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.

An Unknown Man, c.1640 ©National Trust, Lacock Abbey, Fox Talbot Museum and Village

Portrait of a lady, c.1648 (location unknown)

Thomas, 2nd Baron Jermyn (date and location unknown)

Sir Henry Gage (date unknown) ©National Portrait Gallery, London

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