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The Life and Career of Matthew Snelling

Matthew Snelling enters the historical record as an English miniature painter operating during the mid-17th century. Born in 1621, he carries the lineage of a prominent family, being the son of a mayor of King’s Lynn. His professional life finds its center in London, a city serving as a central hub for court artists and artisans during this period. He navigates this competitive environment, establishing himself within the specialized circle of limners.

His career is defined by longevity and technical persistence. Snelling works as a limner for over 20 years, maintaining a steady presence in the London art scene. This duration of practice suggests a settled professional standing amidst the shifting social and political landscapes of the mid-1600s. He remains active in his craft until his death in 1678.

Technique and Artistic Style

Snelling operates within the precise, intimate confines of the portrait miniature. His career as a limner spans over two decades, a period defined by a highly specialized focus on small-scale likenesses. The technical foundations of his work suggest a direct lineage to the established masters of the mid-17th century. Many of his limning techniques appear to have been gleaned from Samuel Cooper, whose influence likely shaped the way Snelling handled the delicate application of pigment to capture character.

The scope of his surviving oeuvre remains remarkably small, with his active production concentrated between 1647 and 1678. Despite this limited output, his stylistic fingerprints left a mark on the next generation of miniaturists. His approach to composition and form appears to have influenced the work of Thomas Flatman, a connection so close that certain pieces have historically oscillated between their attribution to Flatman and Snelling. This stylistic overlap highlights the technical proficiency required to navigate the central hub of London's court artists and artisans during this era.

Notable Works and Compositions

The surviving record of Snelling’s output is small, yet specific compositions reveal his approach to the miniature format. One notable piece features a portrait miniature of a Gentleman. The sitter is depicted with long, brown curling hair and a white lawn collar accented by tassels. He wears a black habit, slashed at the front and sleeves to reveal white underneath. The background of this work utilizes a tan-coloured curtain set against a sky.

A similar compositional structure appears in another work. This version maintains the tan-coloured curtain and sky background but shifts the subject to a female sitter. The repetition of these elements suggests a practiced method for framing his subjects. Historical records place one of his miniatures in the Michael Rosse sale of 1723, indicating the continued circulation of his work long after his death.

• ELIZA THORESBY JONES

Where to See the Works Today

The surviving output of Matthew Snelling remains scattered across institutional collections, offering a fragmented view of his career as a limner. In the United Kingdom, his presence is felt within the Victoria and Albert Museum, which holds several of his artworks. These pieces provide a direct link to the mid-17th-century London art scene where he practiced for over two decades.

Across the Atlantic, the Cincinnati Art Museum maintains a connection to his legacy. The museum holds one approved work by the artist, specifically the portrait of Eliza Thoresby Jones, which dates to about 1660. This single piece represents a significant portion of the cataloged works available for study in a public collection outside of England.