詳情
CIRCLE OF MARCUS GHEERAERTS THE YOUNGER (BRUGES 1561/1562-1635/1636 LONDON)
Portrait of Mary Whitmore, Lady Montagu (1575-1652), full-length, in a black dress, holding a fan
oil on canvas
811⁄8 x 471⁄2 in. (206 x 120.6 cm.)
來源
By descent from the sitter to her daughter,
Anne North, Lady North, née Montagu, wife of Dudley North, 4th Baron North (1602-1677), Kirtling Tower, Cambridgeshire, and by descent in the family to,
William North, 11th Baron North (1836-1932), Wroxton Abbey, Oxfordshire; his sale (†), E.H. Tipping, on the premises, 22 May 1933 (=1st day).
with Sabin Galleries, London, by 1980, where acquired by the present owner.
出版
L. Cust, ‘Marcus Gheeraerts’, The Volume of the Walpole Society, III, 1913-14, p. 36. Pl. XVIII(b), with incorrect literature reference.
特別通告
Specified lots are being stored at Crozier Park Royal (details below) or will be removed from Christie’s, 8 King Street, London, SW1Y 6QT by 5.00pm on the day of the sale. Christie’s will inform you if the lot has been sent offsite. If the lot has been transferred to Crozier Park Royal, it will be available for collection from 12.00pm on the second business day following the sale. Please call Christie’s Client Service 24 hours in advance to book a collection time at Crozier Park Royal. All collections from Crozier Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s, 8 King Street, it will be available for collection on any working day (not weekends) from 9.00am to 5.00pm
Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.
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榮譽呈獻

拍品專文

The sitter was the daughter of Sir William Whitmore, a London merchant, and Anne Bond. She married Sir Charles Montagu (c.1564-1625), son of Sir Edward Montagu, and Elizabeth Harrington of Boughton, Northamptonshire. The marriage produced three daughters, the eldest of which, Anne, married Lord Dudley North, 4th Baron North, and to whom this portrait passed (see provenance).

The sitter’s dress, with the open ruff and gauze puffs at the inner edge, can be dated to circa 1600 and can be compared with that worn by Elizabeth Finch, Countess of Winchelsea, in Gheeraerts’s three-quarter-length portrait inscribed ‘Ano 1600’ (Private collection; see Dynasties, Painting in Tudor and Jacobean England 1530-1630, exhibition catalogue, London, 1995, pp. 179-180, no. 122).

We are grateful to Karen Hearn for her thoughts on the portrait.

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