Portrait of a Lady from the Every Baronets of Derby C.1710; Charles D’agar (1669-1723)

Oil on canvas.

This exquisite Grand Manner work is an accomplished example of the type of portrait in vogue during the first quarter of the 18th century. Beautifully composed, the sitter is three quarter length and seated within surroundings that conveyed nobility and elite status. Classical architecture signifies cultivation and sophistication, and pastoral backgrounds imply a virtuous character of unpretentious sincerity undefiled by the possession of great wealth and estates.

Much of the beauty of this striking image resides in the resonant colours of the palette and the ingenious painterly flourishes and it is a fine example of the artist’s work. In a fine quality 18th century frame inscribed “Lady Every” on verso. The Every Baronetcy, of Egginton in the County of Derby, is a title in the Baronetage of England created in 1641 for Simon Every, Member of Parliament for Leicester and a supporter of the Royalist cause in the Civil War. The family seat was Egginton Hall in Derby.

Charles D’Agar was a prolific artist and his graceful portraits are mannered and competent and were in high demand. His female sitters were often modelled on terraces beside a plinth and a classical column or curtain, and a woodland with one or two prominent tree trunks in the background. Many aristocratic individuals sat for him including at least four members of the aristocratic Harpur family of Calke Abbey, seven miles from Egginton (these portraits are still in the collection at Calke Abbey).

Charles D’Agar (1669-1723) (De Garr) was born in Paris, the son of painter Jacques (Jacob) D'Agar and his wife Marie Picard. As protestants the D’Agar family immigrated to London sometime between 1678 and 1681 by which time Jacques was officially expelled from the French Academy on religious grounds. Father and son both worked in London up to 1684 painting well known individuals such as Charles II’s French mistress, Louise de Keroualle, Duchess of Portsmouth, before moving to Copenhagen c. 1685. Jacques worked at the courts of Christian V and Frederick IV until his death there in 1715. Charles returned to London in 1691 and developed a good portrait practice and success as a court portraitist. After the painter’s death in Leicester Fields, London in May 1723, George Vertue attended the sale of his collection of prints and drawings and reported that D’Agar had been “a good courteous Man. [who] afflicted violently with the Gout & Stone” (1). He left a widow Susannah and a son who was also a painter, possibly named David.

In 1707 he charged £7 for a 30 x 25 inch and £12 for a 50 x 40 inch. A payment of £16 2s. 6d was recorded for a portrait of Lord George Douglas (59 x 42 in) in 1709 (Buccleuch collection Drumlanrig Castle, Dumfreisshire).

(1) Vertue, Note books, 3.15

Provenance: Descended through the family of the Every Baronets of Egginton Hall, Derby, England for around 300 years until when recently sold by a member of the family at Etwall, Derby (3 miles from Egginton)

Measurements: Height 143cm, Width 120cm framed (Height 56.25”, Width 47.25” framed)

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