Portrait of Elizabeth Spencer C.1665; Follower of Sir Peter Lely (1618-1680), Antique Oil on Canvas Painting

This work formed part of the collection of family pictures and heirlooms of the ancient Gresley Baronets at their family seat, Drakelow Hall, Burton-on-Trent. The Gresley’s held Drakelow for almost 1,000 years and 28 generations, a record of continuity scarcely matched by any other family in England. The last Gresley of Drakelow, Sir Robert, sold the contents of the mansion in a seven-day 2200-lot sale in July 1931 and thus dismantling a collection that was accumulated over many centuries

This charming portrait was painted around 1665 - it is characteristic of the type of portrait painted by Sir Peter Lely and his contemporaries at this time. The sitter is Lady Elizabeth Spencer, by tradition, and the portrait is known to have been at Drakelow as early as 1899 by an inventory of pictures taken that year (listed as “Lady E Spencer”). It may have come to Drakelow through the marriage of Sir Robert Gresley (1866–1936) to Lady Frances Spencer Churchill (1870-1954), eldest daughter of George, Duke of Marlborough.

The Gresleys were an ancient Norman family, descended from Nigel de Stafford, the son of Robert de Stafford, scion of one of the most powerful families in England. A suggestion based mainly upon the Stafford surname, descendants of Raoul of Tosny, his descendants can claim a pedigree unmatched in Europe for antiquity (origins in the myth-history of the Norseman). Nigel's son, also named Nigel, took the name Gresley after he acquired Castle Gresley in Derbyshire.

Though mainly Elizabethan in character, Drakelow Hall had been altered and restored at different periods but never actually rebuilt. The Domesday Book recorded Nigel de Stafford holding the Manor of “Drachelawe” near the conclusion of the 11th century. Centuries have past, three dozen monarchs have been entombed, yet up to 1931, the children of Nigel de Stafford have still held Drakelow - as long as any family in England is said to have owned the same manor.

At the time the contents were sold in 1931 there were many panelled rooms with antique furniture, five oaken beds dated from the reigns of Queen Elizabeth I and James I, while two early 17th century ebony beds were probably brought back from Spain by Walsingham Gresley (1585-1633) who was attached to the British Embassy in Madrid. A valued 16th century heirloom was the Gresley Jewel, a fine specimen in the form of a pendant, presented by Elizabeth I to Catherine Sutton, daughter of Lord Dudley, on the occasion of her marriage to Sir George Gresley, K.B.

Held in a very fine quality antique carved and gilded frame.

Sir Peter Lely’s character and art dominated the art world of the second half of the seventeenth century in England. Everyone of consequence in his age sat to him, and it is in his portraits that we form our conception of English portraiture during the Protectorate and years following the Restoration.

He was the son of a Dutch military officer, and was born in at Soest in Westphalia in 1618. He studied in Haarlem before moving to London in 1641. He was employed by the Duke of Northumberland, who had the royal children in his care, and he was able to study the Northumberland Collection of works by Van Dyke and Dobson. He eventually became the best-known portraitist in England. In 1661 he was appointed Principal Painter to the King and from then on he maintained a busy studio painting the most elite and influential members of the court and of everyone of importance.

Lely was a connoisseur and was also known for his own fine art collection assembling one the finest non-princely collections in Europe including more than 25 of Van Dyke’s major English works, Old Masters including Veronese, Titian, Claude Lorrain and Rubens, and a notable collection of drawings.

Provenance:

Sir Robert Gresley, 11th Baronet (1866–1936), Drakelow Hall, his sale July 1931;

Sotheby'

Much more info about this item at: www.titanfineart.com

In a market saturated with available paintings, Titan Fine Art offers a distinct advantage: we sift through thousands of works to provide a specially curated selection. Each piece is meticulously chosen based on technical merit, provenance, and decorative appeal, ensuring our clients view only the finest examples of British and European art.

With over 20 years of expertise and 1,000+ works placed with collectors and institutions, we are one of the most prolific specialists in 17th and 18th-century portraiture. We combine a scholarly approach with museum-level rigor to replace the uncertainty of the open market with absolute confidence.

Why Buy From Titan Fine Art?

• Expertly Curated Selection

We act as your expert eye, selecting only high-quality works that offer genuine historical and artistic value.

• Museum-Level Research

Each portrait is supported by extensive academic research, often exceeding 40 hours, to establish attribution, sitter identity, and historical context.

• Professional Conservation

All paintings are carefully cleaned and stabilised by professional conservators, and are presented ready to hang.

• Transparent Pricing

No buyer’s premium or hidden fees—unlike auction houses, where additional costs can add 25–35%.

• Export Pricing Advantage

Reduced pricing is available for works exported outside the UK.

• Specialist Global Shipping

We manage the entire process, including custom crating, export documentation, and fully tracked delivery worldwide.

• Buy with Confidence

A 7-day return policy and the option to pay in GBP, USD, or EUR for convenience and transparency.

• Original Period Frames

Many works retain their original carved and gilded frames, which are works of art in their own right and enhance both historical authenticity and decorative impact.

• Personal Advisory Service

We work directly with collectors and interior designers, offering guidance on selection, scale, and placement—including bespoke room mock-ups on request.

Subscribe to our monthly 'new item alert' to be the first to hear about new works