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Later Stuart Portraits Catalogue

Queen Mary II (1662-1694), Reigned with William III 1689-94

Note: A study of the medals showing Mary II was made by H. Farquhar, The British Numismatic Journal, VII, 1911, pp 198-267. See also Medallic Illustrations of The History of Great Britain and Ireland, British Museum, between lxxii and xciv.

As Stuart Princess

1668-74
Painting by Peter Lely completed by Benedetto Gennari, with her parents and sister. Royal Collection. See James II.

c.1670?
Miniature attributed to Richard Gibson, as a child with pearl necklace and sash. Rijksmuseum (A4312; Cat. Supp., 1992, p 110; Mauritshuis, Illus. Gen. Cat., 1977, no.995 as Dixon).

c.1675-80
Engraving by P. Schenck, seated in a garden, her left hand picking fruit from a salver brought by a black page, a palace in the right distance (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 783; illus. H. & B. van der Zee, William and Mary, 1973, f.p.52). A composition used, for example, by Caspar Netscher in 1675 (M. E. Wieseman, Caspar Netscher, 2002, no.145).

c.1675?
Painting by Peter Lely, bust-length painted oval to left. Private collection (Earl Bathurst, Catalogue of the Bathurst Collection …, 1908, pp 18-19, illus.; R. B. Beckett, Lely, 1951, no.325 and see no.326). An oval version in the Lady Lever Art Gallery (LL 3165); both illustrated Lady Lever Cat., 1999, pp 96-97. Further versions include those at Audley End and Het Loo. Related engravings by G. Valck 1678 and 1680 (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 58, 59), H. H. Quiter (F. W. H. Hollstein, German Engravings Etchings Woodcuts 1450-1700, 17, illus.) and published by R. Tompson (J. Chaloner Smith, British Mezzotinto Portraits, 34; C. Blackett-Ord, ‘Richard Tompson’, Wal. Soc., LXX, 2008, T.48, fig.42). A similar head engraved J. Griffier (J. Chaloner Smith, British Mezzotinto Portraits, 8).

c.1677
Painting by Peter Lely, see NPG 6214.

Painting by Peter Lely, the head relating to that in NPG 6214 but turned more to the front, seated in a landscape with flowers in her left hand. Portland Art Museum OR, from Dunrobin. A miniature attributed to Nicholas Dixon in the Royal Collection (G. Reynolds, The sixteenth and seventeenth-century Miniatures in the Collection of Her Majesty The Queen, 1999, no.153, illus.) relates to this type, though the identity may be questioned.

Painting by Peter Lely, the head relating to that in NPG 6214, three-quarter-length standing as Minerva, spear in left hand. Christie’s NY, 11 January 1979, lot 235.

Painting by Peter Lely, the head relating to that in NPG 6214, three-quarter-length standing, with a basket of flowers (R. B. Beckett, Lely, 1951, no.327), engraving published by R. Tompson (J. Chaloner Smith, British Mezzotinto Portraits, 33; C. Blackett-Ord, ‘Richard Tompson’, Wal. Soc., LXX, 2008, T.47, fig.41).

As Princess of Orange in Holland 1678-89

c.1680
Painting attributed to Caspar Netscher, bust-length oval. Althorp (K. J. Garlick, ‘A Catalogue of Pictures at Althorp’, Wal. Soc., XLV, 1976, no.474; M. E. Wieseman, Caspar Netscher, 2002, under B25e). The companion piece of William III is based on a 1675 pattern.

1683
Marble bust by Rombout Verhulst, set on a shell. Mauritshuis (366).

Painting by Caspar Netscher, whole-length seated in a garden, with an ermine cloak, surrounded by statuary, a rose bush in a stone vase in the left foreground, a macaw to the left, dated. Hermitage, St Petersburg (1082; M. E. Wieseman, Caspar Netscher, 2002, no.216). A version is in the Rijksmuseum (195), exhibited William and Mary, Arts Council, 1950, no.38, and others include those at Het Loo and Abercairny House, Edinburgh (see M. E. Wieseman, Caspar Netscher, 2002, nos. 216a-g); another sold Christie’s, 23 May 1986, lot 152.

1685
Painting by Willem Wissing, three-quarter-length seated in a landscape with an ermine-lined cloak, holding a veil round her left shoulder with her right hand, signed. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.323, pl.136). Associated with James II’s commission to Wissing to paint William and Mary, then the Prince and Princess of Orange, in Holland (see William III). A good version at Drayton House.
Wissing’s pattern was repeated and modified during the remainder of Mary’s life (see P. E. R. Hall, ‘The Wissing Portraits of Mary II’, unpub. typescript, 1975 for a valuable discussion of these portraits), after Wissing’s death in 1687 by his pupil Jan Van der Vaart (and apparently by Verkolje, see NPG 606). After 1689 the crown was often included or added on the right. Versions abound, but the following types (with principal examples) may be distinguished.
a) Similar to NPG 606, but without the drape upper right. Untraced, formerly in the German State collection (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.88), completed by Wissing in 1687 for Mary herself. Comparative examples of this type include those at Berkeley Castle (with crown); Willey Park; Manchester City Art Gallery (1917.183); and at Huis ten Bosch (388; illus. S. B. Baxter, William III, 1966, p 193). A variant on panel formerly at Beverweerd Castle includes a damask curtain on the right and the crown (exhibited De Stadhouder-Koning, Amsterdam, 1950, no.381).
b) Without the veil, holding a lock of hair with her right hand, a central pillar behind her and a palace in the left distance. Cirencester, painted c.1686 (Earl Bathurst, Catalogue of the Bathurst Collection …, 1908, pp 22-23, illus.). Other examples are in the Suffolk collection, English Heritage (The Suffolk Collection, exhibition catalogue, Ranger’s House, Blackheath, 1975, no.45, illus.) and the Clarendon collection (R. Gibson, Catalogue of Portraits in the collection of the Earl of Clarendon, 1977, no.101, illus.).
c) Without the veil, holding a lock of hair with her right hand, a fluted column to the left and a palace in the right distance. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.324). Other examples include those at Dyrham Park; Ardblair Castle; Government Art Collection (290; illus. The Public Catalogue Foundation, Government Art Collection, 2007, p 311); Scottish NPG (PG 1385, see NPG 197; illus. Dynasty, Scottish NPG, 1990, p 88); from the Woburn sale, Christie’s, 19 January 1951, lot 154; and the Lowe Art Museum (University of Miami). Versions with a crown include those at Wisconsin University (15.1.1), and sold Phillips, 26 April 1982, lot 95, and Christie’s, 29 January 1988, lot 114. A variant at Lamport, paired with a William III, was acquired in 1696.
Miniature derivations include a bust-length pastel from c.1690 sold Sotheby’s, 21 March 2001, lot 140; miniatures attributed to Nicholas Dixon in the Royal Collection (G. Reynolds, The sixteenth and seventeenth-century Miniatures in the Collection of Her Majesty The Queen, 1999, no.156, illus.), and by Johan van Haensbergen in the Dutch Royal Collection (K. Schaffers-Bodenhausen & M. Tiethoff-Spliethoff, The Portrait Miniatures in the Collections of the House of Orange-Nassau, 1993, no.14).

As Mary II 1690-94

1690
Painting by Godfrey Kneller, whole-length standing in state robes, a crown on a table by her side, the Banqueting House in the distance. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.338, pl.150), companion to the William III (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.335). Engraved J. Smith 1695 (J. Chaloner Smith, British Mezzotinto Portraits, 172). For versions paired with William III, see William III 1690.
Versions of the Queen alone include those at Belvoir and Bob Jones University, Greenville, SC; reduced versions at Adlington; the Apothecaries’ Company (paired with the King); Berkeley Castle; Cobham Hall; Gripsholm (1195); National Maritime Museum (BHC2853); Scottish NPG (PG 1533); and formerly at Beloeil. Copies in the Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, nos. 365, 367), the latter given to the Government Art Collection (9123), and a miniature copy by Nicholas Dixon is at Welbeck (R. W. Goulding, Catalogue of Pictures belonging to … the Duke of Portland …, C. K. Adams ed., 1936, no.691).

Painting by William Claret, whole-length in state robes, right hand holding cloak, signed. County Hall, Northampton, ordered in 1689 (Sir George Scharf’s Trustees’ Sketch Books, 7:52), with a pendant of William III. A three-quarter-length version in the Assembly Rooms, Bath, showing right hand at breast.

Painting by John Ferrour, three-quarter-length in state robes, holding sceptre across her body, right hand stretched out before her, orb and crown at her side. King’s Lynn Town Hall, acquired 1690 with pendant of William III.

Painting by Jan Van der Vaart, whole-length standing in state robes, right hand by side. Corporation of London, purchased from R. Hayes ‘citizen and painter’, 1690, with pendant of William III.

c.1690-94
Painting by Jan Van der Vaart, almost whole-length seated, sceptre in left hand, right in lap, crown to right with distant palace. Helmingham. Engraved, reversed, W. Faithorne II 1698 (J. Chaloner Smith, British Mezzotinto Portraits, 24; a similar plate illus. E. K. Waterhouse, The Dictionary of 16th & 17th Century British Painters, 1988, p 268 as after Kneller). The head very close to NPG 197. Version sold Sotheby’s NY, 21 October 1988, lot 210. A whole-length version attributed to Jan Van der Vaart, orb in right hand, left hand holding up sceptre, sold Sotheby’s, 8 April 1998, lot 81. A bust-length oval version in robes at Petworth (cat. 1920, p 135, no.435) was engraved W. Faithorne II (J. Chaloner Smith, British Mezzotinto Portraits, 23) and J. G. Seiller (F. W. H. Hollstein, German Engravings Etchings Woodcuts 1450-1700, 60).

Painting by J. H. Brandon, three-quarter-length seated crowned, in state robes, sceptre in left hand, right in lap, palace and crown to left (i.e. showing two crowns). Het Loo (Rijksmuseum Paleis Het Loo, 1988, p 29). Version sold Sotheby’s, 10 November 1993, lot 29 as after Kneller (with pendant of the King). A variant showing her uncrowned, sold Christie’s, Luttrellstown Castle, 26 September 1983, lot 500.
A bust-length engraving by P. van Gunst after Brandon shows a somewhat different head.

Unattributed painting, whole-length seated, crown to the left, a dog at her feet, a large vase to the right. Ulster Museum, Belfast (U584 as attributed to Kneller, but it appears more a distant recollection of Caspar Netscher).

Engraving by I. Gole, half-length oval, crowned, with sceptre/orb in right hand, her throne behind her (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 96 illus.).

c.1690
Painting by Jan Verkolje, see NPG 606.

Unattributed marble medallion. Het Loo (illus. William and Mary 1979, no.52).

Unattributed painting, bust-length oval to left with ermine-trimmed cloak. West Wycombe. A three-quarter-length version, seated in a shell-shaped carved chair, sold Christie’s, 2 November 1984, lot 90. The face mask resembles that of the Kneller 1690 pattern. A half-length variant in the Uffizi (IC307) was acquired in 1723.

Painting by Godfrey Kneller, bust-length oval in ermine-trimmed cloak, engraved J. Smith (J. Chaloner Smith, British Mezzotinto Portraits, 173; J. D. Stewart, Godfrey Kneller, 1983, no.485, pl.81d).

Miniature, copy attributed to Peter Hoadley, half-length oval, conjoined with William III. Rijksmuseum (A4324). Another sold Christie’s South Kensington, 3 March 1994, lot 4.

Painting by Jan Van der Vaart, with fontange headdress, in everyday dress, a fan in her right hand. Audley End. Engraved J. Smith 1690 (J. Chaloner Smith, British Mezzotinto Portraits, 176; both illus. A. Ribeiro, Fashion and Fiction, 2005, pp 243, 288; see also de Later, F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 3). Apparently a pair to the portrait of William III engraved J. de Later (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 2; illus. A. Ribeiro, op. cit., p 287).

c.1690?
Miniature attributed to Charles Boit, bust-length oval, pair to one of her husband. Rijksmuseum (A4301). See William III NPG 1737.

1691
Painting by J. H. Brandon, three-quarter-length standing. Fraeylemaborg (Slochteren), dated 1691, one of a pair.

c.1691
Painting by John Closterman, whole-length in state robes, left hand by side, right hand on crown on table. Vintners’ Company (cf. M. Rogers, ‘John and John Baptist Closterman: a catalogue of their works’, Wal. Soc., XLIX, 1983, no.67, pl.27 as Closterman).

c.1692-94
Painting attributed to Jan van der Vaart, see NPG 197.

Painting by Godfrey Kneller, three-quarter-length in state robes. University of Notre Dame IN (J. D. Stewart, Godfrey Kneller, 1983, no.486).

before 1694
Pastel by Edward Luttrell, ‘two small crayon heads of King William and Queen Mary ... by Lutterell’ (Will of Dr John Ward, d. 1758; PROB 11 841).

Posthumous
c.1694
Wax head by Mrs Goldsmith, probably taken in 1694 (E. J. Pyke, A Biographical Dictionary of Wax Modellers, 1973, p 55, pl.111), incorporated in a standing effigy first shown in 1725. Westminster Abbey (A. Harvey & R. Mortimer eds., The Funeral Effigies of Westminster Abbey, 2003, pp 116-20). Another wax medallion was in the Harcourt sale, Sotheby’s, 10 June 1993, lot 242 (and see E. J. Pyke, A Biographical Dictionary of Wax Modellers, 1973).

1695
Statue by John van Nost the elder, formerly at the Royal Exchange, London; destroyed 1838 (with companion figure of the King). A slight sketch for this figure by John Carter is in the Guardian Royal Exchange collection (illus. Topographical Soc. Pubs., 152, 1997, p 178). A painted and gilded terracotta in the Victoria and Albert Museum (A.208-1946; D. Bilbey, British Sculpture 1470-2000, a concise catalogue of the collection at the Victoria and Albert Museum, 2002, no.9, illus.) has been associated with this statue but it does not appear to agree sufficiently with Carter’s sketch (see I. Roscoe in A. Saunders ed., ‘The Royal Exchange’, Topographical Soc. Pubs., 152, 1997, pp 176-78; K. A. Esdaile, Burlington Magazine, LXXXIX, 1947, pp 254-57).

1697
Paintings by Thomas Murray, copies from the Kneller whole-length of 1690, see William III under NPG 5496.

before 1700
Miniature by Nicholas Dixon, said to be after Kneller, whole-length, wearing a yellow dress with a blue ermine-lined mantle, her right hand on a ledge where stands a large vase with an orange bush. Welbeck (R. W. Goulding, Catalogue of Pictures belonging to … the Duke of Portland …, C. K. Adams ed., 1936, no.690).

c.1705
Miniature from the circle of Charles Boit, see William III.

1712
Painting by John Scougal, whole-length in green robes, crown and orb at her side. Glasgow Art Gallery (481), from Glasgow’s Old Town Hall (see J. Holloway, Patrons and Painters, 1989, p 148).

1719
Statue on the gatehouse of the Radcliffe quadrangle, University College, Oxford.
Later statues include those by Alexander Munro, 1867, for the Central Criminal Court, London, and by Henry Fehr, 1898, for the Russell Hotel façade, Russell Square, London.

History
An allegory of Queen Anne and Queen Mary, painted by unknown artists, was one of a series of ‘monuments’ to recent ‘British Worthies, who were bright and shining Ornaments, to their Country’, commissioned by Owen MacSwinny c.1725-29. Untraced (E. Croft-Murray, Decorative Painting in England, II, The Eighteenth and Nineteenth Centuries, 1970, pp 239-40, no.2).

Doubtful Portrait
Painting by Peter Lely c.1674 of a girl, three-quarter-length as Diana with bow and arrow in the Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.249, pl.103, identified with The Lady Mary when young wth a bow and Arrow ½ length at Windsor in the reign of Queen Anne); copies at Pencarrow, Oxonhoath (formerly) and sold Christie’s, 30 May 1958, lot 144.



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.