Seeing clearly: visual cues in the Wyche family portraits
A close reading of two portraits in the collections of the Royal Society has offered a new perspective on some of the people and events that contributed to their creation.
Portrait of a woman, possibly of the Wyche family (1700s-1720s) by Studio of Godfrey KnellerThe Royal Society
Clues in Lady Wyche
When they entered the collection, these paintings were described as 'a pair' portraying Sir Cyril Wyche (c.1632-1707) and perhaps his third wife, Mary Evelyn (c.1648-1723). Although there is still some doubt that this is Mary, new analysis has helped to identify the artist.
In in the process of cleaning and conserving it, a partial signature and date were uncovered in the lower right-hand corner, previously obscured by dirt and overpaint.
Godfrey Kneller partial signature (1700s-1720s) by Godfrey KnellerThe Royal Society
Though abraded over time, it is still possible to make out ‘G. Kne’ and ‘17’, suggesting the hand of Sir Godfrey Kneller (1646-1723) is at play in this work.
The styling of the 'G' and 'K' in this inscription is similar to other, signed artworks by Kneller. Likewise, the composition, posturing, and period fashion is similar to many of his attributed to works...
Portrait of a woman, possibly of the Wyche family (1700s-1720s) by Studio of Godfrey KnellerThe Royal Society
...and certain fine details, such as the sitter’s hands, are characteristic of Kneller's style.
Hand studies (1690-1691) by Sir Godfrey Kneller (1646-1723)The Royal Society
The parallel arrangement of the fingers along the knuckles, and the fingers' tapering ends, seems to be a distinct mannerism of the artist.
Portrait of a woman, possibly of the Wyche family (1700s-1720s) by Studio of Godfrey KnellerThe Royal Society
The finish of the portrait, particularly around the face, is less sophisticated than portraits that Kneller painted himself. This would suggest the input of his studio, or possibly his principal assistant and drapery painter from 1700 onwards, Edward Byng (1676-1753).
This has led us to the exciting attribution of the Godfrey Kneller Studio to this artwork.
Portrait of Sir Cyril Wyche (c.1705) by Unknown artistThe Royal Society
Clues in Cyril Wyche
By contrast, the portrait of Cyril is unsigned and undated.
The most prominent visuals in this portrait are the statuette on the right-hand side, introducing a classical element often seen in Baroque portraiture,
and the coat of arms in the top left-hand corner.
The arms feature a knight helm, mantling, shield and motto.
The shield is quartered, with the Wyche arms in the upper left and lower right quarters, and the Brett arms, a family the Wyche’s married into prior to Cyril’s birth, in the upper right and lower left.
It also features an inescutcheon of pretence of the Jermyn Family. Elizabeth Jermyn (c.1635-1678) was Wyche’s first wife, and her arms were incorporated because she was a 'heraldic heiress'.
The presence of the Jermyn arms does not necessarily date the portrait to the time of Cyril's marriage to Elizabeth, 1663-1678. It is possible that his arms remained unchanged throughout his subsequent marriages, as neither Susanna or Mary were heraldic heiresses. In other words, it was not necessary to incorporate their familial arms into his own.
Extract from the will of Sir Cyril Wyche (1707) by Sir Cyril Wyche (c.1632 - 1707)The Royal Society
Cyril's will states he had a portrait made for Mary, whom he married in 1692. The inclusion of his arms leaves it tempting to believe this is that same portrait. Familial arms represent genealogy, status, and estate; all the things you might want to show off to your new spouse.
Furthermore, his accounts mention that in August 1693, a year after his marriage, Wyche 'Pd [Paid] ye Herald for drawing my Coate of armes’, which begs the question, is this that same coat of arms?
Portrait of Sir Cyril Wyche (c.1705) by Unknown artistThe Royal Society
The fashion of this portrait would seem to confirm the 1690s. The plain linen cravat seen here gained favour in the 1690s, with the 1670s and 1680s favouring lace cravats cinched with a ribbon bow.
Likewise the high crowned wig is in keeping with the styles of this period.
Portraits of Sir Cyril Wyche and a woman, possibly of the Wyche family (1692-1720s) by Various artistsThe Royal Society
Questions and answers
It remains unclear whether the Wyche portraits were painted as a marriage pair. However, conservation work and an analysis of fine detailing have helped us to better understand the lineage of these works.
For biographical information on the Wyches, please read our blog.
This exhibition was researched and curated by Ellen Embleton with support from the Understanding British Portraits network's Early Career Fellowship.
The Royal Society, 2023
