Oil on canvas within an appropriate reproduction frame.
This is a superb quality portrait of a lady; she wears none of the fashionable Baroque accessories...pearl necklaces or ear pendants...instead she is depicted natural and unadorned. Her clothing is discreet, the neckline modest at a time when plunging necklines were a la mode.
At this period many portraits were produced, a large number of them depicted the sitters in a sterotypical, stylised manner. That is not the case here; with a remarkably modern feel to it, this is an extremely sensitive and talented painting.
The sitter regards us, as she did the artist, with a frank and level gaze; this type of portrait usually signifies that the sitter is someone close to the artist, such as a family member.
The portrait has, at some time in the past, been reduced in size. However, this has not had an adverse effect on the image; on the contrary, as the sitter now fills her space within the frame it is as if she has moved clos
...er to the viewer, creating a strong feeling of intimacy.
JOHN CLOSTERMAN (1660-1711) was born in Osnabruck, the son of an artist. His early training was from his father, but in 1679 he moved to Paris where for two years he studied under the portraitist Francois de Troy.
In 1681 Closterman came to England and entered into partnership with the established portrait painter John Riley.
By 1683 he had developed an independent practice; he was adept at baroque poses still with a slightly French influence, with rather flashily painted drapery
His clients were mainly from the intellectual and professional middle classes, and included some of the leading writers, artists, musicians and physicians of the day.
In the 1690''s, as his reputation grew, he painted for more exalted and aristocratic patrons, like the Dukes of Somerset and Marlborough.
He lived in great splendour in his house in Covent Garden, London, with his wife Hannah.
In 1699, after a visit to Rome, he fell under the spell of the Antique and painted his famous full length portraits of the Earl of Shaftesbury in Classical pose.
Closterman''s last documented portrait is 1704, and he devoted his last years to dealing in Old Master paintings.
An exhibition of his work was held by the National Portrait Gallery in 1981 under the title of ''Master of the Baroque Portrait''.
SIZE: 26 x 21.25 inches including the frame.
PROVENANCE: Berkshire Private Collection. Verso: an old, incorrect, handwritten label attributing the portrait to Allan Ramsay.
Internal Reference: 9102
Antique ID Number (AIDN): SA601314
Dateline of this antique is 1700
Height is 66cm (26.0inches)Width is 54cm (21.3inches)Depth is 5cm (2.0inches)
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