Sir Peter Lely

Private Collection, Argentina; from whom purchased by the present owner

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This dramatic portrait is in lovely condition. The canvas has an old glue lining and although very slight instability has developed in the hair, overall the lining seems to be fairly effective. The paint layer is quite dirty and if the painting were to be cleaned, the paint layer consolidated slightly, and a saturating varnish applied, a good deal of depth and brightness would be acquired. There are few restorations visible under ultraviolet light; a couple may have been applied in the upper center background, around the edges and in a spot or two in the upper right background. There is very little abrasion or discoloration to the paint layer and in this painting, Lely's technique will be very evident; it is indeed an unusually good portrait by this artist.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Sir Peter Lely (1618-1680) and his sitter, Edward Progers (1621-1713), both served in the court of King Charles II of England.  Lely, who was Dutch, arrived in London in 1643 and sought to establish himself as a history painter.  Shortly thereafter, however, he turned to portraiture, no doubt hoping to fill the void left by Anthony Van Dyck's death in 1641.  Lely was hugely successful as a painter of courtly portraits, and in 1660, at the advent of the Restoration, he was named the principal painter to Charles II. 

Edward Progers, sometimes called Edward Prodger, had entered the court of Charles I at the age of eleven and served as a page until he was appointed groom of the bedchamber to the future Charles II in 1646.  He seems to have remained in England during the Civil War, and was entrusted with sensitive projects for the exiled king.  After the Restoration, his appointment as groom of the bedchamber was confirmed, and his presence in Charles' inner circle was remarked upon by several of his contemporaries including Samuel Pepys and Andrew Marvell. 

The present portrait appears to be very early in date, and demonstrates the ease and grace that were characteristic of court portraits of the time.  The almost monochromatic brown tone of the canvas is offset by the white sheen of Proger's sleeve and collar.  It seems as if the young courtier is about to turn away before catching and holding the viewer's gaze in a moment of recognition or intrigue.