Michael Noakes
HM Queen Elizabeth, seated in an ochre dress, 1979
Oil on canvas
36 x 28 in. (91.4 x 71.1 cm)
Philip Mould & Co.
To view all current artworks for sale visit philipmould.com Michael Noakes is best known for his naturalistic and honest portraits of the Royal Family, particularly those produced in the 1970s....
To view all current artworks for sale visit philipmould.com
Michael Noakes is best known for his naturalistic and honest portraits of the Royal Family, particularly those produced in the 1970s.
Graciously addressing the viewer, this large oil portrait reveals Her Majesty in her role as stateswoman.
She extends her consideration and regard toward her people through her kindly gaze, which has been expertly captured by Noakes. This painting is one of three versions by Noakes of his notable portrait Her
Majesty The Queen for the Queen's Lancaster Regiment [fig. 1], which was exhibited with the Royal Society of Portrait Painters at the Mall Galleries in 2012, within a section specifically dedicated to the celebration of the Queen Elizabeth’s Diamond Jubilee. The Queen’s Lancaster regiment is an infantry regiment formed in 1970, nine years prior to this portrait, and continued in British Army service until 2006, when it was merged into The Duke of Lancaster's Regiment.
By this date, Noakes was well acquainted with the Royal Family and had become a trusted artist within the Royal Household. Over the previous five years, Noakes had gained sittings with numerous members of the Royal Family including the Prince of Wales, the Queen Mother, the Duke of Edinburgh, Princess
Margaret and the Princess Royal and became a highly dependable and much-loved artist by the Royal Household. Noakes had become especially well acquainted with Her Majesty; whilst most artists who areoffered a life sitting with the Queen have the privilege of sitting with her for the standard hour and a half sitting, throughout his career Noakes spent more than twenty hours in total with Her Majesty. During this time, an intimate relationship formed between artist and sitter, placing Noakes in a position whereby he could, more truthfully than most, exhume the complex character of his sitter.
Seated in graceful poise, Noakes uncovers a moment of quiet composure within The Queen’s busy diary.
Her hands rest elegantly in her lap, permitting a more relaxed posture to that which one might usually associate with royalty. Capturing the spirit of both the private and public positions held by Queen
Elizabeth, Noakes’ portrait communicates the kindness and compassion of our Monarch.
Michael Noakes is best known for his naturalistic and honest portraits of the Royal Family, particularly those produced in the 1970s.
Graciously addressing the viewer, this large oil portrait reveals Her Majesty in her role as stateswoman.
She extends her consideration and regard toward her people through her kindly gaze, which has been expertly captured by Noakes. This painting is one of three versions by Noakes of his notable portrait Her
Majesty The Queen for the Queen's Lancaster Regiment [fig. 1], which was exhibited with the Royal Society of Portrait Painters at the Mall Galleries in 2012, within a section specifically dedicated to the celebration of the Queen Elizabeth’s Diamond Jubilee. The Queen’s Lancaster regiment is an infantry regiment formed in 1970, nine years prior to this portrait, and continued in British Army service until 2006, when it was merged into The Duke of Lancaster's Regiment.
By this date, Noakes was well acquainted with the Royal Family and had become a trusted artist within the Royal Household. Over the previous five years, Noakes had gained sittings with numerous members of the Royal Family including the Prince of Wales, the Queen Mother, the Duke of Edinburgh, Princess
Margaret and the Princess Royal and became a highly dependable and much-loved artist by the Royal Household. Noakes had become especially well acquainted with Her Majesty; whilst most artists who areoffered a life sitting with the Queen have the privilege of sitting with her for the standard hour and a half sitting, throughout his career Noakes spent more than twenty hours in total with Her Majesty. During this time, an intimate relationship formed between artist and sitter, placing Noakes in a position whereby he could, more truthfully than most, exhume the complex character of his sitter.
Seated in graceful poise, Noakes uncovers a moment of quiet composure within The Queen’s busy diary.
Her hands rest elegantly in her lap, permitting a more relaxed posture to that which one might usually associate with royalty. Capturing the spirit of both the private and public positions held by Queen
Elizabeth, Noakes’ portrait communicates the kindness and compassion of our Monarch.