Portrait of a Gentleman, British C.1690, Attributed to Thomas Murray (1663-1734)

A very fine 17th century old master portrait of Sir Thomas Pope Blount, 2nd Bt (1670-1731), according to text on verso. Sir Thomas Pope Blount comes from a very good aristocratic family in England, incorporating Earls, Barons, Constables of the Tower of London, Lord Mayor of London, Lord Stewart of the Kings Household, Lord Treasurer of England, Lord Lieutenant of Ireland, and four Knights of the Garter. Sir Harry Pope Blount, b.1702 m.1728 Anne younger dau. and co-heir of Charles Cornwallis, esq. of Medlow, in Huntingdonshire but died 1757 without issue 1757 when the Baronetcy became extinct.

Thomas was born at The Strand, St. Mary le Savoy, London. He married Katherine Butler, daughter of James Butler of Amberley Castle, Sussex, in 1695. He succeeded to the title of 2nd Baronet Blount, of Tittenhanger, co. Hertford on 30 June 1697. They lived in Twickeham, London which is where he died on 17 October 1731.

The work is in line with the fashionable 17th century studios and is attributed to the prolific Scottish master, Thomas Murray (1663-1734). The sitter, depicted with fine blue a russet silks, has been painted finely throughout with precision and finesse. The silky finish of the painting is typical of Murray’s work during this period, and the colours are saturated and still retain their beauty. There is a virtuoso treatment of the fabrics and of the wig with its soft powdery effect. A stunning work from the period. A very fine and eloquent example of British 17th century portraiture and exudes quality.

Thomas Murray (1663-1734) was of Scottish origins. He studied under Riley (and also assisted him) and afterwards became a successful painter. Murray “was remarkable for his personal beauty, it is said, and for the elegance of his manner.” His portraiture retains an individual style (and is easily recognisable) even though his later work is heavily influenced by Kneller. However his earlier work draws a close comparison to John Closterman, who was a fellow pupil, and this period many consider him to have produced his finest. Murray enjoyed a successful practice amongst the clergy and gentry of the day and was very successful financially. In 1703, he painted Queen Anne for the Society of the Middle Temple in London. He died in 1734, leaving no children, and bequeathed his money to a nephew with instructions that his monument, with a bust, should be erected in Westminster Abbey, provided that it did not cost too much; his nephew decided it was and retained the money. He is buried in St. Paul's, Covent Garden.

Presented in a beautiful antique carved frame from the same period, with an old inventory/collectors label inscribed ‘99’.

Provenance: UK private collection

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