The present portrait of a young man is very similar to some of the head studies in chalk from Charles Beale’s sketch book 1680 in the British Museum, particularly those once thought to be self portraits. A few other sketches in the same book also depict youths with long flowing hair strikingly similar to this oil sketch, emphasizing his obvious fascination in capturing the subtle changes of physiognomy that a tilt of the head or a turn of the neck can achieve. Compositionally similar to some of the incomplete oil sketches by his mother Mary, notably ‘Charles Beale’ snr.(National Portrait Gallery, London) and ‘Portrait of a Young Child’ (Philip Mould Ltd) it also shows the influence of Sir Peter Lely, particularly ‘Portrait of a Boy’ (Dulwich Gallery) a head study of which is with the British Museum.
Badly over-painted in the past this portrait has previously been catalogued as variously by John Opie and Jacob Huysmans. A large area of unnecessary over-paint over old damage across one shoulder covered much of the sketch in that area, as did repainting to the other, while dirt and discoloured varnish obscured the depth of colour and form to the face. Cleaning has revealed not only brushwork and detail long obscured but a fresh, vibrant sketch which can once again be included in the oeuvre of Charles Beale.
By 1677 Mary Beale had been joined in her studio by her sons Bartholomew Beale (1656-1709) and Charles Beale, who painted draperies and ovals. Bartholomew left to study medicine, but Charles went on to be taught miniature painting by Thomas Flatman. He became accomplished in this field, although most of his extant miniatures are copies, such as Bishop Antoine Triest after van Dyck, and Lely after a self-portrait (both signed 1679; London, V&A). Between 1679 and 1681 he produced four sketchbooks of red-chalk drawings, which include figure studies of remarkable informality (New York, Pierpont Morgan Lib.; London, British Museum). By 1689 he was concentrating on full-scale portraiture, owing to failing eyesight and produced characterful, accomplished works in a similar vein to his mother’s. He is last recorded working as a painter in 1712.
I am grateful to the art historian Stephen Conrad for his opinions concerning attribution and context of this work in the oeuvre of Charles Beale.