Lot 201: Baziray (French, circa 1730)

Baziray (French, circa 1730)
Portrait of a gentleman, half-length, in a brown coat; and Portrait of a lady, half-length, in a blue dress with a garland of flowers
signed and dated 'Baziray Pinxit. 1730' (on the reverse of the latter)
oil on canvas
32 1/8 x 25 in. (81.5 x 63.5 cm.)
a pair (2)

What do Old Master portraits mean to us today? Portraits allow us to take a glimpse into people's lives centuries ago. They make it possible for us to see how the sitters viewed themselves and how others perceived them. They are evidence of a married couple's love (see lot 201) or depict a highlight in an actor's career (see lot 203). Today, we have a wide range of social media and PR companies to promote ourselves, but there was a time when we had no more than a paint brush and an etching plate. Portraiture was one of the main means to convey a person's character or status. Sitters were looking for an idealised likeness, perfect in every sense.

The portrait of Thomas Betterton (lot 205) is an interesting example of how portraiture could be used. As an actor promotion was very important to Betterton, it was a means to enhance his reputation. This picture could have been painted for a theatre where he performed or it could even have been commissioned by an admirer. Betterton appears to be challenging the viewer; one might even call his expression cheeky. This could be a reference to his status or to one of his roles. The type of portraiture that Sir Godfrey Kneller and his studio produced were ideally suited to Betterton's goals. They painted their sitters in a grand and imposing manner.

Copies come onto the market frequently and are far more interesting than people sometimes tend to think. For example, lot 202 tells us that the original full-length picture by Alexander Kucharski was iconic and highly valued ever since it was painted in the 1790s. It also tells us that this was still the case in the 20th century, when this picture was painted, and demonstrates how artists adapted the size of their portraits to fit into today's living circumstances. Lastly, there is hardly any need to mention that we still take an interest in the rumours surrounding Marie Josephine of Savoy. The Countess was not thought to be a great beauty and Kucharski has probably idealised her features a little, but his detailed rendering of expensive lace and the Countess' extravagant headdress make for a glamorous portrait with character that still resonates over 200 years later.