Alexis Simon Belle (1674–1734), Portrait of King James VII & II (1633-1701)

Portrait of King James VII & II
Alexis Simon Belle (1674–1734)
1712
Oil-on-canvas
Half length, 30 x 25 ins.

This portrait depicts King James VII & II. James ascended to the thrones of England, Scotland and Ireland in 1685, however his reign was marked by constitutional turmoil and was cut drastically short when he was usurped in 1688-9 by his Dutch son-in-law, Prince William of Orange. James would die in exile in 1701 and his son, James Francis Edward Stuart, claimed his father’s title as King James III and VIII. His title was recognised by both the papacy and multiple Continental monarchies, famously including that of France. This posthumous portrait of James II was commissioned by his son in 1712 to emphasise the latter’s legitimacy. The commission went to the ‘king over the water’s’ leading court painter, Alexis Simon Belle (1674–1734), thus signifying the political importance of the work.

Acquired by Henry Howard MP (1802-1875), thence by family descent to Murray Howard (b. 1942), current owner of Greystoke Castle, from whom this painting was acquired by Whiteman's Fine Art & Antiques, 2021. With thanks to Murry Howard's nephew and family historian, Henry Howard (b.1972) of Johnby Hall, we know that his great-great grandfather Henry Howard MP would have acquired this painting after the rebuilding and furnishing of Greystoke Castle after the great fire of 1868. Until recently, the portrait hung in the ‘Stuart Room’ to the right of the entrance hall, situated amongst glittering armour and other paintings depicting members of that unfortunate dynasty. As a branch of the leading recusant Howard family – Bernard Howard, the 12th Duke of Norfolk, was Henry Howard MP’s uncle – an affection held for the Roman Catholic Stuarts was natural. Indeed, this portrait hung alongside one of James III’s son and heir, ‘Bonnie Prince Charlie’ - from his Cumbrian bid to buy support for the 45’ - and another of James’s mother, Queen Mary of Modena by Sir Godfrey Kneller (purposely misattributed in the painted script as ‘Queen Anne’). Above the sitter’s head may be found the curious later inscription in gold block capitals, ‘JAMES SON OF JAMES 2nd OBIT ROME,’ perhaps indicating a subsequent confusion between patron and sitter.

Literature: Dr. Edward Corp, ‘The King over the Water: Portraits of the Stuarts in Exile after 1689,’ 2001, p. 50