Ann Fanshawe (born 1654), daughter of Sir Richard Fanshawe
after 1700 – before 1750
Fanciful portrait of a young woman depicted as the goddess Diana. She is wearing a silver silk gown and has pearls in her hair. She is leaning her head on her right hand, the arm of which is bent at the elbow and resting on a covered plinth. She has a dear's head resting on her lap, on top of which she rests her left hand. The portrait has a landscaped background.
Sir Peter Lely (original name Pieter van der Faes), Baroque portrait painter known for his Van Dyck-influenced likenesses of the mid-17th-century English aristocracy. The origin of the name Lely is uncertain. He studied in Holland at Haarlem, where he became a guild member in 1637. He probably arrived in England in about 1643, and he soon gained the patronage of the court, painting portraits of Charles I and James, duke of York. He was a buyer at the sale of Charles I's picture collection (1649-53) and in about 1651 petitioned Parliament for the mural decoration of Whitehall. Lely was a connoisseur and was known for his own fine collection of art. He prospered during the Commonwealth and even more during the Restoration, when he produced his finest portraits. In 1661 he received a pension of £ 200 a year, ?as formerly to Van Dyck.? He was knighted in 1679. Lely was the most technically proficient painter in England after the death of Van Dyck. During the Commonwealth he adopted a severe, puritanical style, but his Restoration portraits of women are noted for their subtle colouring, skillful rendering of silk, and the air of sensuous languor with which they invest their subjects - e.g., the portrait series of court ladies entitled The Windsor Beauties (1660s; Hampton Court, London). Simultaneously he painted the portrait series of the Admirals (1666-67) at Greenwich, the best of them rugged and severely masculine characterizations. Lely's late works are marred by stylistic mannerisms and decreasing vitality.
Whole height: 420mm
Canvas height: 305mm