JOHN MICHAEL WRIGHT (1617 - 1694) Portrait of Sir Francis Wyndham, 1st Baronet of Trent Apparently signed, inscribed and dated verso 'Collonell [sic] Francis Wyndham/ of Trent in Somersett shire' 'Jo: Mich Wright Lord Pinxit. 1671' (please see restorer's photograph below, before canvas was lined, c. early 1980s) Oil on canvas, 126 x 105cm In a carved giltwood frame Provenance: Possibly by descent to Thomas Wyndham (1763-1814) Clearwell Court, Gloucestershire and Dunraven Castle, Glamorganshire; to his son-in-law Windham Wyndham-Quin, 2nd Earl of Dunraven (1782-1850), by descent to the 7th Earl of Dunraven and Mount-Earl, sold Christie's and Hamilton & Hamilton, Adare Manor, Co. Limerick, 9 and 10 June 1982, lot 87 (as Colonel Clark Wyndham of Orchard Wyndham); Private collection, Ireland Literature: Guy Wilson, Greenwich Armour in the Portraits of John Michael Wright, The Connoisseur, February 1975, pp. 109-115, illus. (as portrait of an unidentified gentleman, Collection of the Earl of Dunraven) Robert O'Byrne ed., A Vanishing World, The Irish Country House Photographs of Father Brown, Dublin 2024, p. 20 (illustrated in the drawing room) Sir Francis Wyndham, 1st Baronet (1610-1676) Francis Wyndham was the son of Sir Thomas Wyndham (1570-1631) and his wife Elizabeth Coningsby. They descended from the Kentsford Wyndhams a cadet branch of the Orchard Wyndhams, who are based in Somerset. Wyndham began his early years spending time in Europe and graduating from the University of Padua in 1635. On his return to England, he was elected MP for Minehead in April 1640 for the Short Parliament. This Parliament was summoned by King Charles I for a short session of only three weeks. Wyndham became a Royalist colonel when the First English Civil War broke out. He was appointed governor of Dunster Castle, which was one of the last defences to hold out in southwest England. He had a reputation for being a good soldier and eventually surrendered on honourable terms. Shortly afterwards in 1646 he married an heiress Anne Gerard the daughter of Thomas Gerard of Trent (1593-1634). With the partition of the Gerard estates in 1651, Francis and Anne moved to Trent. The Gerard family had been recusants in a previous generation and their seat in Trent still maintained its priest-hole. It was this hiding place that enabled Wyndham to assist Charles II with his escape after the Battle of Worcester. The Wyndham family had a close connection with Charles II, therefore the future king could welcome the security for several days in Trent, Dorset. During the 1655 Penruddock uprising Wyndham was arrested in suspicion of involvement with intending to restore Charles II to the throne. He was subsequently released without charge. Wyndham was created a baronet on 18 November 1673, apparently by willing to forego a claim on the Exchequer for £10,800 granted to him by privy seal in 1670. John Michael Wright was an English painter, although born in London he apprenticed in 1636 to the Scottish painter George Jameson in Edinburgh. He remained in Scotland for five years before travelling to Rome in the early 1640’s. In Rome he established himself as a painter, copyist and collector. On his return to England in 1656 and following the restoration of 1660, he received several Royal commissions from King Charles II and subsequently King James II. It was during this time there became a fashion for portraits in which the sitter was dressed in what was then considered to be antique armour. Wright painted many works with the sitter wearing some form of Greenwich armour. There are noticeable similarities between each of the portraits. One could assume that the use of a single Greenwich armour or indeed a quantity could have been housed in his studio. It has been noted that the long tassels on the portrait of an unidentified gentleman (believed to be Sir Francis Wyndham) also appear in other portraits. Wright seems to have had an appreciation for antiquary, which could explain the accuracy seen in the details of this portrait and that of Murrough O’Brien, 1st Earl of Inchiquin. However, Murrough O’Brien who fought for many years in Ireland and further afield would probably have never worn such an armour. He had power and a reputation to uphold and therefore his appearance in this portrait expresses status. Wright’s portrait’s showcasing Greenwich armour imply they were painted in the 1660’s and display a detailed perspective on costume from a bygone era. Adare Manor, the magnificent architectural masterpiece that we see today within its natural setting overlooking the River Maigue became the seat of the Quin family in the 1600s. It was probably in the 1720’s when the first documented residence ‘Adare House’ was built by Valentine Quin (d.1744). Throughout the 18th century alterations and redesigning the parkland continued. It was in 1810 that Windham Henry Quin married Caroline Wyndham, the only surviving child of Thomas Wyndham MP of Clearwell Park, Gloucestershire and Dunraven Castle, Glamorganshire. It was following his death that Windam acquired by Royal license the double barrelled name of Wyndham-Quin. During this time, Windham’s father Valentine was living in England and was created Viscount Mount-Earl in 1816 and then created Viscount Adare and the 1st Earl of Dunraven in 1822. The title of Dunraven was chosen to honour his daughter-in- law, Caroline. Windham, who became the 2nd Earl and along with his wife Caroline decided to make monumental changes to Adare House. They had visited many grand houses in England and became influenced by the fashionable gothic style. Windham and Caroline developed a passion for cathedrals with their aspiring scale and magnificence. The architect brothers James and George Pain were commissioned to begin the process of redesigning the house into a manor. The Pain brothers lasting legacy at Adare is the spectacular gallery, which was considered to be the largest domestic room in Ireland. The gallery became the wonderful backdrop to display the Wyndham family portraits and exquisite old master paintings. The work on the new manor house continued for more than 30 years to complete. Adare Manor and the contents remained in the Wyndham-Quin family until the early 1980’s, when it was sold. Today, the manor and the grounds have been beautifully restored keeping intact the integral importance of an historic legacy in Ireland.
Attributed to John Michael Wright (1617 - 1694) Portrait of George Monck, 1st Duke of Albermarle (1608 - 1670) With Charles II landing at Dover beyond Oil on canvas Unframed Inscribed in Italian upper middle, 'Giorgio Monck Duca di Albermarle, Capitan Generale del Regno d'Inghilterra due volte ammiraglio del m' Provenance: Chiswick Auctions, 31 January 2018, Lot 19. Dimensions: (Canvas) 49 in. (H) x 41 in. (W)
octagonal, with gadroon borders, unusual multiple scroll handles, marked on bases, the covers with maker's mark only 25 oz 777.5 g Length over handles 6 1/2 in. 16.5 cm
ATTRIBUTED TO JOHN MICHAEL WRIGHT 1617 London - 1694 ibid. HALF-LENGTH PORTRAIT OF MARY BAGOD, THE DORSET COUNTESS Oil on canvas (old relined) (oval). 73 x 60 cm (F. 88.5 x 76 cm). Verso: old attribution to 'Sir Peter Lely' on old paper label. Part. slightly old rest., min. old retouches. Frame from the late 18th century. A comparable painting by John Michael Wright from 1670 is now in the Holburne Museum Bath UK. Provenance: South German private collection. JOHN MICHAEL WRIGHT (ATTR.) 1617 London - 1694 ebenda HALBFIGURENBILDNIS VON MARY BAGOD, DER GRAEFIN VON DORSET Öl auf Leinwand (altdoubl.) (oval). 73 x 60 cm (R. 88,5 x 76 cm). Verso: Auf altem Papierlabel alte Zuweisung an 'Sir Peter Lely'. Part. leicht altrest., min. Altretuschen. Rahmen des späten 18. Jh. Ein vergleichbares Gemälde von John Michael Wright aus dem Jahr 1670 bewahrt heute das Holburne Museum Bath UK. Provenienz: Süddeutsche Privatsammlung.
John Michael Wright (1617 - 1694) A portrait of Lady Herries Oil on canvas Provenance: Anonymous sale, London, Sotheby's Olympia, 30 November 2005, lot 57 (as Follower of Robert Walker); Philip Mould & Company. Note: The sitter has traditionally been identified, according to an inscription on the stretcher, as ‘Lady Herries’. She is possibly Lady Lucy Douglas, daughter of William Douglas, 1st Marquess of Douglas and wife of Robert Maxwell, 4th Earl of Nithsdale (1628–83), who was known by the subsidiary title of Lord Herries until 1677, when he inherited the Earldom.  Dimensions: (Canvas) 50.8 in. (H) x 42.8 in. (W) (Frame) 57.5 in. (H) x 49.25 in. (W)
Attributed to John Michael Wright (1617-1694) Portraits of Lord Henry Howard, later 6th Duke of Norfolk (1628-1684) and his first wife Lady Anne Somerset (1631-1662) both half-length, Lord Henry in armour with a white lace cravat, Lady Anne wearing a blue dress and pearls oil on canvas 66.5 x 57cm, a pair Provenance: Acquired by the vendor's Great Uncle in the decade 1930-40, Thence by descent Although previously thought to represent the 3rd Lord and Lady Arundell of Wardour (as inscribed to the reverse) the present portraits can now be securely identified as of Henry Howard, 6th Duke of Norfolk and his first wife Lady Anne Somerset, eldest daughter of the 2nd Marquess of Worcester. The likeness of the Duke corresponds closely with Wright’s three-quarter-length portrait, of which at least four versions are known (see Exhibition catalogue John Michael Wright, Edinburgh, 1982, p. 70, under no. 15) which depict him at a parapet holding a plumed helmet in a landscape with a page and horse beyond; all were formerly described as various other sitters, but the Duke’s identity in these portraits has since the 1982 Edinburgh exhibition (op. cit.) been verified by a 1660 work by Adriaen Hanneman at Arundel Castle. The former Wardour Castle three-quarter length of the Duke exhibited in 1982 (ibid) proposes a date based on the style of the sword to circa 1660. Therefore, at the time of these portraits, Lord Henry was not yet Duke as he only succeeded his insane elder brother in 1677 and Lady Anne dies in 1662 so they must predate that year. From Lord Henry's apparent age in this portrait, he is therefore still only Lord Henry Howard and certainly not even yet Baron Howard of Castle Rising or Earl of Norwich which he was created in 1669 and 1672 respectively. In 1672, he would also be created Earl Marshal and thus become the most senior citizen in the Kingdom. In 1669, he was appointed Ambassador to Morocco where the city of Tangiers, which was a Portuguese enclave, had already been ceded to England as part of the dowry of Charles II's consort Catherine of Braganza in 1662. Lady Anne's distinctive appearance likewise corresponds with Wright’s three-quarter-length portrayal of her at Powis Castle (NT 1180957). Two other half-length compositions, similar to her present portrait, are also recorded but appear of inferior quality. It is therefore possible that the present work is Wright’s prototype for the half-length composition of Lady Anne, to which a companion portrait of the Duke was added based on the artist’s three-quarter-length version. As a matched pair, the present works are therefore significant in corroborating the iconography of both sitters. Framed 82 x 72.5cm
John Michael Wright (1617 - 1694) A portrait of Lady Herries Oil on canvas Provenance: Anonymous sale, London, Sotheby's Olympia, 30 November 2005, lot 57 (as Follower of Robert Walker); Philip Mould & Company. Note: The sitter has traditionally been identified, according to an inscription on the stretcher, as âLady Herriesâ. She is possibly Lady Lucy Douglas, daughter of William Douglas, 1st Marquess of Douglas and wife of Robert Maxwell, 4th Earl of Nithsdale (1628â83), who was known by the subsidiary title of Lord Herries until 1677, when he inherited the Earldom. Dimensions: (Canvas) 50.8 in. (H) x 42.8 in. (W) (Frame) 57.5 in. (H) x 49.25 in. (W)
CIRCLE OF JOHN MICHAEL WRIGHT (BRITISH 1617-1694)PORTRAIT OF A LADY, SEATED IN FRONT OF A TERRACE, WITH THREE SHRUBS IN TERRACOTTA POTS AND A BASKET OF FLOWERS AND FRUITOil on canvas126 x 101cm (49½ x 39¾ in.)
(Scottish, circa, 1617-1694) The Effigies of the Right Hon.ble Heneage Lord Finch, Baron of Daventry, Lord High Chancellor of England, & one of the Lords of the most Hon.ble Privy Councell, o King Charles ye. Second Anno Dni: 1676., Roycroft for R. Blome, London, 1679, engraving on paper, sight, 11-5/8 x 7-7/8 in.; painted and gilt wood frame, 21 x 16-7/8 in. Provenance: Property deaccessioned by The Colonial Williamsburg Foundation; all proceeds to benefit The Joseph H. and June S. Hennage Fund
(Scottish, 1617?1694) Sir John Frederick, Lord Mayor of London, titled top left "Sir John Frederick, Knt./M.P. for Dartmouth./b.1601-obit 1685.", oil on canvas, 50 x 40 in.; black painted frame, 57-1/8 x 47-1/4 in. Note: Sir John Frederick was a member of the British Parliament for Dartmouth, 1660?1661 and for the City of London, 1663?1679. He was also the Lord Mayor of London. For a similar portrait see: National Portrait Gallery (no. 56), London, George Jeffreys, 1st Baron Jeffreys of Wem (https://www.npg.org.uk/collections/search/portraitExtended/mw03448/George-Jeffreys-1st-Baron-Jeffreys-of-Wem) The frame plate erroneously gives an attribution to Joseph Wright of Derby. Provenance: Pook & Pook, Inc., April 25, 2014, lot 337, sold as Manner of John Michael Wright (Scottish, 1617-1694); Private Collection, Matthews, North Carolina
Circle of John Michael Wright (British, 1617-1694) Portrait of a lady, said to be Mary Edgar (1616-1695), aged 80, half-length, wearing pearls and an elaborate lace bonnet inscribed 'AEtat 80' (upper left) oil on canvas 76 x 63cm Footnote: According to an old label to the reverse, the sitter was a granddaughter of Thomas Powle (1513-1601), a Clerk of the Crown and High Steward to Queen Elizabeth of all her manors in Essex.
JOHN MICHAEL WRIGHT (LONDON 1617-1694) A posthumous portrait of Elizabeth, Countess of Westmorland (1648-?1667), full-length, seated in a white satin dress with gold and silver brocade, with a sprig of flowers in her left hand oil on canvas 88 1/2 x 55 3/4 in. (224.8 x 141.6 cm.) inscribed 'Eliz. th Nodes 1st. Wife / to Cha s E. of Weftmorland' (lower left)
Follower of John Michael Wright (London 1617-1694) A full length portrait of Lord Mungo Murray Son of 1st Marquess of Atholl, dressed for hunting oil on canvas 89.5 x 62 cm (35 1/4 x 24 7/16 in.) This appears to be a copy after the original, owned by National Galleries of Scotland For further information on this lot please visit the Bonhams website
(Londra, 1617 - 1694) Ritratto di giovane Olio su tela applicata su tavola, cm 63,5X54 Allievo nel 1636 dal ritrattista George Jamesone a Edimburgo, sappiamo che intorno al 1640 Wright si trasferì a Roma dove trascorse un lungo periodo per poi lavorare per l'arciduca Leopold Wilhelm, governatore dei Paesi Bassi spagnoli e rientrare a Londra nel 1656. Essendosi convertito al cattolicesimo non beneficiì di importanti commissioni reali, tuttavia fu notevole il suo successo tra la nobiltà cattolica realizzando ritratti caratterizzati da un certo realismo sobrio ed elegante e in contrasto con il fascino soave di Peter Lely.
John Michael Wright (London 1617-1694) Portrait of James, Duke of Cambridge, (1663-1667), half-length, in a pink coat,... oil on canvas 27 ¼ x 22 ¾ in. (69.2 x 57.7 cm.)
Attributed to John Michael Wright (London 1617-1694) A portrait traditionally identified as Sir Edward Thurland, Baron Thurland (1606-1683) later inscribed and dated 'Baron Thurland / 1672.' (upper left) oil on canvas 30 1/4 x 25 1/4in (76.9 x 64.1cm) For further information on this lot please visit the Bonhams website
John Michael Wright (London 1617-1694) A posthumous portrait of Elizabeth, Countess of Westmorland (1648-?1667),... oil on canvas 88 ½ x 55 ¾ in. (224.8 x 141.6 cm.)
Attributed to John Michael Wright (London 1617-1694) A portrait traditionally identified as Sir Edward Thurland, Baron Thurland (1606-1683) later inscribed and dated 'Baron Thurland / 1672.' (upper left) oil on canvas 30 1/4 x 25 1/4in (76.9 x 64.1cm) For further information on this lot please visit the Bonhams website
Circle of John Michael Wright (1617-1694). A Fine 17th Century Oil on Canvas; Portrait of an Aristocratic Gentleman stood on balustraded balcony overlooking landscape, wearing a long brunette wig and embroidered finery with a broad lace collar and slashed sleeves revealing billowing white under-sleeves, 50 in x 43 in (127 cm x 109 cm). Contained in a period carved giltwood frame 55 in x 47½ in (140 cm x 120 cm).
Attributed to John Michael Wright (London 1617-1694) Portrait of a young lady, bust-length, in a pearl necklace watercolour and chalk on paper26.4 x 20.2cm (10 3/8 x 7 15/16in). Provenance: With M. de Beer, London (as Anglo-Flemish school, according to the Witt Library mount)With Spink & Sons, Ltd, London, 1946 (as Sir Peter Lely, according to a label on the reverse), where possibly acquired by Edith Lilian Greig (1906-1997), of Alcester, Warwickshire, by whom bequeathed to the present owner's parents, and thence by descentA portrait, on canvas, 113 x 91.4 cm., which may depict the present sitter and was sold at Christie's, 23 November 2005, was Attributed to John Michael Wright by Dr. Duncan Thomson. The present drawing would appear to be of superior quality and it is suggested that it may relate to a lost original by John Michael Wright.
CIRCLE OF JOHN MICHAEL WRIGHT (LONDON 1617-1694) Portrait of George Monck (1608-1670), 1st Duke of Albemarle, three-quarter-length, in armour, a landscape with Charles II landing at Dover in 1660 beyond inscribed 'GIORGIO MONK [sic] DUCA DI ALBERMALE [sic] CAPITAN GENERALE / DEL REGNO D'INGHILTERRA, E DUE VOLTE AMMIRAGLIO DEL M' (along the top edge) oil on canvas, unframed 126 x 102.5 cm. This portrait celebrates the key role that Monck played in the Restoration Settlement in 1660 that led to the return of Charles II to Great Britain, which undoubtedly marked the very height of Monck’s distinguished career. Monck had skilfully masterminded the agreement between Parliament the exiled Stuart court. He was ideally positioned to negotiate a peaceful change of power; he was a member of the council of state and commander-in-chief of all military units in Britain. In return, Monck was created Baron Monck of Potheridge, Beauchamp, and Teyes, Earl of Torrington and Duke of Albemarle. He was also made Master of the Horse in the restored Royal court and presented with the insignia of the Garter by the King himself. The prime version of this particular composition is in the Uffizi Gallery, Florence. Two further portraits by Wright of Monck, which differ in composition from the present lot, exist. One of which appeared on the art market in 2009, formerly at Powderham Castle, and the other currently at Longleat House.
Follower of John Michael Wright Portrait of a gentleman, said to be Sir Thomas Catesby, half-length, bears inscription 'Sir Thos: Catesby' (upper left) oil on canvas, oval 75.5 x 63.2cm (29 3/4 x 24 7/8in).
Attributed to John Michael Wright (1617-1694). A Fine Mid 17th Century Oil on Canvas: Three Quarter Length Portrait of a Lady wearing a blue satin drape over an ivory dress with a string of pearls around her neck and her pet spaniel by her side. The subject sat in landscape, 46 ins x 36 ins (117 cms x 91 cms) contained in a gilt frame 50 ins x 41 ins (127 cms x 104 cms)
CIRCLE OF JOHN MICHAEL WRIGHT (1617-1694). Portrait of John Sparowe (b. 1690). oil on canvas, damaged. 115cm x 95cm. unframed. A/F Provenance: By family descent, Ancient House, Ipswich.
Provincial Follower of John Michael Wright (British, 1617-1694) Portrait of Sir John Gaudy of West Harling, Norfolk, aged 30, 1670 (1639-1708), in black robe and white lace cravat tied in a bunch, and long fair curly wig, ending in three curls in an elaborate painted stone cartouche painted with grapes oil on canvas, in a black and gilt frame h:74 w:62 cm Provenance: By descent from the sitter; Lord Thurlow; a gift to his friend the Reverend William Leech of Saxlingham; Bequeathed to Mrs Sarah Fuller, his cousin, of Colegate End, Pulham, who died 1830; Bequeathed to her daugher, Judith Fuller; Bequeathed to her daughter, Pitsy Poppy of Pulham Market; who sold to J Sancroft Holmes in 1871 (along with a portrait of Lady Gaudy - present whereabouts unknown) Bonhams, The Contents of the Old Rectory, Banningham, Norfolk 22 March 2004, Lot 195, whence acquired by the present owner Exhibited: Norwich, Strangers Hall, "The Age of Charles II", 1960, No. 18 Norwich, Castle Museum, "Family and Friends", 1992, no.33, illus. p.101 Literature: Prince Duleep Singh, "Portraits in Norfolk Houses" , 1927, Vol. 1, p.160, No.6 Other Notes: Sir John Gaudy (1639-1709) was the son of Sir William Gaudy, Bart. (d. 1669, son of Framlingham Gawdy) of West Harling, Norfolk, and his wife, Elizabeth (d.1653), daughter and heir of John Duffield of East Wretham. Prince Duleep Singh writes: "Sir John Gaudy was a deaf mute and a pupil of Sir Peter Lely, and he became a painter of considerable merit ... N.B. It is quite possible that the portrait was painted by himself". Sir John Gaudy took up painting after the family moved to Bury St Edmunds following the death of his mother and he worked in the studio of Matthew Snelling with the intention of having a career as a portrait painter. After the death of his brother, who was also a deaf mute, he inherited the family estate and moved back to West Harling - although he had a reputation as a skilled painter, he now no longer needed to paint as a profession. Sir John married Anne, youngest daugher of Sir Robert de Grey of Merton and his wife Elizabeth (nee Bredon) of Ipswich, with whom he had one daughter and a son, who never married.
CIRCLE OF JOHN MICHAEL WRIGHT (scottish c. 1617-1694) PORTRAIT OF A GENTLEMAN IN ARMOR, THREE-QUARTER LENGTH Oil on canvas 51 3/8 x 38 3/4 in. (130.5 x 98.4cm) provenance: Private Collection, Philadelphia, Pennsylvania.
STUDIO OF JOHN MICHAEL WRIGHT (c. 1617-1694): PORTRAIT OF CHARLES II WEARING THE ORDER OF ST. GEORGE Oil on canvas, unsigned, lined. 30 x 25 in., 39 x 32 1/2 in. (frame). Note: The painting was sold in 1984 attributed to John Riley. More recent scholarship has attributed it to John Michael Wright whose three-quarter length portrait of Charles II in the National Portrait Gallery, London, closely resembles this painting. Provenance: Sold Sotheby's, New York, October 23, 1984, lot 54. Property from the Estate of Paula Peyraud
Attributed to John Michael Wright (1617-1694). A Fine Mid 17th Century Oil on Canvas: Three Quarter Length Portrait of a Lady wearing a blue satin drape over an ivory dress with a string of pearls around her neck and her pet spaniel by her side. The subject sat in landscape, 46 ins x 36 ins (117 cms x 91 cms) contained in a gilt frame 50 ins x 41 ins (127 cms x 104 cms)
Attributed to John Michael Wright, Scottish (Born Circa 1617-1694) Oil on Canvas "Portrait of a Lady". Unsigned. Brass Plate to Frame "Michael Wright 1623-1700". Relined, Restorations Otherwise Good Antique Condition. Measures 49-1/2 Inches Tall and 40-1/4 Inches Wide, Frame Measures 56 Inches Tall and 46-5/8 Wide. We will not ship this item due to its size. We will happily recommend a list of outside vendors upon request.
Attributed to John Michael Wright, Scottish (Born Circa 1617-1694) Oil on Canvas "Portrait of a Lady". Unsigned. Brass Plate to Frame "Michael Wright 1623-1700". Relined, Restorations Otherwise Good Antique Condition. Measures 49-1/2 Inches Tall and 40-1/4 Inches Wide, Frame Measures 56 Inches Tall and 46-5/8 Wide. We will not ship this item due to its size. We will happily recommend a list of outside vendors upon request.
An account of His Excellence, Roger Earl of Castlemaine's embassy from His Sacred Majesty James IId ... to His Holiness Innocent XI. Published formerly in the Italian Tongue. London: printed by Thomas Snowdon for the author, 1688. Folio (355 x 226 mm). [4], 116 pp. Engraved allegorical frontispiece, engraved portrait of Queen Mary, large allegorical headpiece and engraved initial at dedication, and 15 engraved plates (1 folding) by Arnold van Westerhout after Giovanni Battista Lenardi and Philip Michael Camers. Period mottled calf, gilt, rebacked. Short tears to margins of folding plate, some wrinkling to same and browning where sheets are joined, faint spot to portrait and a few old stains in margins, a few period manuscript corrections in text, overall clean. Provenance: Bridget Harrison (period ownership signature in margin of frontispiece); Charles B. Sperling, Dynes Hall (armorial bookplate); property of a California educational institution. FIRST ENGLISH EDITION. An illustrated account of the festivities held in Rome for the English Ambassador Extraordinary in 1687, sent by James II in a failed attempt to restore the Catholic church to power in England. Includes six plates illustrating the luxurious coaches in which Castlemaine's entourage entered the city, a large double-folding plate of the banquet table prepared for the festivities, and plates depicting the table's centerpieces, among others. The text is translated, corrected and augmented from the original Italian edition of the year before, and the portrait of Queen Mary appears here for the first time. Wing W3702.
Circle of John Michael Wright (1617-1694) Portrait of a lady, depicted as Diana the Huntress, wearing period costume and holding a bow in her left hand, a hound nearby Oil on canvas, 111cm by 87cm See illustration
John Michael Wright (British, 1617-1694), portrait of Sir Willoughby Aston, 2nd Baronet (1640-1702). The subject, in brown satin attire, is seated in front of an open window with landscape visible beyond. Housed in an elaborate carved gilt frame. Frame with several old labels en verso including one for Thomas Agnew, a 19th century frame carver, gilder and retailer for art. This label reads "Thomas Agnew/Late Agnew & Zanetti/Carver, Gilder/Sterling, (illegible), Picture Frame, (illegible)/Printseller, Publisher/ (illegible)/18 Exchange Street/(illegible)/old paintings cleaned, restored in an imprexed (sic) manner". Another label for James Bourlet & Sons Ltd., established in 1828, reads "James Bourlet & Sons, Ltd/Fine Art Packers, Frame Makers/A1314/17 & 18, Naussau Street, Mortimer Street, W./Phone, Museum 1871." A label for Old Bond St. Galleries in London and Exchange Art Gallery, Dale Street, in Liverpool is also en verso. An old fabric label has "20" but illegible handwriting. Sight - 47 7/8"; H x 39 1/4" W. Framed - 58" H x 49 1/4" W. Provenance: Featured in both the Aston collection, United Kingdom and the Dulin Gallery of Art (predecessor to the Knoxville Museum of Art) collection, Knoxville, TN. Biography : John Michael Wright was an English Baroque portrait painter. He was apprenticed to George Jamesone in Edinburgh, 1636-41, then spent a long period abroad, chiefly in Rome, where in 1648 he became a member of the Accademia di S. Luca - the only British painter of the 17th century to have this distinction. On his return to England in 1656, he won many patrons among his fellow Catholics and became Lely's chief rival. His style was less glossy than Lely's but more penetrating and individual in characterization, his sitters tending to look thoughtful rather than merely glamorous. Wright was a collector, antiquarian, and scholar, and a man of considerable culture: in 1685 he accompanied an embassy from James II to Pope Innocent XI and wrote an account of it in Italian, published in 1687. However, he never had great worldly success and died in modest circumstances. Source: The Oxford Dictionary of Art and Artists.
WRIGHT, JOHN MICHAEL (UMKREIS) (1617 London vor 1694) Bildnis eines englischen Sklavenhändlers. Öl auf Leinwand. 133 x 107 cm. Circle of WRIGHT, JOHN MICHAEL (1617 London before 1694) Portrait of an English slave trader. Oil on canvas. 133 x 107 cm.
JOHN MICHAEL WRIGHT (att. a) Londra 1617 - 1694 RITRATTO DI MARGARETH SPENCER Olio su tela, cm. 76 x 61 PROVENIENZA Villa di famiglia romana nei pressi di Roma CONDIZIONI DEL DIPINTO Rintelo tardo ottocentesco. Quattro punti di restauro, quasi ossidati, a destra del capo, un punto di restauro sul petto. Il dipinto è in buono stato di conservazione CORNICE Cornice in legno dorato di linea S. Rosa, della fine del XIX secolo
![JOHN MICHAEL WRIGHT (1617 - 1694) Portrait of Sir Francis Wyndham, 1st Baronet of Trent Apparently signed, inscribed and dated verso 'Collonell [sic] Francis Wyndham/ of Trent in Somersett shire' 'Jo: Mich Wright Lord Pinxit. 1671' (please see re](https://stageimg.invaluable.com/housePhotos/Adam-j/57/779557/H0157-L384784075.jpg)
![CIRCLE OF JOHN MICHAEL WRIGHT (LONDON 1617-1694) Portrait of George Monck (1608-1670), 1st Duke of Albemarle, three-quarter-length, in armour, a landscape with Charles II landing at Dover in 1660 beyond inscribed 'GIORGIO MONK [sic] DUCA DI ALBERMALE [sic] CAPITAN GENERALE / DEL REGNO D'INGHILTERRA, E DUE VOLTE AMMIRAGLIO DEL M' (along the top edge) oil on canvas, unframed 126 x 102.5 cm. This portrait celebrates the key role that Monck played in the Restoration Settlement in 1660 that led to the return of Charles II to Great Britain, which undoubtedly marked the very height of Monck’s distinguished career. Monck had skilfully masterminded the agreement between Parliament the exiled Stuart court. He was ideally positioned to negotiate a peaceful change of power; he was a member of the council of state and commander-in-chief of all military units in Britain. In return, Monck was created Baron Monck of Potheridge, Beauchamp, and Teyes, Earl of Torrington and Duke of Albemarle. He was also made Master of the Horse in the restored Royal court and presented with the insignia of the Garter by the King himself. The prime version of this particular composition is in the Uffizi Gallery, Florence. Two further portraits by Wright of Monck, which differ in composition from the present lot, exist. One of which appeared on the art market in 2009, formerly at Powderham Castle, and the other currently at Longleat House.](https://stageimg.invaluable.com/housePhotos/chiswick/11/618011/H3383-L133690548.jpg)
![Circle of John Michael Wright [1617-1694]- Charles](https://stageimg.invaluable.com/housePhotos/Bearnes_Hampton_Littlewood/46/547346/H4025-L57139699.jpg)
