Sir Peter Lely (Dutch, 1618–1680) (Attributed)

Title: Portrait of Charlotte, Countess of Lichfield
Date: 1673
Medium: Oil on Canvas
Dimensions: 50" H x 40" W
Condition Report: Overall in good condition
Provenance: Property from an Upper East Side townhouse; reportedly sold at Sotheby’s New York, April 16, 1998, Lot 1
Frame: Presented in a finely carved and gilded wood frame

Description:

This elegant oil-on-canvas portrait, attributed to the celebrated 17th-century portraitist Sir Peter Lely, is believed to depict Charlotte Lee, Countess of Lichfield (née Lady Charlotte Fitzroy), the illegitimate daughter of King Charles II of England and his famed mistress, Barbara Villiers, 1st Duchess of Cleveland. The painting is inscribed and dated 1673, a period during which Lely served as Principal Painter in Ordinary to the King, capturing the likenesses of the English aristocracy with his characteristic softness and grace.

The portrait exemplifies Lely’s signature style, blending Baroque grandeur with an intimate, ethereal quality. The Countess is portrayed in a three-quarter length pose, her gaze poised yet engaging. She is draped in richly colored silks, accentuated with delicate lace, which cascade elegantly over her seated form. Her rosy complexion, gently curled hair, and luminous skin tones reflect Lely’s mastery in rendering both texture and light.

The ornately carved giltwood frame complements the regal nature of the subject, reinforcing the sitter’s noble status. The composition, color palette, and expressive brushwork align with Lely’s celebrated portraits of Restoration-era courtiers, making this an exceptional example of English Baroque portraiture.

Historical Context – Charlotte Lee, Countess of Lichfield (1664–1718):

Lady Charlotte Fitzroy was born into England’s royal circles as one of King Charles II’s numerous illegitimate children. Her mother, Barbara Villiers, was one of the most powerful and influential mistresses of the king. Charlotte was later married to Edward Lee, 1st Earl of Lichfield, solidifying her status in the aristocracy.

Lely, as the foremost portraitist of the English Restoration, painted numerous members of the Stuart court, including many of Charles II’s mistresses and children. His works remain highly sought after for their romanticized elegance, masterful use of color, and exquisite detailing.

About the Artist – Sir Peter Lely (1618–1680):

Born in the Netherlands, Sir Peter Lely rose to prominence in England, becoming the most celebrated portraitist of the Restoration era. Following the death of Sir Anthony van Dyck, Lely became the dominant force in English portraiture, known for his refined depictions of courtiers, aristocrats, and royalty. He was knighted in 1679 and held the prestigious title of Principal Painter in Ordinary to both King Charles I and Charles II. His works are housed in major collections, including the National Portrait Gallery (London), Tate Britain, and the Royal Collection.

Significance and Legacy:

This painting is a fine example of 17th-century portraiture, reflecting both the political intrigue and opulent court culture of Restoration England. The association with Charlotte Lee and her royal lineage further enhances its historical value, making it a significant acquisition for collectors of Old Masters and British aristocratic portraiture.