First Previous 1 OF 24 NextLast

John Maitland, Duke of Lauderdale

1 of 24 portraits of John Maitland, Duke of Lauderdale

© National Portrait Gallery, London

 Like voting
is closed

Thanks for Liking

Please Like other favourites!
If they inspire you please support our work.

Buy a print Buy a greetings card Make a donation Close

John Maitland, Duke of Lauderdale

by Samuel Cooper
watercolour on vellum, 1664
3 3/8 in. x 2 3/4 in. (86 mm x 70 mm) oval
Purchased with help from the Art Fund, the Pilgrim Trust, H.M. Government and an anonymous donor, 1961
Primary Collection
NPG 4198

Sitterback to top

Artistback to top

  • Samuel Cooper (1608?-1672), Miniature painter. Artist or producer associated with 111 portraits, Sitter in 4 portraits.

Linked publicationsback to top

  • Foskett, Daphne, Samuel Cooper, 1974 (accompanying the exhibition at the National Portrait Gallery from 15 March - 15 June 1974), p. 45
  • Rogers, Malcolm, Master Drawings from the National Portrait Gallery, 1993 (accompanying the exhibition at the National Portrait Gallery from 5 August to 23 October 1994), p. 25
  • Saumarez Smith, Charles, The National Portrait Gallery: An Illustrated Guide, 2000, p. 67
  • Saumarez Smith, Charles, The National Portrait Gallery, 1997, p. 67 Read entry

    John Maitland, who became Duke of Lauderdale in 1672, was one of the most prominent political figures in Charles II's government. A Scot, he began his career as a supporter of the Solemn League and Covenant against Charles I in 1643 but switched his loyalties to Charles II. At the Restoration he was rewarded by being made Secretary of State for Scotland, a post in which he was exceptionally unsuccessful, as well as being made Secretary of State for Scotland, a post in which he was exceptionally successful, as well as providing a fortune that he was able to spend on luxuries at his house at Ham near London. According to Bishop Burnet, Maitland was physically a disgusting figure, 'very big; his hair red, hanging oddly about him; his tongue was too big for his mouth, which made him bedew all that he talked to; and his whole manner was rough and boisterous, and very unfit for a court'; but he was also highly inteligent, well read and a bibliophile.

  • Saywell, David; Simon, Jacob, Complete Illustrated Catalogue, 2004, p. 366
  • Schama, Simon, The Face of Britain: The Nation Through its Portraits, 2015-09-15, p. 60
  • Walker, Richard, Miniatures: 300 Years of the English Miniature, 1998, p. 35 Read entry

    The third, of the villainous Lauderdale, is a masterly portrait of a character described by the politician and historian Lord Clarendon as 'insolent, imperious, flattering and dissembling, and having no impediment of honour to restrain him from doing anything that might satisfy any of his passions (G. E. Cockayne, The Complete Peerage, VII, p 490). Cooper, towards the end of his long and prolific life, has depicted just these qualities in his portrait, but in addition has suggested the presence of a powerful and penetrating intelligence.

  • Waterhouse, Ellis Kirkham, The dictionary of 16th & 17th century British painters, 1988, p. 56

Subject/Themeback to top

Events of 1664back to top

Current affairs

The Coventicle Act, a component of the Clarendon Code, is enacted by Parliament forbidding non-conformist conventicles.
The Admiral's Regiment, precursor to the Royal Marines, meets for the first time as part of the mobilisation for war with the Dutch.

Art and science

Playwright, Thomas Killigrew, stages his best-known play, The Parson's Wedding with an all-female cast. After the Restoration, women were permitted to take to the stage as actors.
Construction of the Sheldonian Theatre in Oxford begins. Designed by architect, Christopher Wren, the building is funded Archbishop Sheldon.

International

Mounting pressure for war with England's trading rival, Holland, increases as the two countries clash over trading interests around the world. Thomas Clifford, Baron Clifford, passionately champions the cause for war, becoming a leading voice in a bellicose parliament which promises an unprecedented grant towards the conflict.

Comments back to top

We are currently unable to accept new comments, but any past comments are available to read below.

If you need information from us, please use our Archive enquiry service . Please note that we cannot provide valuations. You can buy a print or greeting card of most illustrated portraits. Select the portrait of interest to you, then look out for a Buy a Print button. Prices start at around £6 for unframed prints, £16 for framed prints. If you wish to license an image, select the portrait of interest to you, then look out for a Use this image button, or contact our Rights and Images service. We digitise over 8,000 portraits a year and we cannot guarantee being able to digitise images that are not already scheduled.