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Later Stuart Portraits Catalogue

Mary of Modena (1658-1718), Queen of James II

Note: A study of the medals showing Mary of Modena as Queen was made by H. Farquhar, The British Numismatic Journal, VI, 1910, within her article on James II, pp 213-85. See also Medallic Illustrations of The History of Great Britain and Ireland, British Museum, lx, lxiii and lxvi.

As Duchess of York
c.1674
Painting by Peter Lely, three-quarter-length seated, right hand on spaniel, signed. Althorp (R. B. Beckett, Lely, 1951, no.322, pl.119; K. J. Garlick, ‘A Catalogue of Pictures at Althorp’, Wal. Soc., XLV, 1976, no.396). Exhibited Painted Ladies at the Court of Charles II, NPG/New Haven, 2001, no.61, illus.

Miniature by Richard Gibson probably after Lely, three-quarter-length seated in golden dress, left hand in lap. Sotheby’s, 9 June 1994, lot 30 (with companion piece of James II after Lely).

c.1675-78
Painting by Peter Lely, three-quarter-length seated, left hand on spaniel, a bas-relief behind her. Wakefield Lodge, from the Richmond Art Museum, Richmond IN (deaccessioned 2001). Versions in the Clumber sale, Christie’s, 4 June 1937, lot 57 as the Duchess of Portsmouth; Cirencester (Earl Bathurst, Catalogue of the Bathurst Collection …, 1908, pp 14-15, illus.; R. B. Beckett, Lely, 1951, no.319), and Schloss Celle. Engraving published by R. Tompson (J. Chaloner Smith, British Mezzotinto Portraits, 51; C. Blackett-Ord, ‘Richard Tompson’, Wal. Soc., LXX, 2008, T.46, fig.40 as c.1678-79). The many half-length versions include those at Burton Constable, Boughton, and the Shire Hall, Warwick (formerly with Lord Hinchingbrooke). A bust-length version is in the Victoria Art Gallery, Bath (illus. C. Oman, Mary of Modena, 1962, f.p.14).
An engraving published by A. Browne by 1684 (J. Chaloner Smith, British Mezzotinto Portraits, 43; S. Turner, ‘Alexander Browne’, Wal. Soc., LXX, 2008, B.29, fig.100), shows the same basic pose but holding a wreath in her right hand, her left in her lap (R. B. Beckett, Lely, 1951, no.320).

Painting by Simon Verelst signed, three-quarter-length seated, a rose in her left hand in her lap, her right arm resting on a table on which stands a vase of flowers; signed. Yale Center for British Art (B1979.19) from Sotheby’s, 23 November 1977, lot 43. Exhibited Painted Ladies at the Court of Charles II, NPG/New Haven, 2001, no.62, illus. Versions, showing minor variations in the flowers on the table, at Longleat; the Army and Navy Club, London (presented in 1864); sold Lempertz Auktion, 15 November 1995, lot 1306, and on the London art market 2005 (from a French private collection). A variant showing a statuette of Victory in the left background, from the Tollemache Estates and Parham Park, sold Sotheby’s, 4 July 2001, lot 32. An oval version at Kedleston (illus. P. Bagni, Benedetto Gennari e la bottega del Guercino, 1986, p 92). A half-length portrait by Verelst was in the Royal Collection in the reign of Queen Anne (see O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, p 132).
Two half-length oval copies of 1681 by Benedetto Gennari were made for Italian clients, one, now in a private collection in Modena, formerly in the Molza di Modena collection (P. Bagni, Benedetto Gennari e la bottega del Guercino, 1986, p 91, no.54; p 154, no.68).

c.1675-80
Miniature by Susannah-Penelope Rosse, bust-length oval. Christie’s, 13 December 1983, lot 82, from the collection of the Duke of Beaufort. Signed version sold Christie’s, 12 October 1982, lot 47. The head closely resembles that in the Verelst portrait above. A replica is in the Royal Collection (Reynolds 1998, no.161, illus.).

Painting by Peter Lely, three-quarter-length seated, right hand on lamb’s head, left at breast. Royal Collection (R. B. Beckett, Lely, 1951, no.321; O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.245). Miniature copy of the head by Richard Gibson at Welbeck (R. W. Goulding, Catalogue of Pictures belonging to … the Duke of Portland …, C. K. Adams ed., 1936, no.163, pl.xiv as of Lady Elizabeth Percy).

Painting attributed to Lely, standing three-quarter-length to left, her right hand picking orange blossom, her left resting on a sprig on a table. Suffolk collection, English Heritage (R. B. Beckett, Lely, 1951, no.323; The Suffolk Collection, exhibition catalogue., Ranger’s House, Blackheath, 1975, no.39, illus.). Engraved H. H. Quiter (F. W. H. Hollstein, German Engravings Etchings Woodcuts 1450-1700, 18, illus.) and, in reverse, A. Blooteling (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 183, illus.). A half-length version by Gennari in the museo Civico, Modena (illus. P. Bagni, Benedetto Gennari e la bottega del Guercino, 1986, p 75, no.38, and see p 149, no.25).

A pastel by T. Trumpton copied from this head is in the National Gallery of Ireland (6024).

Painting by Peter Lely, whole-length standing, a large stone vase of flowers to the left, engraved P. Vandrebanc (R. B. Beckett, Lely, 1951, no.324); another published by A. Browne before 1684 (J. Chaloner Smith, British Mezzotinto Portraits, 44; a second state showing a deer on the right; S. Turner, ‘Alexander Browne’, Wal. Soc., LXX, 2008, B.30, fig.101, noting a similar Lely whole-length composition at Goodwood called ‘Mrs Midelton’).

c.1675
Painting by Simon Verelst, three-quarter-length standing wearing riding habit, crop in left hand, hat just visible in right. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.293, pl.129).

1677
Miniature by Peter Cross, bust-length oval in white shift with blue drape, the head tilted slightly to the right. Sotheby’s, 30 June 1980, lot 94. A dated version in the Fitzwilliam Museum (3833; illus. R. Bayne-Powell, Catalogue of Portrait Miniatures in the Fitzwilliam Museum, Cambridge, 1985, p 52; British Portrait Miniatures in the Fitzwilliam Museum, 1998, p 67). A version at Althorp (illus. J. J. Foster, The Stuarts, 1902, f.p.58) and a related engraving by G. Valck (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 69).

1679
Painting by Peter Lely, inscribed 1679, whole-length seated, right hand at breast, left hand holding a rose in her lap, a statue seen in profile behind her. Kedleston; from Philip, 4th Lord Wharton (see O. Millar, Burlington Magazine, CXXXVI, 1994, p 530).

A half-length painting, with copies of another and ‘a head’, were in Lely’s posthumous sale, 18 April 1682 (Burlington Magazine, LXXXIII, 1943, pp 188, 191).

Painting attributed to Lely, three-quarter-length seated, wearing an ermine-trimmed dress, left hand in lap, sold Sotheby’s, 30 July 1969, lot 31.

As Queen 1685-88

c.1685-87
Painting by Willem Wissing, whole-length, crowned, in state robes, sceptre in left hand. Duke of Buccleuch (illus. Liverpool, Kings and Queens, 1953, souvenir, pl.21), the head similar to that in NPG 214. Engraving pub. R. Tompson as a half-length oval, without crown (J. Chaloner Smith, British Mezzotinto Portraits, 34; C. Blackett-Ord, ‘Richard Tompson’, Wal. Soc., LXX, 2008, T.49, fig.43). A whole-length by Wissing, formerly in the German Imperial collection (paired with a James II) (H. Börsch-Supan, ‘Die Gemälde aus dem Vermächtnis der Amalie von Solms und aus der Oranishen Erbschaft in den Brandenburgisch-preussischen Schlössern’, Zeitschrift für Kunstgeschichte, XXX, 1967, p 194, no.83), presumably derived from this type. A variant showing a putto upper left, bearing a laurel wreath, is at Petworth (cat. 1920, p 136, no.505). An eccentric whole-length derivation belongs to the States Offices, Jersey CI, and a three-quarter-length version, with the crown on a ledge to the right, is at Scone.

c.1685
Painting by Willem Wissing, see NPG 214.

Painting attributed to Riley, three-quarter-length seated in ermine-trimmed cloak, sceptre in right hand, the crown on table to the right. Althorp (K .J. Garlick, ‘A Catalogue of Pictures at Althorp’, Wal. Soc., XLV, 1976, no.551, pl.14 as Mary II), from the Duchess of Marlborough’s collection at Holywell House.

Painting by John Riley, three-quarter-length, seated to left, informally dressed, right hand resting on dog, left holding drape in lap. Bodleian Library (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, I, p 84, no.211; Catalogue of Portraits in the Bodleian Library by Mrs R. L. Poole completely revised and expanded by K. Garlick, 2004, p 220), received in 1720 from Bishop Crew who described it in his will as ‘drawn by Mr Riley’ (see Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, I, p 65, under no.161). A version sold Christie’s, 23 June 1972, lot 120 as by Lely. A version with a different head - clearly not intended for Mary of Modena - is at Cullen House.

Painting by Godfrey Kneller, three-quarter-length standing, in jewelled costume, left hand on crown at her side. Chirk Castle (J. D. Stewart, Godfrey Kneller, 1983, no.483). Exhibited Age of Charles II, RA, 1960, no.376. Assumed to be from the companion piece to NPG 666, see James II. Whole-length versions sold Malhams, Audley House School, 25 April 1995, lot 67, and Combe Abbey sale, Sotheby’s, 27 November 1968, lot 18. Engraved I. Beckett (J. Chaloner Smith, British Mezzotinto Portraits, 70) and J. Smith 1703 (J. Chaloner Smith, British Mezzotinto Portraits, 169; E. T. Corp, La cour des Stuarts à Saint-Germain-en-Laye, exhibition catalogue, Saint-Germain-en-Laye, 1992, no.25, illus.). The Beckett print is listed by J. D. Stewart, Godfrey Kneller, 1983, no.481 as after a portrait of c.1680-85.

Painting by Godfrey Kneller, small whole-length standing, her left hand on sceptre on a table, her right holding ermine-trimmed cloak, a carved lion to the left. Sotheby’s, 29 June 1960, lot 32 (J. D. Stewart, Godfrey Kneller, 1983, no.482 as probably the modello for a lost state portrait).

Painting attributed to Kneller, whole-length standing with ermine-trimmed cloak, right hand at breast, with companion piece of James II. Arundel Castle, see James II c.1685.
See also under James II c.1685 for another pair of portraits by Kneller c.1685 formerly in the collection of Lord Aston, and for copies after Kneller by Francati formerly in the collection of George Clarke.

Miniature by Peter Cross, the head tilted slightly to the left. Ham House (HH377-1948; illus. J. Murdoch, Seventeenth-century English Miniatures in the Collection of the Victoria and Albert Museum, 1997, p 284).

1686
Painting by Nicolas de Largillierre, half-length oval. From Hinchingbrook, Christie’s, 4 March 1927, lot 25, perhaps the companion piece to James II by Largillierre now in the National Maritime Museum (BHC2798). Engraved J. Smith 1686 (J. Chaloner Smith, British Mezzotinto Portraits, 171; S. Turner, ‘Alexander Browne’, Wal. Soc., LXX, 2008, B.31, fig.102) and I. Beckett (J. Chaloner Smith, British Mezzotinto Portraits, 71).

Painting by Godfrey Kneller, bust-length oval, in rich costume, her crown in the left background; engraving by R. White (illus. A. Griffiths, The Print in Stuart Britain, British Museum, 1998, no.139).

1688
Engraving by Bernard Lens II, with her new-born son (illus. PQ, VI, 1989, p 50); satirised in another print listed in F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, under P. Schenck (2068) and J. Gole (235), in which a lascivious Father Petre is added (illus. A. Griffiths, The Print in Stuart Britain, British Museum, 1998, no.209).

c.1688?
Unattributed painting, seated three-quarter-length wearing ermine-trimmed cloak, left hand at breast, her crown to the left. Glamis Castle. Another at Weston Park showing sceptre in left hand and a tress of hair in her right.

Exile 1688-1718

1690
Painting by Benedetto Gennari, whole-length seated, supporting her infant son who stands on a table at her side. Sotheby’s, 9 April 1997, lot 22 (illus. P. Bagni, Benedetto Gennari e la bottega del Guercino, 1986, p 116, no.74, and see p 163, no.8). A three-quarter-length version was in a private collection in Modena 1914, and a half-length sold Christie’s East NY, 19 October 2000, lot 146.

c.1690
Painting ascribed to Benedetto Gennari, three-quarter-length standing to right, her right hand extended, her crown at her side. Prado, Madrid (2399).

c.1690?
Painting by unknown French artist, oval made up to rectangle in the early 19th century; half-length standing to left, right hand at breast. musée de Versailles (5777; Les Peintures, 1995, II, p 1030).

1691
Painting by Benedetto Gennari, half-length oval with ermine-lined cloak. Stonyhurst College (illus. P. Bagni, Benedetto Gennari e la bottega del Guercino, 1986, p 119, no.76, and see p 164, no.20).
Gennari’s lists (P. Bagni, Benedetto Gennari e la bottega del Guercino, 1986, pp 163-64) include three untraced portraits of Mary painted at Saint-Germain-en-Laye between 1689 and 1692.

Painting by Nicolas de Largillierre of James II, Mary of Modena and their son. Untraced (listed E. T. Corp, The King over the Water, Portraits of the Stuarts in Exile from 1689, Scottish NPG, 2001, p 106 as lost).

1695
Painting by Pierre Mignard, a family group.

An unattributed bust-length from the collection of the Marquess of Lansdowne, sold Christie’s, 16 May 1952, lot 63, shows an identical hair-style and may emanate from Mignard’s circle.

c.1698
Painting by François de Troy, three-quarter-length reduced to kit-cat size, seated to left with ermine-trimmed dress, her crown on a table to the left. Sizergh Castle (E. T. Corp, La cour des Stuarts à Saint-Germain-en-Laye, exhibition catalogue, Saint-Germain-en-Laye, 1992, no.105 as by Belle, illus. p 23; E. T. Corp, The King over the Water, Portraits of the Stuarts in Exile from 1689, Scottish NPG, 2001, p 106 as de Troy) paired with a James II by Belle after Kneller. A copy by A.-S. Belle, dated c.1712 by Corp, in a private collection, is paired with a James II by Belle after Kneller (E. T. Corp, La cour des Stuarts à Saint-Germain-en-Laye, exhibition catalogue, Saint-Germain-en-Laye, 1992, p 118; listed E. T. Corp, The King over the Water, Portraits of the Stuarts in Exile from 1689, Scottish NPG, 2001, p 106, illus. p 50). A version in a private collection in Andover MA in 1973, and a half-length in the English Convent, Bruges (illus. Britain in Bruges, Bruges, 1966, no.22).

History
Painting by Pierre Gobert 1712-15, Mary of Modena holding a cross which she presents to James III.
Private collection, originally presented to the monastery at Chaillot in 1715 (listed by E. T. Corp, The King over the Water, Portraits of the Stuarts in Exile from 1689, Scottish NPG, 2001, p 107, a detail illus. p 52). Described in E. & M. S. Grew, The English Court in Exile, 1911, p 117 as by Rigaud; M. Haile, Queen Mary of Modena, 1905, p 514 (a confused account) cites Gobert as the painter rather than Rigaud. Gobert also painted a lost portrait of Mary of Modena 1713 (E. T. Corp, The King over the Water, Portraits of the Stuarts in Exile from 1689, Scottish NPG, 2001, p 107).

Doubtful Portrait
Painting by Peter Lely c.1677, whole-length, her right hand on a vase decorated with a coronet and containing an orange tree. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.244). Possibly showing the Duchess of Richmond.



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.