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John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).
Period Portraits
for sale €10,472     $11,367
£8,950
Period Portraits

Period Portraits

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John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).

17th century
For Sale by Period Portraits
Description

Fine 17th century portrait of a gentleman, painted in the oval by the celebrated Scottish portrait artist John Scougall (c. 1645-1723). The sitter, possibly Sir Patrick Maxwell of Springkell (1640-1723) is depicted half-length wearing plate armour, a finely worked lace jabot, and with his hair in an elaborate coiffure.

John Scougall (c.1645–1737)

John Scougall was a prolific Scottish portrait painter and limner based in Edinburgh. He was a central figure in Scottish art history, known for painting the Scottish nobility and royalty during the Restoration period.

The son of the prominent portrait painter David Scougall (c. 1630–1685) John Scougall operated within an extended family network of artists and notable figures, including his cousin Patrick Scougall, Bishop of Aberdeen.

He ran a highly successful portrait studio in Advocates' Close, Edinburgh, which also served as a picture gallery. His work was heavily influenced by fashionable London portrait painters like Sir Peter Lely and Sir Godfrey Kneller, but it retains a uniquely individualized and distinctly Scottish character.

Scougall was commissioned by the Glasgow Town Council to paint full-length portraits of William III, Queen Mary, and Queen Anne. He also painted a celebrated series of the Kings and Queens of Scotland for the University of Glasgow. His extensive list of subjects includes the 4th Earl of Panmure (Glamis Castle), Sir Archibald Primrose, and Sir Roger Hog, Lord Harcarse. Many of his works are housed in major UK cultural institutions, including: The National Galleries of Scotland.

Sir Patrick Maxwell of Springkell (c. 1640 – April 1723).

The sitter is possibly Sir Patrick Maxwell of Springkell who was the first holder of the Heron-Maxwell baronetcy having received the title in the Baronetage of Nova Scotia on 7 February 1683 as a mark of royal favour during the reign of Charles II.

A prominent landowner in Dumfriesshire, Maxwell played a political role by serving as a commissioner for the county in the Convention of Estates of 1689, which convened to address the Glorious Revolution and ultimately recognised William of Orange and Mary as joint sovereigns of Scotland.[

He married Mary Gordon, daughter of William Gordon, 6th Viscount Kenmure, and their union strengthened ties with other Border families.[9] Maxwell died in 1723 at Springkell, leaving the estate stable amid the political upheavals of the late 17th century, and was succeeded by his son without major contest.

Provenance: Lady Heron-Maxwell (according to label on verso) Anonymous sale, Christie's, London, 9 September 1999.

This fine work is in an excellent state of conservation and it is housed in a period oval ‘Lely ‘ style frame with floral cartouches, which has been sympathetically regilded, and is itself a work of art.

Higher resolution images on request.

Worldwide shipping available

Canvas: 26" x 23" / 66cm x 59cm.

Frame: 37" x 31" / 94cm x 79cm.

Price: £8950

Physical Dimensions
Height
94cm (37.01")
Width
79cm (31.10")
Depth
4cm (1.57")
Declaration

Period Portraits has dated this 17th Century Oil Portrait to the 17th Century.

Reference Numbers
Sellingantiques Reference
SA1226064
Description
Fine 17th century portrait of a gentleman, painted in the oval by the celebrated Scottish portrait artist John Scougall (c. 1645-1723).
The sitter, possibly Sir Patrick Maxwell of Springkell (1640-1723) is depicted half-length wearing plate armour, a finely worked lace jabot, and with his hair in an elaborate coiffure.
Period Portraits
fig 1. An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
fig 1. John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).

John Scougall (c.1645–1737)

John Scougall was a prolific Scottish portrait painter and limner based in Edinburgh. He was a central figure in Scottish art history, known for painting the Scottish nobility and royalty during the Restoration period.

fig 2. An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
fig 2. John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).

The son of the prominent portrait painter David Scougall (c. 1630–1685) John Scougall operated within an extended family network of artists and notable figures, including his cousin Patrick Scougall, Bishop of Aberdeen.

fig 3. An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
fig 3. John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).

He ran a highly successful portrait studio in Advocates' Close, Edinburgh, which also served as a picture gallery. His work was heavily influenced by fashionable London portrait painters like Sir Peter Lely and Sir Godfrey Kneller, but it retains a uniquely individualized and distinctly Scottish character.

fig 4. An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
fig 4. John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).

Scougall was commissioned by the Glasgow Town Council to paint full-length portraits of William III, Queen Mary, and Queen Anne. He also painted a celebrated series of the Kings and Queens of Scotland for the University of Glasgow. His extensive list of subjects includes the 4th Earl of Panmure (Glamis Castle), Sir Archibald Primrose, and Sir Roger Hog, Lord Harcarse. Many of his works are housed in major UK cultural institutions, including: The National Galleries of Scotland.

fig 5. An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
fig 5. John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).

Sir Patrick Maxwell of Springkell (c. 1640 – April 1723).

The sitter is possibly Sir Patrick Maxwell of Springkell who was the first holder of the Heron-Maxwell baronetcy having received the title in the Baronetage of Nova Scotia on 7 February 1683 as a mark of royal favour during the reign of Charles II.

fig 6. An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
fig 6. John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).

A prominent landowner in Dumfriesshire, Maxwell played a political role by serving as a commissioner for the county in the Convention of Estates of 1689, which convened to address the Glorious Revolution and ultimately recognised William of Orange and Mary as joint sovereigns of Scotland.[

fig 7. An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
fig 7. John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).

He married Mary Gordon, daughter of William Gordon, 6th Viscount Kenmure, and their union strengthened ties with other Border families.[9] Maxwell died in 1723 at Springkell, leaving the estate stable amid the political upheavals of the late 17th century, and was succeeded by his son without major contest.

fig 8. An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
fig 8. John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).

Provenance: Lady Heron-Maxwell (according to label on verso) Anonymous sale, Christie's, London, 9 September 1999.

This fine work is in an excellent state of conservation and it is housed in a period oval ‘Lely ‘ style frame with floral cartouches, which has been sympathetically regilded, and is itself a work of art.

Higher resolution images on request.

Worldwide shipping available

Canvas: 26" x 23" / 66cm x 59cm.

Frame: 37" x 31" / 94cm x 79cm.

Price: £8950

Height
94cm (37.01")
Width
79cm (31.10")
Depth
4cm (1.57")
Date of Manufacture

Period Portraits has dated this 17th Century Oil Portrait to the 17th Century.

Reference Numbers
Sellingantiques Ref
SA1226064
Period Portraits
Period Portraits
Sellingantiques verified Since Jan 2017

Specialist dealer in portraits from the 17th century to the 20th century. Our stock includes quality oil paintings, drawings, and mezzotints

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An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
1 / 9
Archive I An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.

John Scougall (C.1645-1737) - Portrait of a Gentleman, Possibly Sir Patrick Maxwell of Springkell (1640-1723).

Archive II An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame. View II
Archive III An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame. View III
Archive IV An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame. View IV
Archive V An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame. View V
Archive VI An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame. View VI
Archive VII An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame. View VII
Archive VIII An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame. View VIII
Archive IX An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame. View IX
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An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
JOHN SCOUGALL (c.1645-1737) - PORTRAIT OF A GENTLEMAN, POSSIBLY SIR PATRICK MAXWELL OF SPRINGKELL (1640-1723).
Ref: SA1226064
An oval oil painting depicting a gentleman wearing plate armour and a lace cravat in a carved gilt frame.
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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.
Our dealers are highly experienced in packing and shipping fragile, high-value antiques. Because you are in direct contact with the dealer, you will be able to easily go through all available shipping and insurance options together to ensure your item arrives safely.
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.

Baroque portraiture of this period typically features high-contrast lighting against dark backgrounds, depicting sitters in formal attire such as plate armour, lace cravats, and voluminous periwigs to denote status.

Artists utilised oil paints made from ground mineral pigments mixed with linseed oil, applied onto stretched linen canvas and mounted within hand-carved, gilded timber frames.

Authentic period paintings show age-appropriate craquelure across the paint surface, hand-tacked canvas edges, historic timber stretcher bars, and natural oxidisation on the gilded frame.

Mounting a historic portrait above a modern console or dark wood sideboard creates an appealing juxtaposition between traditional portraiture and clean contemporary lines.

Position the painting away from direct sunlight and heat sources, and dust the surface lightly with a dry camel-hair brush without applying liquid cleaners or solvents.
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