Monday, November 25, 2019

17C Even the Girls Played Golf

Attr to Pieter de Hooch (Dutch genre painter, 1629-1684) 

1650 Peter Lely (English artist, 1618-1680)  The Children of the Markgraaf de Trazegnies

1660 Pieter de Hooch (Dutch genre painter, 1629-1684) The Little Golf Players

17C Garden in Portrait of 2-year-old Girl

 1606 Unknown artist, Lettice Newdigate age 2

 1606 Unknown artist, Lettice Newdigate age 2

She has a feather in her 17C cap

Jean Leblond 1605-1666 Bradamante;  François Ragot (Print made by); Young woman, bust-length; hat adorned with feather, chin-length curly hair, pearl necklace with lozenge-shaped pendants and dress trimmed with lace

Love these 17C roses!

 1654 Countess Beata Elisabeth von Königsmarck attributed to Hendrick Munnichhoven

Hendrick Munnichhoven (even Hendrik Munnikhoven, and Münnichhoven), probably was born in Stockholm. The Swedish artist died in August 1664 in Stockholm.
Portrait of Magnus Gabriel De la Gardie with his wife Maria Euphrosyne attributed to Hendrick Munnichoven, 1653. (He is so bejeweled & befeathered.)

17C Party on the Terrace

1620 Esaias van den Velde (Dutch painter, 1587-1630) The Garden Party

Merry Company on & off the 17C Garden Terrace.

Jan Miense Molenaer (Dutch Baroque Era Painter, ca.1610-1668) Merry Company on the Garden Terrace.  (Not exactly sure about the folks just outside the terrace on the pathway.)

Safely close to Home on the Garden Terrace - 17C Families by Gonzales Coques c.1615-1684

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) A Family Group by a Garden Fountain

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) A Family in a Garden Landscape

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) Family in Garden Landscape

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) Family of Jan Baptista Anthonie

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) Family Portrait

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) Gentleman with two daughters 1664

1662 Married Couple almost in the Garden attributed to Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684)

17C Young Girls Almost Outdoors

In these portraits, the young girls are standing in a safe interior, but just on the threshold of more dangerous nature, which is visible in the background.
1625 Unknown Artist of the Dutch school, Girl with cherries & doll.  She is on the verge of nature, but it is nature controlled as a formal garden.

1629 Unknown artist of the Dutch School Two Little Dutch Children in an interior with a view of Nature, Aprons, Holding Apples, Cherries, & a Straw Bag.  Children holding fruit combined with the glimpse out a window suggests that they might be spending some time outdoors gathering fruit.

1631 Unknown artist Sarra de Peyster in an interior. Inscription [at upper left] Sarra Depeyster AEtatis  30 Maenden 23 Mey 1631   The child here is holding a precious tulip.  Tulipmania was a frenzied period in Dutch history, from 1620 to 1637, when speculation in tulip bulbs went wild. The prices went to astronomical levels - up to the equivalent of £1.3million per bulb.

 1632 Jan Anthonisz van Ravesteyn (Dutch painter, 1572-1657) Portrait of Joannes de Ruyter, 1632 - Princess Salimah Aga Khan. This child is clearly in a safe interior surrounded by toys & holding a bird, but in the background gardeners work in the formal garden just beyond the view.

1657 Jan Jansz. de Stomme (Dutch painter, 1615-c 1657)  Portrait of Evert en Reint Lewe with hats & coral necklaces.  The very controlled nature of a large formal garden can be seen out the window.

17C Woman with Flower Basket & Intrigued Dog

William Marshall (British printmaker, 1617-1649) Woman with Flower Basket & Intrigued Dog

17C Portrait of a Lady standing amid Roses with Garden Fountains beyond

Unidentified Lady standing amid the roses with fountains in garden beyond by Pieter Nason (1671)

1675 Advice on the Duty of a Wife to her Husband

Jean Leblond 1605-1666 L'Ysabelle;  François Ragot (Print made by); Young woman, half-length, turned to right; lace headdress, large collar trimmed with lace, and dark dress with light-coloured, striped sleeves

Hannah Woolley. The Gentlewoman's Companion: or, A Guide to the Female Sex. London, A Maxwell for Edward Thomas, Bookseller. 1675.

Of Marriage, and the duty of a Wife to her Husband.

Marriage is an holy and inviolable bond; if the choice on both sides be good and well- ordered, there is nothing in the World that is more beautiful, more comfortable. It is a sweet Society, full of trust and loyalty. It is a fellowship, not of hot distempered love, but endeared affection; for these two are as different as the inflamed fit of an high Feaver, from the natural heat of a sound and healthy body. Love in the first acceptation is a distemper, and no wonder then that Marriage succeed so ill, which have their original from such disordered amorous desires. This boiling affection is seldom worth any thing.

There are these two Essentials in Marriage, Superiority and Inferiority. Undoubtedly the Husband hath power over the Wife, and the Wife ought to be subject to the Husband in all things. Although the Wife be more noble in her extraction, and more wealthy in portion, yet being once Married is inferior to her Husband in condition. Man, of human-kind, wa Gods first workmanship; Woman was made after Man, and of the same substance, to be subservient and assisting to him...

The more particular duties of a Wife to an Husband, are first, to have a greater esteem for him than for any other person...That Woman that will entertain mean and low thoughts of her Husband, will be easily induced to love another, whom she ought not to affect. On this good esteem depends a great part of the Wives obedience, who will be apt to run into extravagancies when she is once possessed of the weakness of her Husbands understanding: She is to give honour, respect, and reverence to her Husband; so have the wisest ever done, and those which do it not, betray their indiscretion; with reverence she is to express her obedience in all lawful things; and apply and accommodate her self (as much as in her lies) to his humour and disposition.

You must be mindful of what you promised your Husband in Marriage; and the best demonstration thereof will be in your carriage; honour and obey, and love no mans company better than his.

Be quiet, pleasant, and peaceable with him, and be not angry, when he is so; but endeavour to pacifie him with sweet and winning expressions & if casually you should provoke him to a passion, be not long ere you shew some regret, which may argue how much you are displeased with your self for so doing; nay bear his anger patiently, though without a cause.

Be careful to keep your house in good order, and let all things with decency be in readiness when he comes to his repast; let him not wait for his meals, lest by so staying his affairs be disorder'd or impeded. And let what-ever you provide be so neatly and cleanly drest, that his fare, though ordinary, may engage his appetite, and disingage his fancy from Taverns, which many are compell'd to make use of by reason of the continual and daily dissatisfactions they find at home.

Shew respect and kindness to what Friends he brings home with him, but more especially to his Relations for by this means he will find your love to him by your respect to them; and they will be obliged to love you for your own as well s his sake.

Suffer not any to buz in your ears detracting stories of him, and abhor it in your Servants, for it is your duty to hide his faults and infirmities, and not detect them your self, or suffer them to be discovered. Take them for your greatest enemies who perswade you against your Husband; for without question they have some dangerous design in it. Those whom God hath joined together, let no man put asunder; Cursed then is that instrument which occasions their separation.

Breed up your Children in as much or more obedience to him than your self; and keep them in so much awe that they shew no rudeness before him, or make any noise to his disturbance. Make them shew him all awful regard, and kee them sweet, clean, and decent, that he may delight himself in them.

Let him see your love to him in your care for them; educating and bringing them up in the knowledg of Religion, with their Learning.

Be careful to manage what money he doth trust youwith, to his and your own credit: abuse not the freedom you have of his purse, by being too lavish; and pinch not the Guts of your Family at home, that you may pamper your abroad; or throw away that money in buying trifles, which shall evidence your vanity as well as luxury.

To govern an House is an excellent and profitable employment; there Is nothing more beautiful than an Houshold well and peaceably governed; it is a prosession that is not difficult; for she that is not capable of any thing else, may be capable of this.

The principal precepts that belong to the frugal ordering and disposing Houshold-affairs may be compremis'd under these heads.

First to buy and sell all things at the best times and seasons.

Secondly, to take an especial care that the goods in the house be not spoiled by negligence of servants or otherwise.

Let me counsel you not only to avoid unnecessary or immoderate charges, but also with a little cost make a great shew; but above all suffer not your expence to exceed the receipt of your Husbands income. There is a Proverbial saying, That the Masters eye maketh the Horse fat; I am sure the active vigilance of a good and careful Wife is the ready way to enrich a bad Husband.

17C Marie de Rohan, the wife of Claude de Lorraine with amazing pearls

Jean Leblond 1605-1666 Charles David (Print made by); Ferdinand Elle (After) Marie de Rohan, the wife of Claude de Lorraine, Duke of Chevreuse; bust-length, turned to right with curled hair, pearl earrings

Henrietta Maria riding 17C side-saddle

Jean Leblond 1605-1666 Henrica Maria,  Jérôme David (Print made by) Henrietta Maria on horseback, riding side-saddle, holding a fan and the reins, with wide hat

17C Woman with Curly Hair

Jean Leblond 1605-1666 La Bavolette; Jean Leblond I (Published by); François Ragot (Print made by); Young woman, half-length, turned to right, holding flowers in left hand; headdress with veil hanging down, curly hair

1675 Instructions for Chambermaids

Jean Leblond 1605-1666 Margot; François Ragot (Print made by); Elderly woman, half-length, turned l, holding the portrait of a young woman (or a mirror reflecting a young woman's image) in her hands

Hannah Woolley. The Gentlewoman's Companion: or, A Guide to the Female Sex. London, A Maxwell for Edward Thomas, Bookseller. 1675.

Instructions for Chambermaids

It will be required of you, that you Dress well that you may be able to supply the place of the waiting-woman, should the chance to fall sick, or be absent from your Lady; you must wash fine Linnen well and starch Tiffanies, Lawns Points, and Laces, mend them neatly; and wash white Sarcenets, with such like things.

You must make your Ladies bed; lay up, and lay out her Night-clothes; see that her Chamber be kept clean, and nothing wanting which she desires or requires to be done. Be modest in your deportment, ready at her call, always diligent, answering not again when reprov'd, but with pacifying words; loving & courteous to your fellow-servants not gigling or idling out your time, nor wantoning in the society of men; you will find the benefit thereof; for an honest and sober man will sooner make that woman his Wife whom he seeth continually imployed about her business, than one who makes it her business to trifle away her own and others time; neither will a virtuous and understanding Mistress long entertain such a servant whom she finds of such a temper.

17C Woman Feeding a Young Boy

Jean Leblond 1605-1666 Woman, turned to the left, her breasts uncovered, giving drink to a young boy; copy after Bloemaert Engraving

1675 Advice on the potential dangers of a 17C Gentlewoman's "wanton" eye

Jean Leblond 1605-1666 Marotte; François Ragot (Print made by);Young woman, half-length, turned to left; lace headdress with hairpin, large ruff, and striped dress

Hannah Woolley. The Gentlewoman's Companion: or, A Guide to the Female Sex. London, A Maxwell for Edward Thomas, Bookseller. 1675.

Of the Government of the Eye.
As prudence is the eye of the Soul, so Discretion is the apple of that Eye but as for the natural Eyes, they are the Casements of the Soul, the Windows of Reason: As they are the inlets of Understanding, so they are the outlets or discoverers of many inward corruptions.

A wanton Eye is the truest evidence of a wandring and distracted mind. As by them you ought not to betray to others view, your imperfections within; so be not betray'd by their means, by vain objects without: This made the Princely Prophet pray so earnestly, Lord turn away my eyes from vanity. And hence appears our misery, that those eyes which should be the Cisterns of sorrow, Limbecks of contrition, should become the lodges of lust, and portals of our perdition...

An unclean Eye, is the messenger of an unclean Heart; wherefore confine the one, and it will be a means to rectifie the other. There are many Objects a wandring Eye finds out, whereon to vent the disposition of her corrupt heart.

The ambitious Eye makes Honour her object wherewith she torments her self, both in aspiring to what she cannot enjoy; as likewise, in seeing another enjoy that whereto her self did aspire.

The covetous Eye makes Wealth her object; which she obtains with toil, enjoys with fear, forgoes with grief; for being got, they load her; lov'd they soil her; lost, they gall her.

The envious Eye makes her Neighbours flourishing condition her object; she cannot but look on it; looking, pine and repine at it; and by repining, with envy, murders her quiet and contentment.

The loose or lascivious Eye makes Beauty her object; and with a leering look, or wanton glance, while she throweth out her lure to catch others, she becomes catcht her self.

Gentlewomen, I am not insensible, that you frequent places of eminency for resort, which cannot but offer to your view variety of pleasing Objects. Nay, there where nothing but chast thoughts, staid looks, and modest desires, should harbour, are too commonly loose thought, light looks, and licentious desires in especial honour...

Be assured, there is no one sense that more distempers the harmony of the mind, nor prospect of the Soul, than this window of the body...Do not then depress your Eyes as if Earth were the Center of their happiness, but on Heaven the Haven of their bliss after Earth. To conclude, so order and dispose your looks, that censure may not tax them with lightness, nor an amorous glance impeach you of wantonness...

Jean Leblond 1605-1666 -depicts Marie de Médicis

Jean Leblond 1605-1666 Marie de Médicis Royne de France et de Navarre; print; Anthony van Dyck (After)

The Good Works of a Wealthy 17C Widow

Lady Lettice, Viscountess Falkland, née Moryson (1610-46) Engraving, frontispiece to John Duncon, The Returnes of Spiritual Comfort and Grief (London, 1648)  This is a shrouded, posthumous portrait of Lady Lettice, who was wife of Lucius Cary, 2nd Viscount Falkland (c.1610-43). Cary was famous as an author & cultivator of the arts; he drew a circle of writers around him at Great Tew, including Ben Jonson & Abraham Cowley. He died for the royalist cause at the First Battle of Newbury during the English Civil War.

This excellent lady was daughter of Sir Richard Morison, of Tooley Park, in Leicestershire, knt. & relict of the celebrated Lucius Cary, viscount Falkland, who was killed in the first battle of Newbury. When that great & amiable man was no more, she fixed her eyes on heaven; & though sunk in the deepest affliction, she soon found that relief from acts of piety & devotion, which nothing else could have administered. After the tumults of her grief had subsided, & her mind was restored to its former tranquillity, she began to experience that happiness which all are strangers to but the truly religious. She was constant in the public & private exercises of devotion, spent much of her time in family prayer, in singing psalms, & catechising her children & domestics. She frequently visited her poor neighbours, especially in their sickness, & would sometimes condescend to read religious books to them, while they were employed in spinning. She distributed a great number of pious tracts. Lord Falkland left her all that he was possessed of by will, & committed his 3 sons, the only children he had, to her care. Ob. Feb. 1646, 2Et. circ. 35.
James Granger. A Biographical History of England: From Egbert the Great to the Revolution. 1769

17C Women busy at Loving & Harvesting

Juni Hooien, After Crispijn van de Passe (I), Maerten de Vos, c. 1574 - c. 1687

17C Woman with Pearls in her Hair

Jean Leblond 1605-1666 Duchess of Montbazon, bust-length, slightly turned to the left, with curly hair, pearl earring, pearl necklace, and dress with square neckline

A Few fairly serious 17C British Ladies

 1653 Agnes Impel was the wife of Sir Jacob Astley

 Anne Babington of Rothley Temple thought to be by Daniel Muytens from 1645

 By William Dobson, thought to be his second wife Judith.

 Cornelis Janssens van  Ceulen elizabeth-holte-c-1605-after-1670

 Cornelius Janssens van Ceulen Elizabeth Lady Coventry

 Cornelius Johnson Lady Ann Fanshawe 1625-1680 Wife of Sir Richard Fanshawe

 Elizabeth Cromwell Mother of Oliver Cromwell Painted by Robert Walker, sometime between 1640-1655.

 Henry Giles in 1639 Catherine Lucas, Lady Pye

 Isobel Heyton 1634 by Thomas Leigh, Wife of Thomas Heyton

 Lady Elizabeth Fane 1640

Margaret Conyers or Mrs John Buxton of Tibbenham, painted c1640

 Painted by Gilbert Jackson in 1638

 Sir Peter Lely, Portrait of a Lady

Style of Peter Lely c 1650. Lady Anne Clifford, she was a diarist & landowner who married Richard Sackville, Earl of Dorset and then Philip Herbert 4th Earl of Pembroke.

17C Royal & Aristocratic Ladies posing with their Horses

 1617 Paul van Somer (Flemish artist, 1576-1622) Queen Anne of Denmark. (Happy to see the brick-walled garden in the background.)

(The garden historian in me seems to be compelled to comment on these garden & landscape components.)

 1620 Marie de Medici on Horseback, Unknown artist of the French School. (The garden here has a row of trees directing the viewer's site from the built environment to the natural landscape beyond.)

 1630s Claude Deruet (French artist, 1588-1660) Madame Saint-Baslemont. Madame de Saint-Baslemont de Neuville Became a female warrior, as she actively defended her manor in 1634. During the Thirty Year War. This commemorative portrait was painted in 1638-1640 showing the determined woman wearing the white scarf of the commanding officers of the French crown. (There are even rectangular garden beds in the background.)

 1634 Diego Velazquez (Spanish artist, 1599-1660) Margaret of Austria, Queen of Spain. (Happy to get a look at a few garden parterres & amp; a tiered fountain here.)

 1635 Diego Velazquez (Spanish artist, 1599-1660) Elisabeth of France, Queen of Spain

 1648 Jean de Saint-Igny (French artist, c 1600-1649). Anne of Austria, Queen of France

 Joseph Parrocel 1670s (1646-1704) Madame La Duchesse de la Ferte

 Casimira 1670s Mary, Queen of Poland

 1670s Pierre Mignard (French artist, 1612-1695) Françoise Angélique de La Mothe Houdancourt, Madame la Duchesse d'Aumont. (Particularly fond of the garden with a depiction fairly complicated fountain component.) 

 1675 Joseph Parrocel (1646-1704) Madame La Comtesse de Saint Geran ago by Pierre Mignard (French artist, 1612-1695)

 1679 Francisco Rizi (Spanish artist, 1608-1685) Marie Louise of Orleans, Queen of Spain

 1680 Jean-Baptiste Martin, known as Martin des Batailles (French artist, 1659-1735) Olympe Mancini, Comtesse de Soissons

 Joseph Parrocel 1680s (1646-1704) Portrait of the Duchess Louise of Portsmout on horseback

1693 Luca Giordano (Italian artist, 1634-1705) Maria Anna of Neuburg, Queen of Spain