- Museum number
Portrait of Judge Jeffreys; bust-length, facing three-quarter l, wearing the red robes of his office as Recorder of London
Coloured chalks, on copper, the surface prepared with mezzotint rocker; framed
- Production date
Height: 305 millimetres
Height: 392 millimetres
Width: 255 millimetres (copper plate)
Width: 340 millimetres (frame)
- Curator's comments
- This seems to be a copy in reverse after another portrait, like the majority of Luttrell's known works. This portrait may be based on the threequarter-length painting, c.1678-80, attributed to William Claret in the National Portrait Gallery. The frame, inscribed "Judge Jeffreys" on the verso, indicates that the identification is a traditional one, although it has recently been questioned.
See Lindsay Stainton and Christopher White, 'Hilliard to Hogarth', exh. cat. BM, 1987, no. 152.
Label copy, 2005:
This portrait represents the notorious 'Hanging Judge Jeffreys'. He is shown here in his robes as Recorder of London, a post which he held from 1678-80. His reputation rests on the ruthless manner in which he conducted the 'Bloody Assizes' following the Protestant rebellion of James, Duke of Monmouth in 1685, when about 200 sympathisers were executed. As a reward James II made him Lord Chancellor. At the Revolution which ousted James II in 1688, Jeffreys was nearly lynched by a London mob and took refuge in the Tower, where he died of natural causes.
Edward Luttrell specialized in chalk and pastel portraits. This drawing is copied after a painting attributed to William Claret in the National Portrait Gallery. It is made in an unusual technique related to the development of mezzotint engraving. The pastel drawing is done on a copper plate, which has been previously roughened with a rocker (a fine-toothed instrument) as if in preparation for a mezzotint.
Luttrell originally studied law before training as an artist under Edmund Ashfield whose style he closely followed. He wrote a manuscript treatise on 'Drawing Painting Limning and Cryoons...And How to lay the Ground and work in Mezzo Tinto'. His work was previously represented in Museum by badly rubbed pastel drawings on paper.
- Not on display
- Exhibition history
1987 Jun-Aug, London, BM, 'Hilliard to Hogarth', no.152
1987 Sep-Nov, New Haven, Ct., Yale Center for British Art, ditto
1995-6 Nov-Apr, BM, Recent Acquisitions (no cat.)
2005, 7 July-25 Sept, BM, 'Masterpieces of Portrait Drawing' (no cat.)
- Acquisition date
- Acquisition notes
- According to John Appleby of St. Hellier Galleries, Jersey, Appleby Brothers of Ryder St., St. James's, purchased this work from Walker Galleries stock which was sold over a period of nine months, through various agents, in the early 1940s. He suspected it had been with Walkers from the late 19th century. This work was included in Dudley Snelgrove's sale at Sotheby's 19.xi.1992/171, where it was bought in. It was later sold to the Museum by Mr Snelgrove's son and daughter.
- Prints and Drawings
- Registration number