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Sir Samuel Morland, Bart

  • Object:

    Portrait miniature

  • Place of origin:

    England, Great Britain (painted)

  • Date:

    1660-1661 (painted)
    17th century (made)

  • Artist/Maker:

    Cooper, Samuel, born 1603 - died 1672 (artist)

  • Materials and Techniques:

    Watercolour on vellum, put down on a leaf from a table-book

  • Credit Line:

    Bequeathed by Mrs A. B. Woodcroft

  • Museum number:

    481-1903

  • Gallery location:

    Portrait Miniatures, room 90a, case 17

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Physical description

Portrait, head and shoulders, turned to right and looking to front; a blue sky in the right background. Features delicately hatched in pale brown and sanguine with very small touches of grey, blue shadows, a touch of white in the sitter's left eye, on a thick creamy carnation ground; hair in brown wash, hatched and heightened with opaque colours; collar and sleeves in white over grey wash; jerkin in brown wash with bronzing and buttons in gold; background an opaque brown wash with blue sky and grey cloud hatched over with blue washes; on vellum put down on a leaf from a table-book.
[Frame] Seventeenth-century silver-gilt oval locket, the convex back set into straight sides with a central channel and the convex glass held in a bezel by its bevelled edge; the hanger a loop of D-section channelled down the middle and bifurcating into two small loops which rise back to the rim of the locket and continue in two hardly diminishing spirals of three turns.

Place of Origin

England, Great Britain (painted)

Date

1660-1661 (painted)
17th century (made)

Artist/maker

Cooper, Samuel, born 1603 - died 1672 (artist)

Materials and Techniques

Watercolour on vellum, put down on a leaf from a table-book

Marks and inscriptions

'Sir Samuel / Morland / Cooper'
[Frame] 'Sir/Saml Morelandand across the centre in copperplate and regilded, and below scratched deeply: 481-1903/ S. Cooper.'

Dimensions

Height: 60 mm, Width: 48 mm

Object history note

Provenance: Lord Northwick, his sale Thirlestane House, Cheltenham, 5 August 1859, lot 725, bt Woodcroft, £6.16d.6s; bequeathed to the Museum by Mrs A BWoodcroft, 1903.

Descriptive line

Portrait miniature of Sir Samuel Morland. Watercolour on vellum by Samuel Cooper, 1660-1661.

Bibliographic References (Citation, Note/Abstract, NAL no)

Murdoch, John. Seventeenth-century English Miniatures in the collection of the Victoria and Albert Museum. London: The Stationery Office, 1997.
Cat. 83, p.152-153. Full Citation:

Sir Samuel Morland, Bart
(b.1625 d.1695)
1660-1
481-1903

Oval 60x48mm

Features delicately hatched in pale brown and sanguine with very small touches of grey, blue shadows, a touch of white in the sitter's left eye, on a thick creamy carnation ground; hair in brown wash, hatched and heightened with opaque colours; collar and sleeves in white over grey wash; jerkin in brown wash with bronzing and buttons in gold; background an opaque brown wash with blue sky and grey cloud hatched over with blue washes; on vellum put down on a leaffrom a table-book.

Condition: The flesh faded; marginal abrasions; otherwise excellent.

Signed: Not signed. Inscribed on the back in graphite by a nineteenth-century hand: Sir Samuel / Morland / Cooper.

Frame: Seventeenth-century silver-gilt oval locket, the convex back set into straight sides with a central channel and the convex glass held in a bezel by its bevelled edge; the hanger a loop of D-section channelled down the middle and bifurcating into two small loops which rise back to the rim of the locket and continue in two hardly diminishing spirals of three turns; the back later engraved: Sir/Saml Morelandand across the centre in copperplate and regilded, and below scratched deeply: 481-1903/ S. Cooper.

Provenance: Lord Northwick, his sale Thirlestane House, Cheltenham, 5 August 1859, lot 725, bt Woodcroft, £6.16d.6s; bequeathed to the Museum by Mrs A BWoodcroft, 1903.

Exhibited: RA 1960-1, no. 640; DasAquarell, Haus der Kunst, Munich 1972, no. 87, repro. p. 92; NPG 1974, no. 76, repro.; New Haven etc. 1981-2, no. 46.

Literature: Catalogue of Miniatures, 1908, p. 8 (as 'on card'); Foster 1914-16, vol. I, pl. XXXIII, no. 78 (as Sir Thomas May, presumably confused with Cat. No. 73) vol. II, p. 55, no. 341 ('on card'); Kennedy 191 7, p. 37 (cited to cast doubt on identification of anonymous miniature in the Buccleuch Collection); Long 1929, p. 88; Long 1930, p. 12; Anna Maria Crino, 'Sir Samuel Morland nei suoi Rapporti col Granduca Cosimo III di Toscana', English Miscellany, ed. M Praz (Rome, 1955), pp. 237-46, repra. facing p. 240; Foskett 1974, p. 125; Summary Catalogue, 1981 , p.9; Murdoch and Murrell 1981, p. 289, figs 21,22; Murdoch 1981, pp. 109, 111, pl, 22e.

Sir Samuel Morland had a long and varied career as scholar, diplomat, politician, mathematician and physicist.' His mature interests were in the fields of hydrostatics and hydraulics, and he is credited with fundamental work on the theory and construction of pump and water engines. He is said to have invented the drum capstan for weighing anchor at sea, the speaking trumpet and two sorts of arithmetical calculating machines. He was a cryptographer and an architect of military fortifications. He first came to general notice as a controversialist in the Protestant evangelical interest, with his history of the Waldensian sect in southern France and Piedmont. This was published in 1658 and was prefaced by an engraved portrait of Morland by P Lombart after Lely. The latter remains the principal evidence for Morland's appearance, and at 1658 must be close in date to the present miniature. Although certainly not the same image, the likenesses are quite compatible, and the comparison supports the traditional identification of the Cooper miniature as Morland. A miniature in the Buccleuch Collection (1) was formerly thought to be of Morland.

The attribution has never been in question. In Cooper's oeuvre the portrait relates most closely to the James, Duke of York (Cat. No. 85); the pose and viewpoint are similar, and the handling, which is bright and lively, over an exceptionally rich carnation ground, is characteristic of Cooper's Restoration style. The James is the first official likeness in miniature of the Duke after the Restoration (it is dated 1661; see also Cat. No. 82), and the probability is that the Morland was painted at much the same time, perhaps to mark the sitter's baronetcy and appointment to the Privy Chamber in July 1660.

1 See the exceptionally full biography in the DNB.
2 BB4; see Kennedy 1917, p. 37, 'artist unknown'.”

Exhibition History

The English Miniature (Yale Center for British Art 1981-1982)
Samuel Cooper and his Contemporaries (National Portrait Gallery 1974-1974)
Das Aquarell (Haus der Kunst 1972-)
The Age of Charles II (Royal Academy of Arts 1960-1961)

Materials

Watercolour; Silver; Vellum

Techniques

Painting; Gilding

Subjects depicted

Morland, Samuel (Sir, bart.)

Categories

Portraits; Paintings

Production Type

Unique

Collection code

PDP

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Qr_O81939
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