Sir Peter Lely: Artist and Collector

Upon entering the National Gallery, I was surprised to find that the Peter Lely exhibition was not housed in the main gallery, but rather downstairs in the Scottish Collection. Surely his highly-regarded post as leading court painter to Charles II and subsequently one of the most sought after portrait painters in 17th century Britain earned him a place among the grandiose country-manner aesthetic of the main gallery?

Despite this, the exhibition provides visitors with the opportunity to see a rich collection of works on paper ranging from chalk studies to detailed mezzotints and engravings, most of which have rarely before been displayed to the public. The works are displayed in a rectangular room highlighting the clear progression from the preparatory chalk sketches that show Lely’s triumph as a draughtsman to a variety of Italian and Flemish works from his extensive collection, modestly referred to by Lely as "the best in Europe".

The mezzotint by Isaak Beckett after Sir Peter Lely, depicting Lely the gentleman next to his patron Charles II, is particularly striking and one of the strongest pieces in the exhibition. The confidence expressed through Lely’s gaze suggests an awareness of his dominance within the field of portraiture. This is later confirmed by a series of engravings and mezzotints by other significant artists of the period. Lely is situated opposite the works from his collection, asserting himself not only as an artist but as an important collector.

Once referred to as "a mighty proud man" and "full of state" by Samuel Pepys, the exhibition effectively portrays Lely's character while providing a coherent display of works that allows the viewer to gain an insight into all aspects of Lely’s career, both as an artist and a collector.