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Attributed to John Bettes the Elder, Active C. 1531–1570 Portrait of Sir John Gage 1479 – 1556 Oil on Canvas 107 X 86 Cm.
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Attributed to John Bettes the Elder, Active C. 1531–1570 Portrait of Sir John Gage 1479 – 1556 Oil on Canvas 107 X 86 Cm.

16th century
For Sale by Artware Fineart
Description

Attributed to John Bettes the Elder, active c. 1531–1570

Portrait of Sir John Gage 1479 – 1556

oil on canvas

107 x 86 cm.

Provenance

a descendent of the Gage Family

Notes

Sir John Gage, (1479–1556), military administrator and courtier, was born on 28 October 1479 at Burstow, Surrey, the only son of William Gage of Burstow (d. 1497) and Agnes (d. 1501), daughter of Bartholomew Bolney, of Bolney, Sussex. He was baptized the same day at St Michael's Church, Burstow. The Gages later transferred their residence to Firle, near Lewes. The tradition that after his father's death John became a ward of the third duke of Buckingham, based on recollections of a son, seems to have no basis, and in 1499 his wardship was acquired by Robert Tate, alderman of London. By a contract dated 14 April 1502 he was married to Philippa, daughter of Sir Richard Guildford of Cranbrook, Kent, comptroller of the royal household; she predeceased him.

It was probably through the patronage of Guildford that Gage entered the royal household as esquire of the body during the lifetime of Henry VII and continued in that post under Henry VIII. In local affairs he served as justice of the peace for Sussex from 1514 and for Surrey from 1528 and on various other local commissions. His first major post came some time before 1522, by which time he had been appointed deputy to Sir Nicholas Vaux, captain of Guînes in the Calais pale. It seems that Vaux wished to replace him, and Sir William Sandys, treasurer of Calais and an early patron, pressed hard for a new office, repeatedly praising Gage's 'wisdom, personage and hardiness' and adding that he 'has done the king good service' (LP Henry VIII, vol. 3, pt 2, nos. 2222, 2326, 2413). On 17 August 1522 Gage was granted the survivorship of the office of comptroller of Calais during the infirmity of Sir Robert Wotton, and he succeeded him in 1524. He plainly gained experience in the French wars of 1512–13 and 1522–5 and by 1525 was a knight.

In April 1526 Gage exchanged his post of comptroller of Calais for that of vice-chamberlain of the household when his patron Sandys became lord chamberlain. In 1529 he was elected to parliament for Sussex (sitting in all the subsequent Henrician parliaments), and in April 1530 wrote to Cromwell from Windsor about Wolsey's ostentatious journey to the north, advising it would be wise for him to 'in godde avatte vatte vordeys passeys hyme' (LP Henry VIII, vol. 4, pt 3, no. 6335). In 1529–30 he received grants of wardship, portions of Wolsey's property, a manor in Lincolnshire, and the deer park at Burstow from Archbishop Warham. Appointed commissioner to survey the lands of Calais in 1532, in December he went north on important royal business, staying until the spring of 1533.

Thus far Gage's rise, if slow, had been smooth and successful, but it seems the impending royal divorce caused problems. Gage was conventionally pious, but had signed the petition for divorce to the pope in July 1530, and was at Cranmer's court at Dunstable on 12 May 1533. In August, though, he left the court. His friend Sir William Fitzwilliam (alongside whom he had fought when the latter was captain of Guînes in 1524) reported that 'Master vice-chamberlain departed from the king in such sort as I am sorry to hear; the king licensed him to depart hence, and so took leave of him, the water standing in his eyes' (LP Henry VIII, vol. 6, no. 965), adding, in a letter asking Cromwell to intervene, that though he was a man 'more ready to serve God than the world … there is so much honesty in him that I dare warrant that, next God, he loves the king above all things' (LP Henry VIII, vol. 6, no. 966). Chapuys reported in January 1534 that Gage, 'who is of the Council, and one of the wisest and most experienced in war of the whole kingdom has renounced his office and gone to the Charterhous

Physical Dimensions
Height
107cm (42.13")
Width
86cm (33.86")
Depth
2cm (0.79")
Declaration

Artware Fineart has dated this Tudor Oil Portrait Painting to the 16th Century.

Reference Numbers
Sellingantiques Reference
SA676249
Dealers Internal Reference
4141
Description
Attributed to John Bettes the Elder, active c. 1531–1570

Portrait of Sir John Gage 1479 – 1556

oil on canvas

107 x 86 cm.

Provenance

a descendent of the Gage Family

Notes

Sir John Gage, (1479–1556), military administrator and courtier, was born on 28 October 1479 at Burstow, Surrey, the only son of William Gage of Burstow (d.
Artware Fineart

1497) and Agnes (d. 1501), daughter of Bartholomew Bolney, of Bolney, Sussex. He was baptized the same day at St Michael's Church, Burstow. The Gages later transferred their residence to Firle, near Lewes. The tradition that after his father's death John became a ward of the third duke of Buckingham, based on recollections of a son, seems to have no basis, and in 1499 his wardship was acquired by Robert Tate, alderman of London. By a contract dated 14 April 1502 he was married to Philippa, daughter of Sir Richard Guildford of Cranbrook, Kent, comptroller of the royal household; she predeceased him.

fig 1. An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs.
fig 1. Attributed to John Bettes the Elder, Active C. 1531–1570 Portrait of Sir John Gage 1479 – 1556 Oil on Canvas 107 X 86 Cm.

It was probably through the patronage of Guildford that Gage entered the royal household as esquire of the body during the lifetime of Henry VII and continued in that post under Henry VIII. In local affairs he served as justice of the peace for Sussex from 1514 and for Surrey from 1528 and on various other local commissions. His first major post came some time before 1522, by which time he had been appointed deputy to Sir Nicholas Vaux, captain of Guînes in the Calais pale. It seems that Vaux wished to replace him, and Sir William Sandys, treasurer of Calais and an early patron, pressed hard for a new office, repeatedly praising Gage's 'wisdom, personage and hardiness' and adding that he 'has done the king good service' (LP Henry VIII, vol. 3, pt 2, nos. 2222, 2326, 2413). On 17 August 1522 Gage was granted the survivorship of the office of comptroller of Calais during the infirmity of Sir Robert Wotton, and he succeeded him in 1524. He plainly gained experience in the French wars of 1512–13 and 1522–5 and by 1525 was a knight.

fig 2. An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs.
fig 2. Attributed to John Bettes the Elder, Active C. 1531–1570 Portrait of Sir John Gage 1479 – 1556 Oil on Canvas 107 X 86 Cm.

In April 1526 Gage exchanged his post of comptroller of Calais for that of vice-chamberlain of the household when his patron Sandys became lord chamberlain. In 1529 he was elected to parliament for Sussex (sitting in all the subsequent Henrician parliaments), and in April 1530 wrote to Cromwell from Windsor about Wolsey's ostentatious journey to the north, advising it would be wise for him to 'in godde avatte vatte vordeys passeys hyme' (LP Henry VIII, vol. 4, pt 3, no. 6335). In 1529–30 he received grants of wardship, portions of Wolsey's property, a manor in Lincolnshire, and the deer park at Burstow from Archbishop Warham. Appointed commissioner to survey the lands of Calais in 1532, in December he went north on important royal business, staying until the spring of 1533.

fig 3. An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs.
fig 3. Attributed to John Bettes the Elder, Active C. 1531–1570 Portrait of Sir John Gage 1479 – 1556 Oil on Canvas 107 X 86 Cm.

Thus far Gage's rise, if slow, had been smooth and successful, but it seems the impending royal divorce caused problems. Gage was conventionally pious, but had signed the petition for divorce to the pope in July 1530, and was at Cranmer's court at Dunstable on 12 May 1533. In August, though, he left the court. His friend Sir William Fitzwilliam (alongside whom he had fought when the latter was captain of Guînes in 1524) reported that 'Master vice-chamberlain departed from the king in such sort as I am sorry to hear; the king licensed him to depart hence, and so took leave of him, the water standing in his eyes' (LP Henry VIII, vol. 6, no. 965), adding, in a letter asking Cromwell to intervene, that though he was a man 'more ready to serve God than the world … there is so much honesty in him that I dare warrant that, next God, he loves the king above all things' (LP Henry VIII, vol. 6, no. 966). Chapuys reported in January 1534 that Gage, 'who is of the Council, and one of the wisest and most experienced in war of the whole kingdom has renounced his office and gone to the Charterhous

Height
107cm (42.13")
Width
86cm (33.86")
Depth
2cm (0.79")
Date of Manufacture

Artware Fineart has dated this Tudor Oil Portrait Painting to the 16th Century.

Reference Numbers
Sellingantiques Ref
SA676249
Dealers Internal Ref
4141
Artware Fineart
Sellingantiques verified Since Sep 2008
Dealer Profile

You can view the stock and full dealer information on the Artware Fineart Profile Page

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An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs.
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Archive I An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs.

Attributed to John Bettes the Elder, Active C. 1531–1570 Portrait of Sir John Gage 1479 – 1556 Oil on Canvas 107 X 86 Cm.

Archive II An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs. View II
Archive III An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs. View III
Archive IV An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs. View IV
Archive V An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs. View V
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An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs.
Attributed to John Bettes the Elder, active c. 1531–1570 Portrait of Sir John Gage 1479 – 1556 oil on canvas 107 x 86 cm.
Ref: SA676249
An oil portrait on canvas depicting a Tudor gentleman wearing an embroidered brown doublet with a white lace collar and detailed cuffs.
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Our dealers are highly experienced in packing and shipping fragile, high-value antiques. Because you are in direct contact with the dealer, you will be able to easily go through all available shipping and insurance options together to ensure your item arrives safely.
Antiques are the ultimate green purchase. By choosing historical pieces over newly manufactured goods, you completely eliminate the carbon footprint of modern mass production while preserving exceptional, timeless craftsmanship.

Tudor portraiture from the sixteenth century is defined by its formal presentation of sitters, focus on social status, and detailed rendering of costume, such as ruffs, lace, and embroidered doublets. These portraits were primarily commissioned by royalty and aristocracy to record lineage and political standing.

Sixteenth-century portraits were created using hand-ground mineral and organic pigments bound in linseed or walnut oil. These paints were applied onto smoothed oak panels or stretched linen canvas prepared with animal glue sizing and gesso ground.

Authentic period portraiture displays natural age-related craquelure patterns across the paint layer, historical wear to the canvas or panel backing, and period-appropriate costume details such as lace patterns and doublet tailoring. Technical analysis, including infrared reflectography and pigment testing, is also used to verify age.

A portrait of this period serves as a focal point when positioned above a fireplace mantelpiece, sideboard, or within a paneled library space. Layering classic portraiture alongside minimal modern lighting creates an engaging contrast between historic art and modern design.

Keep the canvas in a climate-controlled environment away from direct sunlight, radiators, and high humidity to prevent paint cracking or canvas distortion. Dust gently using a soft, dry camel-hair brush, and consult a qualified paintings conservator for any structural repairs or cleaning.
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