equestrian miss beatrice mary clifford aged 14 attributed alexander maclean

questrian Oil Portrait of a Young Lady, Believed to be Miss Beatrice Mary Clifford (b.1861), Aged 14
Attributed to Alexander Maclean (Scottish, 1840–1877)
Circa 1875
The Sitter: Beatrice Mary Clifford (1861 – c.1930)
Beatrice Mary Clifford was born in 1861, the eldest daughter of William Henry Clifford (1821–1908) and Caroline Clifford (née Phelps, 1829–1916) of Chestal House, Dursley, Gloucestershire.
Her maternal grandfather, James Phelps of Chestal, was a prosperous wool merchant and banker who built the family’s elegant country seat around 1848. The union of the Phelps and Clifford families combined industrial prosperity with landed heritage, establishing one of Gloucestershire’s most respected households.
Growing up amid the refined atmosphere of Chestal — surrounded by parkland, stables, and formal gardens — Beatrice enjoyed a privileged education in refinement and equestrian skill. Riding was central to family life and identity, and this portrait reflects her confidence and genteel upbringing.
Subject & Medium
A magnificent Victorian oil on canvas portrait depicting a young equestrian lady, poised with grace and composure. She stands in dignified three-quarter profile, dressed in a black riding jacket, white blouse, and turquoise cravat, holding her riding crop while wearing golden-brown leather gloves that gleam softly against her attire.
Her expressive gaze, framed by softly brushed brunette hair, radiates quiet elegance and inner strength — a quintessential image of Victorian refinement and poise.
The Portrait (c.1875)
Painted around 1875, when Beatrice was fourteen, the work likely commemorated her entry into young society — a coming-of-age image symbolizing refinement, discipline, and virtue. Victorian equestrian portraits of girls were fashionable from the 1860s onward, celebrating feminine grace within the ideals of the landed gentry.
Archival and stylistic evidence strongly support Beatrice Mary Clifford as the sitter, described in records as “a young equestrian lady of the Phelps family, later Clifford family, of Chestal, Dursley.”
Composition & Technique
Executed with exceptional sensitivity and precision, the portrait exemplifies the romantic realism of late Victorian portraiture. The deep blacks and cool greys of her attire contrast beautifully with the turquoise of her cravat and the warm tones of her gloves and complexion.
The soft, neutral background enhances her luminosity without distraction.
Maclean’s brushwork blends smooth facial modelling with expressive texture in clothing and background, balanced by refined chiaroscuro — a hallmark of academic portraiture.
Fine, even craquelure across the surface attests to its age and authenticity.
Signed
The painting bears the clear signature “A. Maclean” in the lower corner, executed in fine script consistent with the artist’s authenticated works.
The placement, brushwork, and pigment tone align with other verified signatures by Alexander Maclean (1840–1877), as recorded in Royal Academy exhibits of the 1870s.
This signature supports the strong stylistic attribution and firmly links the work to Maclean’s mature period, around circa 1875.
The signature remains crisp and legible beneath the original varnish layer, confirming its authenticity and period origin.
The Artist: Alexander Maclean (1840–1877)
A gifted Scottish painter educated in Helensburgh and Edinburgh, Maclean refined his craft in Rome, Florence, and Antwerp. His works harmonized classical training with emotive realism, and he exhibited at the Royal Academy between 1872 and 1877.
Noted for Covent Garden Market and At the Railings, St. Paul’s, Maclean’s paintings reveal a mastery of light, introspection, and tonal harmony — all evident here.
A comparable work, Covent Garden Market, achieved USD $102,700 at Christie’s, reflecting enduring admiration for his art.
Later Life of Beatrice Clifford
Archival sources suggest Beatrice remained unmarried, residing at or near Chestal throughout her life, assisting in family affairs and supporting her widowed mother.
When Chestal was sold in 1967, several portraits — including this one — were dispersed, leading to the “Missing Phelps Portraits” appeal by the Gloucestershire Archives.
Though few letters survive, this painting endures as a poignant record of a young woman navigating Victorian womanhood — poised, intelligent, and independent in spirit.
Frame
Presented in its original ornate giltwood frame, richly carved with floral motifs and layered gilding.
The warm golden tones complement the sitter’s complexion and palette.
The frame shows gentle, age-related wear — minor scuffs, small repairs, and areas of overpainting — yet retains full Victorian splendour and authenticity.
Dimensions (Framed):
Height: 140 cm | Width: 106 cm | Depth: 5 cm
Provenance
Likely commissioned by the Clifford family of Chestal
By descent within the family
Private Collection, UK
Referenced: Gloucestershire Archives, D3831, Phelps–Clifford Family Papers
“Missing Phelps Portraits,” Gloucestershire Heritage Hub (accessed 2025)
W.A. Smith (Late J. Green)
D.T. Beesley Ltd
Phelps No. 115
Private Collection, Greater London
Exhibited: Famous Lord Hill Museum
Collection of Cheshire Antiques Consultant LTD
Each provenance note reinforces the painting’s authenticity and distinguished heritage.
Why You’ll Love It
A masterful 19th-century portrait uniting beauty, craftsmanship, and history
The sitter — a poised young equestrienne — embodies Victorian elegance and confidence
Superb tonal harmony and expressive realism
Signed “A. Maclean” — a rare and collectible work by the noted Scottish painter
Original giltwood frame with rich period character
Ideal for fine interiors, collectors, and connoisseurs of Victorian art
A portrait that speaks across centuries — dignified, radiant, and profoundly human.
Condition
Surface: Fine craquelure, mild touch-ups visible under inspection
Frame: Minor scuffs and repairs; structurally sound
Overall: Stable, well-preserved, and full of period charm
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Antiques.co.uk Ref: 42QJ36PKM

Maker/Artist:

Attributed Alexander Maclean

Materials:

Oil on canvas

Width (cm):

106

Height (cm):

140

Depth (cm):

5

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