Description
Inscribed, oil on canvas
Dimensions
124cm x 97cm (49in x 38.25in)
Footnote
Provenance: The collection of Alan Leslie
Exhibited: Scottish National Portrait Gallery, Edinburgh 1883
Note: The sitter, who died in 1725, was the daughter of Sir James Stewart of Kirkhill. She married Henry Erskine, 3rd Lord Cardross on 3 March 1671. She was buried at Holyrood Abbey, Edinburgh. Her husband's portrait, also by Schunemann hangs in the Scottish National Portrait Gallery, Edinburgh.
L. Schunemann was a notable figure amongst the wave of Continental artists who were active in Scotland during the late 17th and early 18th century. This influx has been attributed to the re-modelling of the Palace of Holyroodhouse by the architect Sir William Bruce following the restoration of the monarchy under Charles II. The new palace was to be a symbolic affirmation of the King's presence and power in Scotland and was re-designed elaborately in the Baroque style, requiring the enlistment of many European sculptors and artists. The fashion for this style began to spread throughout Scotland and noblemen who had previously been unable to afford to import their own craftsmen took full advantage of this sudden profluence. Likewise, artists were drawn from abroad by this new demand.
Schunemann, a German by birth, is known to have been active in Scotland in the 1660s. He enjoyed the patronage of high ranking nobility, including the Earl of Wemyss and the Duke of Rothes. Eleven works by or attributed to the artist currently reside in national collections, including portraits of Archibald Campbell (1629-1685), 9th Earl of Argyll, and John Leslie (1630-1681), 7th Earl and 1st Duke of Rothes. The husband of the sitter in the portrait offered here for sale, Henry Erskine (c.1649-1693), 3rd Lord Cardross, Privy Councillor and General of the Mint, hangs in the Scottish National Portrait Gallery.
The portrait bears the influence of Dutch artist Sir Peter Lely who was the King's Principal Painter in Ordinary from 1661. A three quarter length study, it is redolent with the symbolism that was typical of portraiture at this time. Lady Cardross is shown wearing a fine silver gown which is decorated with pearls, a representation of purity and innocence. This may suggest that the portrait was painted around the time of her marriage, a theory further supported by the fact she is holding a small pink rose in her hand. Roses were used to denote youth, beauty and, of course, love. The fact this is a budding rather than full blown rose suggests that both the sitter and their marriage were both still in in the bloom of youth. To the figure's left is a garden fountain. In addition to employing a foreign artist, Henry Erskine likely had the grounds of his estate modelled in the latest continental style and would have been keen to showcase the trappings of his wealth and cosmopolitanism in this significant commissioned portrait.
This sale represents a rare opportunity to purchase a scarce and substantial example of work by one of the prominent artists working in Scotland during this fascinating period of the country's history.