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This exceedingly rare signed portrait by Mary Beale was recently discovered in America, and is an exciting addition to her list of known works. This small-scale full-length format was incredibly popular during the late-seventeenth century, and Beale charged the same price for these works (£11) as she would for a standard bust-length portrait. Part of the reason for this was the cost of materials; the vibrant pigments were expensive, as was the fine weave canvas, which cost considerably more than the coarser canvas used for larger oils. For the most part, these portraits by Beale ‘in little’ closely follow compositions established by Beale’s supporter and fellow painter Sir Peter Lely, and indeed it is known that Lely himself would give works to Beale for copying. #marybeale #17thcenturyart #bestofbritish #portraits #portraits #sirpeterlely #womenartists #femaleartist
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This exceedingly rare signed portrait by Mary Beale was recently discovered in America, and is an exciting addition to her list of known works. This small-scale full-length format was incredibly popular during the late-seventeenth century, and Beale

This remarkably vibrant work by Mary Beale is a recent addition to her recorded oeuvre and almost certainly derives from an original portrait by Sir Peter Lely (1618-80). Lely, Charles II’s court painter, was Beale’s strongest artistic supporter, and the friendship between them famously enabled Beale to observe the master in the act of painting in order to study his technique. Beale is also known to have copied his work upon many occasions, and enjoyed what appears to be a unique franchise to reproduce his portraits for sale in a reduced format, or, as she called them, ‘in little’. #17thcenturyart #bestofbritish #portraits #marybeale #femaleartist #womenartists #sirpeterlely
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This remarkably vibrant work by Mary Beale is a recent addition to her recorded oeuvre and almost certainly derives from an original portrait by Sir Peter Lely (1618-80). Lely, Charles II’s court painter, was Beale’s strongest artistic supporter, and

Mary Beale was one of the most successful female portrait painters working in England in the late-17th century. Although Beale is best known for her intimate portraits of close friends and family, she also copied works by her friend and contemporary Sir Peter Lely ‘in little’. Beale would borrow works from Lely’s studio – usually painted on a standard 50 x 40 inch canvas – and reproduce them in a smaller format, typically measuring around 18 x 15 inches. In his detailed notebooks, Mary’s husband and studio manager, Charles, recorded numerous ‘pictures of Mr. Lelys coppyed by Mrs Beal.’ including at least 14 in 1676 alone. #marybeale #peterlely #britishart #bestofbritish #portraitofalady #portraits #english #17thcenturyart
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Mary Beale was one of the most successful female portrait painters working in England in the late-17th century. Although Beale is best known for her intimate portraits of close friends and family, she also copied works by her friend and contemporary

Thank you to all who came to our exhibition, ‘Jewel in the Hand: Early Portrait Miniatures from Noble and Private Collections’ which is ends today. The exhibition is a unique chance to see some of the rarest and most intimate forms of art to emerge from the independent courts of Queen Elizabeth I and King James I. Works by Nicholas Hilliard, Isaac Oliver and Peter Oliver have been generously loaned to the gallery for this show and we are grateful to all our lenders without whom this would not have been possible. There is still one last chance to see these magnificent relics of English art history for one more afternoon today. Catalogues are still available to purchase… #jewelinthehand19 #portraitminiatures #exhibition #lastday #closingsoon #lastchance #nicholashilliard #isaacoliver #peteroliver #elizabethi #jamesi #queen #king #englishhistory
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Thank you to all who came to our exhibition, ‘Jewel in the Hand: Early Portrait Miniatures from Noble and Private Collections’ which is ends today. The exhibition is a unique chance to see some of the rarest and most intimate forms of art to emerge f

The dress of this unknown gentleman, painted by Hilliard, compares closely to that worn by Leonard Darr (c.1554-1615) in a portrait of 1591, also by Hilliard. The black doublet, wide ruff and tall black hat are typical of fashions of the late 1580s or early 1590s and show the sitter to hail from a prosperous, non-aristocratic background. Originally, this portrait was housed in a locket along with a pair showing a female sitter – ‘one of the finest psychological interpretations of the female character Hilliard created’ – perhaps the sitter’s wife. The work shown here will be on display for ONE MORE DAY ONLY #gentleman #hat #malefashion #historicfashion #portraitminiature #portraitminiatures #nicholashilliard #hilliard #elizabethantreasures #elizabethancourt #painter #detail #intricate #jewels #doublet #1591 #16thcenturyart
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The dress of this unknown gentleman, painted by Hilliard, compares closely to that worn by Leonard Darr (c.1554-1615) in a portrait of 1591, also by Hilliard. The black doublet, wide ruff and tall black hat are typical of fashions of the late 1580s o

Whilst for now unknown, this gentleman would likely have been a prominent member of the Jacobean court. His doublet of black silk and high lace-edged collar show him to be dressed in fine, courtly attire. The earring too was a popular accoutrement worn by male courtiers of this date. Painted in silver, now oxidised to black, it is likely that the jewel intended to be depicted is a large diamond. Jewels of this kind were not only markers of status and wealth, but also of valour. Perhaps the most striking feature about this portrait is the impresa of the sunburst and motto written in French of ‘j’eclaircira[i]’, meaning ‘I will brighten’. #motto #sun #portraitminiature #isaacoliver #jacobeanart #jacobeancourt #painter #inscription #jacobeancourt #courtier #sash #ruff #lace #historicfashion #britishart #jewelinthehand19
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Whilst for now unknown, this gentleman would likely have been a prominent member of the Jacobean court. His doublet of black silk and high lace-edged collar show him to be dressed in fine, courtly attire. The earring too was a popular accoutrement wo

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The sitter of this portrait [detail shown here] was once identified as Lady Alice Egerton (née Spencer, other married name Stanley) (1559-1637), Countess of Derby, who was one of the most powerful women of the age in which she lived. However, Sir Roy Strong has observed that comparison with a secure portrait of the Countess, kept in Stoneleigh Castle, suggests that ‘the identification is unlikely’. In any case, the sitter was certainly a high-ranking member of the court.  The profile format was perhaps the most artistically ambitious of Oliver’s compositions. Deriving ultimately from the coins and medals of classical antiquity, it has been suggested that it was inspired by his visit to Venice in 1596. Oliver chose to depict only a select number of his most illustrious sitters in this  way. #isaacoliver #portraitminiature #sirroystrong #elizabethancourt #historicengland #britishhistory #countess #aristocracy #historicfashion #hairstyle #portrait #britishart #jewelinthehand19 #17thcentury #17thcenturyart #oldmasters
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The sitter of this portrait [detail shown here] was once identified as Lady Alice Egerton (née Spencer, other married name Stanley) (1559-1637), Countess of Derby, who was one of the most powerful women of the age in which she lived. However, Sir Roy

This portrait [detail shown here] of an unknown lady dates to the final years of Oliver’s career and demonstrates that, as his life neared its end, there was no diminution in the quality of his works. Delicate stippling discloses the bone structure of the sitter’s face and details such as the hair, ribbons and ruff are delineated with expert skill. As was fashionable in the early Jacobean period, the sitter wears expensive jewels both in her hair and elsewhere on her person. On display until 18th April. #isaacoliver #portraitminiatures #hairjewel #jewel #fashion #beauty #beautiful #womeninart #women #ruff #jacobean #portrait #britishart #historicdress #historicfashion #jewelinthehand19
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This portrait [detail shown here] of an unknown lady dates to the final years of Oliver’s career and demonstrates that, as his life neared its end, there was no diminution in the quality of his works. Delicate stippling discloses the bone structure o

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The fashions worn by the sitter in this portrait miniature [detail shown here] by Isaac Oliver are similar to those which were championed by Robert Devereux, 2nd Earl of Essex, an important patron of Oliver in this period. The square-cut beard, for instance, was sported by Essex following his triumphant return from Cadiz in 1596. The sitter was, in fact, once thought to depict the Earl himself; however, a comparison with securely identified likenesses of Essex suggests that this traditional identification is incorrect. #jewelinthehand19 #portraitminiatures #miniatures #slasheddoublet #doublet #handsome #gentleman #seventeenthcentury #17thcenturyart #portraiture #britishportraits #britishart #isaacoliver #robertdevereux #beards #aristocrat
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The fashions worn by the sitter in this portrait miniature [detail shown here] by Isaac Oliver are similar to those which were championed by Robert Devereux, 2nd Earl of Essex, an important patron of Oliver in this period. The square-cut beard, for i

With his delicate lace shirt collar left open so as to reveal its interior tabs, the sitter appears in a semi-formal mode and bears the sense of melancholy so characteristic of this age. Otherwise, the fashions worn by the sitter are similar to those which were championed by Robert Devereux, 2nd Earl of Essex, an important patron of Oliver in this period. #jewelinthehand19 #portraitminiatures #miniatures #slasheddoublet #doublet #handsome #gentleman #seventeenthcentury #17thcenturyart #portraiture #britishportraits #britishart #isaacoliver
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With his delicate lace shirt collar left open so as to reveal its interior tabs, the sitter appears in a semi-formal mode and bears the sense of melancholy so characteristic of this age. Otherwise, the fashions worn by the sitter are similar to those

This portrait of an unknown sitter, painted with great bravura by Isaac Oliver, shows a gentleman of high standing – perhaps an aristocrat. Details of the sitter’s costume, beard and hairstyle date the portrait to the turn of the seventeenth century. As such, it shows the kind of figure who patronised Oliver at this period in which he established himself, along with Nicholas Hilliard, as one of the country’s two pre-eminent miniaturists. #nicholashilliard #jewelinthehand19 #portraitminiatures #miniatures #slasheddoublet #doublet #handsome #gentleman #seventeenthcentury #17thcenturyart #portraiture #britishportraits #britishart #isaacoliver
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This portrait of an unknown sitter, painted with great bravura by Isaac Oliver, shows a gentleman of high standing – perhaps an aristocrat. Details of the sitter’s costume, beard and hairstyle date the portrait to the turn of the seventeenth century.

One of the most sophisticated skills held by 16th and 17th Century artists working in miniature such as Nicholas Hilliard and Isaac Oliver, was the ability to replicate the intricate lacework fashionable at the time. Our specialist in portrait miniatures @_emma_rutherford discusses an example of lace that would have worn during the Elizabethan period in which Hilliard was working. #nicholashilliard #portrait #lace #elizabethan #jacobean #historic #fashion #intricate #lacework #pattern #skill #miniatures #portraitminiatures
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One of the most sophisticated skills held by 16th and 17th Century artists working in miniature such as Nicholas Hilliard and Isaac Oliver, was the ability to replicate the intricate lacework fashionable at the time. Our specialist in portrait miniat

Nicholas Hilliard, James VI and I (1566–1625), King of Scotland, England and Ireland, wearing white doublet, slashed on bodice and sleeves to reveal black, jewel-set gold buttons, white lace upstand collar, wearing the Lesser George on a blue ribbon around his neck, 1609. On display at Philip Mould & Company as part of our exhibition ‘Jewel in the Hand: Early Portrait Miniatures from Noble and Private Collections’. #jewelinthehand19 #exhibition #kingjamesI #kingjamesVI #unitedkingdom #england #scotland #portraitminiatures #jacobean #17thcentury #nicholashilliard #hilliard #royalportrait #royalportraiture #shortfilm #film #watch
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Nicholas Hilliard, James VI and I (1566–1625), King of Scotland, England and Ireland, wearing white doublet, slashed on bodice and sleeves to reveal black, jewel-set gold buttons, white lace upstand collar, wearing the Lesser George on a blue ribbon

Isaac Oliver. A young Nobleman, traditionally identified as James, 2nd Marquess of Hamilton (1589–1625), 4th Earl of Arran and later Earl of Cambridge, wearing damascened armour, lace edged ruff and embroidered teal sash, 1617. On display at Philip Mould & Company until 18th April. #isaacoliver #shortfilm #film #watch #1617 #marquessofhamilton #kingjamesI #jacobean #17thcenturyart #portraitminiatures #miniatures #portraits #exhibition #jewelinthehand19
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Isaac Oliver. A young Nobleman, traditionally identified as James, 2nd Marquess of Hamilton (1589–1625), 4th Earl of Arran and later Earl of Cambridge, wearing damascened armour, lace edged ruff and embroidered teal sash, 1617. On display at Philip M

The beard worn by the sitter is of the ‘pique devant’ kind later popularised by Charles I, and more commonly known as a ‘vandyke’ after the name of a later artist: Sir Anthony Van Dyck (1599-1641). Contemporary observers noted the care that was taken when fashioning beards in this period so as best to flatter the face of the wearer. Indeed, William Harrison (1535-93), writing in his Description of England (1577, rev. 1587), observed that barbers had become almost as skilled in enhancing and flattering the appearance of the gentleman – through facial hairstyling – as fine tailors. #beards #vandyckbeard #gentleman #grooming #portraitminiatures #historicstyle #historicfashion #handsome #jewelinthehand19 #isaacoliver #17thcenturyart #oldmasters #miniatures
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The beard worn by the sitter is of the ‘pique devant’ kind later popularised by Charles I, and more commonly known as a ‘vandyke’ after the name of a later artist: Sir Anthony Van Dyck (1599-1641). Contemporary observers noted the care that was taken

The years at the start of the 17th century were among the most successful of Isaac Oliver’s career. He served as the limner both to Queen Anne of Denmark, the wife of King James I and VI, and to her son, Henry Frederick, Prince of Wales. Along with executing commissions for his royal patrons, Oliver continued to paint members of the aristocratic and prosperous gentry classes, as can be seen in the case of the sitter here. #isaacoliver #portraitminiatures #jacobean #jamesI #KingJamesI #jacobeanengland #court #courtier #gentleman #handsome #historicfashion #fashion #collar #lace #ruff #Shakespeare #floralpattern #embroidered #doublet #jewelinthehand19
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The years at the start of the 17th century were among the most successful of Isaac Oliver’s career. He served as the limner both to Queen Anne of Denmark, the wife of King James I and VI, and to her son, Henry Frederick, Prince of Wales. Along with e

This portrait of an unknown gentleman by Isaac Oliver gives a striking impression of the fashions that were current in the court during the early years of James I’s reign. The expensive dress worn by the sitter shows him to be a courtier with a keen eye for the latest fashions. His doublet embroidered with floral patterns, high lace-edged collar and voluminous backswept hairstyle were highly fashionable in this period. Both men and women shared a taste in the embroidered fabrics that are worn by this sitter. #isaacoliver #portraitminiatures #jacobean #jamesI #KingJamesI #jacobeanengland #court #courtier #gentleman #handsome #historicfashion #fashion #collar #lace #ruff #Shakespeare #floralpattern #embroidered #doublet #jewelinthehand19 @sibev #simonbevanphotography
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This portrait of an unknown gentleman by Isaac Oliver gives a striking impression of the fashions that were current in the court during the early years of James I’s reign. The expensive dress worn by the sitter shows him to be a courtier with a keen

At the Courts of Elizabeth and James the miniature became a powerful social and political tool of exchange but also came to be seen as an outward expression of one’s taste and fashion. As the uses for these minute artworks evolved over time so too did the way in which they were displayed. During the Elizabethan and Jacobean periods wearing the miniature as part of one’s dress became a standard practice and an important symbol of devotion to the sitter. Jewel in the Hand is a unique chance to see some of the earliest portrait miniatures displayed as they would have been originally worn. #jewelinthehand19 #earlyportraitminiatures #portraitminiatures #exhibition #tudorart #tudor #jacobean #elizabethan #elizabethI #jamesI #queens #royalty #jewels #nicholashilliard #isaacoliver #peteroliver #philipmouldexhibition #16thcenturyart #17thcenturyart #britishhistory #historicalportraiture
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At the Courts of Elizabeth and James the miniature became a powerful social and political tool of exchange but also came to be seen as an outward expression of one’s taste and fashion. As the uses for these minute artworks evolved over time so too di