Victorian Equestrian Portrait of Miss Beatrice Mary Clifford (b.1861), Aged 14

🎨🏇 Victorian Equestrian Portrait of Miss Beatrice Mary Clifford (b.1861), Aged 14

Signed “A. Maclean” – Attributed to Alexander Maclean (Scottish, 1840–1877)
Oil on Canvas, Circa 1875
Original Giltwood Frame | Phelps–Clifford Family, Chestal, Dursley, Gloucestershire

💫 Overview

A magnificent Victorian oil on canvas portrait depicting Miss Beatrice Mary Clifford, a poised young equestrienne aged fourteen.
Elegantly dressed in a black riding jacket, white blouse, and turquoise cravat, she holds her riding crop with quiet confidence. Her warm gloves, softly brushed brunette hair, and composed expression embody the grace and refinement of the Victorian gentry.

Signed “A. Maclean” and attributed to the noted Scottish artist Alexander Maclean (1840–1877), this work exemplifies late 19th-century portrait realism — a blend of technical mastery, emotional depth, and aristocratic poise.

Housed in its original ornate giltwood frame, richly carved and gilded, the portrait radiates timeless elegance and provenance.

🕊️ The Sitter – Beatrice Mary Clifford (1861–c.1930)

Born in 1861 to William Henry Clifford (1821–1908) and Caroline Clifford (née Phelps, 1829–1916) of Chestal House, Dursley, Beatrice was the eldest daughter of one of Gloucestershire’s most respected families.
Her grandfather James Phelps, a wealthy wool merchant and banker, built Chestal House around 1848 — merging industrial prosperity with landed prestige.

Surrounded by parkland, stables, and refined comforts, Beatrice was educated in equestrian skill and social grace. This portrait captures her at the threshold of young womanhood — a symbolic “coming-of-age” image of confidence and composure.

🎨 Subject & Medium

• Medium: Oil on canvas

• Date: Circa 1875

• Depicts: A young lady rider, age 14

• Attire: Black riding habit, turquoise cravat, golden-brown gloves

• Mood: Graceful, poised, introspective

• Style: Romantic realism of the late Victorian era

The work commemorates Beatrice’s transition into society, reflecting the ideals of discipline, refinement, and feminine virtue prevalent among the landed gentry of her time.

👁️🗨️ Composition & Technique

Maclean’s treatment of tone and texture is exceptional:

• Deep blacks and cool greys offset the warm hues of her gloves and complexion

• Subtle turquoise accents highlight restraint and elegance

• Smooth facial modelling contrasts with the expressive brushwork of her clothing

• A balanced chiaroscuro imbues depth and serenity

Fine, even craquelure across the surface attests to its 19th-century authenticity and superb preservation.

🖋️ 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, pigment tone, and brushwork match other verified signatures by Alexander Maclean, who exhibited at the Royal Academy during the 1870s.
The signature remains crisp beneath the original varnish, confirming its authentic period origin.

🧑🎨 The Artist – Alexander Maclean (1840–1877)

Born in Scotland and educated in Helensburgh and Edinburgh, Alexander Maclean refined his art in Rome, Florence, and Antwerp. His portraits combine classical discipline with emotional realism.
He exhibited at the Royal Academy (1872–1877), earning recognition for Covent Garden Market and At the Railings, St. Paul’s.
A comparable work achieved USD $102,700 at Christie’s, underscoring Maclean’s continued esteem among collectors.

🖼️ Frame

Presented in its original ornate giltwood frame, carved with floral motifs and layered gilding.
The frame shows gentle, age-related wear — light scuffs, minor repairs, and subtle overpainting — but remains structurally sound and resplendent in its period character.

Dimensions (Framed):
Height: 140 cm | Width: 106 cm | Depth: 5 cm

📜 Provenance

• 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 this work’s authenticity and distinguished history.

❤️ Why You’ll Love It

✅ Exquisite 19th-century portrait uniting history, craftsmanship, and beauty
✅ Signed “A. Maclean” — rare work by the noted Scottish artist
✅ Original giltwood frame, full of Victorian character
✅ Captivating sitter — elegant, confident, and timeless
✅ Ideal for collectors and connoisseurs of fine Victorian art

A portrait that speaks across centuries — dignified, radiant, and profoundly human. ✨

🕰️ Condition

• Surface: Fine craquelure and light touch-ups visible under close inspection, some minor paint loss to the face in areas.

• Frame: Minor scuffs and repairs; structurally sound

• Overall: Stable, well-preserved, and rich in period charm