Antonio Verrio (Lecce or Naples c. 1636 - 1707 London) - Double portrait of the artist, half-length, with a palette and brushes, and Brigadier-General Robert Killigrew (Maastricht 1660 – 1707 Almanza), half-length, in armour

Antonio Verrio (Lecce or Naples c. 1636 - 1707 London) - Double portrait of the artist, half-length, with a palette and brushes, and Brigadier-General Robert Killigrew (Maastricht 1660 – 1707 Almanza), half-length, in armour.

Oil on canvas.

Probably executed between July 1705 and January 1706, signed 'Ant.o Vario.' (lower centre) and with the arms. of the Killigrew family (upper left)

Provenance:
By descent through the Killigrew family at Thornham Hall, Eye, Suffolk, until 1756, when the estate, the house and its contents were bequeathed by Charles Killigrew (c. 1695-1756) to his godson,
The Rev. Charles Tyrell (d. 1811), by whom sold in 1756 to
Sir John Major, Bt (1698-1781);
by descent to his daughters, Anne Major-Henniker (d. 1792) and Elizabeth, Duchess of Chandos (d. 1813);
by descent to John Henniker-Major, 2nd Baron Henniker (d. 1821);
by descent through the family to
Charles Henry Chandos Henniker-Major, 6th Baron Henniker, 3rd Baron Hartismere, DL (1872-1956)
his sale; John D. Wood & Co., 27 May 1937, lot 1108
Edward Croft-Murray (1907-1980)
The Property of the late Edward Croft-Murray (1907-1980); Christie's, London, 24 April 2009, lot 31
Private Collection, United Kingdom

Exhibitions:
Antonio Verrio, Chroniques d'un peintre italien voyageur, Musée des Augustins, Toulouse, 27 March – 27 June 2010, cat. no. 22

Literature:
G. Vertue, “Notebooks”, [1731], The Walpole Society, XXIV, 1935-36, p. 16
E. Farrer, Portraits in Suffolk Houses (East), vol. III, MS, Ipswich, 1921, p. 81, no. 97
E. Farrer, Portraits in Thornham Hall, Norwich and London, 1930, p. 37, no. 120, illustrated
C.H. Collins Baker, “Antonio Verrio and Thornhill's Early Portraiture”, Connoisseur, CXXXI, 1953, p. 13
E. Waterhouse, The Dictionary of 16th & 17th Century British Painters, London, 1988, p. 284, illustrated
R. De Giorgi, "Couleur, couleur!". Antonio Verrio: un pittore in Europa tra Seicento e Settecento, Florence, 2009, p. 148; p. 155, fig. 95; p. 191, pl. XXXI; p. 209
C. Brett, “Antonio Verrio (c. 1636-1707): His career and surviving work”, The British Art Journal, vol. 10, no. 3 (Winter/Spring 2009/10), p. 14, fig. 14
A. Hémery ed., Antonio Verrio, Chroniques d'un peintre italien voyageur, exh. cat., Toulouse, 2010, pp. 122-123, no. 22, illustrated
Paul Mellon Centre Photographic Archive, Object number PA-F01802-0007

Double portrait of the artist, half-length against a dark background, in a cinnamon robe with green-gray stripes and a black wig, his back turned, turning his head to gaze directly at the viewer, his palette and brushes in his left hand, executing the painting of the sitter Brigadier-General Robert Killigrew (1660-1707), half-length, in a grey wig and armour, signed 'Ant.o Vario.' (lower centre) and with the arms of the Killigrew family (upper left).

In 1672, the Southern Italian painter Antonio Verrio crossed the Channel and settled in London, heeding the advice of Ralph Montagu, later 1st Duke of Montagu.[i] The two had first become acquainted in Paris, where the English aristocrat had been King Charles II’s Ambassador Extraordinary to the French Court between 1669 and 1672, and where Verrio had rapidly made a name for himself as a fresco painter and gregarious bon vivant, after his arrival in about 1670.[ii] A native of Lecce or Naples, the artist had been active in both cities, primarily carrying out religious commissions for church altarpieces, before moving to the French region of Toulouse in the mid-1660s, likely via Rome, Florence and Genoa.[iii] In so doing, he left behind his Italian wife and children and settled with a local woman, Françoise Dangély,[iv] who would later be recorded as his wife in English documents from the reign of King Charles II.[v]

Thanks to his association with Montagu, in London Verrio soon came to the attention of the nobility, in whose town houses and country seats he introduced the style of Italian Baroque decoration. His earliest commission (lost to fire in 1902) were frescoes for Henry Bennet, 1st Earl of Arlington, at Euston Hall in Suffolk; followed by the decoration of the Duchess’ apartments at Ham House for John Maitland, 1st Duke of Lauderdale, and his consort; and a large canvas for the Grand Staircase at Powys Castle, seat of William Herbert, 1st Earl of Powis.[vi] In due course, Verrio received extensive commissions from Charles II, who named him his ‘Chief and first painter’, a position renewed by James II.[vii] Admiring the frescoed ceilings executed by the artist in St George’s Hall at Windsor Castle, contemporary John Evelyn observed: “Verrio’s invention is admirable, his ord’nance full and flowing, antiq and heroical; his figures move; and if the walls hold […] the work will preserve his name to ages”.[viii] The walls unfortunately fell victim to George IV’s renovations in the 1820s, and only a fragment of a portrait of Charles II survives to bear witness to Verrio’s ambitious project (Royal Collection Trust).
After the Glorious Revolution of 1688, the Test Act that forbade Roman Catholics from working at court was strictly enforced, and Verrio found himself working exclusively for private aristocratic patrons.[ix] Between about 1686 and 1697, he frescoed the Earl of Exeter’s State Rooms at Burghley, considered by many his masterpiece, and decorated a number of interiors for the Duke of Devonshire at Chatsworth.[x] By 1699, however, William III called Verrio back into royal service at both Windsor Castle and Hampton Court palace.[xi] The King’s successor, Queen Anne, continued to employ Verrio until in 1705, when – perhaps on account of the painter’s declining eyesight, or because of the toll the renovations at Windsor were taking on royal coffers – she gave instructions for him to be awarded a pension, and declined his entreaties for more work.[xii] Far from having been unceremoniously dismissed, Verrio was in fact given lodgings at Hampton Court, a generous pension and several gifts, including “one fat doe”[xiii] from the Queen’s estates and an “allowance of wine for his life”.[xiv] He was unable to enjoy these privileges for long, as he died in June 1707, and was reportedly laid to rest at Hampton Court.[xv]

Chiefly remembered for his contributions to the field of decorative mural painting in England, where he popularised the grandeur and the trompe l’oeil techniques of the Italian Baroque, Verrio also deserves recognition as a skilled portraitist, as evidenced by the present canvas. The likeness of Brigadier General Robert Killigrew is faithfully executed, with fresh, liquid brushwork that picks out details such as the vivid colour of his lips and the highlights in his pupils, all compounded by the soft treatment of his wig and the gleaming surface of his armour. His pose, with one arm akimbo, reprises the martial demeanour characteristic of military portraiture, and is counterbalanced by Verrio’s own, more informal stance. The painter wears a deep orange robe and a white cravat, similar to those sported in his Self-Portrait from about 1705 (National Portrait Gallery, London), but differently to the latter, his head is covered by a dark brown wig. His right hand, resting on his left forearm, holds a set of brushes and a palette, within which is his signature. Significantly, the arrangement of the two figures recalls that of the sitters in Sir Anthony van Dyck’s Portrait of Thomas Killigrew and William, Lord Crofts(?) from 1638, a depiction of the Brigadier General’s father and, possibly, a member of his deceased first wife’s family (Royal Collection Trust).

With roots in mid-13th century Cornwall, the Killigrews were originally a landowning family, which through generations accumulated considerable wealth and political influence. During the reign of Queen Elizabeth I, William Killigrew (d. 1622) held parliamentary seats and became groom of the privy chamber, while his brother Henry (d. 1603) was posted as ambassador to Germany, France and, ultimately, Scotland.[xvi] William’s career continued under the Stuarts, and his son Sir Robert Killigrew (d. 1633), became a longstanding member of Parliament, was ambassador to the United Provinces and then vice chamberlain to Queen Henrietta Maria.[xvii] His heir, Thomas Killigrew (d. 1683)[xviii] – immortalised in Van Dyck’s double portrait – started his career at court as a page to King Charles I and then made a name for himself as a playwright, having obtained the Queen’s favour. After the Civil War, he joined the Prince Regent’s exiled court in Paris and held a series of positions in his service, and in that of his brother James and other members of the royal circle, which saw him travel between the French capital, the Netherlands and Italy. During this time, he continued to write plays, some of which offer an insight into the life of the exiled court and its emissaries across Europe. While in The Hague, Killigrew was introduced to Charlotte van Hesse (d. 1715), the daughter of a member of the Prince of Orange’s court, whom he went on to marry in 1655. The same year, he was appointed captain in the service of the states general of Friesland, and subsequently moved his family to Maastricht, where his company was garrisoned and where his son Robert – depicted in the present portrait – was born in 1660.[xix] Later that year, the family moved back to England and Killigrew quickly established himself as a prominent member of the court of Charles II. The King, who had already named him groom of the bedchamber, also granted him one of only two licences to build a new playhouse, and in 1673 made him his master of the revels, a title that five years later would be bestowed upon his eldest son Charles (1657-1724/5), also a theatre manager. Killigrew’s wife Charlotte also became a member of the royal court when she was made keeper of the sweet coffer to the Queen, Catherine of Braganza, and first lady of the privy chamber, positions that arguably helped her successfully petition for a royal pension after the death of her husband in 1683, as he left the largest part of his estate to the children from his first marriage.

From a young age, Robert Killigrew therefore grew up in close proximity to the royal court, where Verrio – his senior by about twenty years – had been active since 1674. While nothing is known about the Brigadier General’s education, a payment for his services as page of honour to the King is recorded in June 1679[xx], and the following decade he joined the army. In November 1687 he was a Cornet in the Queen’s Regiment of Horse, and one year later he rose to the rank of Captain in the Marquis de Miremont’s Regiment of Horse.[xxi] In the same capacity, he joined the Royal Dragoons on 31 December 1688[xxii], rising to the ranks of Major in February 1694[xxiii], Lieutenant-Colonel in April 1697, and Colonel by August 1704[xxiv]. That year his Dragoons regiment, the 8th (also known as the King’s Royal Irish Hussars), was deployed to Spain as part of the War of Spanish Succession (1701-14), in which the British fought on the side of the Hapsburg pretender to the Iberian throne against a Bourbon coalition that supported the claim of Philip, Duke of Anjou. Killigrew – who had been elevated to the rank of Brigadier General in July 1705[xxv] and in January 1706 was promoted to the command of his regiment[xxvi] – was killed as part of the Battle of Almanza in April 1707, when the British and their allies were routed by the enemy. His brother Charles erected a plaque to his memory in Westminster Abbey, and another in the Church of St Mary Magdalene in Thornham Magna, part of the Thornham estate Charles’ wife Jemima Bokenham had inherited in 1681.[xxvii]
Recent Verrio scholarship has suggested dating the present painting to circa 1705/06, on the basis that the artist, once retired from royal service, “embarked on a number of portraits”.[xxviii] As Killigrew was made Brigadier General in July 1705 and placed at the head of his regiment in January 1706 (see above), it appears highly likely our portrait was commissioned between those dates, and no later, as by January 1706 he was in Spain with his regiment, executing orders to garrison Tortosa.[xxix] Letters he sent to his brother Charles from Alicante (19 September 1706) and Valencia (8 March 1707) confirm his presence in the Iberian peninsula up to his death.[xxx] A proposal by Raffaele de Giorgi to date our portrait to c. 1688-98[xxxi], roughly coinciding with Verrio’s tenure at Burghley – when he was arguably at the height of his artistic powers – is noteworthy given the superb quality of the present composition, and not implausible if we consider Verrio painted portraits at different stages of his career, not only during his retirement.[xxxii] However, Cécile Brett has convincingly underlined the features of the artist in the present canvas match his ageing appearance in the Self-Portrait of about 1705 in the National Portrait Gallery.

As to the links between the painter and Brigadier General Robert Killigrew, in addition to their close ties with the royal court, it is worth pointing out that the theatre, a field in which both Killigrew’s father and brother were active, may have played a role in the realisation of this portrait. In Paris, Verrio had formed a close friendship with dramatist Jean de Palaprat,[xxxiii] who records how – immediately after his arrival in the city – the painter “became a great friend, comrade and companion to every excellent actor of the period” and to the celebrated playwright Molière.[xxxiv] Given Verrio’s documented interest in the theatre and his equally attested convivial disposition[xxxv], it appears likely that, once in London, he would have been drawn to local thespian circles, where he could have made the acquaintance of Thomas and Charles Killigrew. Verrio’s work at Ashtead Park for Sir Robert Howard[xxxvi], a dramatist who at one point was a member of the King’s Company with Thomas Killigrew, strengthens this hypothesis. It has not been possible to verify whether the present portrait was commissioned from Verrio directly by Charles Killigrew, rather than by the Brigadier General himself, but the canvas was almost certainly in the possession of Charles’ son, also named Charles Killigrew, at Thornham Hall by the time of the latter’s death in 1756.[xxxvii] A mention of “Brigadiere Killigrew & Verrio the painter both in a peice of painting” in an entry for 1731 in George Vertue’s Notebooks unfortunately does not specify the picture’s whereabouts at the time.[xxxviii]

In his will, Charles Killigrew left his mother’s house to his godson, the Rev. Charles Tyrell, who the same year sold it to Sir John Major, Bt, of Bridlington, a wealthy iron merchant.[xxxix] As observed by Edmund Farrar, who in 1930 published a catalogue of the paintings at Thornham Hall, Tyrell must have left many of the Killigrew family portraits in situ[xl], including that of the Brigadier General and Verrio. Later, Sir John Major’s eldest daughter Anne married John Henniker (d. 1724), who inherited his father-in-law’s baronetcy. Their son, also named John, was the heir to the Thornham estate, which was passed down in the Henniker-Major family until the costs of its upkeep led Charles Henry Chandos Henniker-Major (d. 1956), 6th Baron Henniker, to arrange for a sale of its contents, held by John D. Wood in May 1937. On that occasion, the present portrait was sold, and it subsequently entered the collection of Edward Croft-Murray (1907-1980). A noted British art historian and antiquarian, the latter’s Decorative Painting in England, 1537-1837 (1962) constitutes the first detailed study in the English language of Verrio’s activity at the court of Charles II and his successors.[xli]

We are grateful to Emanuela Tarizzo and Cécile Brett for their assistance in cataloguing this painting. A more extensive essay is available on request.

[i] Brett, 2009/10, p. 6
[ii] Brett, 2009/10, p. 4; for Verrio’s reputation, see also De Giorgi, 2009, pp. 87-88
[iii] Hémery ed., 2010, p. 34
[iv] Brett, 2009/10, p. 4
[v] Brett, 2009/10, p. 7
[vi] Brett, 2009/10, p. 6
[vii] Brett, 2009/10, pp. 7 and 9
[viii] W. Bray ed, The Diary of John Evelyn, Esq., F.R.S., from 1641 to 1705-6 with Memoir, London, 1818, p. 442
[ix] Brett, 2009/10, p. 10
[x] Brett, 2009/10, p. 10
[xi] Brett, 2009/10, p. 11
[xii] Brett, 2009/10, p. 14
[xiii] Brett, 2009/10, p. 14
[xiv] James Thornhill quoted in Brett, 2009/10, p. 14
[xv] Brett, 2009/10, p. 14; burial records for the period 1677 to 1720 are missing, see Brett, 2009/10, p. 17, footnote 126
[xvi] For William Killigrew, see under “Killigrew, Sir Robert (1579/90-1633)” and for Henry Killigrew see “Killigrew, Sir Henry (1525x8-1603), in Oxford Dictionary of National Biography, vol. 31, Oxford, 2004
[xvii] “Killigrew, Sir Robert (1579/90-1633)” in Oxford Dictionary of National Biography, vol. 31, Oxford, 2004
[xviii] “Killigrew, Thomas (1612-1683)” in Oxford Dictionary of National Biography, vol. 31, Oxford, 2004
[xix] See under “Killigrew, Charles (1655-1724/5)” in Oxford Dictionary of National Biography, vol. 31, Oxford, 2004
[xx] 'Entry Book: June 1679, 11-20', in Calendar of Treasury Books, Volume 6, 1679-1680, London, 1913, p. 91
[xxi] Dalton, vol. II, 1904, pp. 121 and 165
[xxii] Dalton, vol. II, 1904, p. 165, footnote 6
[xxiii] Dalton, vol. III, 1904, p. 356
[xxiv] Dalton, vol. V, 1904, pp. 34 and 111
[xxv] Dalton, vol. V, 1904, p. 17
[xxvi] Historical Record of the Eighth, or, the King’s Royal Irish Regiment of Hussars, London, 1844, p. 102
[xxvii] Copinger, vol. III, 1909, p. 314
[xxviii] Brett, 2009/10 p. 14; see also Hémery ed., 2010, p. 122
[xxix] A. Parnell, The war of the succession in Spain during the reign of Queen Anne 1702-1711, London, 1905, p. 142; P. Woodruff, Colonel of Dragoons, London, 1951, p. 97
[xxx] G.C. Boase and W. Prideaux Courtney, Bibliotheca Cornubiensis, a Catalogue of the Writings, both Manuscript and Printed, of Cornishmen, and of Works relating to the County of Cornwall, vol. I, London, 1874, p. 293
[xxxi] De Giorgi, 2009, p. 209
[xxxii] Portrait of King Charles II, 1684, The Royal Collection; Portrait of King James II giving audience to the governors, masters, boys and girls at Christ’s Hospital, c. 1682-88; Portrait of Col. the Hon. Sackville Tufton, c. 1685-1687, Abbot Hall Gallery, Kendall
[xxxiii] Hémery ed., p. 49
[xxxiv] Quoted in De Giorgi, 2009, p. 87
[xxxv] At Burghley he had been a member of Lord Exeter’s drinking club, the 'Honourable Order of Little Bedlam', and spent much of his earnings at The George public house in nearby Stamford, see Brett, 2009/10, p. 10
[xxxvi] Verrio’s decorations for walls and ceilings at Ashtead Park, carried out before 1684, were destroyed around 1790, see Croft-Murray, 1962, p. 236
[xxxvii] Charles and Jemima’s third son, Charles, inherited the estate at Thornham Hall, see under “Killigrew, Charles (1655-1724/5)” in Oxford Dictionary of National Biography, vol. 31, Oxford, 2004
[xxxviii] Vertue, 1936, p. 16
[xxxix] Copinger, vol. III, 1909, p. 314
[xl] Farrer, 1930, p. vi; as part of the sale, Tyrell “seems to have left a collection of fourteen Killigrew family portraits at Thornham” see G. Ashton, Catalogue of paintings at the Theatre Museum, London, 1992, p. 4
[xli] Croft-Murray, 1962, vol. 1, pp. 236-242

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