Titan Fine Art has dated this piece to the 17th Century.
Cecil served with the English forces several times, most notably during the War of the Jülich succession, when he commanded the British and Irish contingent of 4000 men. The battle scene in the distance most likely represents The Siege of Jülich of 1610. This was the first ever army flagged as British under the Union Flag.
His heroic visage suitably reflects his wealth and status and the martial. Most likely painted just after the sitter’s death in 1638 to commemorate his life, the body has been modelled on Van Dyke’s finest portrait of Charles I which was painted a few years earlier in 1635/6. Van Dyke’s portrait became wildly popular and is still one of his most renowned works of the monarch today. The head itself was probably modelled from a known mezzotint of the sitter of 1618 by the engraver Simon de Passe (1595-1647). De Passe had settled in London in 1616 from Utrecht and established a successful engraving practice (mainly of portraits of the royal family and noblemen). This approach to creating a composition was not unusual.
The painting is inscribed on the plinth: “Edward Cecil 3rd son of Thomas Earl of Exeter, Created Viscount Wimbledon, Great Grandfather to Albina, Present Marchioness of Lindsey”. Inscriptions such as this were commonly added to paintings at the time the work was painted and also later by descendants to record the sitter. Albina Farington (1689-1745) held the title of Marshioness of Linsday between 1706 and 1715 as the wife of British statesman and nobleman Robert Bertie, 1st Marquess of Lindsey.
Cecil was born into one of the most influential families in England, his grandfather (Sir William Cecil) and uncle (Robert Cecil) dominated the royal court for more than half a century. He was a dedicated soldier in the English forces. He led a cavalry troop at the battle of Nieuport and commanded a thousand men in the relief of Spanish-besieged Ostend, earning him knighthood from Queen Elizabeth. In 1625 he became Baron Cecil of Putney and Viscount Wimbledon, named after his Surrey residence, Wimbledon House. He maintained a prominent position in the military.
Cecil had three marriages. His first, in 1601, was to Theodosia Noel, with whom he had five daughters. Following Theodosia's death, he wed Diana Drury in 1618 and they had a daughter who died as an infant. His third marriage was in 1635 to Sophia Zouche, and they had a son who also died in infancy. Cecil passed away in 1638 and is buried in the Cecil Chapel at St Mary's Church, Wimbledon. His titles expired with him. Sophia later married Sir Robert King and they had a daughter.
This painting is evidence of the commensurate skill of the artist. The glistening armour has been painted with precision but the hands are most notable and are an exemplary artistic achievement. The ensuing battle in the distance imbues the portrait with a sense of movement and drama. It is safe to assume the work was painted in England due to its precise size which was, by the time of its creation, a very common size used in England.
Held in a superb carved and gilded period frame.
Anthony Van Dyck, a significant Flemish painter of the 17th century, held a position of prominence following Rubens. He is most renowned for his sophisticated depictions of Charles I and his court. Born in Antwerp and began producing independent works around the age of 17. By 1621, he was serving James I of England.
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Titan Fine Art has dated this piece to the 17th Century.
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Portrait of a Gentleman in Armour and Holding a Baton C.1635, Manor House Provenance; Follower of Anthony Van Dyck (1599-1641), Oil on Canvas Painting
