Sir John Lavery Portrait of The Lady Parmooor Oil on canvas, 76 x 64cm (30 x 25'') Signed The sitter is Marian Emily Ellis. A Quaker, and world president of the YWCA between 1924 and 1928, she was also a leading anti-war campaigner, philanthropist and political activist, who died in 1952 at age of seventy-four while she was actively lobbying for the end of the Korean War. A Rowntree heiress, Marian's father was Rt.Hon.John Edward Ellis M.P, who among other titles was Under-Secretary for India in Sir Henry Campbell-Bannerman's Liberal Party Government and a member of the Privy Council. Marian became Lady Parmoor in 1919 when she married Baron Parmoor. Both were passionate in their anti-war beliefs, both strong willed conscientious objectors, and both had connections in British Politics. Baron Parmoor held the title of Lord President of the Council, was Leader of the House of Lords, a Knight of the Royal Victorian Order, and Chairman of the Privy Council. Marrying in 1919 at the age of forty one, Marian was the second wife of Baron Parmoor, who became a Lord in or around 1923, and it has been suggested that this painting painted in 1919 might have been a wedding present to the future Lady Parmoor from her husband, who would not have had the title of 'Lady' in 1919, and so the title of the painting inscribed on the reverse was most likely added in the early 20's. In 1917, Lavery executed ''Hazel in Black and Gold''(Laing Art Gallery Newcastle-upon-Tyne), and twelve years later, in 1929 the artist painted 'The Gold Turban''. Using similar techniques in these portraits, Lavery creates an alluring quality with a hint of drama by controlling the angle of studio light on each sitter. Swathed in fur, light shines on the right side of Lady Parmoor's face highlighting her silvery hair, strong face and richly coloured hat. In 'Gold Turban'', light shimmers across the surface of the turban, and in ''Hazel in Black and Gold'' golden light falls on the soft silky fabric of the stole, sashes and the shako. This painting can be traced back to either 1941, when the First Lord Parmoor died, or alternatively, if the painting wasn't sold in 1941, then it was given to charity in 1977 when the Second Lord Parmoor died, and the remainder of his estate was sold off. Ironically, having inherited wealth and title, the Second Lord of Parmoor, Alfred Henry Seddon Cripps wasn't comfortable inheriting the contents of the estate and arranged for most of it to be given to charity or sold in 1941. In 1947, part of the large estate of the family was sold, along with their large estate house. This house was at one point residence for the King of Albania and in previous times home to the Knights of Jerusalem under Henry VI in the 15th century. The house, contents and a small parcel of land were sold with the remainder retained by the family in their new home after 1947. This new home was one of two hunter lodges on the remaining 800 acres of the estate that they kept for themselves. According to the current Lady Parmoor, this painting used to hang in the master bedroom of the estate house of Parmoor House where the Lord and Lady slept. We are very grateful to Robert McGregor Michael for his help in cataloging this painting.