – 1675)

Oil on canvas: 49 ½ x 40 ¼ in. (125.5 x 102.5 cm.) c.1670 – 1675


162 163

148. William Wissing (c.1656 – 1687) and John Vandervaart (c.1653 – 1727)

Lady Frances (b.1674) and Lady Catherine Jones (b.1674)Oil on canvas: 82 x 53 ins. (208.3 x 134.6 cm.)

c.1687

149. James Maubert (1666 – 1746)The Family of Edward Bathurst of Finchcocks, Kent (1680 – 1772)

Oil on canvas: 94 x 121 in. (239 x 308 cm.) c.1715


164 165

150. Nicolas de Largillière (1656 – 1746)Jacques Roettiers de la Tour (1707 – 1784)

Oil on canvas: 32 x 25 ¼ in. (81.2 x 64.1 cm.) c.1730



166 167

151. Philippe de Champaigne (1602 – 1674)Jean de Thévenot (1633 – 1667)

Oil on canvas: 23 ½ x 17 in. (59.5 x 43 cm.) c.1660 – 1663


152. Antoine Watteau (1684 – 1721)Le rêve de l’artiste

Oil on canvas: 25 1⁄8 x 31 5⁄8 in. (63.8 x 80.6 cm.) c.1710

“... with a virtually unbroken provenance, this painting once hung at 10 Downing Street, in the dressing room of Sir Robert Walpole’s wife”


168

153. Johann Georg von Hamilton (1672 – 1737)Prince Adam Franz zu Schwarzenberg (1680 – 1732) on a Lipizzaner, performing a capriole

Oil on canvas: 102 3⁄8 x 106 ¼ in. (260 x 272 cm.) c.1705 – 1715


170 171

A R T I S T S ’ I N D E X

Anglo-Flemish School, 1613 – 119

Bettes II, John – 85, 86

Camerarius, Adam – 62

de Champaigne, Philippe – 151

Claeissins, Anthonius – 14

Claesz., Jan – 61

Clouet, François – 5, 6

Clouet, Jean – 3

de Critz, John – 96, 101

Cuyp, Jacob Gerritsz. – 63

Dobson, William – 142

van der Doort, Jacob – 29

van Dyck, Sir Anthony – 49, 50, 51, 52

English School, c.1557 – 69


English School, c.1589 – 1590 – 84





English School, 1598 – 97








Flemish School, c.1605 – 1610 – 16

Flemish School, c.1619 – 31, 32

Francken the Elder, Hieronymus – 15

Franco-Flemish School, 1630 – 137

de Geest, Wybrand – 47, 48

Gheeraerts the Younger, Marcus – 91, 92, 94, 102, 111, 118

Geldorp, Gortzius – 20, 21

Gower, George – 76, 80

van Haarlem, Cornelis Cornelisz. – 45, 46

Hals, Frans – 53

von Hamilton, Johann Georg – 153

van Herwijck, Steven Cornelisz. – 72, 73

Holbein the Younger, Hans – 64, 65, 66, 67

Isaacsz., Pieter Fransz. – 28, 30

Jackson, Gilbert – 133, 134, 135, 136

Johnson, Cornelius – 123 ~ 132, 138

Ketel, Cornelius – 79

Key, Adriaen Thomasz. – 18

de Largillière, Nicolas – 150

Larkin, William – 112, 113, 114, 115, 116

Lely, Sir Peter – 144

van der Linde, Adriaen – 60

de Lyon, Corneille – 7, 8, 9

Master of the Countess of Warwick, The – 70, 71

Master of the Informal Court Half-Lengths, The – 38

Maubert, James – 149

van der Merck, Jacob Fransz. – 58

van Miereveld, Michiel Jansz. – 35, 36, 39, 40

Monogrammist G.E.C, The – 10

Mytens, Daniel – 117, 120

Pantoja de la Cruz, Juan – 33

Patinir, Joachim – 1

Peake, Robert – 83, 87, 89, 95, 103, 105, 108, 109

Pickenoy, Nicolaes Eliasz. – 37

Pietersz., Pieter – 19

Pourbus the Younger, Frans – 22, 23, 24, 25, 26, 27

Pourbus, Pieter Jansz. – 11, 12, 13

van Ravesteyn, Jan Anthonisz. – 41, 42, 43, 44

Rota, Martino – 17

Santvoort, Dirck Dircksz. – 59

van Scorel, Jan – 2, 3

Scrots, William – 68

Segar, Sir William – 81, 82

Soest, Gilbert – 145

van Somer, Paul – 121, 122

van Teylingen, Jan – 57

Tournier, Nicolas – 55

Vandervaart, John – 148

Vanson, Adrian – 77

van Veen, Otto – 34, 56

Verelst, Pieter Hermansz. – 54

Watteau, Antoine – 152

Weesop, John – 139, 141, 143

Wissing, William – 148

Wright, John Michael – 146, 147

Wyck, Thomas – 140

A R T I S T S ’ I N D E X

the weiss gallery 25 years

Documents

e d g e

e r y25years4t h e w

e r y25years t h e w

e r y25years6

e r y25years5the weiss

huntington art gallery

national portrait gallery

joan weiss