Early Life, Family and Training

Born into an Anglo-French lineage, David des Granges was the son of Samson de Granges and Marie Bouvier. His early years were marked by the religious traditions of the era, evidenced by his dual baptism. He was first christened on 24 March 1611 at the French church on Threadneedle Street, with Esther des Granges, wife of Elias Le Tellier, serving as a witness. A second baptism followed later at St Ann Blackfriars, anchoring his identity within the specific communal structures of the time.

His development as an artist was shaped by the prevailing traditions of miniature painting. David des Granges found his early direction through the influence of John Hoskins and Peter Oliver. These early associations provided the foundation for a career defined by the delicate precision required of the miniature format. His training allowed him to navigate the specific demands of portraiture, establishing a technical groundwork that would support his later work in oils and engraving.

Life and Professional Activity

The middle years of des Granges' life were marked by both personal stability and the shifting political tides of the seventeenth century. Following his marriage in 1636, he eventually moved his residence from the parish of St Ann Blackfriars to Long Acre. During the upheaval of the English Civil War, his professional focus likely shifted to meet the specific demands of the era. He is thought to have been involved in the production of miniature copies, a practice that gained significant importance as people sought small, portable tokens of loyalty amidst the conflict.

His reputation as a leading artist of his time was bolstered by his proximity to the highest levels of the monarchy. In the early 1650s, he was in Scotland in the company of Charles II, where he worked on copying a likeness of the King. This period of service coincided with a time when his technical skill was highly regarded, even if the identification of his original hands remains a challenge for modern scholars. After the Restoration in 1660, his style was influenced by the court painter Jacob Huysmans, and he continued to work in oils and as an engraver.

• The Saltonstall Family, c.1640