Later Stuart Portraits Catalogue
William Lloyd (1627-1717), Bishop of Worcester
- Gallery portraits
- All known portraits
- Biography and References
See also J. Ingamells, The English Episcopal Portrait 1559-1835, catalogue, 1981, pp 278-79.
The Beale pocket books show that Mary Beale painted Lloyd, a close family friend, in 1674, a half-length in 1677, and a half-length for Bishop Burnet in 1680.
1680-88
Engraving by D. Loggan half-length oval, own white hair, wearing rochet and chimere (ad vivum delin: et sculp:); an example is NPG 633. A painted bust-length oval copy in the National Museum, Cardiff (144).
1680
Painting by Mary Beale, wearing rochet and chimere. Shirburn Castle, possibly from Gilbert Burnet. Identified by Richard Jeffree (letter of 27 August 1979 on file) who compared the head with that of Lloyd in NPG 79.
1688-89
See NPG 79 and NPG 152a.
c.1710-13
Unattributed painting, three-quarter-length seated, own white hair, wearing rochet and chimere, left hand on open book. Lambeth Palace. Exhibited First Special Exhibition of National Portraits ( ... ending with the reign of James the second), South Kensington, 1867, no.1006. A version exhibited Worcestershire Exhibition, Worcester, 1882, historical section, no.130, lent by the Misses Lunn. A crude copy in St Martin-in-the-Fields, London, and a 19th-century copy in the Bishop’s Palace, Lichfield.
1713
Drawing by Thomas Forster, bust-length, own white hair, with skullcap, wearing rochet and chimere, engraved G. Vertue 1713 (Tho. Forster ad vivum delin. … Anno Dominis 1713 …; D. Alexander, ‘George Vertue as an Engraver’, Wal. Soc., LXX, 2008, no.94).
1714
Painting by Frederick W. Weideman, three-quarter-length seated in a library, own white hair, skullcap, wearing rochet and chimere, engraved G. Vertue 1714 (Fred. Wil. Weideman pinxit … Anno Domini 1714 Consecrationis 35 Aetatis 87; D. Alexander, ‘George Vertue as an Engraver’, Wal. Soc., LXX, 2008, no.112). Resembling Forster’s drawing, see above.
c.1714
Painting by Enoch Seeman, half-length painted oval, own white hair, skullcap, wearing rochet and chimere, signed. Hartlebury Castle (illus. J. Ingamells, The English Episcopal Portrait 1559-1835, catalogue, 1981); the date 1714 has been recorded after Seeman’s signature (J. Nankivell, The Collection of Portraits at Hartlebury Castle, 1953, p 50).
1718
Monument by James Withenbury with half-length figure. Formerly church of St John the Baptist, Fladbury, Worcs.; destroyed 1865.
Two unattributed portraits listed at Hardwicke Court, Glos. in 1898 (NPG notes on collections).
This extended catalogue entry is from the National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Later Stuart Portraits 1685-1714, National Portrait Gallery, 2009, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.
The Beale pocket books show that Mary Beale painted Lloyd, a close family friend, in 1674, a half-length in 1677, and a half-length for Bishop Burnet in 1680.
1680-88
Engraving by D. Loggan half-length oval, own white hair, wearing rochet and chimere (ad vivum delin: et sculp:); an example is NPG 633. A painted bust-length oval copy in the National Museum, Cardiff (144).
1680
Painting by Mary Beale, wearing rochet and chimere. Shirburn Castle, possibly from Gilbert Burnet. Identified by Richard Jeffree (letter of 27 August 1979 on file) who compared the head with that of Lloyd in NPG 79.
1688-89
See NPG 79 and NPG 152a.
c.1710-13
Unattributed painting, three-quarter-length seated, own white hair, wearing rochet and chimere, left hand on open book. Lambeth Palace. Exhibited First Special Exhibition of National Portraits ( ... ending with the reign of James the second), South Kensington, 1867, no.1006. A version exhibited Worcestershire Exhibition, Worcester, 1882, historical section, no.130, lent by the Misses Lunn. A crude copy in St Martin-in-the-Fields, London, and a 19th-century copy in the Bishop’s Palace, Lichfield.
1713
Drawing by Thomas Forster, bust-length, own white hair, with skullcap, wearing rochet and chimere, engraved G. Vertue 1713 (Tho. Forster ad vivum delin. … Anno Dominis 1713 …; D. Alexander, ‘George Vertue as an Engraver’, Wal. Soc., LXX, 2008, no.94).
1714
Painting by Frederick W. Weideman, three-quarter-length seated in a library, own white hair, skullcap, wearing rochet and chimere, engraved G. Vertue 1714 (Fred. Wil. Weideman pinxit … Anno Domini 1714 Consecrationis 35 Aetatis 87; D. Alexander, ‘George Vertue as an Engraver’, Wal. Soc., LXX, 2008, no.112). Resembling Forster’s drawing, see above.
c.1714
Painting by Enoch Seeman, half-length painted oval, own white hair, skullcap, wearing rochet and chimere, signed. Hartlebury Castle (illus. J. Ingamells, The English Episcopal Portrait 1559-1835, catalogue, 1981); the date 1714 has been recorded after Seeman’s signature (J. Nankivell, The Collection of Portraits at Hartlebury Castle, 1953, p 50).
1718
Monument by James Withenbury with half-length figure. Formerly church of St John the Baptist, Fladbury, Worcs.; destroyed 1865.
Two unattributed portraits listed at Hardwicke Court, Glos. in 1898 (NPG notes on collections).
This extended catalogue entry is from the National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Later Stuart Portraits 1685-1714, National Portrait Gallery, 2009, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.