WEISS - FACING THE PAST by Masterart

facing the past

19 English School, 1638

Sir Hardolph Wasteneys, 2nd Bt. ( 1612 – 1673) with his tutor and cousin, Nathaniel Wasteneys Oil on canvas: 56 ½ x 72 in. (143.5 x 183 cm.) In a 17th century painted oak frame, inscribed in English and Latin, from the top right: ‘ Studying Goode books is a Noble profession. Fear God. Honor the King. Bee loath to offend. Tam Marti, quam Mercurio [Be as much devoted to Mars as to Mercury] . Nec temer, nec timide sed fortiter [Neither rashly nor timidly but with strength] . Sustine et abstine facing the past [Sustain and abstain] . 1638. These are Manlye Exercifes. Attempt nothinge but thinke on the end, least you doe euill. Qui licite uivit libere vivuit, certitude in coelo. [Live life freely forsaking sin to be sure of heaven] . Honestas cum Piete 19 est optima et tutissima politia [Honesty and piety are the best and safest policies] .’ English School, Painted 1638 1638 Sir Hardolph Wasteneys, 2nd Bt. ( 1612 – 1673) with his tutor and cousin,

Nathaniel Wasteneys Provenance Oil on canvas:Headon 56 ½ x 72 in. (143.5 cm.) Presumably commissioned by Sir Hardolph Wasteneys, 1st Bt. ( d.1649), Hall,x 183 Nottinghamshire, Thence by descent to Anthony Eyre, Grove Hall, Nottinghamshire; In a 17th century painted oak frame, inscribed in English and Latin, from the top right: ‘ Studying Goode books is Noble profession. Fear God. Honor the King. Bee loath to offend. Tam Marti, quam Mercurio [Be as much devoted to Sold Spencers, Retford, 27 September 1946, lot 526, (as ‘attributed aMars to Cornelius Neve’); as to Mercury] . Nec temer, nec timide sed fortiter [Neither rashly nor timidly but with strength] . Sustine et abstine [Sustain and abstain] . 1638. These are Manlye Exercifes. Attempt nothinge but thinke on the end, least you doe euill. Qui Dr. C. Witterridge, Inverlael Estate Lodge, Ullapool; licite uivit libere vivuit, certitude in coelo. [Live life freely forsaking sin to be sure of heaven] . Honestas cum Piete est optima et tutissima politia [Honesty and piety are the best and safest policies] .’ Thence by descent. Painted 1638

Provenance Exhibited Presumably commissioned by Sir Hardolph Wasteneys, 1st Bt. ( d.1649), Headon Hall, Nottinghamshire, by descent to Anthony Eyre, Grove Hall, Nottinghamshire; Nottingham, Nottingham Castle Museum (on loan 13 January 1999Thence – 2003). Sold Spencers, Retford, 27 September 1946, lot 526, (as ‘attributed to Cornelius Neve’); Kentucky, Kentucky Horse Museum, (on loan in 2003). Dr. C. Witterridge, Inverlael Estate Lodge, Ullapool; by descent. Newmarket, The British Sporting Art Trust, Newmarket HorseracingThence Museum, Ex hifrom bi ted 2004). 1 ‘ All the Queen’s Horses: The Role of the Horse in British History ’ (on loan Nottingham, Nottingham Castle Museum (on loan 13 January 1999 – 2003). Kentucky, Kentucky Horse Museum, (on loan in 2003). Newmarket, The British Sporting Art Trust, Newmarket Horseracing Museum, ‘ All the Queen’s Horses: The Role of the Horse in British History ’ (on loan from 2004).

T 1. For this exhibition, David Fuller suggested that the artist for the present work could perhaps be the elusively named ‘Monogrammist JH’, who painted a group of paintings of grooms with horses for the Legh family of Lyme Hall, Cheshire. The niece of the wife of the sitter in our portrait, Sir Hardolph Wasteneys - Elizabeth Chicheley - was married to Richard Legh of Lyme. 2. Two other English equestrian portraits are known to pre-date ours: Robert Peake’s portrait of Henry Frederick, Prince of Wales, 1603, (The Metropolitan Museum of Art, New York), and Paul van Somer’s portrait of Anne of Denmark,1617, (The Royal Collection, Windsor). 3. We are grateful to Dr. Tobias Capwell, Curator of Arms and Armour at the Wallace Collection, London, for identifying the weaponry in this portrait. 4. The hawthorn has been a symbol of the House of Tudor since the Battle of Bosworth Field, 22 August, 1485, when King Richard III was defeated and slain by Henry Tudor, Earl of Richmond. Richard’s crown was lost or stolen during the battle, and later found hidden in a hawthorn bush on the battlefield. Henry VII was crowned King of England on 30 October 1485, and was the first Tudor King.

his extraordinary, indeed unique painting, is one of the first known examples of equestrian portraiture in Britain, his extraordinary, indeed unique painting, is one of the first known examples of equestrian portraiture in Britain, and may be seen as a prescient precursor to the great tradition and of may British that later in art that later blossomed in be seensporting as a prescient art precursor to the great blossomed tradition of British sporting the eighteenth century. 2 A notable feature of this remarkable work is the manner with which the unknown provin is the manner with which the unknown provin the eighteenth century. 2 A notable feature of this remarkable work cial artist has taken great care to carefully capture small, but significant details, such as the hobnails in the horses’ 1. For this exhibition, David shoes, and even the animals’ eyelashes. The whole is imbued with realistic touches that belie its naivety. Set in an cial artist has taken great care to carefully capture small, but significant details, such as the hobnails in the horses’ Fuller suggested that the artist Arcadian clearing, with what is likely to be Sherwood Forest beyond, it depicts Sir Hardolph Wasteneys, later Sheriff for the present work could naivety. Setof two in horses an with their respective grooms, shoes, and even the animals’ eyelashes. The whole iselusively imbued withof realistic touches that perhaps be the named Nottingham, and his cousin and tutorbelie Nathanielits Wasteneys either side ‘Monogrammist JH’, who painted and an array of arms in the foreground between them. Sir Hardolph is shown in a vivid and elaborately embroidered a group of paintings of groomsbeyond, it depicts Sir Hardolph Wasteneys, later Sheriff Arcadian clearing, with what is likely to be Sherwood Forest red costume, whilst his elder cousin Nathaniel, though dapper, is more soberly dressed in black. His status as a tutor with horses for the Legh family of Lyme Hall, Cheshire. The al l u dedof to btwo y th e bhorses ook th at h ewith h ol ds, their wi th th erespective di dacti c m ax i m s grooms, i n scr i bed on th e f r am e f u r th er em ph asi si n g th e of Nottingham, and his cousin and tutor Nathaniel Wasteneys eitheri s side niece of the wife of the sitter nature of the cousins’ relationship, and Sir Hardolph’s character as learned, wise and loyal. in our portrait, Sir Hardolph - Elizabeth and an array of arms in the foreground betweenWasteneys them. SirChicheley Hardolph is shown in a vivid and elaborately embroidered - was married to Richard Legh The two horses are clearly portraits in themselves. The chestnut bears a racing saddle for hunting, whilst the black of Lyme. red costume, whilst his elder cousin Nathaniel, though dapper, is more soberly dressed in toblack. Hissaddle, status assupport a tutor horse in the centre bears what is likely be a military used to an armed knight. Both horses are shod 2. Two other English equestrian portraits are known to pre-date with calkins, a type of shoe designed for use on slippery surfaces, and are accompanied by groomsmen in identical i s al l u ded to by th e book th at h e h ol ds, wi th ours: thRobert e dPeake’s i daportrait ctiofc m ax i m s i n s c r i b e d o n t h e f r a m e f u r t h e r e m p h a s i si n g th e blue livery. In the foreground an impressive range of weapons are carefully laid out. They include a hunting spear, Henry Frederick, Prince of Wales, 1603, (The Metropolitan Museum long-gun fitted with aand snaphance lock, and a yew-wood longbow with two arrows, a symbol of chivalric aspiration. 3 character as alearned, wise loyal. nature of the cousins’ relationship, and Sir Hardolph’s of Art, New York), and Paul

van Somer’s portrait of Anne of Denmark,1617, (The Royal Collection, Windsor). 3. We are grateful to Dr. Tobias Capwell, Curator of Arms and Armour at the Wallace Collection, London, for identifying the weaponry in this portrait. 4. The hawthorn has been a symbol of the House of Tudor since the Battle of Bosworth Field, 22 August, 1485, when King Richard III was defeated and slain by Henry Tudor, Earl of Richmond. Richard’s crown was lost or stolen during the battle, and later found hidden in a hawthorn bush on the battlefield. Henry VII was crowned King of England on 30 October 1485, and was the first Tudor King.

Whilst Sir Hardolph holds his rapier by his side, Nathaniel’s sword lies on the ground emphasising his scholarly, rather than military bent. The flowering plants depicted in the background have symbolic significance. Nearest Nathaniel the honeysuckle represents family ties and the hawthorn blossom, allegiance to the House of Tudor. Beside Sir Hardolph again we find the honeysuckle and white dog rose, which represents the dichotomy of pleasure and pain. The choice of such flowers, considered in relation to the 1638 date of the painting and to the adage ‘Honor the King’ on the frame, both affirm the Wasteneys strong royalist loyalty to Charles I in the years of unrest prior to the outbreak of the Civil War.

The two horses are clearly portraits in themselves. The chestnut bears a racing saddle for hunting, whilst the black horse in the centre bears what is likely to be a military saddle, used to support an armed knight. Both horses are shod with calkins, a type of shoe designed for use on slippery surfaces, and are accompanied by groomsmen in identical blue livery. In the foreground an impressive range of weapons are Sir carefully laid out. They include hunting spear,1st Bt. (d.1649) and Jane, daughter Hardolph Wasteneys (1612–1673) was the eldest son a of Sir Hardolph Wasteneys, Gervaise Eyre ( c.1547–1626) of Newbold, Derbyshire. The Wasteneys were barons of Norman a long-gun fitted with a snaphance lock, and a yew-wood longbowofwith two arrows, a symbol of chivalric aspiration. 3 descent who arrived in England with William the Conqueror. Sir Hardolph matriculated from Trinity College, Cambridge, in 1633, hav been on admitted the Middle Temple in 1632. He succeeded the baronetcy in 1649, and was elected Sheriff Whilst Sir Hardolph holds his rapier by his side, Nathaniel’s swordinglies theto ground emphasising his to scholarly, of Nottingham in 1653, a post his father had likewise held in 1635. He married Anne Chicheley of Wimpole Hall, rather than military bent. The flowering plants depicted in the background symbolic Cambridgeshire, andhave died without issue, the titlesignificance. passing to his nephew,Nearest Edward (d.1679). The Wasteneys line became extinct on the death of the 4th and last baronet, Sir Hardolph Wasteneys, in 1742. The Headon 4 estate, together with Nathaniel the honeysuckle represents family ties and the hawthorn blossom, allegiance to the House of Tudor. property in Lincolnshire brought by the 4th baronet’s wife Judith Johnson, passed to his great-niece Judith Laetitia Bury, and thence to her husband Anthony Eyre of Grove Hall Beside Sir Hardolph again we find the honeysuckle and white dog rose, which represents the dichotomy of pleasure 58 and pain. The choice of such flowers, considered in relation to the 1638 date of the painting and to the adage ‘Honor the King’ on the frame, both affirm the Wasteneys strong royalist loyalty to Charles I in the years of unrest prior to the outbreak of the Civil War. Sir Hardolph Wasteneys (1612–1673) was the eldest son of Sir Hardolph Wasteneys, 1st Bt. (d.1649) and Jane, daughter of Gervaise Eyre ( c.1547–1626) of Newbold, Derbyshire. The Wasteneys were barons of Norman descent who arrived in England with William the Conqueror. Sir Hardolph matriculated from Trinity College, Cambridge, in 1633, hav ing been admitted to the Middle Temple in 1632. He succeeded to the baronetcy in 1649, and was elected Sheriff of Nottingham in 1653, a post his father had likewise held in 1635. He married Anne Chicheley of Wimpole Hall, Cambridgeshire, and died without issue, the title passing to his nephew, Edward (d.1679). The Wasteneys line became extinct on the death of the 4th and last baronet, Sir Hardolph Wasteneys, in 1742. The Headon estate, together with property in Lincolnshire brought by the 4th baronet’s wife Judith Johnson, passed to his great-niece Judith Laetitia Bury, and thence to her husband Anthony Eyre of Grove Hall