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Portrait of Lucy Hollier (1623-1677); Circle of Cornelius Johnson.
Roy Precious - Antiques & Fine Art
for sale €5,832     $6,331
£4,985
Roy Precious - Antiques & Fine Art

Roy Precious - Antiques & Fine Art

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    Roy and nadine precious: specialists in portraiture from the 16th to the 20th century. Established in 1972.
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Portrait of Lucy Hollier (1623-1677); Circle of Cornelius Johnson.

17th century
Description

Oil on canvas in a reproduction frame of appropriate type.

This portrait very sensitive to character, beautifully drawn and meticulously painted.

The sitter is LUCY HOLLIER (nee Knowles). Hollier, a widower of 29, married Edward Molins's niece Lucy Knowles, who was not quite 16. She was the eldest daughter of Thomas Knowles, linen draper, and his wife Lucy, the eldest daughter of James Molins - in whose will his grandchild Lucy was left £50. Thomas Hollier and Lucy produced four sons and five daughters; six of these children were married before Lucy's death on I5th August I677.

Lucy is shown wearing very expensive black clothes, fine lace, and a gold bracelet. She holds a book to demonstrate that she can read at a time when many were illiterate.

THOMAS HOLLIER was born in Coventry in 1609, and from 1629 trained in London as a surgeon. He worked at both Barts and St Thomas’s Hospitals, the latter for 53 years.

He is famous for operating on Samuel Pepys for the removal of a large bladder stone in 1658. This was in the days when such surgery without anaesthetics or antiseptics often led to death. In 1662, Thomas did 30 consecutive stone operations without losing a single patient. He became a close friend of Samuel Pepys and Robert Boyle.

CORNELIUS JOHNSON (Jonson, Jansen, Van Ceulen) 1593-1661 was born in London, the son of Flemish emigres.

Although Waterhouse thought he was trained in Holland it seems more likely (as Collins Baker has it) that Marcus Gheeraerts was his master in London.

Johnson is the most satisfying and 'English' of the portraitists working in England at time. He has a fine technique with a restrained and introspective style, with careful attention to the costume details.

His accurate portraits are never flattering but a sober and objective portrayal of his usual sitters: the rich merchant class, the gentry and lesser nobility. His style, and that of his Circle is easily identified by its coolness and restraint.

SIZE: 36.25 x 31 inches framed.

PROVENANCE: By family descent. (A card with much more information accompanies the painting) The final image shows the portrait hanging (upper right) in the Abbots Room, Flaxley Hall. (Messel Family Archives)

Physical Dimensions
Height
92cm (36.22")
Width
79cm (31.10")
Depth
5cm (1.97")
Declaration

Roy Precious - Antiques & Fine Art has dated this 17th Century Portrait Painting to the 17th Century.

Reference Numbers
Sellingantiques Reference
SA898844
Dealers Internal Reference
9275
Description
Oil on canvas in a reproduction frame of appropriate type.

This portrait very sensitive to character, beautifully drawn and meticulously painted.

The sitter is LUCY HOLLIER (nee Knowles). Hollier, a widower of 29, married Edward Molins's niece Lucy Knowles, who was not quite 16.

She was the eldest daughter of Thomas Knowles, linen draper, and his wife Lucy, the eldest daughter of James Molins - in whose will his grandchild Lucy was left £50.
Roy Precious - Antiques & Fine Art

Thomas Hollier and Lucy produced four sons and five daughters; six of these children were married before Lucy's death on I5th August I677.

fig 1. An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame.
fig 1. Portrait of Lucy Hollier (1623-1677); Circle of Cornelius Johnson.

Lucy is shown wearing very expensive black clothes, fine lace, and a gold bracelet. She holds a book to demonstrate that she can read at a time when many were illiterate.

THOMAS HOLLIER was born in Coventry in 1609, and from 1629 trained in London as a surgeon. He worked at both Barts and St Thomas’s Hospitals, the latter for 53 years.

fig 2. An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame.
fig 2. Portrait of Lucy Hollier (1623-1677); Circle of Cornelius Johnson.

He is famous for operating on Samuel Pepys for the removal of a large bladder stone in 1658. This was in the days when such surgery without anaesthetics or antiseptics often led to death. In 1662, Thomas did 30 consecutive stone operations without losing a single patient. He became a close friend of Samuel Pepys and Robert Boyle.

fig 3. An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame.
fig 3. Portrait of Lucy Hollier (1623-1677); Circle of Cornelius Johnson.

CORNELIUS JOHNSON (Jonson, Jansen, Van Ceulen) 1593-1661 was born in London, the son of Flemish emigres.

Although Waterhouse thought he was trained in Holland it seems more likely (as Collins Baker has it) that Marcus Gheeraerts was his master in London.

fig 4. An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame.
fig 4. Portrait of Lucy Hollier (1623-1677); Circle of Cornelius Johnson.

Johnson is the most satisfying and 'English' of the portraitists working in England at time. He has a fine technique with a restrained and introspective style, with careful attention to the costume details.

fig 5. An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame.
fig 5. Portrait of Lucy Hollier (1623-1677); Circle of Cornelius Johnson.

His accurate portraits are never flattering but a sober and objective portrayal of his usual sitters: the rich merchant class, the gentry and lesser nobility. His style, and that of his Circle is easily identified by its coolness and restraint.

SIZE: 36.25 x 31 inches framed.

PROVENANCE: By family descent. (A card with much more information accompanies the painting) The final image shows the portrait hanging (upper right) in the Abbots Room, Flaxley Hall. (Messel Family Archives)

Height
92cm (36.22")
Width
79cm (31.10")
Depth
5cm (1.97")
Date of Manufacture

Roy Precious - Antiques & Fine Art has dated this 17th Century Portrait Painting to the 17th Century.

Reference Numbers
Sellingantiques Ref
SA898844
Dealers Internal Ref
9275
Roy Precious - Antiques & Fine Art
Roy Precious - Antiques & Fine Art
Sellingantiques verified Since Mar 2003

Roy and nadine precious: specialists in portraiture from the 16th to the 20th century. Established in 1972.

Dealer Profile

You can view the stock and full dealer information on the Roy Precious - Antiques & Fine Art Profile Page

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An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame.
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Archive I An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame.

Portrait of Lucy Hollier (1623-1677); Circle of Cornelius Johnson.

Archive II An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame. View II
Archive III An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame. View III
Archive IV An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame. View IV
Archive V An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame. View V
Archive VI An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame. View VI
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Roy Precious - Antiques & Fine Art
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An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame.
Portrait of Lucy Hollier (1623-1677); Circle of Cornelius Johnson.
Ref: SA898844
An oil painting on canvas depicting a seated 17th-century woman wearing a black hood, lace collar, and lace cuffs, holding a small book within a dark wooden frame.
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Every single antique dealer on our platform is individually approved by our internal team. We verify their professional trade history, ethical standards, and photographic quality to ensure a secure, high-standard buying environment. Upon joining, every dealer agrees to a strict 9-point code of conduct. While issues can occasionally arise, our dealers typically resolve them swiftly and directly with the buyer. In fact, since our founding in 2002, Sellingantiques has only had to step in to help resolve an issue on roughly five occasions—a true testament to the quality of our dealers and their dedication to your happiness.
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.

Seventeenth-century British portraiture, particularly from the Caroline and Commonwealth eras, is characterised by formal posture, muted palettes dominated by dark attire, and intricate lace detailing to signal status.

Artists utilised ground mineral pigments suspended in linseed or walnut oil, applied onto hand-stretched linen canvases or oak panels, framed within timber mouldings.

Authentic works exhibit age-appropriate craquelure patterns across the paint film, natural oxidisation on the canvas reverse, period stretcher construction, and historical costume details.

Position the framed canvas as a focal point against a dark, saturated wall colour or within a curated gallery wall to create architectural contrast.

Display the artwork away from direct sunlight and fluctuating humidity, dust gently with a soft brush, and engage a professional conservator for cleaning or repair.
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