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Robert More 17th Century portrait of Robert Frampton, Dd Bishop of Gloucester 1622 - 1708 Thu, 03/ 05/1691 - 12:00 Indistinctly Signed …. Pinxit and Inscribed and Dated Aetat. Suae 68, 1691 Oil on Canvas 76.20 X 63.50 Cm. (30 X 25 In.)
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Robert More 17th Century portrait of Robert Frampton, Dd Bishop of Gloucester 1622 - 1708 Thu, 03/ 05/1691 - 12:00 Indistinctly Signed …. Pinxit and Inscribed and Dated Aetat. Suae 68, 1691 Oil on Canvas 76.20 X 63.50 Cm. (30 X 25 In.)

17th century
For Sale by Artware Fineart
Description

Robert More 17th Century

Portrait of Robert Frampton, DD Bishop of Gloucester 1622 - 1708

Thu, 03/ 05/1691 - 12:00

indistinctly signed …. Pinxit and inscribed and dated Aetat. Suae 68, 1691

oil on canvas

76.20 x 63.50 cm. (30 x 25 in.)

Provenance

Sir Lance V h Crawley-Boevey Bart. The contents of Flaxley Abbey March 29th-5th April 1960, lot 1301, Bt by Baden Watkins

in this family that the deprived Bishop was offered a home and shelter at Flaxley Abbey: and his portrait, a counterpart of which hangs in the Bishop's palace at Gloucester is preserved with great interest by the Family ."

Literature

Engraved : Henry Adlard for Crawley-Boevy (Arthur W) the peverse Widow" being passages from the life of Catherina wife of William Boevy Esq of Flaxley Abbey 1898 Ingamemells, J, Episcopal Portraits 1558-1835 a catalogie, Guildford 1981, P190 Gloucesterhsire Notes and Queries (p85) " There is strong tradition in this family that the deprived Bishop was offered a home and shelter at Flaxley Abbey: and his portrait, a counterpart of which hangs in the Bishop's palace at Gloucester is preserved with great interest by the Family ."

Notes

Frampton, Robert (bap. 1622, d. 1708), bishop of Gloucester and nonjuror, was baptized on 26 February 1622 at Pimperne, near Blandford, Dorset, the youngest of eight children of Robert Frampton, a farmer, and his wife, Elizabeth Selby. Frampton was educated at the free school at Blandford before matriculating at Oxford in 1637 the age of fifteen. He studied at Corpus Christi College before moving to Christ Church, graduating BA on 25 June 1641. The English civil war began before he could proceed MA and his refusal to sign the covenant prevented him from continuing his studies. Though the civil war interrupted his education Oxford University honoured him with the degree of DD on 8 July 1673.

After leaving Oxford in 1641 Frampton served as tutor to the children of a widow at Farnham, Dorset, where he also set up a private school.

He joined the Clubmen of Dorset, a neutralist movement that sought an end to the war between the king and parliament, and participated in a battle with the New Model Army on 5 August 1645 at Hambledon Hill, near Blandford Forum in Dorset. Later he became the master of the free school at Gillingham, Dorset, teaching approximately one hundred boys. While teaching at Gillingham he was encouraged by the local pastor, Dr Davenant, to take holy orders, and Robert Skinner, bishop of Oxford, privately ordained him at Gillingham. Frampton then succeeded Davenant as pastor at Gillingham, where he boldly continued to use the proscribed liturgy of the Church of England. When this led to trouble he became the chaplain to the earl of Elgin, who allowed him to use the liturgy in the family chapel at Ampthill, Bedfordshire.

Frampton gained note as a preacher, preaching often in London during this period, but his royalist sympathies and commitment to the church's liturgy gained him ‘both admiration and disgust’ among his contemporaries (Evans, 19–20). He escaped further trouble by accepting an offer to become chaplain for the Levant Company at Aleppo, Syria. The company knew of Frampton's royalist views and believed that he would keep the factory ‘steady to the crown and church’ (ibid., 20). After informing the earl of Elgin of his decision he left England in 1655, aboard the Antelope, preaching every Sunday and reading the liturgy when asked. A storm broke the main mast and forced them back to Falmouth, where they stayed until leaving five months later. While serving as chaplain at Aleppo he learned Arabic and studied the archaeological remains in the region.

His linguistic ability, which included knowledge of Italian, German, and Arabic, gave him access to the local leaders, including the mufti of Aleppo, a relationship that allowed Frampton to

Physical Dimensions
Height
76cm (29.92")
Width
64cm (25.20")
Depth
2cm (0.79")
Declaration

Artware Fineart has dated this 17th Century Oil Portrait to the 17th Century.

Reference Numbers
Sellingantiques Reference
SA1111296
Description
Robert More 17th Century

Portrait of Robert Frampton, DD Bishop of Gloucester 1622 - 1708

Thu, 03/ 05/1691 - 12:00

indistinctly signed …. Pinxit and inscribed and dated Aetat. Suae 68, 1691

oil on canvas

fig 1. An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background.
fig 1. Robert More 17th Century portrait of Robert Frampton, Dd Bishop of Gloucester 1622 - 1708 Thu, 03/ 05/1691 - 12:00 Indistinctly Signed …. Pinxit and Inscribed and Dated Aetat. Suae 68, 1691 Oil on Canvas 76.20 X 63.50 Cm. (30 X 25 In.)

76.20 x 63.50 cm. (30 x 25 in.)

Provenance

Sir Lance V h Crawley-Boevey Bart. The contents of Flaxley Abbey March 29th-5th April 1960, lot 1301, Bt by Baden Watkins

in this family that the deprived Bishop was offered a home and shelter at Flaxley Abbey: and his portrait, a counterpart of which hangs in the Bishop's palace at Gloucester is preserved with great interest by the Family ."

fig 2. An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background.
fig 2. Robert More 17th Century portrait of Robert Frampton, Dd Bishop of Gloucester 1622 - 1708 Thu, 03/ 05/1691 - 12:00 Indistinctly Signed …. Pinxit and Inscribed and Dated Aetat. Suae 68, 1691 Oil on Canvas 76.20 X 63.50 Cm. (30 X 25 In.)

Literature

Engraved : Henry Adlard for Crawley-Boevy (Arthur W) the peverse Widow" being passages from the life of Catherina wife of William Boevy Esq of Flaxley Abbey 1898 Ingamemells, J, Episcopal Portraits 1558-1835 a catalogie, Guildford 1981, P190 Gloucesterhsire Notes and Queries (p85) " There is strong tradition in this family that the deprived Bishop was offered a home and shelter at Flaxley Abbey: and his portrait, a counterpart of which hangs in the Bishop's palace at Gloucester is preserved with great interest by the Family ."

fig 3. An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background.
fig 3. Robert More 17th Century portrait of Robert Frampton, Dd Bishop of Gloucester 1622 - 1708 Thu, 03/ 05/1691 - 12:00 Indistinctly Signed …. Pinxit and Inscribed and Dated Aetat. Suae 68, 1691 Oil on Canvas 76.20 X 63.50 Cm. (30 X 25 In.)

Notes

Frampton, Robert (bap. 1622, d. 1708), bishop of Gloucester and nonjuror, was baptized on 26 February 1622 at Pimperne, near Blandford, Dorset, the youngest of eight children of Robert Frampton, a farmer, and his wife, Elizabeth Selby.

Frampton was educated at the free school at Blandford before matriculating at Oxford in 1637 the age of fifteen.
Artware Fineart

He studied at Corpus Christi College before moving to Christ Church, graduating BA on 25 June 1641. The English civil war began before he could proceed MA and his refusal to sign the covenant prevented him from continuing his studies. Though the civil war interrupted his education Oxford University honoured him with the degree of DD on 8 July 1673.

fig 4. An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background.
fig 4. Robert More 17th Century portrait of Robert Frampton, Dd Bishop of Gloucester 1622 - 1708 Thu, 03/ 05/1691 - 12:00 Indistinctly Signed …. Pinxit and Inscribed and Dated Aetat. Suae 68, 1691 Oil on Canvas 76.20 X 63.50 Cm. (30 X 25 In.)

After leaving Oxford in 1641 Frampton served as tutor to the children of a widow at Farnham, Dorset, where he also set up a private school.

He joined the Clubmen of Dorset, a neutralist movement that sought an end to the war between the king and parliament, and participated in a battle with the New Model Army on 5 August 1645 at Hambledon Hill, near Blandford Forum in Dorset. Later he became the master of the free school at Gillingham, Dorset, teaching approximately one hundred boys. While teaching at Gillingham he was encouraged by the local pastor, Dr Davenant, to take holy orders, and Robert Skinner, bishop of Oxford, privately ordained him at Gillingham. Frampton then succeeded Davenant as pastor at Gillingham, where he boldly continued to use the proscribed liturgy of the Church of England. When this led to trouble he became the chaplain to the earl of Elgin, who allowed him to use the liturgy in the family chapel at Ampthill, Bedfordshire.

fig 5. An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background.
fig 5. Robert More 17th Century portrait of Robert Frampton, Dd Bishop of Gloucester 1622 - 1708 Thu, 03/ 05/1691 - 12:00 Indistinctly Signed …. Pinxit and Inscribed and Dated Aetat. Suae 68, 1691 Oil on Canvas 76.20 X 63.50 Cm. (30 X 25 In.)

Frampton gained note as a preacher, preaching often in London during this period, but his royalist sympathies and commitment to the church's liturgy gained him ‘both admiration and disgust’ among his contemporaries (Evans, 19–20). He escaped further trouble by accepting an offer to become chaplain for the Levant Company at Aleppo, Syria. The company knew of Frampton's royalist views and believed that he would keep the factory ‘steady to the crown and church’ (ibid., 20). After informing the earl of Elgin of his decision he left England in 1655, aboard the Antelope, preaching every Sunday and reading the liturgy when asked. A storm broke the main mast and forced them back to Falmouth, where they stayed until leaving five months later. While serving as chaplain at Aleppo he learned Arabic and studied the archaeological remains in the region.

His linguistic ability, which included knowledge of Italian, German, and Arabic, gave him access to the local leaders, including the mufti of Aleppo, a relationship that allowed Frampton to

Height
76cm (29.92")
Width
64cm (25.20")
Depth
2cm (0.79")
Date of Manufacture

Artware Fineart has dated this 17th Century Oil Portrait to the 17th Century.

Reference Numbers
Sellingantiques Ref
SA1111296
Artware Fineart
Sellingantiques verified Since Sep 2008
Dealer Profile

You can view the stock and full dealer information on the Artware Fineart Profile Page

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An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background.
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Archive I An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background.

Robert More 17th Century portrait of Robert Frampton, Dd Bishop of Gloucester 1622 - 1708 Thu, 03/ 05/1691 - 12:00 Indistinctly Signed …. Pinxit and Inscribed and Dated Aetat. Suae 68, 1691 Oil on Canvas 76.20 X 63.50 Cm. (30 X 25 In.)

Archive II An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background. View II
Archive III An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background. View III
Archive IV An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background. View IV
Archive V An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background. View V
Archive VI An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background. View VI
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An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background.
Robert More 17th Century Portrait of Robert Frampton, DD Bishop of Gloucester 1622 - 1708 Thu, 03/ 05/1691 - 12:00 indistinctly signed …. Pinxit and inscribed and dated Aetat. Suae 68, 1691 oil on canvas 76.20 x 63.50 cm. (30 x 25 in.)
Ref: SA1111296
An oval 17th-century oil painting on canvas depicting an elderly bishop in black and white clerical vestments against a dark background.
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Every single antique dealer on our platform is individually approved by our internal team. We verify their professional trade history, ethical standards, and photographic quality to ensure a secure, high-standard buying environment. Upon joining, every dealer agrees to a strict 9-point code of conduct. While issues can occasionally arise, our dealers typically resolve them swiftly and directly with the buyer. In fact, since our founding in 2002, Sellingantiques has only had to step in to help resolve an issue on roughly five occasions—a true testament to the quality of our dealers and their dedication to your happiness.
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Antiques are the ultimate green purchase. By choosing historical pieces over newly manufactured goods, you completely eliminate the carbon footprint of modern mass production while preserving exceptional, timeless craftsmanship.

17th-century British portraiture is distinguished by formal compositions, sombre background tones, and precise detailing of fabrics, vestments, and lace, reflecting the sitters social standing and profession.

Artists during this era utilised natural oil pigments ground by hand, applied to hand-woven linen or canvas stretched over timber support frames.

Authentic period paintings display uniform fine craquelure across the paint layer, natural age oxidisation on the canvas reverse, period-correct ground layers, and contemporary Latin inscriptions or dates.

A historical oil portrait adds visual weight and character when positioned above a fireplace mantelpiece, integrated into a gallery wall, or hung within a dark-toned study or dining room.

Maintain stable humidity and temperature levels, avoid hanging in direct sunlight or above high-heat sources, and consult professional art conservators for surface cleaning and varnish removal.
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