William Villiers, 2nd Viscount Grandison (1614 – 23 September 1643) was an Irish peer and Royalist soldier who was fatally wounded during the First English Civil War in 1643.
In 1639, Grandison married Mary Bayning (1623–1672), heiress to a fortune of £180,000; they had one daughter, Barbara Villiers (1640–1709), who was later mistress to Charles II.[3] After his death, Mary married his cousin Christopher Villiers, Second Earl of Anglesey (1625–1661).[4]
Career
Villiers grew up mostly in London, where his father was Master of the Mint, a post which gave him rooms at the Tower of London.[1] On 23 June 1623, when his childless great-uncle Oliver St John (1559–1630) was created Viscount Grandison in the peerage of Ireland, the honour was made subject to a special remainder that it would be inherited by the heirs male of St John's niece Barbara Villiers. This meant when St John died in December 1630, Villiers inherited his title.[5]
At the Storming of Bristol on 26 July 1643, Grandison led one of three brigades or "tertia" commanded by Prince Rupert of the Rhine. His unit made a series of attacks on Prior's Hill Fort and a redoubt at Stokes Croft, in the third of which he was wounded in the right leg.[9] together with his cousin Edward St John, a son of his uncle Sir John St John.[10] Grandison was taken to Oxford where he died on 29 September, presumably of a fever related to the injury, since Hyde explicitly states the wound caused his death.[11][a]
As Grandison had no son, he was succeeded by a younger brother, John Villiers. After the Restoration, Grandison's only child, Barbara Villiers, became a royal mistress of King Charles II, in 1670 was created Duchess of Cleveland, and became the ancestor of several noble families, including the Dukes of Grafton. Grandison's mother, Barbara Lady Villiers, born about 1592, lived into her eighties and saw the Restoration and the early years of her great-grandchildren.[12]
A portrait of Grandison survived at Lydiard House, his mother's family home in Wiltshire, as of 2006. It is catalogued as by the school of Anthony van Dyck. At the bottom right of the canvas is the name "LD. GRANDISSON".[14][15] This painting was engraved about 1714 by Pieter van Gunst, who identified it as "William Villiers, Vicount Grandisson, Father to ye Late Duchesse of Cleaveland", with the attribution "A v. Dyk pinx".[16]Theresa Lewis, in her Lives of the Friends and Contemporaries of Lord Chancellor Clarendon (1852), gives an unmistakable description of this portrait and reports that two copies of it then existed, one owned by the Duke of Grafton, a direct descendant of Grandison's, and the other by Earl Fitzwilliam.[17]
Another portrait
A similar but more sumptuous portrait of a young man, also known as Viscount Grandison, said to have belonged to George Villiers, 2nd Duke of Buckingham, was at Stocks Park, Hertfordshire,[18] before being exhibited at the Royal Academy in 1893 as the property of Arthur Kay, Esq. After that it was sold to H. O. Miethke, who quickly sold it to Jacob Herzog of Vienna. Exhibited as "William Villiers, Viscount Grandison", this had a great impact at a Van Dyck Tercentenary Exhibition at Antwerp in 1899, and in 1901 the portrait was bought by William Collins Whitney,[19] who paid $125,000 for it. This was the second-highest price ever attached to a painting at the time, defeated only by Millet's Angelus.[20] Still named as a portrait of Grandison, it went on to create a sensation at the Van Dyck Loan Exhibition at Detroit in 1929, and in 1932, on the death of H. P. Whitney, was inherited by his widow Gertrude Vanderbilt Whitney.[21] In 1948 Cornelius Vanderbilt Whitney gave it to the National Gallery of Art in Washington, D.C.[22]
The art historian Lionel Cust, Director of the National Portrait Gallery, suggested in 1905 that the Whitney portrait was of another man, and might be a likeness of the younger brother of Grandison, John Villiers, who became the third Viscount in 1643.[18] A more powerful identification was made in the 1940s, when an early 18th century drawing of the painting by Louis Boudan was found, marked as Henry de Lorraine, duc de Guise.[23] The National Gallery of Art now attaches that name to it.[24]
Notes
^"Lord Grandison, whose loss can never be enough lamented. He was a young Man of so virtuous a habit of mind that no temptation or provocation could corrupt him; so great a Lover of Justice and integrity, that no example, necessity, or even the barbarity of this War, could make him swerve from the most precise Rules of it; and of that rare Piety and Devotion, that the Court, or Camp, could not shew a more faultless Person, or to whose example young Men might more reasonably conform themselves".[11]
^Theresa LewisLives of the Friends and Contemporaries of Lord Chancellor Clarendon: Illustrative of Portraits in His Gallery, Volume 3 (J. Murray, 1852), p. 316
^ abLionel Cust, Anthony Van Dyck: An Historical Study of His Life and Works, p. 138 : "A portrait of a young man in a similar dress, called Viscount Grandison, formerly at Stocks Park, Hertfordshire, and now in the possession of M. Hertzog at Vienna, evidently represents another young Cavalier, perhaps his brother, John Villiers, who succeeded as third Viscount Grandison.
^The Living Age, Volume 233 (1902), p. 334: "Mr. Whitney's rich and ever-growing collection includes – to mention only his most enviable possession – the enchanting full length "Willlam Villiers, Viscount Grandison" by Van Dyck, which used to hang almost unnoticed in a quiet English country house; then suddenly not only took Van Dyck students but the world by storm when, as the property of Herr Hertzog of Vienna, it appeared at the Commemorative Van Dyck Exhibition."
^Appletons' Annual Cyclopaedia and Register of Important Events (1902) : "The full-length portrait of William de Villiers, Viscount Grandison, by Van Dyck, which figured at the Antwerp exhibition of the works of the master in 1899, has been purchased by William C. Whitney, of New York, for $125,000, the highest price paid in America for a picture, excepting Millet's Angelus. It was originally in the possession of the Buckingham family, from whom it passed to Lady Grey and to Jacob Herzog, of Vienna, who exhibited it in 1899."
^Apollo Volume 22 (1976), p. 91 : "ONE of the outstanding items in the great Van Dyck Loan Exhibition at Detroit, U.S.A., in 1929, was beyond question the sumptuous "William Villiers, Viscount Grandison," the property of Mr. Harry Payne Whitney, of New York (Fig. I). It seems to have created something of a sensation, as indeed it had already done in the Van Dyck Tercentenary Exhibition (Antwerp, 1899) and earlier in the Winter Exhibition of 1893 at our Royal Academy. And no wonder : for, while others of the master's portraits may excel in dignity, sublety or power, as a display of sheer bravura it is perhaps unrivalled. One is accordingly rather surprised to find that not a tittle of positive documentary evidence has been put forward hitherto as to either authorship or subject. Even the attribution to Van Dyck rests solely on aesthetic grounds ; but the best critical opinion seems unanimous in accepting the work unreservedly as an authentic masterpiece from his hand. Far otherwise is it with the proposed identification of the sitter : he has only been accepted as "Grandison" provisionally and with notable reservations... After being exhibited (according to the catalogue) at the Royal Academy in 1893 by " Arthur Kay, Esq.," it passed in rapid succession to H. O. Miethke and Jacob Herzog of Vienna. Thence, in 1901, it was acquired by Mr. W. C. Whitney of New York, and so came to Mr. H. P. Whitney, to whose widow it now belongs. I have been quite unable to locate it — in England — further back than the XIXth century."
^Pallas: International Art and Archaeology News Bulletin (1948), p. 28
^The Connoisseur Volumes 122-123 (1948), p. 42 : "The Whitney Van Dyck was, during its long ownership in England, known as the portrait of William Villiers, Viscount Grandison... The definite identification of the subject was made only recently when the late Mr. Francis M. Kelly discovered in the Bibliotheque Nationale in Paris a contemporary drawing of it by Louis Boudan inscribed in a contemporary hand : Henry de Lorraine, duc de Guise."
^Huntington Cairns, John Walker, Treasures from the National Gallery of Art (1962), p. 84
Sources
Andrews, Allen (1971). The Royal Whore: Barbara Villiers, Countess of Castlemaine. Hutchinson. ISBN978-0091070403.
Carlton, Charles (1992). Going to the Wars; The experience of the British Civil Wars, 1638-1651. Routledge. ISBN0-415-03282-2.
Clarendon, Earl of (1717). The History of the Rebellion and Civil Wars in England, Book VII. Oxford University.
Cokayne, George Edward (1912). The Complete Peerage of England, Scotland, Ireland, Great Britain and the United Kingdom. Vicary Gibbs.
Debrett, John (1837). Debrett's Peerage of England, Scotland, and Ireland.
Firth, Charles Harding; Leslie, JH (1925). "The Siege and capture of Bristol by Royalist forces in 1643". Journal of the Society for Army Historical Research. 4 (18): 180–203. JSTOR44227516.