Portrait of Lady Theresa Shirley
Portrait of Lady Shirley | |
---|---|
Artist | Anthony van Dyck |
Year | 1622 |
Dimensions | 200 cm × 133.4 cm (79 in × 52.5 in) |
Location | Petworth House, Petworth, West Sussex, England |
The Portrait of Lady Shirley is a 1622 painting by Sir Anthony van Dyck, a Flemish Baroque artist. It is a portrait of Teresa Sampsonia (1589–1668), a Circassian noblewoman of the Safavid Empire of Iran. She was the wife of Elizabethan English adventurer Robert Shirley, whom she accompanied on his travels and embassies across Europe in the name of the Safavid King (Shah) Abbas the Great (r. 1588–1629). Numerous sketches of the couple appear in Van Dyck's Italian Sketchbooks.[1]
The painting
The painting is full-length portrait with the seated subject portrayed in a Circassian dress in dull gold, embroidered with blue and red, with a cinnamon mantle, typical of her homeland. The painting itself measures about 200 cm in height and 133.4 cm in width.[1][2] The portrait is one of set together with the Portrait of Sir Robert Shirley commissioned when the couple met Van Dyck during a visit to Rome between 22 July and 29 August 1622.[3] These portraits are now owned by Petworth House, a National Trust property in West Sussex.
See also
References
- ^ a b "Teresia Khan, Lady Shirley (1579/80–1668) 486170". National Trust Collections. Retrieved 21 April 2019.
- ^ Antonie van Dyck, p.160
- ^ Blow 2009, p. 138 harvnb error: no target: CITEREFBlow2009 (help); Canby 2009, p. 56 harvnb error: no target: CITEREFCanby2009 (help); Schwartz 2013, p. 93 harvnb error: no target: CITEREFSchwartz2013 (help).
- v
- t
- e
- Entry of Christ into Jerusalem (1617)
- Crucifixion with the Virgin, Saint John and Saint Mary Magdalene (1617–1619)
- Saint Martin Dividing his Cloak (1618)
- The Brazen Serpent (c. 1618–1620)
- The Apostle Matthew (c. 1618–1620)
- The Crowning with Thorns (1618–1620)
- The Betrayal of Christ (1618–1620)
- Bristol
- Madrid
- Minneapolis
- Saint Ambrose barring Theodosius from Milan Cathedral (c. 1619–1620)
- Samson and Delilah
- 1620
- 1630
- Susanna and the Elders (c. 1631–1632)
- Madonna and Child (1621–1627)
- The Mocking of Christ (1628–1630)
- The Coronation of Saint Rosalia (1629)
- The Vision of the Blessed Hermann Joseph (1629–1630)
- Madonna and Child with Two Donors (1630)
- Rest on the Flight into Egypt (1630)
- Crucifixion (1630)
- The Resurrection (1631–1632)
- Madonna with Partridges (1632)
- Deposition / Lamentation over the Dead Christ
- 1615
- 1618
- 1619
- 1629
- 1629–1630
- 1634
- 1635
- 1640
(1624–1625)
- Houston
- London
- Madrid
- New York
- Ponce
- Palermo (studio work)
- Munich (autograph or studio)
- Drunken Silenus (1620)
- Jupiter and Antiope (1620)
- Diana and a Nymph Surprised by a Satyr (1622–1627)
- The Shepherd Paris (1628)
- Thetis Receiving the Weapons of Achilles from Hephaestus (1630–1632)
- Venus Asks Vulcan to Forge Arms for her Son Aeneas (1630–1632)
- Cupid and Psyche (1638–1640)
- Cornelis van der Geest (1620)
- Theresa Shirley (1622)
- Robert Shirley (1622)
- Cardinal Guido Bentivoglio (c. 1623)
- The Lomellini Family (c. 1625–1627)
- Gaston, Duke of Orléans (1632 or 1634)
- Charles I with M. de St Antoine (1633)
- Equestrian Portrait of Francisco de Moncada (1634)
- Francisco de Moncada (1634)
- Thomas Francis, Prince of Carignano (1634)
- Charles I at the Hunt (c. 1635)
- Charles I in Three Positions (1635 or 1636)
- The Three Eldest Children of Charles I (Turin) (1635)
- The Three Eldest Children of Charles I (Royal Collection) (1636)
- Equestrian Portrait of Charles I (1637–1638)
- Triple Portrait of Henrietta Maria (1638)
- Mary Hill, Lady Killigrew (1638)
- William Killigrew (1638)
- Queen Henrietta Maria as St Catherine (1639)
- Luigia Cattaneo-Gentile (c. 1622)
- Magistrates of Brussels (Preparatory sketch) (1634–1635)
- Olivia Porter (1630s)
- Mary Villiers, Lady Herbert of Shurland (c. 1636)
- Lord John Stuart and his Brother, Lord Bernard Stuart (c. 1638)
- Vienna (1613–1614)
- New York (1620–1621)
- Self-Portrait with a Sunflower (1632–1633)
- Self-portrait with Sir Endymion Porter (1635)
- London (1640)
- A Soldier on Horseback (c. 1616)
- Mucius Scaevola before Lars Porsenna (c. 1618–1620)
- Hendrick van Balen the Elder (master)
- Peter Paul Rubens (master)
- Paul de Vos (collaborator)
- Van Dyke beard
This article about a seventeenth-century painting is a stub. You can help Wikipedia by expanding it. |
- v
- t
- e