Later Stuart Portraits Catalogue
Sir Cloudesley Shovell (1650-1707), Admiral
- Gallery portraits
- All known portraits
- Biography and References
c.1692
Painting by W. de Ryck, three-quarter-length standing, wearing corslet, baton in left hand, right resting on globe showing the OCEANUS ATLANTICUS OCCIDENTALIS, ships beyond; engraved J. Smith 1692 (J. Chaloner Smith, British Mezzotinto Portraits, 230).
c.1695-1700
Terracotta bust attributed to John Bushnell, with wig and cravat. Norfolk Museums Service (A. Moore, Family and Friends, A Regional Survey of British Portraiture, exhibition catalogue, Norfolk Museums Service, 1992, no.34, illus.).
1702
Painting by Michael Dahl, see under NPG 797.
c.1702
Painting by Michael Dahl , three-quarter-length standing, baton in right hand. National Maritime Museum (BHC3025; W. Nisser, Michael Dahl, 1927, cat. p 40, no.131a), one of the Queen Anne Admirals set. The head similar to that seen in the whole-length pattern (see under NPG 797). The flags on the distant boat, a red ensign with a white at the main, show an incorrect conjunction and may have been repainted (note by M. H. Robinson, quoted by Piper). A half-length version (W. Nisser, Michael Dahl, 1927, cat. p 40, no.131b), belonged to Col. S. Martin Leake, descended from Admiral Sir John Leake; exhibited Royal Naval Exhibition, Chelsea, 1891, no.257.
Painting by Michael Dahl, three-quarter-length, wearing armour, left hand on hip, right hand on cannon; ships beyond, inscribed sr.cloudesly shovel. Formerly Aynho Park.
c.1708
Recumbent marble effigy by Grinling Gibbons, in classical armour. Westminster Abbey (illus. D. Green, Grinling Gibbons, 1964, pl.245; D. Bindman & M. Baker, Roubiliac and the eighteenth-century Monument, 1995, p 39, no.21). ‘Instead of the brave rough English admiral, which was the distinguishing character of that plain gallant man, he is represented on his tomb by the figure of a beau, dressed in a long periwig, and reposing himself on velvet cushions under a canopy of state’ (Addison).
History
A painted allegory by Sebastiano and Marco Ricci 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. National Gallery of Art, Washington (1610; E. Croft-Murray, Decorative Painting in England, II, The Eighteenth and Nineteenth Centuries, 1970, p 241, no.21.
Doubtful Portrait
Unattributed miniature on copper, half-length oval in armour, Guildhall, Rochester (illus. The Public Catalogue Foundation, Kent, 2004, p 208).
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.
Painting by W. de Ryck, three-quarter-length standing, wearing corslet, baton in left hand, right resting on globe showing the OCEANUS ATLANTICUS OCCIDENTALIS, ships beyond; engraved J. Smith 1692 (J. Chaloner Smith, British Mezzotinto Portraits, 230).
c.1695-1700
Terracotta bust attributed to John Bushnell, with wig and cravat. Norfolk Museums Service (A. Moore, Family and Friends, A Regional Survey of British Portraiture, exhibition catalogue, Norfolk Museums Service, 1992, no.34, illus.).
1702
Painting by Michael Dahl, see under NPG 797.
c.1702
Painting by Michael Dahl , three-quarter-length standing, baton in right hand. National Maritime Museum (BHC3025; W. Nisser, Michael Dahl, 1927, cat. p 40, no.131a), one of the Queen Anne Admirals set. The head similar to that seen in the whole-length pattern (see under NPG 797). The flags on the distant boat, a red ensign with a white at the main, show an incorrect conjunction and may have been repainted (note by M. H. Robinson, quoted by Piper). A half-length version (W. Nisser, Michael Dahl, 1927, cat. p 40, no.131b), belonged to Col. S. Martin Leake, descended from Admiral Sir John Leake; exhibited Royal Naval Exhibition, Chelsea, 1891, no.257.
Painting by Michael Dahl, three-quarter-length, wearing armour, left hand on hip, right hand on cannon; ships beyond, inscribed sr.cloudesly shovel. Formerly Aynho Park.
c.1708
Recumbent marble effigy by Grinling Gibbons, in classical armour. Westminster Abbey (illus. D. Green, Grinling Gibbons, 1964, pl.245; D. Bindman & M. Baker, Roubiliac and the eighteenth-century Monument, 1995, p 39, no.21). ‘Instead of the brave rough English admiral, which was the distinguishing character of that plain gallant man, he is represented on his tomb by the figure of a beau, dressed in a long periwig, and reposing himself on velvet cushions under a canopy of state’ (Addison).
History
A painted allegory by Sebastiano and Marco Ricci 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. National Gallery of Art, Washington (1610; E. Croft-Murray, Decorative Painting in England, II, The Eighteenth and Nineteenth Centuries, 1970, p 241, no.21.
Doubtful Portrait
Unattributed miniature on copper, half-length oval in armour, Guildhall, Rochester (illus. The Public Catalogue Foundation, Kent, 2004, p 208).
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.