The Art Gallery of Ballarat has retaken possession of this portrait of 17^th Century English noble Lady Mary Allardice after it was sent away for extensive cleaning and repairs by the noted Melbourne conservator Sabine Cotte.

Originally part of a bequest by the Melbourne lawyer and philanthropist Colin Hicks Caldwell, the unrestored picture was hanging in the gallery’s cafe, more as a curio than a potential work to be displayed in the gallery proper.

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“It came into the gallery’s possession around 1991,” says Art Gallery of Ballarat director Gordon Morrison.

The portrait was in a very poor condition. The varnish had darkened over the centuries, and there were burn marks, possibly caused by eons-past candles. Fortunately they were around the edges and had not affected the figure.

“We always had the feeling that, underneath the treacle, there was something interesting,” says Morrison.

AGB curator Julie McLaren contacted the Allardice family, who weren't aware of the portrait’s existence. Realising the painting had a greater significance than perhaps being just a copy of an earlier original, and appreciating that the quality of the work was of a level worthy of the expense, it was decided to pursue restoration.

“The varnish on an oil painting discolours over time, and the varnish itself, even in the best conditions, has a life expectancy of around 50 years,” says Morrison.

Lady Mary Allardice was the daughter of Scottish Lord Graham of Kinpont, heir to the Earldom of Monteith. She married Sir John Allardice in 1662. Shortly after their marriage, creditors took possession of the Allardice grain mills. It was Lady Mary who salvaged the mill with help from a wealthy relative, and by all accounts she was an enterprising and forthright person, who once described her eldest son as ‘a soft and silly creature’.

Of his wife, she was less charitable.

“Thanks to God the Bitch had not bairns or we would not so easily get quit of her...”

Lady Mary outlived her husband and most of her seven children.

The painting may have come to Australia with Sir William Lamond Allardyce, governor of Tasmania in 1920-21. 

Gordon Morrison says while the restored work doesn’t really match the disposition of the AGB’s collection, it will be invaluable for teaching school groups about the history of portraiture.

“It’s the earliest work of this kind that we’ve now got to display; and it certainly relates to our collection of colonial images,” he says.

Peter Freund of the AGB says the portrait’s attribution to 1662 is based on the presumption that this is a betrothal or wedding portrait – a carnation was a common symbol in 16th century wedding portraits as it was felt to ward off the evil spirits ready to pounce on young couples.