Drawing Room

Once a medieval parlour, then a dining room, the subtly elegant Drawing Room is now firmly centred round the stone fireplace, which was brought here in 1910 from a former Montagu home.

Displayed in vertical groupings throughout the room are a set of 40 grisailles portraits by Sir Anthony van Dyck. Painted in oil on oak panels, these were then engraved for his Iconography, published in 1645.

Drawing room
Drawing Room
Click for larger image
Or look at a
QTVR of the Drawing Room

Van Dyck captured the likeness of leading contemporaries in England and the netherlands including his patron Charles I and his friend Peter Paul Rubens. They belonged to Van Dyck's successor as principal court painter, Sir Peter Lely, from whose posthumous sale in 1682, Ralph Montagu acquired them.
Visit the Gallery to see the complete collection of Van Dyck Grisailles

On the left wall, upper left, portrayed by Thomas Hudson (1701-72), is
George Brudenell, 4th Earl of Cardigan. George was created 3rd Duke of Montagu, when his wife (Mary Montagu) inherited Boughton; he was to be the last Duke of Montagu as their son, John, The Marquis of Monthermer, died unmarried. Beneath this is a portrait by Francis Cotes (1725-70) of
Lady Mary Montagu, later Duchess of Montagu (1712-75), who is also portrayed, lower right, by William Hoare of Bath (1707-92). Upper right , is
Mary Brudenell, Vicountess Molyneux (1656-1743), portrayed in 1665 by Michael Dahl.

Carlin Table
The two tables, inset with Sevres plaques, are of outstanding quality. The smaller is a Louis XV
tulipwood writing table (see left) ('bonheur du jour') by Martin Carlin (maitre ebeniste 1766, d.1785). It is stamped "CARLIN" in two places, and one of the Sevres porcelain plaques bears the marks for 1768 and that of the flower painter Denis Leve.

The larger
writing table is by Joseph Baumhauer. (fl. 1745, d. 1772), stamped "JOSEPH."

Directly in front of the fire is a rug of great historical interest, one of a set of three at Boughton, which were once believed to be some of the earliest extant carpets woven in England. They exhibit, at each edge, a coat of arms that includes the Montagu 'lozenges', and woven into the borders of two of them are the dates 1584 and 1585.
The wool rug

Between the windows are a pair of George II dolphin tables with white Carrara marble tops, attributed to Benjamin Goodison (c. 1700-67) in the manner of Kent, and above them a pair of
mirror sconces in the style of Daniel Marot, attributed to Jean Pelletier, c. 1690.

On the South wall, only the lower two portraits have been identified. On the left is a portrait of the artist
Claude Lorrain (1600-82), attributed to Andrea Sacchi (1599-1651); on the right is
King William III, circle of Jacques van Oost the Younger.

The pair of white
Chinoiserie cabinets, c. 1670, are thought to be of Japanese origin. White lacquer is extremely rare compared with the more usual black. The stands may be by James Moore.

Chinoiserie Cabinet

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Once a medieval parlour, then a dining room, the subtly elegant Drawing Room is now firmly centred round the stone fireplace, which was brought here in 1910 from a former Montagu home. Displayed in vertical groupings throughout the room are a set of 40 grisailles portraits by Sir Anthony van Dyck. Painted in oil on oak panels, these were then engraved for his Iconography, published in 1645.	Drawing Room Click for larger image Or look at a QTVR of the Drawing Room
Van Dyck captured the likeness of leading contemporaries in England and the netherlands including his patron Charles I and his friend Peter Paul Rubens. They belonged to Van Dyck's successor as principal court painter, Sir Peter Lely, from whose posthumous sale in 1682, Ralph Montagu acquired them. Visit the Gallery to see the complete collection of Van Dyck Grisailles
On the left wall, upper left, portrayed by Thomas Hudson (1701-72), is George Brudenell, 4th Earl of Cardigan. George was created 3rd Duke of Montagu, when his wife (Mary Montagu) inherited Boughton; he was to be the last Duke of Montagu as their son, John, The Marquis of Monthermer, died unmarried. Beneath this is a portrait by Francis Cotes (1725-70) of Lady Mary Montagu, later Duchess of Montagu (1712-75), who is also portrayed, lower right, by William Hoare of Bath (1707-92). Upper right , is Mary Brudenell, Vicountess Molyneux (1656-1743), portrayed in 1665 by Michael Dahl.
Carlin Table	The two tables, inset with Sevres plaques, are of outstanding quality. The smaller is a Louis XV tulipwood writing table (see left) ('bonheur du jour') by Martin Carlin (maitre ebeniste 1766, d.1785). It is stamped "CARLIN" in two places, and one of the Sevres porcelain plaques bears the marks for 1768 and that of the flower painter Denis Leve.
The larger writing table is by Joseph Baumhauer. (fl. 1745, d. 1772), stamped "JOSEPH." Directly in front of the fire is a rug of great historical interest, one of a set of three at Boughton, which were once believed to be some of the earliest extant carpets woven in England. They exhibit, at each edge, a coat of arms that includes the Montagu 'lozenges', and woven into the borders of two of them are the dates 1584 and 1585. The wool rug Between the windows are a pair of George II dolphin tables with white Carrara marble tops, attributed to Benjamin Goodison (c. 1700-67) in the manner of Kent, and above them a pair of mirror sconces in the style of Daniel Marot, attributed to Jean Pelletier, c. 1690. On the South wall, only the lower two portraits have been identified. On the left is a portrait of the artist Claude Lorrain (1600-82), attributed to Andrea Sacchi (1599-1651); on the right is King William III, circle of Jacques van Oost the Younger.
The pair of white Chinoiserie cabinets, c. 1670, are thought to be of Japanese origin. White lacquer is extremely rare compared with the more usual black. The stands may be by James Moore.	Chinoiserie Cabinet