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In 1681 Closterman came to England and entered into partnership with the established portrait painter John Riley.By 1683 he had developed an independent practice; he was adept at baroque poses still with a slightly French influence, with rather flashily painted drapery In the 1690's, as his reputation grew, he painted for more exalted and aristocratic patrons, like the Dukes of Somerset and Marlborough.This is a superb quality painting, the depiction of the various materials...silk, lace, gold, steel, hair and flesh is exquisite.Hands are often problematic with lesser artists but here they are totally realistic.The last dated portraits are from 1641, leading to the conclusion that the painter produced little, if anything, in the last fifteen years of his life. VERSO: two Victorian printed labels bearing much information of "M & B Bartington; Est. Although plain, all these items are of good quality...indeed, the young man must have been wealthy in order to commission such a high quality (and therefore expensive) portrait. If this date and the sitter's age are correct then it cannot be Cromwell who was born in 1626. Painted by Robert Walker died 1659" (Unlikely attribution as the portrait is dated eight years after Walker's death.) Oil on canvas in a fine quality period frame.The general style of his work is closely related to that of the Delft portraitist Michiel Jansz. The different textures and appearance of all these materials, and the flesh and hair, are exquisitely painted by Hoogstraten. SAMUEL VAN HOOGSTRATEN (1627 - 1678) Samuel van Hoogstraten was born in Dordrecht on 2 August 1627. The attractive young sitter points towards a plumed helmet, his hand grasping a sword; this is a reference to his aristocratic ancestry and his intention to become a soldier. His will was proved on 23 July 1751 at the Prerogative Court of Canterbury.'While it is totally conceivable that Amalia van Solms sat for van Ravesteyn, I do not see any striking resemblance. 1572-1657) was one of the most important and successful Northern Netherlandish portrait painters of the first half of the seventeenth century, and the leading portraitist of the government centre, The Hague.

No such modesty however, for the magnificent jewellery she wears across her bosom.

His sitters are often depicted with rich costumes in the latest fashion, intentionally alluding to their wealth and status. This powerful portrait has been known as Richard Cromwell, Oliver's third son, for many years, but, although the sitter bears a resemblance to the second Lord Protector, it is a doubtful attribution.

His earliest signed work is the well-known tondo portrait of the young Hugo Grotius, dated 1599 (Fondation Custodia, Paris). Looking directly and frankly at the viewer the sitter, almost certainly a military officer, makes no concession to any of the more foppish fashions of the day.

Hoogstraten travelled widely, visiting Rome and Vienna, where he was patronized by the Emperor. Guilford's father was Charles Killigrew (16551725) an English courtier, theatre manager and Master of the Revels.

He was in London from 1662 to 1666, the time of the Great Fire. Born at Maastricht on 29 December 1655, he was son of Thomas Killigrew the elder, by his second wife, Charlotte, daughter of John de Hesse of Holland.

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The Duke wears the Bourbon white silk sash and holds the baton of command of a high ranking officer.