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Sir Thomas Egerton, 1st Viscount Brackley (1540-1617)
Hand-painted oil reproduction from $181 28 × 36 cm
Same size as the original $520 99 × 123 cm Order at original size →
The painting that made Edward Wright famous is Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); it hangs in the Dunham Massey Hall. Of the 2 works by Edward Wright in our catalogue, these 2 are the most admired, each presented with its date, its museum and what sets it apart.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated November 2026. Every masterpiece on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, at the size you choose.
The museum that holds the most of the paintings on this page.
| Museum | City | Works by Edward Wright | Paintings from this list |
|---|---|---|---|
 Dunham Massey Hall |
2 | Sir Thomas Egerton, 1st Viscount Brackley (1540-1617), ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) |
From 1615 to 1734, 120 years of Edward Wright's art, year by year, through its finest paintings.
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615).
Our catalogue lists 2 works by Edward Wright, dated from 1615 to 1734.
Most of them are in Dunham Massey Hall. The table above lists the museums one by one.
The earliest on this page is Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615), the latest ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) and ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) are among the 2 works on this page held by the Dunham Massey Hall.
Yes. Every painting on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, in the size you choose, from the painting's own page.
The brushwork of Edward Wright suggests a man accustomed to the stillness of a studio and the steady gaze of his subjects. His life, which concluded in 1773, was spent capturing the likenesses of those who held weight in their own time. There is a certain patience in his approach, a way of settling the light upon a face that speaks of long hours spent observing the subtle shifts in shadow and bone. He did not seek to transform his subjects, but rather to record them as they were, capturing the weight of their status and the quiet reality of their presence.
His work often finds its way into the halls of significant estates, such as Dunham Massey Hall, where his paintings have been held for generations. These works act as windows into the social fabric of the past, preserving the likenesses of figures like Sir Thomas Egerton, 1st Viscount Brackley. In these portraits, one sees the careful attention paid to the textures of fabric and the specific dignity of the sitter's posture.
The surviving records of his hand reveal a focus on the people who shaped the era. His output is characterized by a commitment to the portrait, a genre that requires both technical precision and a calm temperament. His catalog includes:
In the depiction of Thomas Parr, there is a connection to the British School of around 1635, showing how his work sits within a broader tradition of English portraiture. He worked with the materials of his time to ensure that the character of the individual remained the central focus of the canvas.
To look at a Wright portrait is to see the intersection of a man's life and the era he inhabited. His ability to render the likeness of a Viscount or a historical figure like Old Parr shows a steady hand and a clear eye. He remained a painter until the end of his life in 1773, leaving behind a collection of works that continue to reside in private and public collections, holding the likenesses of the past in a quiet, permanent grip.
