English School, circa 1595-1605
English School, circa 1595-1605

Portrait of a lady, identified as Elizabeth Howard, daughter of Charles, 1st Earl of Nottingham, full-length, in a white silk satin dress, embroidered with pearls, with an ostrich feather, diamond and ruby headdress, and a brise fan in her right hand, holding cherries in her left hand, in an interior

Details
English School, circa 1595-1605
Portrait of a lady, identified as Elizabeth Howard, daughter of Charles, 1st Earl of Nottingham, full-length, in a white silk satin dress, embroidered with pearls, with an ostrich feather, diamond and ruby headdress, and a brise fan in her right hand, holding cherries in her left hand, in an interior
oil on canvas
77 x 50½ in. (195.6 x 129.3 cm.)
Provenance
Presumably by descent through Catherine Southwell (d. 1657),
daughter of Sir Robert Southwell, of Woodrising, Norfolk, and granddaughter of Catherine Countess of Nottingham,
who married in 1618 Sir Greville Verney, de jure 7th Baron Willoughby de Broke (c. 1586-1642), of Compton Verney, Warwickshire, and by descent to
Sir Richard Greville, 19th Baron Willoughby de Broke (1869-1923), of Compton Verney, Warwickshire; Sotheby's London, 27 June 1921, lot 68, as 'Marcus Gheeraerdts, the Younger'.
Acquired from Leggatt Brothers, London, by Harold Pearson, 2nd Viscount Cowdray.
Literature
R. Strong, 'Forgotten Age of English Paintings, Portraits at Cowdray and Parham, Sussex', Country Life Annual, 1966, p. 46.
C. Anson, A Catalogue of Pictures and Drawings in the Collection of The Viscount Cowdray, London, 1971, p. 10, no. 29, plate 3, as 'Marcus Gheeraerts' (in the Buck Hall).
Exhibited
Vienna, Galeries of the Succession, Exhibition of British Art, 1937, as 'Gheeraerdts'.

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Lot Essay

In the 1921 sale this portrait was identified as of Lady Elizabeth Howard, daughter of the Earl and Countess of Nottingham (for whom see lot 309). However, in his 1966 article 'The Forgotten Age of English Paintings' on the Elizabethan and Jacobean portraits at Cowdray Park and Parham Roy Strong suggested that there may have been some 'mislabelling' of the four full-length portraits in the 1921 sale, speculating of this and the two other full-lengths that he thought by the same hand (lots 310 and 312) that they might be of the Countess of Nottingham's three daughters.

The eldest of the Countess of Nottingham's daughters Elizabeth Howard married Robert Southwell, and later the Earl of Carrick, and was one of Queen Elizabeth's Maids of Honour. Their younger daughter Frances Howard (d. circa 1628), married firstly Henry Fitzgerld, 12th Earl of Kildare, and secondly in 1600, after the latter's death and her return from Ireland to England, Henry Brooke, 11th Baron Cobham (1564-1618), and was much favoured by Queen Elizabeth I. At Queen Elizabeth I's death she was one of two countesses appointed to lead a delegation sent to meet Queen Anne of Denmark and she served Anne of Denmark for a while as Princess Elizabeth's governess. Her second husband however, was involved in the Gunpowder Plot to assassinate King James I for which he was sent to the Tower of London, and forfeited his titles and estates, although his wife remained at Cobham Hall for her life, where she was visited by the King in 1622 The Earl and Countess of Nottingham's third daughter Margaret, married Sir Richard Leveson of Trentham, in Staffordshire.

Lady Elizabeth Howard was one of Queen Elizabeth I's goddaughters and also one of the Queen's Maids of Honour by 1579 and the identification of this portrait as of her would appear to be supported by the dress in which the subject of the portrait is shown which is of a type associated with the Queen's Maids of Honour. The cherries are symbolic of innocence.

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