English School
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This sensitive portrait depicting twin sisters was painted in around 1630 and is a rare example of child portraiture from the early Stuart period.
The identities of the two children are at present unknown, although it is clear from their fine costume that they were born into a wealthy family. They are shown in matching red silk dresses with slashed virago sleeves and intricate lacework – a common indicator of wealth and good taste during this period. Their dresses are adorned with gold thread and shimmering silver sequins which complement their sparkling pearl and ruby collars. Their large pearl earrings are yet another conspicuous demonstration of their family’s prosperity.
The young girl on the left is shown with a goldfinch perched on her finger and her sister is shown holding a small book – presumably a prayer book. Goldfinches were popular children’s pets at this date and the artist is making a symbolic reference to the transition from childhood to adulthood; innocence is giving way to piety and maturity through faith and education.
The artist of the present work has yet to be identified, however, it is clear from their style of painting that they were familiar with the great court painters of the late Jacobean period. The sensitive treatment of the eyes and the delicate white highlighting of the facial features is reminiscent of the work of court painter William Larkin, whose style continued to influence artists in Briton long after he died in 1619. The artist of this work was almost certainly working in one of the larger cities outside of London and appears to have favoured working on oak panel as opposed to canvas which was a more popular support by this date.
This sensitive portrait depicting twin sisters was painted in around 1630 and is a rare example of child portraiture from the early Stuart period.
The identities of the two children are at present unknown, although it is clear from their fine costume that they were born into a wealthy family. They are shown in matching red silk dresses with slashed virago sleeves and intricate lacework – a common indicator of wealth and good taste during this period. Their dresses are adorned with gold thread and shimmering silver sequins which complement their sparkling pearl and ruby collars. Their large pearl earrings are yet another conspicuous demonstration of their family’s prosperity.
The young girl on the left is shown with a goldfinch perched on her finger and her sister is shown holding a small book – presumably a prayer book. Goldfinches were popular children’s pets at this date and the artist is making a symbolic reference to the transition from childhood to adulthood; innocence is giving way to piety and maturity through faith and education.
The artist of the present work has yet to be identified, however, it is clear from their style of painting that they were familiar with the great court painters of the late Jacobean period. The sensitive treatment of the eyes and the delicate white highlighting of the facial features is reminiscent of the work of court painter William Larkin, whose style continued to influence artists in Briton long after he died in 1619. The artist of this work was almost certainly working in one of the larger cities outside of London and appears to have favoured working on oak panel as opposed to canvas which was a more popular support by this date
Provenance
G. H. Peake, Sutton Hall, Thirsk (according to a label on the reverse the work was to be hung in the ante-room, Bawtry Hall);Mrs Neville Gladstone, by whom sold;
Christie’s, London, 21-22 July 1960, lot 164;
Private collection, UK;
Thence by descent, until 2020.