What defines seventeenth-century English portraiture?

Seventeenth-century English portraiture is characterized by formal compositions, naturalistic facial rendering, and dramatic background drapery, heavily influenced by Baroque aesthetics and artists such as Sir Peter Lely and Mary Beale.

What materials were traditionally used in Restoration-era oil portraiture?

Painters during this period utilised hand-ground oil pigments applied to linen or cotton canvas, often prepared with a lead or chalk ground, and mounted in carved giltwood or ebony frames.

How can authentic seventeenth-century oil paintings be identified?

Authentic works typically display natural age-related craquelure across the paint surface, original timber stretcher bars, hand-forged tacks, and signs of historical varnish oxidisation or lined canvases.

How can an antique portrait painting be incorporated into a contemporary interior scheme?

Positioning a period oil portrait above a modern console table or mantelpiece creates a visual contrast between historic artistry and minimalist interior elements.

How should historical oil paintings on canvas be maintained and preserved?

Preserve canvas artwork by displaying it away from direct sunlight and fluctuating humidity, dusting the frame lightly with a soft brush, and consulting a professional conservator for surface cleaning.

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Baby Portrait Studio of Mary Beale 17th Century Oil Paintings on Canvas

Name: Baby Portrait Studio of Mary Beale 17th Century Oil Paintings on Canvas
Brand: Antique
SKU: SA1235756
Price: 6750 GBP
Availability: InStock

17th century

For Sale by Mansion House Antiques & Fine Art

Description

Rare Late 17thc ( 1660-80 ) Oil Portrait of a Baby holding a coral teether.

ABOUT THE ARTIST ( Studio of Mary Beale )

Mary Beale (née Cradock; late March 1633 – 8 October 1699) was one of the most successful professional female Baroque-era portrait painters of the late 17th century due to her perseverance of her business.

Praised by Richard Gibson and court painter Peter Lely, she is considered as successful as Joan Carlile.

Joan Carlile was also an English portrait painter, who was one of the first women to practise painting professionally. Mary Beale managed to be the financial provider for her family through her professional portrait business.

Mary Beale stood apart from other women due to her outspokenness and successful business that allowed her to be the breadwinner of the family.

Portraits of babies from the 17th & 18th centuries are quite rare, and obviously desirable for their charm and appeal.

This delightful portrait of a round-cheeked, blue-eyed infant is posed using the conventions established for formal European court portraiture, and as found in other early portraits of royal or aristocratic infants.

The child is depicted full-length, sitting with a highly formalised velvet curtain drape in the background. As with other royal and noble portraits, the baby is shown propped up as if on a chair of state, and seemingly possessing the self-control and formal bearing normally found in portraiture of adults at court.

The absence of a family armorial, combined with a lack of knowledge as to the portrait’s original provenance, make the identification the child problematic.

However the scale and richness of composition, with the baby dressed in the finest and most expensive white satin dress trimmed with lace and holding an expensive hand crafted coral teether,suggests that at the very least, this is a child from an wealthy family.

The prominence of the coral teether in the picture reflects the traditional belief that coral has magical protective properties. It was thought that coral could ward off illnesses and evil spirits. Coral was also hard, cool and clean, making it ideal as a material for the teething infant.

In fact, the coral’s rich colour was thought to reflect the appearance of physical well-being and if the coral began to change colour it was a harbinger of illness.

The baby in this portrait is wearing pink ribbons, it is interesting to note that the colours pink and blue were not associated with the gender of children until the 20th century.

CONDITION

The painting has been re-lined to ensure good condition into the future

Presented in a good 18th century carved wood frame.

MEASUREMENTS (Including Frame)

Height 37 Inches

Width 32 Inches

DATELINE

This exceptionally rare example is estimated to be late 17th century dating around 1660-80 )

DELIVERY

UK Courier ( 7-10 Days ) By Fine Art Courier £95

Worldwide : EU £350 & USA £400

SEE EXAMPLE

BLUE Drapes Studio Of Mary Beale

Victoria & Albert Museum Collection

TELEPHONE ENQUIRIES: 07765 856171

Ref: 0675

Physical Dimensions

Height

94cm (37.01")

Width

81cm (31.89")

Depth

7cm (2.76")

Declaration

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

Reference Numbers

Sellingantiques Reference

SA1235756

Dealers Internal Reference

0675

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

Rare Late 17thc ( 1660-80 ) Oil Portrait of a Baby holding a coral teether.

ABOUT THE ARTIST ( Studio of Mary Beale )

Mary Beale (née Cradock; late March 1633 – 8 October 1699) was one of the most successful professional female Baroque-era portrait painters of the late 17th century due to her perseverance of her business.

“

Praised by Richard Gibson and court painter Peter Lely, she is considered as successful as Joan Carlile.

Mansion House Antiques & Fine Art

fig 1. A seventeenth-century oil painting on canvas depicting a seated infant in a white gown and lace bonnet against red drapery, housed in an ornate giltwood frame. — fig 1. Baby Portrait Studio of Mary Beale 17th Century Oil Paintings on Canvas

Joan Carlile was also an English portrait painter, who was one of the first women to practise painting professionally. Mary Beale managed to be the financial provider for her family through her professional portrait business.

fig 2. A seventeenth-century oil painting on canvas depicting a seated infant in a white gown and lace bonnet against red drapery, housed in an ornate giltwood frame. — fig 2. Baby Portrait Studio of Mary Beale 17th Century Oil Paintings on Canvas

Mary Beale stood apart from other women due to her outspokenness and successful business that allowed her to be the breadwinner of the family.

Portraits of babies from the 17th & 18th centuries are quite rare, and obviously desirable for their charm and appeal.

fig 3. A seventeenth-century oil painting on canvas depicting a seated infant in a white gown and lace bonnet against red drapery, housed in an ornate giltwood frame. — fig 3. Baby Portrait Studio of Mary Beale 17th Century Oil Paintings on Canvas

This delightful portrait of a round-cheeked, blue-eyed infant is posed using the conventions established for formal European court portraiture, and as found in other early portraits of royal or aristocratic infants.

fig 4. A seventeenth-century oil painting on canvas depicting a seated infant in a white gown and lace bonnet against red drapery, housed in an ornate giltwood frame. — fig 4. Baby Portrait Studio of Mary Beale 17th Century Oil Paintings on Canvas

The child is depicted full-length, sitting with a highly formalised velvet curtain drape in the background. As with other royal and noble portraits, the baby is shown propped up as if on a chair of state, and seemingly possessing the self-control and formal bearing normally found in portraiture of adults at court.

fig 5. A seventeenth-century oil painting on canvas depicting a seated infant in a white gown and lace bonnet against red drapery, housed in an ornate giltwood frame. — fig 5. Baby Portrait Studio of Mary Beale 17th Century Oil Paintings on Canvas

The absence of a family armorial, combined with a lack of knowledge as to the portrait’s original provenance, make the identification the child problematic.

However the scale and richness of composition, with the baby dressed in the finest and most expensive white satin dress trimmed with lace and holding an expensive hand crafted coral teether,suggests that at the very least, this is a child from an wealthy family.

fig 6. A seventeenth-century oil painting on canvas depicting a seated infant in a white gown and lace bonnet against red drapery, housed in an ornate giltwood frame. — fig 6. Baby Portrait Studio of Mary Beale 17th Century Oil Paintings on Canvas

The prominence of the coral teether in the picture reflects the traditional belief that coral has magical protective properties. It was thought that coral could ward off illnesses and evil spirits. Coral was also hard, cool and clean, making it ideal as a material for the teething infant.

fig 7. A seventeenth-century oil painting on canvas depicting a seated infant in a white gown and lace bonnet against red drapery, housed in an ornate giltwood frame. — fig 7. Baby Portrait Studio of Mary Beale 17th Century Oil Paintings on Canvas

In fact, the coral’s rich colour was thought to reflect the appearance of physical well-being and if the coral began to change colour it was a harbinger of illness.

The baby in this portrait is wearing pink ribbons, it is interesting to note that the colours pink and blue were not associated with the gender of children until the 20th century.