Portrait of a Man, probably Sir John Scott (1564–1616)

ArtistAttributed to Robert Peake the Elder British, circa 1551–1619

Datecirca 1600–1605

MediumOil on canvas

Dimensionsoverall: 77 3/4 × 38 1/4 in. (197.5 × 97.2cm)
frame: 86 1/2 × 47 × 1 3/4 in. (219.7 × 119.4 × 4.4cm)

ClassificationsPaintings

Credit LineGift of Mr. and Mrs. James MacLamroc

Object numberGL.67.13.5

On View

Not on view

Provenance[All Balliol Scott family property, presumed to include the NCMA’s eight “Scott” portraits, pass through various branches of the family of Scots’ Hall, Smeeth, Kent, England]; George Scott (1673–1728); by descent to Edward Scott (1710–1765), Scot’s Hall, Smeeth, ca. 1728: by descent to Francis Talbot Scott (1745–1789), 1765; Scott family portraits are transferred to Caroline Scott (1751–1809) and her husband George Best (1760–1818), Chilston Park, Kent, England, ca. 1784–1795; by descent to Thomas Fairfax Best (1786-1849) and Margaret Anna Brett Best (d. 1882), London, Chilston Park, and Weirton Park, Boughton Monchelsea, Staplehurst, Kent, 1818; by descent to Frances Best and her husband, Major William Henry Archer, 1882; by descent to their son Major Henry Alan Fairfax Best Archer and his wife, Catherine Maria Scott; paintings sold to Sir Edward Arthur Barry (1858–1949), who married Scott descendent Eleanor Margaret Scott (d. 1916), Ockwells Manor, Berkshire, England, between 1891 and 1916; paintings sold to Colonel Frank Douglas Scott, Sir Edward Arthur Barry allows the portraits to remain at Ockwells Manor, Berkshire, England, 1947; sold to James G. W. MacLamroc, Greensboro, NC, 1965 [portraits come directly to NCMA in June 1965]; given to NCMA, 1969. [PDF of Unedited Provenance notes is attached to this TMS record.]
Published ReferencesPerry Hurt, “Uncovering Late Renaissance British Portraits at the NCMA: The Scott Project,” in North Carolina Museum of Art Preview (Winter 2014), briefly discussed 18, illus. (color) 17.

Tatiana C. String, "Body Building: The Fabrication of the Masculine Body in Renaissance Portraiture," in Jacqueline Murray, ed., The Male Body and Social Masculinity in Premodern Europe (Toronto: Centre for Renaissance and Reformation Studies, 2022), 236-237, illus. fig. 9.6 (color).Exhibition HistoryRaleigh, NC, North Carolina Museum of Art, “History and Mystery: Discoveries in the NCMA British Collection,” August 6, 2016–June 25, 2017.

Raleigh, NC, North Carolina Museum of Art, "The People's Collection, Reimagined," October 7, 2022–May 29, 2024. Object Rights Statement

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