John Weesop

Known only for his portraits during the 1640s, John Weesop is, in my opinion, an artist who deserves a second look. Ellis Waterhouse’s “Painting in Britain 1530-1790” mentions him briefly (p.77), stating only that he was an imitator of Van Dyck and left the country not long after the end of the war. The art historian Sir Oliver Millar, however, found evidence that Weesop was still in London in 1653, but died shortly after.**  Believed to have been Flemish, we have an insight into his character from the antiquarian George Vertue*, who wrote that:

“Weesop arrived here in 1641, a little before the death of Vandyck, of whose manner he was a lucky imitator, and had the honour of having some of his pictures pass for that master’s. He left England in 1649, saying ‘he would never stay in a country where they cut off the King’s head and were not ashamed of the action.’ It had been more sensible to say, he would not stay where they cut off the head of a King that rewarded painters and defaced and sold his collection.”

Looked at collectively, the works attributed to him are of a quite recognisable style, particularly in the frequent use of gold decoration on his sitters’ outfits. We’ve already seen one portrait, which I posted on January 16th, and here are a few more.

Unknown Man by Weesop
An Unknown Man, c.1640 ©National Trust, Lacock Abbey, Fox Talbot Museum and Village
Lady by Weesop
Portrait of a lady, c.1648 (location unknown)
Jermyn by Weesop
Thomas, 2nd Baron Jermyn (date and location unknown)
Henry Gage by Weesop
Sir Henry Gage (date unknown) ©National Portrait Gallery, London
Jan_Weesop_-_Double_portrait_of_a_lady_and_a_gentleman
Double portrait of a Lady and a Gentleman (date and location unknown, sold at Sotheby’s in 2002)

*George Vertue, Anecdotes of Painting in England, With Some Account of the Principal Artists; and Incidental Notes on Other Arts, Volume 2, Thomas Farmer, 1762, p. 117

**O. Millar, ‘Weesop: flesh on a skeleton’, The Burlington Magazine 1183/143 (Oct. 2001), p. 625-630

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Walker et al

Dobson’s opposite number in the Parliamentarian army, Robert Walker, is as much a mystery as Dobson is.  We know nothing of his background, or how he came to be working in the Parliament camp, but it is said he was older than Dobson by  about a decade (he was allegedly born in 1599), and was a member of the Painter-Stainer’s Company. Here he is, in a self-portrait c.1645-1650…

Robert Walker
“Robert Walker”, c.1645-1650, ©National Portrait Gallery, London

While Dobson’s movements are easy to pin down, as he almost certainly didn’t move from Oxford until the Royalists surrendered and left it in 1646, it’s unclear whether Walker was similarly based in one location, or if he was on the move.  He was prolific, however,  with many of the Parliamentarian high command sitting for him, both during the war and afterwards under the Commonwealth. Walker’s most recognised painting is probably this one of Oliver Cromwell.

NPG 536; Oliver Cromwell by Robert Walker
“Oliver Cromwell”, c.1649, ©National Portrait Gallery, London

Although portraits  from this period tend to be, at first glance at least, simplistically attributed to either Dobson or Walker depending on whether the sitter looks like a Roundhead or a Cavalier, of course they weren’t the only painters trying to make a living during the conflict. Other names I’ve come across while researching Civil War portraits include Gerard Soest (attrib.):

Unknown possibly by Soest
“Portrait of a Royalist Officer”, c.1646-1649, ©The Samuel Cortauld Trust,
The Courtauld Gallery, London

John Weesop:

Marmaduke-Darcy Weesop
“Marmaduke d’Arcy”, c.1645-1648, ©The Huntington Library,
Art Collections, and Botanical Gardens

…and John Hayls:

Thomas Pigott
“Colonel Thomas Pigott”, c.1647, ©North Somerset Museum/North Somerset Council

I know nothing about the above painters, but would be very interested to learn more about them, and any others who where about during the wars and painting soldiers, from either side. Let me know!

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