Oil on canvas in a good carved and giltwood frame.The sitter, possibly Elizabeth Trentham, holds, by its chain, a very fine and costly watch; the significance of this is not clear. It is most unusual for a female sitter to be shown with such an item...does it represent the inevitable passing of time? Was it the cherished possession of a deceased male relative? Attached to it is a black ribbon, symbol of mourning.Regardless of the identity of this lady this is a high quality portrait by an artist strongly influenced by Lely''s style of the early 1660s, to the extent of showing the sitter''s left hand raising the material of her dress, as Lely often depicted his sitters doing; witness his portraits of Catherine of Braganza, Diana, Countess of Ailesbury and Frances Teresa Stuart.Elizabeth Trentham was born in 1640, she was the daughter of Francis Trentham. She married Brien Cokayne, 2nd Viscount Cullen of Co. Tipperary, son of Charles Cokayne, 1st Viscount Cullen and Lady Mary O''Brien, before 1 April 1657. She became Lady of the Bedchamber to Queen Consort Catherine.She died on 30 November 1713. (Image 8 shows a portrait of Viscountess Cullen, painted by Sir Peter Lely, at Kingston Lacy, Dorset.)SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Dutch born as Pieter van der Faes, he became Principal Painter to the King, painting everyone of importance and maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, many of them talented artists in their own right, emulated his style to supply this constant market.SIZE: 55 x 46.25 inches inc. frame.PROVENANCE: French Private Collection.English Private Collection.Verso: fragmentary old Parisian storage label and two inventory numbers.