This exquisite portrait is an outstanding example of English portraiture from the last decade of the seventeenth century. It is remarkable for its fine detail and the way it has captured a sense of the sitter’s character – amiable and friendly, yet self-assured and entitled. The sitter’s costume further underlines and elevates their importance. The shoulder lappets and the striking crimson swath of silk wrapped around the sitter and gathered at the shoulder, resemble Roman attire. This was popular at the time and served to imbue the portrait with a timeless classical theme whilst enhancing a sitter’s importance and creating a tangible expression of power and wealth. The beautiful rendering and finish to the face is a feature of the work.Signed ‘Murray F (fecit)’ lower left. This portrait was painted by the successful and talented artist, Thomas Murray (1663-1734). Murray was an outstanding portrait painter amongst the legions of foreign painters who settled in England at the time. It is not surprising that Murray painted the portraits of King William III, Queen Mary, and Queen Ann as well as a number of other high-ranking people as his finesse and virtuoso treatment is abundant. Murray’s work is distinguishable by a refined and elegant manner, a smooth overall feel, and often, distinctive eyes.Thomas Murray was born in Scotland but moved to London to study with a member of the De Critz family. Later he was a pupil of the English portraitist John Riley (1646-1691), who was court painter to King William III and Queen Mary, and was practising as a painter on his own in the 1680s. In 1691 he took over Riley’s studio when that artist died in 1691 and he established a very successful practice.The Rev, James Dalloway accounted that Murray “was remarkable for his personal beauty and for the elegance of his manner” and he was also noted to have been hard working, courteous and popular with his customers. His portraiture retains an individual style and easily recognised but his earlier work is similar to John Closterman, who was a fellow pupil, and many consider this period to be his finest. Murray invested wisely in property and when he died in 1735, he left around £40,000. He had no children and he 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 that it was “too expensive” and retained the money. He is buried in St. Paul''s, Covent Garden. His work is represented in many British country houses and private collections, the National Portrait Gallery London, Royal Society and Middle Temple in London, and in the Uffizi Gallery in Florence. This portrait is a fine example of his sophisticated and unassuming style. Contained in a fine gilded period frame.Provenance: Private UK collectionMuch more info about this item at: www.titanfineartcomWHY PURCHASE FROM US?- Trusted S...