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ID #SA1176747
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£12,500
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David 2nd Earl Wemyss Circle of David Scougall 17th Scottish Oil Portrait Paintings
Mansion House Antiques & Fine Art
for sale €14,625     $15,875
£12,500
Mansion House Antiques & Fine Art

Mansion House Antiques & Fine Art

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David 2nd Earl Wemyss Circle of David Scougall 17th Scottish Oil Portrait Paintings

17th century
Description

A fine large scale three quarter length late 17th century oil portrait on canvas presented in a period carved wooden gilded frame.

SITTER

DAVID 2ND EART WEMYSS wears his full suit of gleaming armour almost tailored to his substantial size,a weighty looking gentleman of distinction and aristocratic social standing.

HISTORY

David Wemyss, 2nd Earl of Wemyss (6 September 1610 – July 1679) was an army officer.

Only son of John Wemyss, 1st Earl of Wemyss and Jean Gray (d. 1640), daughter of Lord Gray.

As Lord Elcho, a title he held between 1633 and 1649, he commanded a regiment of Fife infantry in the Scottish army which reached Newcastle upon Tyne in August 1640.

On 1 September 1644, at the head of about 6000 men, he was routed by Montrose at Tippermuir, and in August 1645, as supernumerary commander to Lieutenant-General William Baillie, again suffered defeat by Montrose''''s forces at Kilsyth.

He married three times:

(July 1625) Anna (d. 1649), daughter of Robert Balfour, 2nd Lord Balfour of Burleigh;

(April 1650) Helenor (d. 1652), daughter of John Fleming, 2nd Earl of Wigtown;

(13 January 1653) Margaret (d. 1688), daughter of John Leslie, 6th Earl of Rothes, and widow of Francis Scott, 2nd Earl of Buccleuch; one daughter, Margaret, the only child to outlive her father.

He died in 1679 at Wemyss Castle in Fife, whose estate he had done much to develop.

ABOUT THE ARTIST DAVID SCOUGALL

David Scougall (Scottish, active 1661 - 1677)

David Scougall may have studied with John Michael Wright, whose work he certainly copied, but very little is known about this portrait painter aside from the works signed by or attributed to him and a few surviving accounts.

His clients included some of the most powerful people in Scotland, for example, Archibald Campbell, Marquis of Argyll, whose daughter Scougal also painted in 1654. His son or nephew, John Scougal, was also a portrait painter and some of his early works may have been confused with those of the older artist.

FRAMED MEASUREMENTS:

Height 54 Inches x Width 44 Inches

DELIVERY

UK Courier £150

International Shipping : EU £750 / USA £850

TELEPHONE ENQUIRIES : 07765 856171

QUOTE OUR REF 0528

Physical Dimensions
Height
137cm (53.94")
Width
112cm (44.09")
Depth
5cm (1.97")
Declaration

Mansion House Antiques & Fine Art has dated this Seventeenth Century Oil Portrait to the 17th Century.

Reference Numbers
Sellingantiques Reference
SA1176747
Dealers Internal Reference
0528
Dealers Notes

Payments are accepted by Bank Transfer & by Debit / Credit Cards Via the BUY NOW Payment Link Tab shown below each items description.

PAY-PAL Account Holders are welcome. CHEQUES Drawn from UK banks.

Description
A fine large scale three quarter length late 17th century oil portrait on canvas presented in a period carved wooden gilded frame.

SITTER

“
DAVID 2ND EART WEMYSS wears his full suit of gleaming armour almost tailored to his substantial size,a weighty looking gentleman of distinction and aristocratic social standing.
Mansion House Antiques & Fine Art
fig 1. A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat.
fig 1. David 2nd Earl Wemyss Circle of David Scougall 17th Scottish Oil Portrait Paintings

HISTORY

David Wemyss, 2nd Earl of Wemyss (6 September 1610 – July 1679) was an army officer.

Only son of John Wemyss, 1st Earl of Wemyss and Jean Gray (d. 1640), daughter of Lord Gray.

As Lord Elcho, a title he held between 1633 and 1649, he commanded a regiment of Fife infantry in the Scottish army which reached Newcastle upon Tyne in August 1640.

fig 2. A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat.
fig 2. David 2nd Earl Wemyss Circle of David Scougall 17th Scottish Oil Portrait Paintings

On 1 September 1644, at the head of about 6000 men, he was routed by Montrose at Tippermuir, and in August 1645, as supernumerary commander to Lieutenant-General William Baillie, again suffered defeat by Montrose''''s forces at Kilsyth.

fig 3. A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat.
fig 3. David 2nd Earl Wemyss Circle of David Scougall 17th Scottish Oil Portrait Paintings

He married three times:

(July 1625) Anna (d. 1649), daughter of Robert Balfour, 2nd Lord Balfour of Burleigh;

(April 1650) Helenor (d. 1652), daughter of John Fleming, 2nd Earl of Wigtown;

(13 January 1653) Margaret (d. 1688), daughter of John Leslie, 6th Earl of Rothes, and widow of Francis Scott, 2nd Earl of Buccleuch; one daughter, Margaret, the only child to outlive her father.

fig 4. A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat.
fig 4. David 2nd Earl Wemyss Circle of David Scougall 17th Scottish Oil Portrait Paintings

He died in 1679 at Wemyss Castle in Fife, whose estate he had done much to develop.

ABOUT THE ARTIST DAVID SCOUGALL

David Scougall (Scottish, active 1661 - 1677)

David Scougall may have studied with John Michael Wright, whose work he certainly copied, but very little is known about this portrait painter aside from the works signed by or attributed to him and a few surviving accounts.

fig 5. A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat.
fig 5. David 2nd Earl Wemyss Circle of David Scougall 17th Scottish Oil Portrait Paintings

His clients included some of the most powerful people in Scotland, for example, Archibald Campbell, Marquis of Argyll, whose daughter Scougal also painted in 1654. His son or nephew, John Scougal, was also a portrait painter and some of his early works may have been confused with those of the older artist.

FRAMED MEASUREMENTS:

Height 54 Inches x Width 44 Inches

DELIVERY

UK Courier £150

International Shipping : EU £750 / USA £850

TELEPHONE ENQUIRIES : 07765 856171

QUOTE OUR REF 0528

Height
137cm (53.94")
Width
112cm (44.09")
Depth
5cm (1.97")
Date of Manufacture

Mansion House Antiques & Fine Art has dated this Seventeenth Century Oil Portrait to the 17th Century.

Reference Numbers
Sellingantiques Ref
SA1176747
Dealers Internal Ref
0528
Mansion House Antiques & Fine Art
Mansion House Antiques & Fine Art
Sellingantiques verified Since Nov 2009

Private fine art dealer specialising in quality 17th 18th 19th & 20thc oil paintings shipping worldwide

Dealer Profile

You can view the stock and full dealer information on the Mansion House Antiques & Fine Art Profile Page

Relevant Links
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SAVE
A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat.
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Archive I A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat.

David 2nd Earl Wemyss Circle Of David Scougall 17th Scottish Oil Portrait Paintings

Archive II A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View II
Archive III A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View III
Archive IV A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View IV
Archive V A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View V
Archive VI A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View VI
Archive VII A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View VII
Archive VIII A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View VIII
Archive IX A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View IX
Archive X A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View X
Archive XI A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View XI
Archive XII A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View XII
Archive XIII A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View XIII
Archive XIV A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View XIV
Archive XV A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat. View XV
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Mansion House Antiques & Fine Art

Mansion House Antiques & Fine Art
Telephone 07765 856 171
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Verified Since Nov 2009
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Items Sold 652
Mansion House Antiques & Fine Art
Mansion House Antiques & Fine Art
Verified Since Nov 2009
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Location: East Midlands, United Kingdom
Profile: sellingantiques.co.uk/mha
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Nov 2009
For Sale
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A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat.
David 2nd Earl Wemyss Circle Of David Scougall 17th Scottish Oil Portrait Paintings
Ref: SA1176747
A seventeenth-century oil portrait depicting a nobleman with long brown hair wearing dark armour and a white lace cravat.
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FAQs

Seventeenth-century Scottish portraiture often depicted nobility and military figures in formal attire or plate armour, influenced by European Baroque conventions and local artists such as David Scougall.

These artworks were executed using hand-ground oil pigments applied to stretched linen canvas, secured over wooden strainers or stretchers.

Authentic period paintings feature natural age-related craquelure across the paint layer, historic stretcher construction, canvas oxidisation, and period-appropriate glazing techniques.

An antique portrait can be positioned above a fireplace mantelpiece, sideboard, or within a gallery wall to create a focal point in traditional or dark academia interior schemes.

Position the canvas away from direct sunlight, radiators, and high humidity, dusting the surface lightly with a dry, soft brush and consulting a professional restorer for conservation.
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