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18  LADY ANNE CLIFFORD 1. On the death of Lady Anne’s father, George Clifford, third Earl of Cumberland (1558– 1605), the lands associated with his two Clifford baronies were bequeathed to his brother, who became fourth earl, with Anne instead receiving a portion of £15,000. This caused Margaret Clifford to take legal action. In 1607, judges ruled that the third Earl of Cumberland’s Skipton properties were rightfully his daughter’s, although they remained in her uncle’s possession. See Richard T. Spence, ‘Clifford Anne [known as Lady Anne Clifford], countess of Pembroke, Dorset and Montgomery’, Oxford Dictionary of National Biography online edition [Accessed 22 April 2018: https:// doi.org/10.1093/ref:odnb/5641]; Richard T. Spence, Lady Anne Clifford, Countess of Pembroke, Dorset and Montgomery (1590–1676), Stroud, 1997, pp. 40–58. 2. Beinecke Manuscript Library, Yale University, Osborn b27; Spence, Lady Anne Clifford, op. cit.; George C. Williamson, Lady Anne Clifford, Countess of Pembroke, Dorset and Montgomery, 1590–1676: Her Life Letters and Work, Kendal, 1922. 3. Karen Hearn & Lynn Hulse (eds.), Lady Anne Clifford: Culture, Patronage and Gender in 17th-Century Britain, Yorkshire Archaeological Society Occasional Paper, no. 7, Leeds, 2009. 4. Williamson, Lady Anne Clifford, op. cit, pp. 150–51. 5. Given that the third earl was a patron of Isaac Oliver, he is a likely candidate for this portrait in miniature. Isaac Oliver’s portraits of Dorset can be found at the Victoria & Albert Museum, 721-1882, The Fitzwilliam Museum, Cambridge, PDP, 3865; and the National Trust, Stourhead, Wiltshire, NT 731889. 6. D.J.H. Clifford (ed.), The Diaries of Lady Anne Clifford, Stroud, 2017, p. 35. 7. During Robert Sackville’s final illness, arrangements had been hastily concluded for Richard’s marriage to Anne, who was the only daughter and heir of George Clifford, third Earl of Cumberland. For the negotiations between the first earl and the Countess of Cumberland, see Surrey History Centre, LM/COR/4/22; British Library, Stowe MS 558; Kent History and Library Centre (KHLC), U269/Q18/1. 8. Edward Town, ‘A House Re-edified: Thomas Sackville and the transformation of Knole 1605–1608’, unpublished PhD thesis, University of Sussex, 2011. 9. This quote is from a letter of 1616 written by Lady Anne’s mother, Margaret, to her son-in-law the third earl that begins ‘you are pleased to tell me that my dear Daughter your wife loving the Old Stones at Broughton Castle better than all the marble pillars at Knole House in Kent with which I was much pleased.’ Longleat House Archive, Wiltshire, Portland Papers XXIII (consulted on microfilm at Stirling Library, Yale University). 10. Clifford (ed.), op. cit., p. 29. 11. KHLC, U269 T1 bdl. A. Dorset’s household accounts that survive for 1611–12 include payments for coops for the earl’s cocks and plantings of osiers, KHLC, U269 A2/2. In 1622 payments were made for canvas to cover the apricot and other fruit trees, barley to feed the swans, KHLC, U269 A3. 12. KHLC, U269 E66/3. 13. Aubrey, whose source was Sackville’s daughter Margaret, wrote, ‘He had 30 gentlemen, and gave each 50 li. per annum, besides keeping his horse. George Villiers (after, duke of Bucks) was a petitioner to have a gentleman’s place under him, and miss’t it, and within 12 moneth was a greater man himself; but the duke ever bore a greudge to the earl of Dorset’. ‘Brief Lives’, chiefly of Contemporaries, set down by John Aubrey, between the Years 1669 & 1696, Oxford, 1898, p. 209. 14. Alan Davidson, ‘CALDICOTT, Matthias [d. 1647], of Dorset House, Salisbury Court, London and Knole Park, Sevenoaks, Kent; later of Sherington, Selmeston, Suss.’, History of Parliament website [Accessed 22 April 2018: http://www. historyofparliamentonline.org/ volume/1604-1629/member/ caldicott-matthias-1647]. 15. There are at least two versions of this portrait, one at Knole, the other in a private collection. The latter lacks the inscription that gives Margaret’s age and the year. A photograph of this painting was produced as part of the Courtauld’s photographic survey and was seen by this author at the photographic archive of the Yale Center for British Art. I am grateful to Alistair Laing for sharing his knowledge about this second version. 16. Clifford (ed.), op. cit., p. 69. 17. James Lees-Milne, ‘Two portraits at Charlecote Park by William Larkin’, The Burlington Magazine, December 1952, pp. 352, 354–56. 18. This painting bears a later inscription very similar in style to that on a portrait of a woman misidentified as Anne of Denmark, formerly at Fairlawne, Kent, and now at Hutton-in-the-Forest, Cumbria, a photo of which is kept at the Heinz Archive at the National Portrait Gallery, London. This suggests the pictures may have had a common provenance. 19. The third earl wears a ‘Cloake of uncut velvet black’, a doublet of cloth of silver, garters of taffeta edged with lace of gold and silver, white silk stockings embroidered with gold, silver and black silk, and rosettes on his shoes of black ribbon laced with silver and gold. All of these garments are itemised in an inventory of the third earl’s rich wearing apparel of 1617. KHLC, U269 E79/1. See also Peter and Ann Mactaggart, ‘The Rich Wearing Apparel of Richard, 3rd Earl of Dorset’, Costume, 1980, pp. 41–55. 20. This work was discovered by Mark Weiss and sold to the National Portrait Gallery in 2013. 21. KHLC, U269 E66/3. For Trayton’s will, see The National Archives, PROB 11/177/165. 22. Ian Tyers, ‘Tree-ring analysis of a panel painting: A Portrait of Thomas Trayton, William Larkin, 1618’, Unpublished Dendrochronological Report, no. 1003, December 2017. 23. East Sussex Record Office, MS 3828. This inventory is only known through a modern transcription, which reproduces the first page of the original document in facsimile. It was made on 10 January 1618/19. 24. The provenance of this painting, as far as it can confidently be recovered, is: the earls of Kent, Ruthin Castle, Wales; by 1812, Roger Butler Clough (1759–1812) of Barthafarn Park, Wales; sold 28 April 1819, by John Broster at the Emporium Rooms, Manchester (no. 316); John Rushout, second Baron Northwick (1770–1859) at Northwick Park (no. 137); by 1866, Elizabeth Sackville-West, Countess De la Warr (1795– 1870), Knole, Kent; bought c. 1956 by Benedict Nicolson (1914–1978) on behalf of his mother, Vita Sackville-West (1892–1962), of Sissinghurst, Kent; by descent to Adam Nicolson, fifth Baron Carnock (b. 1957). 25. In late October 1619, after her husband’s death the previous year, Anne left Glemham Hall in Suffolk and came to live ‘at the end of Dorset House’ with Elizabeth Sackville, an area of the house which the third earl and his brother, Edward, had recently repaired ‘and made very fine’. Clifford (ed.), op. cit., p. 85. 26. The family members depicted are Edward Seymour, Duke of Somerset (c. 1500–52), Edward Seymour, first Earl of Hertford (c. 1539–1621), and the Countess of Hertford (1578–1639), daughter of Thomas, first Viscount Howard of Bindon. 27. Catherine Daunt, ‘A Gallery of Fame: The Evidence for a Jacobean Portrait Frieze at Knole’, National Trust Historic Houses & Collections Annual 2016, London, 2016, pp. 28–33. 28. Clifford (ed.), op. cit., pp. 82–83. 29. KHLC, U269 A1/5. 30. KHLC, U269 A1/6. 31. The strong contrast between light and dark in the costume, the luminosity of the flesh and the drawing of the features, particularly a signature exaggeration of the eyelash on the proper left eye, is consistent with what is known of van Somer’s approach to portraiture. I am grateful to Jessica David and David Taylor for their opinions on this painting. 32. Clifford (ed.), op. cit., p. 83; Spence, Lady Anne Clifford, op. cit., pp. 66, 71. 33. The spurious identification of her as the Countess of Arundel dates from the late 17th century, when the Lenthall and Hamilton families intermarried with what would now be considered dangerous regularity. The Hamiltons were related to the third Duke of Richmond and Lennox, which explains why portraits in the Lenthall collection were thought to depict his daughters Lady Elizabeth Howard, Countess of Arundel, and Lady Frances Weston, Countess of Portland. 34. Photographs of this painting from the 19th century show the picture hanging in Lady Betty Germain’s Dressing Room at Knole as a pendant to the portrait of Lady Anne Clifford. The portrait can now be found in the Brown Gallery, while the portrait of Lady Anne Clifford hangs in the private apartments. From at least 1837, if not before, the sitter in this portrait was identified as the third Earl of Dorset. It hung in Lady Betty Germain’s Dressing Room until 1910, when it and the portrait of Lady Anne Clifford were taken to the Sackville residence in Mayfair. It is not entirely clear when these two pictures returned to Knole, but by 1960 the portraits no longer hung together. 35. Edward Town & Jessica David, ‘The Early Career of Cornelius Johnson 1593–1627’, Cornelius Johnson 1593–1771: Painter to King & Country, London, 2016, pp. 18–35. 36. KHLC, U269/C4/2. The word ‘Rippers’ is not easily explained, but presumably it refers to removers. 37. Henry Peacham, An Aprill Shower shed in abundance of teares, for the death and incomparable losse, of the right noble, truly religious, and virtouse Richard Sacuile, Baron of Buckhurstm and Earle of Dorset. Who departed this life vpon Easter day last, being the 28th of March, at Dorset-house, London, 1624. For John Donne’s elegy to Dorset see British Library MS, Sloane 1542.
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joan carlile  19 REDISCOVERING THE ‘WORTHY ARTISTE MRS CARLILE’ 1 Few works by Joan Carlile, one of the first professional women painters, survive. JANE EADE explains how the conservation of one of her paintings has opened up new areas of study

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18  LADY ANNE CLIFFORD

1. On the death of Lady Anne’s father, George Clifford, third Earl of Cumberland (1558– 1605), the lands associated with his two Clifford baronies were bequeathed to his brother, who became fourth earl, with Anne instead receiving a portion of £15,000. This caused Margaret Clifford to take legal action. In 1607, judges ruled that the third Earl of Cumberland’s Skipton properties were rightfully his daughter’s, although they remained in her uncle’s possession. See Richard T. Spence, ‘Clifford Anne [known as Lady Anne Clifford], countess of Pembroke, Dorset and Montgomery’, Oxford Dictionary of National Biography online edition [Accessed 22 April 2018: https:// doi.org/10.1093/ref:odnb/5641]; Richard T. Spence, Lady Anne Clifford, Countess of Pembroke, Dorset and Montgomery (1590–1676), Stroud, 1997, pp. 40–58. 2. Beinecke Manuscript Library, Yale University, Osborn b27; Spence, Lady Anne Clifford, op. cit.; George C. Williamson, Lady Anne Clifford, Countess of Pembroke, Dorset and Montgomery, 1590–1676: Her Life Letters and Work, Kendal, 1922. 3. Karen Hearn & Lynn Hulse (eds.), Lady Anne Clifford: Culture, Patronage and Gender in 17th-Century Britain, Yorkshire Archaeological Society Occasional Paper, no. 7, Leeds, 2009. 4. Williamson, Lady Anne Clifford, op. cit, pp. 150–51. 5. Given that the third earl was a patron of Isaac Oliver, he is a likely candidate for this portrait in miniature. Isaac Oliver’s portraits of Dorset can be found at the Victoria & Albert Museum, 721-1882, The Fitzwilliam Museum, Cambridge, PDP, 3865; and the National Trust, Stourhead, Wiltshire, NT 731889. 6. D.J.H. Clifford (ed.), The Diaries of Lady Anne Clifford, Stroud, 2017, p. 35. 7. During Robert Sackville’s final illness, arrangements had been hastily concluded for Richard’s marriage to Anne, who was the only daughter and heir of George Clifford, third Earl of Cumberland. For the negotiations between the first earl and the Countess of Cumberland, see Surrey History Centre, LM/COR/4/22; British Library, Stowe MS 558; Kent History and Library Centre (KHLC), U269/Q18/1. 8. Edward Town, ‘A House Re-edified: Thomas Sackville and the transformation of Knole 1605–1608’, unpublished PhD thesis, University of Sussex, 2011.

9. This quote is from a letter of 1616 written by Lady Anne’s mother, Margaret, to her son-in-law the third earl that begins ‘you are pleased to tell me that my dear Daughter your wife loving the Old Stones at Broughton Castle better than all the marble pillars at Knole House in Kent with which I was much pleased.’ Longleat House Archive, Wiltshire, Portland Papers XXIII (consulted on microfilm at Stirling Library, Yale University). 10. Clifford (ed.), op. cit., p. 29. 11. KHLC, U269 T1 bdl. A. Dorset’s household accounts that survive for 1611–12 include payments for coops for the earl’s cocks and plantings of osiers, KHLC, U269 A2/2. In 1622 payments were made for canvas to cover the apricot and other fruit trees, barley to feed the swans, KHLC, U269 A3. 12. KHLC, U269 E66/3. 13. Aubrey, whose source was Sackville’s daughter Margaret, wrote, ‘He had 30 gentlemen, and gave each 50 li. per annum, besides keeping his horse. George Villiers (after, duke of Bucks) was a petitioner to have a gentleman’s place under him, and miss’t it, and within 12 moneth was a greater man himself; but the duke ever bore a greudge to the earl of Dorset’. ‘Brief Lives’, chiefly of Contemporaries, set down by John Aubrey, between the Years 1669 & 1696, Oxford, 1898, p. 209. 14. Alan Davidson, ‘CALDICOTT, Matthias [d. 1647], of Dorset House, Salisbury Court, London and Knole Park, Sevenoaks, Kent; later of Sherington, Selmeston, Suss.’, History of Parliament website [Accessed 22 April 2018: http://www. historyofparliamentonline.org/ volume/1604-1629/member/ caldicott-matthias-1647]. 15. There are at least two versions of this portrait, one at Knole, the other in a private collection. The latter lacks the inscription that gives Margaret’s age and the year. A photograph of this painting was produced as part of the Courtauld’s photographic survey and was seen by this author at the photographic archive of the Yale Center for British Art. I am grateful to Alistair Laing for sharing his knowledge about this second version. 16. Clifford (ed.), op. cit., p. 69. 17. James Lees-Milne, ‘Two portraits at Charlecote Park by William Larkin’, The Burlington Magazine, December 1952, pp. 352, 354–56. 18. This painting bears a later inscription very similar in style to that on a portrait of a woman misidentified as Anne of Denmark, formerly at

Fairlawne, Kent, and now at Hutton-in-the-Forest, Cumbria, a photo of which is kept at the Heinz Archive at the National Portrait Gallery, London. This suggests the pictures may have had a common provenance. 19. The third earl wears a ‘Cloake of uncut velvet black’, a doublet of cloth of silver, garters of taffeta edged with lace of gold and silver, white silk stockings embroidered with gold, silver and black silk, and rosettes on his shoes of black ribbon laced with silver and gold. All of these garments are itemised in an inventory of the third earl’s rich wearing apparel of 1617. KHLC, U269 E79/1. See also Peter and Ann Mactaggart, ‘The Rich Wearing Apparel of Richard, 3rd Earl of Dorset’, Costume, 1980, pp. 41–55. 20. This work was discovered by Mark Weiss and sold to the National Portrait Gallery in 2013. 21. KHLC, U269 E66/3. For Trayton’s will, see The National Archives, PROB 11/177/165. 22. Ian Tyers, ‘Tree-ring analysis of a panel painting: A Portrait of Thomas Trayton, William Larkin, 1618’, Unpublished Dendrochronological Report, no. 1003, December 2017. 23. East Sussex Record Office, MS 3828. This inventory is only known through a modern transcription, which reproduces the first page of the original document in facsimile. It was made on 10 January 1618/19. 24. The provenance of this painting, as far as it can confidently be recovered, is: the earls of Kent, Ruthin Castle, Wales; by 1812, Roger Butler Clough (1759–1812) of Barthafarn Park, Wales; sold 28 April 1819, by John Broster at the Emporium Rooms, Manchester (no. 316); John Rushout, second Baron Northwick (1770–1859) at Northwick Park (no. 137); by 1866, Elizabeth Sackville-West, Countess De la Warr (1795– 1870), Knole, Kent; bought c. 1956 by Benedict Nicolson (1914–1978) on behalf of his mother, Vita Sackville-West (1892–1962), of Sissinghurst, Kent; by descent to Adam Nicolson, fifth Baron Carnock (b. 1957). 25. In late October 1619, after her husband’s death the previous year, Anne left Glemham Hall in Suffolk and came to live ‘at the end of Dorset House’ with Elizabeth Sackville, an area of the house which the third earl and his brother, Edward, had recently repaired ‘and made very fine’. Clifford (ed.), op. cit., p. 85. 26. The family members depicted are Edward Seymour, Duke of Somerset (c. 1500–52), Edward Seymour, first Earl of Hertford (c. 1539–1621), and the Countess of Hertford (1578–1639), daughter of Thomas, first Viscount Howard of Bindon. 27. Catherine Daunt, ‘A Gallery of Fame: The Evidence for a Jacobean Portrait Frieze at Knole’, National Trust Historic Houses & Collections Annual 2016, London, 2016, pp. 28–33. 28. Clifford (ed.), op. cit., pp. 82–83. 29. KHLC, U269 A1/5. 30. KHLC, U269 A1/6. 31. The strong contrast between light and dark in the costume, the luminosity of the flesh and the drawing of the features, particularly a signature exaggeration of the eyelash on the proper left eye, is consistent with what is known of van Somer’s approach to portraiture. I am grateful to Jessica David and David Taylor for their opinions on this painting. 32. Clifford (ed.), op. cit., p. 83; Spence, Lady Anne Clifford, op. cit., pp. 66, 71. 33. The spurious identification of her as the Countess of Arundel dates from the late 17th century, when the Lenthall and Hamilton families intermarried with what would now be considered dangerous regularity. The Hamiltons were related to the third Duke of Richmond and Lennox, which explains why portraits in the Lenthall collection were thought to depict his daughters Lady Elizabeth Howard, Countess of Arundel, and Lady Frances Weston, Countess of Portland. 34. Photographs of this painting from the 19th century show the picture hanging in Lady Betty Germain’s Dressing Room at Knole as a pendant to the portrait of Lady Anne Clifford. The portrait can now be found in the Brown Gallery, while the portrait of Lady Anne Clifford hangs in the private apartments. From at least 1837, if not before, the sitter in this portrait was identified as the third Earl of Dorset. It hung in Lady Betty Germain’s Dressing Room until 1910, when it and the portrait of Lady Anne Clifford were taken to the Sackville residence in Mayfair. It is not entirely clear when these two pictures returned to Knole, but by 1960 the portraits no longer hung together. 35. Edward Town & Jessica David, ‘The Early Career of Cornelius Johnson 1593–1627’, Cornelius Johnson 1593–1771: Painter to King & Country, London, 2016, pp. 18–35. 36. KHLC, U269/C4/2. The word

‘Rippers’ is not easily explained, but presumably it refers to removers. 37. Henry Peacham, An Aprill Shower shed in abundance of teares, for the death and incomparable losse, of the right noble, truly religious, and virtouse Richard Sacuile, Baron of Buckhurstm and Earle of Dorset. Who departed this life vpon Easter day last, being the 28th of March, at Dorset-house, London, 1624. For John Donne’s elegy to Dorset see British Library MS, Sloane 1542.

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