A Woman, possibly Elizabeth, Mrs Claypole, second daughter of Oliver Cromwell
Portrait Miniature
1653-1655 (painted)
1653-1655 (painted)
| Artist/Maker | |
| Place of origin |
Object Type
Miniature painting was first established in England at the court of Henry VIII in the early 16th century. It was defined by the use of watercolour on vellum (fine animal skin). In the 1630s the French miniaturist Jean Petitot (1607-1691) introduced to the court of Charles I an exciting new portrait art that used enamels fired on tiny gold plaques. Petitot returned to France after the Civil War broke out in 1642, and under his influence enamel painting flourished on the Continent. Cooper possibly intended this unusually small, bright, jewel-like miniature to appeal to the international taste that enjoyed enamels.
People
There is no absolutely certain portrait of Elizabeth Claypole, the second daughter of Oliver Cromwell. This miniature is a finer version of another miniature by Cooper believed to be of Mrs Claypole and traditionally said to have descended from her. The sitter however might be her sister, Frances Cromwell, Lady Russell. The likeness is apparently influenced by the bright enamels favoured by the French court. The portrait shows how far the Cromwells, as the 'Sovereign' family, necessarily adapted to the manners of European princes, with their use of family images and the rituals of diplomatic gifts.
Miniature painting was first established in England at the court of Henry VIII in the early 16th century. It was defined by the use of watercolour on vellum (fine animal skin). In the 1630s the French miniaturist Jean Petitot (1607-1691) introduced to the court of Charles I an exciting new portrait art that used enamels fired on tiny gold plaques. Petitot returned to France after the Civil War broke out in 1642, and under his influence enamel painting flourished on the Continent. Cooper possibly intended this unusually small, bright, jewel-like miniature to appeal to the international taste that enjoyed enamels.
People
There is no absolutely certain portrait of Elizabeth Claypole, the second daughter of Oliver Cromwell. This miniature is a finer version of another miniature by Cooper believed to be of Mrs Claypole and traditionally said to have descended from her. The sitter however might be her sister, Frances Cromwell, Lady Russell. The likeness is apparently influenced by the bright enamels favoured by the French court. The portrait shows how far the Cromwells, as the 'Sovereign' family, necessarily adapted to the manners of European princes, with their use of family images and the rituals of diplomatic gifts.
Object details
| Categories | |
| Object type | |
| Title | A Woman, possibly Elizabeth, Mrs Claypole, second daughter of Oliver Cromwell (generic title) |
| Materials and techniques | Watercolour on vellum, put down on a leaf from a table book |
| Brief description | Portrait miniature woman, possibly Elizabeth, Mrs. Claypole, second daughter of Oliver Cromwell, watercolour on vellum, painted by Samuel Cooper, 1653-1655. |
| Physical description | Poirtrait, head and shoulders, turned slightly to left and looking to front. Features in a strong, free hatch of brown and sanguine, with some blue-grey shadow and white, blended over a pale carnation ground; hair in brown wash, lined in darker colour with some gouache for the lights; dress in opaque brown washes with gold decoration; the chemise in white and grey and the pearls in grey with white highlights; the landscape background in opaque washes of blue and green, the curtain in opaque grey; on vellum put down on a leaf from a table-book. Frame Seventeenth-century oval gold locket, much mutilated but originally probably a bracelet; the back almost concave and perhaps intended to be enamelled; the sides show file marks and the remains of old solder, and apparently the remains of old bracelet fittings; at the front, the sides are rolled over into a bezel to retain the shallowly convex glass. A label stuck to the back is inscribed: |
| Dimensions |
|
| Content description | Miniature painting of a woman wearing a pearl necklace. |
| Styles | |
| Production type | Unique |
| Marks and inscriptions | 'SC' (Signed in gold, upper centre right ) |
| Gallery label |
|
| Credit line | Alan Evans Bequest, given by the National Gallery |
| Object history | Provenance: (Likely) Richard Gough, sold at auction by Leigh and S. Sotheby July 19, 1810 to 'Forster'; The Barons Bayning of Foxley, of Honingham Hall, Norfolk; presumably the 3rd and last, who married Emma, daughter of W H Fellowes of Romsey Abbey in 1842; acquired probably after Lord Bayning's death in 1866 by the Hon. Ailwyn Edward Fellowes (1855-1924), subsequently Baron Ailwyn; acquired by the Hon. F H A Wallop (either as a family gift or bequest, or by purchase in 1925 when the Dowager was selling other pictures, e.g., Christie's 17 July 1925) and lent to the Museum from 1927-49; given to Alan Evans, 1933, by whom bequeathed to the National Gallery, 1974; placed on indeterminate loan at the V&A. (See Appendix 3.) |
| Subjects depicted | |
| Summary | Object Type Miniature painting was first established in England at the court of Henry VIII in the early 16th century. It was defined by the use of watercolour on vellum (fine animal skin). In the 1630s the French miniaturist Jean Petitot (1607-1691) introduced to the court of Charles I an exciting new portrait art that used enamels fired on tiny gold plaques. Petitot returned to France after the Civil War broke out in 1642, and under his influence enamel painting flourished on the Continent. Cooper possibly intended this unusually small, bright, jewel-like miniature to appeal to the international taste that enjoyed enamels. People There is no absolutely certain portrait of Elizabeth Claypole, the second daughter of Oliver Cromwell. This miniature is a finer version of another miniature by Cooper believed to be of Mrs Claypole and traditionally said to have descended from her. The sitter however might be her sister, Frances Cromwell, Lady Russell. The likeness is apparently influenced by the bright enamels favoured by the French court. The portrait shows how far the Cromwells, as the 'Sovereign' family, necessarily adapted to the manners of European princes, with their use of family images and the rituals of diplomatic gifts. |
| Bibliographic reference | Murdoch, John. Seventeenth-century English Miniatures in the collection of the Victoria and Albert Museum. London: The Stationery Office, 1997. |
| Collection | |
| Accession number | EVANS.9 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | December 15, 1999 |
| Record URL |
Download as: JSONIIIF Manifest
