Portrait Of The Honorable Mrs. Henry Arundell C.1660; Circle Of John Michael Wright (1617-1694)

This exquisite work is an accomplished example of the type of portrait in vogue in England during the last half of the 17th century. The painting abounds with ingenious flourishes and demonstrations of the painter's skill. The sitter, a paragon of the upper echelons of society, is said to be Mary Scrope, the Honourable Mrs Henry Arundell (c.1634-1721) who in 1665 married Hon. Henry Arundell. The couple had three sons but tragically they all died young. The Catholic family of Arundell of Wardour fought on the side of Charles I in the First English Civil War. Her husband’s father was Henry Arundell, 3rd Baron Arundell of Wardour (c.1607/8-1694), Peer of England, and the most famous of the Lords Arundell of Wardour; he served as Lord Privy Seal and Lord High Steward, and Count of the Holy Roman Empire. The attire is of the finest shot silk and the jewellery emphasise the fact that this is an individual of wealth and privilege. The accessory par excellence – pearls – is worn in abundance, as a necklace, earrings, in her hair and on her sleeves. This obligatory accompaniment was popular since the 1630s. In 1665 the diarist Samuel Pepys accounted the purchase of a pearl necklace for his wife: “She was also to look after a necklace of pearl, which she is mighty busy about, I being contented to lay out 80 pounds in one for her”. In todays money this is in excess of £10,000. Extravagant prices were paid for costumes for Court festivities in the reign of Charles II. Lady Chaworth, writing to her brother, Lord Roos, on 2 November 1676, says: “Mighty bravery in clothes preparing for the Queen’s birthday, especially Mis Phraser, whose owne is ermine upon velvet, imbroidered with gold and lined with cloth of gold: ‘twill come to £300, and frights Sir Carr Scroope, who is much in love with her, from marrying her, saying his estate wil scarce maintaine her in clothes”. This portrait resembles closely the works of John Michael Wright (1617-1694). They often present the sitter with a close observation of features, sensitive and charming colours especially pink, blue and gold, and fluent modelling. His work is usually delicate, thinly painted, and highly drawn. He is one of the most distinctive and most successful British-born painters of the 17th century and served as court painter before and after the English Restoration. He is rated alongside contemporaries such as Robert Walker and William Dobson. Wright trained under George Jamesone in Edinburgh. In the early 1640s he travelled to Rome, where he remained until 1656, becoming a member of the Academy of St Luke. On his return to London he established a successful studio and was a rival to that other great painter, Peter Lely. He was described by diarist John Evelyn as "the famous painter Mr Write". Later, the Great Plague of London (1665) drove Wright out to countryside, where he painted the sitter in our portrait along with three other family members (the Arundell’s of Wardour). Wright had a son, whom he established at Rome as a teacher of languages. His brother, Jeremiah Wright, was also a painter and his nephew, John Michael Wright, settled in Ireland and practised with some success as a portrait-painter there. Provenance: UK private collection Measurements: Height 93cm, Width 81cm framed (Height 36.5”, Width 31.75” framed) Follow us on Instagram at: titanfineart