Brianus Birdrus (Attributed)

Portrait of a Lady Wearing Peeress’ Robes Petting a Greyhound Seated by a Fountain

oil on canvas

47 7/8×33 1/2 inches (120.7×85 cm.)

PROVENANCE:
Private Collection, Massachusetts

Alastair Laing has suggested the attribution to Brianus Birdrus based on shared stylistic affinities between this painting and a portrait of Mrs. John Cockayne neé Elizabeth Cust in Belton House, (1) one of only four known works by the artist. Both Alastair Laing and Catharine MacLeod believe the painting to date from the early 1680’s and to have been clearly influenced by the work of William Wissing (1656-1687), some of whose best portraits hang at Belton House.

Under the Restoration, in response to the passion of the new King and Court, portraiture of beautiful women came to the forefront. Our painting embodies the period’s defining elements of beauty. Sensuality was the goal and it is reflected in our sitter’s gestures and accessories. Gazing directly at the viewer from heavily lidded eyes, wearing a half-smile, she caresses her curls. The gesture of holding one’s hair derived from Renaissance depictions of Venus, the intent being a contemporary rendering of the goddess. (2) This is underscored by the figure of Cupid atop the fountain in the background. The pearls that hang from her ears and encircle her neck, bodice, wrists and waist were also associated with the adornments of the earthly Venus. (3) The apricot gown, a color often found in the clothing of Restoration portraits, both loose and flowing was meant to be suggestive of a state of undress. It was a style invented for these portrayals intended to be timeless and classical. (4) The evening landscape completes the statement.

The adoring greyhound is the most unusual aspect of the work. While many sitters were painted with King Charles spaniels to mark their allegiance to the King, this dog was probably a pet. A telling parallel to its mistress, the greyhound, was revered for its sleekness, grace and intelligence as well as its hunting prowess. (5)

We are indebted to Alastair Laing of The National Trust and Catharine MacLeod of the National Portrait Gallery, London for their assistance in the writing of this entry.

(1) This portrait is half of a pair of painted ovals depicting Mr. & Mrs. John Cockayne signed Brianus Birdrus and dated [16] 86 at Belton House, Lincolnshire. (2) Julia Marciari Alexander; “Louise de Kéroualle Duchess of Portsmouth” in Painted Ladies, Women at the Court of Charles II, National Portrait Gallery, London, 2001, no. 49, p. 143.

(3) James Hall, “Pearl”, in Dictionary of Subjects & Symbols in Art, 1974, p. 238.

(4) Catharine MacLeod, “’Good, But not Like’: Peter Lely, Portrait Practice and the Creation of a Court Look”, Painted Ladies, op. cit. p. 58.

(5) Robin Gibson, “Prince James Francis Edward Stuart (1688 - 1766) and his sister, Louisa Maria Theresa (1692 - 1712)” in The Face in the Corner, National Portrait Gallery Publications, London, 1998, no. 6, p. 35.

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