Christina of Denmark, Duchess of Milan
Oil on oak | 179.1 × 82.6 cm
National Gallery, London | NG2475
The Statuary of the Duches of Myllayne, afterwards Duches of Lorreyn daughter to [Christierne] king of Denmarke doone by Haunce Holbyn.
William Herbert, 1st Earl of Pembroke
William Herbert, 1st Earl of Pembroke[20]
1567[21]
Panel | 201 x 112[22]
The Collection of the Earl of Pembroke[23][24]
Wilton[25]
The Statuary of Willm Harbert first Earle of Pembroke, created by King Edward the sixt Lo: steward to Quene Elizabeth
Henry, Lord Darnley and his brother Charles, 5th Earl of Lennox
Henry, Lord Darnley (1545-67) and his brother Charles, 5th Earl of Lennox (1555-76)
Oil and watercolour on canvas | 203.7 x 103.4 x 3.4 cm (support, canvas/panel/stretcher external)
The Royal Collection | RCIN 401227 Lord Darnley’s Bedchamber, Palace of Holyroodhouse
The Statuary of the Lorde Darneley [afterwards K: of Scott] and his brother Charles Stewarde in one table.
Lionel Cust,[26] Roy Strong[27] and Leo Gooch[28] all point towards this painting being the one which was in the Lumley Collection.
It's provenance from the Earls of Salisbury (who was also in possession of the cartoon of Henry VII and Henry VIII) is a good indication that this is correct:
«Provenance
Earls of Salisbury; Charles I; sold for £8 to Jackson and others on 23 October 1651 from Whitehall (no 5); recovered at the Restoration and listed in the Queen's Gallery at Hampton Court in 1666 (no 14)» (The Royal Collection | RCIN 401227)
Robert Dudley, 1st Earl of Leicester
Robert Dudley, 1st Earl of Leicester
Parham Park[29]
[The Statuary of Robert Dudley Earle of Leicester.]
Leo Gooch writes: «The earl is depicted with full military accoutrements and was probably painted in 1585-6 when Leicester was in the Netherlands, possibly by William Segar, though Bruyn is not convinced that it was as ad vivum portrait; he also suggests it was a product of the workshop that produced the portrait of Ambrose, Earl of Warwick. It is now at Parham Park.»[30]
John Lumley, 1st Baron Lumley, in Chancellor’s Robes
1591[31][32]
Sandbeck Park[33]
[The Statuary of yor Lop selfe in yor Parlyament Robes.]
Leo Gooch writes: «Hutchinson saw this portrait of Lumley, which bears the Lumley cartellino, hanging in the Music Room of Lumley Castle. Fordyce describes him ‘in full crimson robes, and holding in his hands a glove and a purse, as Baron of the Exchequer’. Pennant has Lumley ‘in his robes, with a glove and handkerchief in one hand, a little black skull-cap, white beard, dated 1591.»[34]
Robert Radclyffe, 5th Earl of Sussex (1573–1629)
Portrait of Robert Radcliffe, Earl of Sussex, called the 'White Knight'
Oil on canvas | 2272 x 1448 mm
Royal Armouries Museum, Leeds, Tournament Gallery | I.36
[The Statuarie of Robte Earle of Sussex Anno 1593.]
Bought with assistance from the Art Fund in 1950. (Portrait of Robert Radcliffe, 5th Earl of Sussex (1569-1629) | Art Fund)
Inscriptions and Marks
Top right, the inscription: ‘Amando et Fidando Troppo, son rovinato’ (Loving and trusting overmuch, I am ruined)
On a floor tile: ‘Radclif Earl of Sussex’
(Painting – Portrait of Robert Radcliffe – Late 16th Century | Royal Armouries)
Provenance
«Mentioned in Lumley Castle Inventory 1590; described in the 'Literary Cabinet' 1785 as at Lumley Castle; Earl of Scarborough Sale 1785; Henry Harris Sale 1950; Collection of Henry Harris.» (Portrait of Robert Radcliffe, 5th Earl of Sussex (1569-1629) | Art Fund)
Provenance
«In the collection of Mr. Henry Harris, by 1913, and purchased at the sale of his collection, 24-25 October 1950. Listed in the inventory compiled for John Lord Lumley, dated 'Anno 1590', but with later insertions in the hand of the original scribe, as 'The Statuarie of Robte Earle of Sussex Anno 1593'. Listed again as at Lumley Castle in 1609 and mentioned again in 1785 still at Lumley. Sold at Christies after the death of Richard, 5th Earl of Scarborough, 8 August 1785, lot 32 ['Whole length portrait of Radcliff, Earl of Sussex.'] Passed to the collection of the Dukes of Sutherland, by whom sold at Christies, 8 February 1908, Lot 53 bought Carfax. According to a letter from Mr. Henry Harris to Sir James Mann, dated 11 March 1947, he purchased the painting at that sale» (Painting – Portrait of Robert Radcliffe – Late 16th Century | Royal Armouries)
From the Literary Cabinet:
«Thomas Ratcliff, Earl of Sussex. Full length in white armour and gold breeches, a staff in his right hand, his left resting on a sword. Helmet with an enourmous plume on a table, crested, amando e fidando troppo son ruinato.» (The Lumley Inventories II, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 30. Published By: The Walpole Society)
The Lumley Collection
The Lumley Collection was the largest in Elizabethan England and was housed in three of the residences of John, 1st Baron Lumley (c.1533–1609) – his house on Tower Hill as well as Lumley Castle and Nonsuch Palace. The collection included portraits of 196 contemporary sitters, and (unlike most inventories of the period) often named the painter.
The nucleus of the collection was acquired by John Lumley from his father-in-law, Henry Fitzalan, 19th Earl of Arundel. A dozen or so pictures from the collection of the Robert Dudley, 1st Earl of Leicester were incorporated into the Lumley Collection. The collection included amongst others a portrait of Lady Jane Grey and a full length portrait of Anne Boleyn.
Lord Lumley was the uncle of Thomas Howard, 21st Earl of Arundel, a prominent connoisseur in the early 17th century. Arundel inherited some of Lumley's collection of paintings, including the portrait of the Duchess of Milan, now in the National Gallery. However, a considerable portion of the collection went to Lumley Castle and remained there, eventually being inherited by the Earls of Scarbrough. The Lumley Collection of paintings was largely dispersed in sales that took place in 1785 and 1807. Many works from the inventories can be recognised by distinctive cartellini (trompe-l'œil representations of inscribed labels) added to some – but not all – of the paintings.
The Lumley Inventories
The Lumley inventories are a group of inventories documenting the extensive collections of paintings, books, sculptures, silver and furniture accumulated by John, 1st Baron Lumley (c.1533–1609). The most celebrated of these, a manuscript volume which incorporates a considerable amount of heraldic and genealogical material as well as the inventory itself, is sometimes known as the «Red Velvet Book» (from its later binding), and sometimes simply as «the Lumley Inventory». It is often dated to 1590, although it is in reality a more complex composite volume including material dating from 1586 to 1595. Further inventories were drawn up for purposes of probate on Lord Lumley's death in 1609; and others when parts of the collection were sold in the 18th and early 19th centuries.
The Lumley Cartellini
«[I]t soon becomes clear that cartellini in any shape are very rare on English sixteenth-century pictures, and that cartellini that can be confused with Lumley labels are non-existent.6 The Lumley label is very consistent in format, a trompe-l’œil representation of a whitish slip of parchment or paper, often showing creases or otherwise crumpled, and as though stuck on to the background of the picture, on which it may cast a shadow, with a blob or blobs of red sealing-wax; it is inscribed (where the inscription has survived) with the sitter's name, and sometimes his offices and a date, in a running script in black paint; the artist's name is unfortunately never given. While it is clear that not all Lumley's pictures were so labelled,7 it is reasonably certain that a considerable number were thus identified during a period from probably not much earlier than the drawing up of the inventory in 1590 onwards.»[1]
«6 The Wentworth family seems to have labelled some portraits with cartellini, but much stiffer, heavier, and larger than the Lumley ones (see e.g. the portrait reproduced by CUST, Walpole Society, Ⅱ [1913], pl.xvii a). In probably the second quarter of the seventeenth century a number of portraits in the Royal Collection were also labelled rather similarly, though always in the corner of the picture (mainly whole-lengths by Mytens), and also of much the same date seems to be the very extensive labelling of portraits in the Bedford collection, many of them still at Woburn Abbey.
7 Pictures almost certainly identical with pictures in the 1590 inventory that are not labelled include the well-known Eworths of Thomas Wyndham and Sir John Luttrell, and the whole-length of the Earl of Sussex in armour, now in the Tower (rep. CUST, Walpole Society, Ⅲ [1914], pl.xiii).»[2]
The Lumley Inventory of 1590
A Certyficate from Mr. John Lampton Stewarde of Howseholde to John Lord Lumley, of all his Lo: monumentes of Marbles, Pictures and tables in Paynture, with other his Lordshippes howseholde Stuffe and Regester of Bookes. Anno 1590.
(With some later additions in the same hand and some additions after 1605 in a different hand)
A note of Pyctures caryinge the fowrme of the whole Statuary.
These sorted together for the memorye of yr Lo: house.
Attributed to William Segar or his brother Francis Segar[3]
Historically at Lumley Castle[4]
On long-term loan to Leeds Castle[5]
John Lumley, 1st Baron Lumley
1588[6]
Attributed to William Segar or his brother Francis Segar[7]
Sandbeck Park[8]
The Statuaryes of xvien Auncestors of yor Lo: lyneally descending from the Conquest unto yor self.
According to Leo Gooch in A Complete Pattern of Nobility: «Lampton meant that there were fifteen full-length portraits of Lumley’s ancestors and one of Lumley himself. There were, however, seventeen generations between Liulph and John and it is Sir Roger (Sir Robert’s predecessor) who has been left out.»[9]
The above portraits show six of the fifteen ancestors and John Lumley, 1st Baron Lumley.
Elizabeth Darcy of Chiche, Lady Lumley
William Segar[10]
Sandbeck Park[11]
The Statuary of bothe yor Lo: wives.
According to Leo Gooch in A Complete Pattern of Nobility, no full-length portrait of Jane FitzAlan, Lumley’s first wife, is known today.[12]
King Richard II and Ralph Lumley, 1st Baron Lumley
Richard II Delivering the Writ of Parliament to Ralph, 1st Lord Lumley[13]
Attributed to William Segar[14]
Oil on canvas | 87 x 60 in. (221 x 152.4 cm)[15]
1735 at the Earl of Scarbrough’s house in Grosvenor Square[16]
Historically at Lumley Castle[17]
On long-term loan to Leeds Castle[18][19]
The Statuary of Kinge Richard the seconde, delyvering the wryte of Parliament to Ralphe the first Barron of Lumley, called by him the eight yeare of his Reigne.
King Henry VIII and King Henry VII by Hans Holbein the Younger
King Henry VIII; King Henry VII
Ink and watercolour | 101 ½ in. x 54 in. (2578 mm x 1372 mm)
National Portrait Gallery | NPG 4027
The Statuary of King Henry the eight and his father Kinge Henry the seaventh joyned together, doone in white and blacke by Haunce Holbyn.
07.12 | 21:47
It looks like The Tau cross derives from the Egyptian Ankh and basically they are wearing it around their necks, life rebirth, salvation mirror. sun.Stonehenge looks like it is made up of Ts to form c
07.12 | 21:30
are wearing the symbol on effigies at Ingham church Norfolk and Henry StanleyD1528 at Hillingdon Middlesex.Countess Jacquline of Hainaut and husband Frank Borsele are also wearing the insignia others
07.12 | 21:23
These Queens could of been members of the order and i think the Tau cross is a symbol of the Holy Trinity also.These pendants could of been reliquaries.Lady margaret de Bois and Roger de bois
07.12 | 21:17
I think the Tau cross that they are wearing could be linked to the(knights) order of St Anthony, Mary 1st collar looks like it may represent the knotted girdle/waist cord of st Anthony .
Latest comments
Share this page
Attributed to William Scrots (active 1537-53)
Oil on panel | 167.0 x 90.5 cm (support, canvas/panel/stretcher external)
The Royal Collection | RCIN 405751
The Statuary of his sonne King Edward the sixt drawne by
PICTURES OF A SMALLER SCANTLINGE.
Oil on Panel | 22 x 16.8 inches (55.9 x 42.9 cm)
Of King Edw: 6. being Prince.
«Provenance:
Henry VIII (?) for Nonsuch Palace; Probably Henry Fitzalan, 12th Earl of Arundel (1512-1580); Thence to John, 1st Lord Lumley (1534? -1609); Thence by descent through the Earls of Scarborough; Sold after death of the 4th Earl of Scarborough at Lumley Castle by Mr. Christie, 11th August 1785, bought Mr.Terry ú 6 16s. 6d.; Thence by descent through the Rattray family, Craighall Castle, Perthshire; A private collection, England.» (Historical Portraits Image Library | Philip Mould)
Miniature of Queen Mary I
1555[35][36]
Gerlach Flicke[37][38][39][40][41]
Oil on panel | 17 ¼ in. (43.8 cm) diameter[42][43]
Durham College[44][45][46][47]
Of Quene Marye, drawne by Garlicke.
Provenance:
«[A]uctioned at Lumley Castle in 1785 and brought £5.5s. and is now in the Durham Cathedrall Treasury.»[48]
Provenance:
«Lumley Castle collection and recorded in the 1590 inventory: Of Queen Mary drawne by Garlick, (L. Cust, Walpole Society, VI, 1918, p 22); sold 1785 sale (22).»[49]
Provenance:
«Sold from Lumley Castle, 1785, lot 22; bought by Rotherham, 5 gns. First recorded at Durham, c. 1864.»[50]
From the Literary Cabinet:
«Queen Mary and Queen Elizabeth. Of a severe countenance.» (The Lumley Inventories II, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 30. Published By: The Walpole Society)
1588[51][52]
Westminster School[53][54][55]
And agayne, as she was the xxxth yeare of her Reigne.
Provenance:
«Bought at the 1785 auction in Lumley Castle for six guineas by Samuel Dickens, Archdeacon of Durham. He died in 1791 having bequeathed it to Westminster School, where it remains.»[56]
From the Literary Cabinet:
«Queen Mary and Queen Elizabeth. Of a severe countenance.» (The Lumley Inventories II, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 30. Published By: The Walpole Society)
John Howard, 1st Duke of Norfolk
John Howard, 1st Duke of Norfolk
Late-Sixteenth Century[57]
Oil on Panel | 29 ¼ x 24 inches[58] (74.3 x 61 cm)[59]
The Collection of the Duke of Norfolk[60]
Arundel Castle[61]
Of the first Duke of Northefolke Hawarde.
Philip Howard, 20th Earl of Arundel
Philip Howard, 20th Earl of Arundel
1575[61]
Attributed to George Gower[62]
Oil on Panel[63] | 47 x 36.8 cm[64]
The Collection of the Duke of Norfolk[65]
Arundel Castle[66]
Of Phillip his sonne afterwards Earle of Arundell.
Provenance:
«There are two other pictures, still at Arundel, which carry the same cartellino. One is a very recent acquistion by the late Duke from the Northwick Park Sale of Philip Howard, Earl of Arundel aged eighteen probably by George Gower»[67]
Provenance:
«Collection: Capt. Spencer Churchill, Northwick Park.» (In 1957.)[68]
Anthony Browne, 1st Viscount Montagu
Anthony Browne, 1st Viscount Montagu (1526/28-1592), aged 30
Of the Vycount Mountague Browne.
Provenance:
«LUMLEY CASTLE Sale of household Furniture, etc., the property of the late Earl of Scarborough, dec., at Lumley Castle. By Mr. Christie on the Premises. Monday August 8, 1785 and 3 following days. FOURTH DAY'S SALE, AUGUST 11, 1785. [...] Portrait of [...] 11. ditto less half length, Sir Anthony Browne, Viscount Montague. £3 18 0 [No.] 12. ditto £1 11 6» (The Lumley Inventories III, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 31–32. Published By: The Walpole Society)
Provenance:
«LUMLEY CASTLE Catalogue of excellent Household Furniture, etc. of the Earl of Scarborough, Deceased, Lumley Castle. To be sold by auction by Mr. Dawson (by order of the Executors) on the Premises on Wednesday the 16th. of December 1807, and three following days. THIRD DAY'S SALE. [...] LARGE DRAWING ROOM: [...] 33. Sir Anthony Brown, Knight of the Garter. £4 10 0 [...] DRESSING ROOM: 35. Half length of Sir Anthony Brown Montague £1 7 0» (The Lumley Inventories V, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 34–35. Published By: The Walpole Society)
Provenance:
«It was put up at the 1785 auction at Lumley Castle (Lot No. 11) and was bought in at £1.11s.6d. Then in the 1807 auction (Lot No. 35) it went for £1.7s.»[78]
Provenance:
«Given with Stoneacre by William Howard Aymer Vallance (1862 - 1943) and his wife, Lucy Ada Hennell (b. 1883), 1928» (Anthony Browne, 1st Viscount Montagu (1526/28-1592), aged 30 | National Trust)
From the Literary Cabinet:
«Sir Anthony Browne. Head, bushy beard, bonnet, and Garter, high crowned hat.» (The Lumley Inventories II, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 31. Published By: The Walpole Society)
Notes:
Leo Gooch writes: «It was put up at the 1785 auction at Lumley Castle (Lot No. 11) and was bought in at £1.11s.6d. Then in the 1807 auction (Lot No. 35) it went for £1.7s. It is now at NPG No. 842.»[79]
I believe this portrait, NT 863929, instead, to be the one that was in the Lumley Collection, based on the cartellino.
It is a bit challenging to make out which Lot Nos. this portrait had in the Lumley auctions of 1785 and 1807.
The source of the confusion is probably that there were two portraits of Sir Anthony Browne, 1st Viscount Montagu sold from Lumley Castle in 1785, bought in, and two portraits of Sir Anthony Brown sold again in 1807. Lot Nos. 11 and 12 in the 1785 auction, and Lot Nos. 33 and 35 in the 1807 auction. While there is only one entry for a portrait of him in the Lumley Collection.
There is, however, another entry in the Lumley Collection for his father by the same name, and at least the auction catalogue of 1785 appear to have confused them together.
John Lumley, 1st Baron Lumley (c. 1533 – 11th April 1609)
John Lumley, 1st Baron Lumley
1563[80]
Steven van der Meulen[81]
Oil on panel | 37 ½ x 31 in. (94.4 x 78.7) cm[82]
The Collection of the Earl of Scarbrough[83]
Sandbeck Park[84]
Of yor Lo: doone by Steven.
Inscriptions and Marks
«Inscribed top left: 8 MAII ANDN̄I 1563 / AETATIS SVAE 30; to the right on the Lumley cartellino: John, Lord Lumley / 1563.»[85]
Notes
Lithographs with hand-colouring of this portrait and the Pendant of his wife Jane FitzAllan, Lady Lumley is at the British Museum as Museum number 1873,0510.1001-1002. Leo Gooch used this portrait as the cover for his book A Complete Pattern of Nobility and the portrait can be seen in colour on its cover.
In their Conservation Research on NPG 5262 the National Portrait Gallery refers to this portrait as another known version of NPG 5262.
In their Conservation Research on NPG 5296 the National Portrait Gallery compared NPG 5296 to this portrait to determine if NPG 5296 was also painted by ‘Steven’.
Edmund Sheffield, 1st Baron Sheffield
Edmund Sheffield, 1st Baron Sheffield
Oil on panel | 96.5 x 73 cm[86]
Of the first Lorde Sheiffeild, slayne at Norwiche.
Inscriptions and Marks
Cartellino top right on which the partly illegible lettering read In . . . fortuna . . . Domina[87]
Literature
Leo Gooch writes: «A portrait [...] with a cartellino top right on which the partly illegible lettering read In . . . fortuna . . . Domina was sold by Christies into a private collection in July 1991.»[88]
Arthur Grey, 14th Baron Grey de Wilton
Arthur Grey, 14th Baron Grey de Wilton
1587[89]
Oil on panel | 39 ¼ x 30 in. (98.1 x 77.5 cm)[90]
The Collection of the Lord Tollemache[91]
Helmingham Hall
Of Arthure Lo: Gray of Wilton, Lo: deputie of Ireland, doone by Seigar.
Inscriptions and Marks
Inscribed top left: 1587/AEte 50/DEVM VOLO FORTVNA SPERNO[92]
Provenance
«the Tollemache family at Helmingham»[93]
Literature
«E. K. Waterhouse: The Collection of Pictures in Helmingham Hall, 1958, p 12 (8).The sitter was rightly identified by Waterhouse as Lord Grey, who is the only Garter Knight who could possibly fit for age and date. The likeness tallies well with the engraving of him in Marcus Gheeraerts I's Garter Procession (A.M. Hind; Engraving in England in the 16th and 17th Centuries, I, 1952, pl 54). Waterhouse made a suggested attribution to Segar.»[94]
Leo Gooch writes: «Segar‘s portrait is inscribed ‘1587/Aete 50/DEUM COLO FORTUNA SPERNO’ [I worship God and spurn fortune] and is now at Helmingham Hall. Strong ascribed the portrait to Robert Peake the Elder but there is no reason to doubt Lampton’s ascription to Segar; Peake’s copy is at Badminton incorrectly called ‘Edward, Fourth Earl of Worcester’.»[95]
Notes
The portrait at Badminton is shown and described in Roy Strong’s The English Icon as No. 207 on p. 238.
Peregrine Bertie, 13th Baron Willoughby de Eresby
Peregrine Bertie, 13th Baron Willoughby de Eresby
Oil on Panel | 24 x 19 ¾ in. (61 x 50.5 cm.)
Of the first Lo: Willoughbye [Perigrine] Bartue.
Provenance:
«John, 1st Lord Lumley (c.1534 – 1609);
Dr Raffles by whom sold 18th October 1863;
Thomas Arthur Hope Esq.;
National Maritime Museum (1938 – 1972);
by whom de-accessioned, Christie’s, 24 July 1972, lot 67;
Private colllection, England;
Sotheby’s, London, 14 July 1999, lot 83 (as ‘Sir Francis Drake’);
with The Weiss Gallery;
Private collection, England.» (The Weiss Gallery)
Sir Nicholas Carew (died 3rd March 1539)
Sir Nicholas Carew
Workshop or follower of Hans Holbein the Younger[113][114]
Panel | 95.3 x 112 cm[115]
The Collection of the Duke of Buccleuch[116][117][118]
Drumlanrig Castle, Thornhill, Scotland[119][120]
Of Sr Nichls Carewe Mr of the horse to K: H: 8.
Provenance:
«LUMLEY CASTLE Sale of household Furniture, etc., the property of the late Earl of Scarborough, dec., at Lumley Castle. By Mr. Christie on the Premises. Monday August 8, 1785 and 3 following days. FOURTH DAY'S SALE, AUGUST 11, 1785. [...] DRESSING ROOM BELOW STAIRS: 57. Portrait of Sir Nicholas Carew, Master of the Horse to Henry the 8th £10 10 0»(The Lumley Inventories V, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 31–33. Published By: The Walpole Society)
Provenance:
«John 1st Baron Lumley; purchased Christie’s sale, Lumley Castle 11 August 1785 (57) for Elizabeth, Duchess of Buccleuch; by descent.»[121]
Provenance
«It brought £10.10s. at the Lumley Castle auction of 1785 and is now at Drumlanrig.»[122]
From the Literary Cabinet:
«Sir Nicholas Carew. A white feather in his hat, his bound round with a gold stuff handkerchief.» (The Lumley Inventories II, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 31. Published By: The Walpole Society)
Sir Henry Guildford (1489–1532)
Sir Henry Guildford (1489-1532)
Oil on oak panel | 82.7 x 66.4 cm (support, canvas/panel/stretcher external)
The Royal Collection | RCIN 400046
Of Sir Henry Guilfourd Coumptroller to K: H: 8. [drawne by Haunce Holbyn.]
Inscriptions and Marks
«Inscribed at a later date: Anno. D: MCCCCCXXVII. / Etatis. Suae. .xl ix: (Year 1527 / His Age 49)»
(The Royal Collection | RCIN 400046)
Provenance
«185. Portrait of Sir Henry Guldford.
Royal Collection, Windsor.» (The Arundel Inventory of 1655 | The Life, Correspondence & Collections of Thomas Howard, Earl of Arundel by Mary Frederica Sophia Hervey, p. 482)
Provenance
«Thomas Howard, Earl of Arundel; purchased from his heirs by George II or Queen Caroline; recorded in the Privy Chamber at Kensington Palace in 1732» (The Royal Collection | RCIN 400046)
Provenance
«The portrait, on which the cartellino has been painted over, was executed in 1527. Together with the companion portrait of his wife, Lady Mary, it passed into the collection of Lumley’s great-nephew Thomas Howard, Earl of Arundel in which they were recorded in 1655. The portraits were seen by Vertue in the collection of Howard’s grandson William, Viscount Stafford in 1726. They were separated soon after Stafford’s death in 1734 and Guildford was acquired for the Royal Collection; it is now in Windsor Castle.»[123]
Sir William Petre (c. 1505 – 1572)
Oil on panel | 36 ⅜ in. x 28 in. (924 mm x 711 mm)
National Portrait Gallery | NPG 3816
Of sir Willm̄ Peter Secretarye.
Erasmus of Rotterdam (28th October 1466 – 12th July 1536)
The Metropolitan Museum of Art | 1975.1.138
Of Erasmus of Roterdame, all this eight drawne by Haunce Holbyn.
Provenance
«[A] piece of paper from Henry VIII’s time is stuck on the back with the words: Haunce Holbein me fecit, Johanne(s) Noryce me dedit, Edwardus Banyster me possedit’. (Norris was the king’s frame-maker and Banister was well-known at the English court. The portrait appeared in the collection of Thomas Howard, Earl of Arundel (1655) and it then passed to the Howards of Greystoke.»[123]
Oak[96]
Formerly in the collection of Andre Seligman[97]
With A. Seligman, Paris, in 1933[98]
In a Private Collection in France in 1922[99]
Of Thomas the first Lo: Crumwell, Lo: pryvie seale, and vice-regent to K: H: 8.
Inscriptions and Marks
«To the right of the head a small label with two fine red seals is painted on to the background, and an inscription in two lines tells us the name: “Thomas Cromwell.”»[100]
Provenance
«In a Private Collection in France» in 1922[101]
«With A. Seligman, Paris, in 1933»[102]
«Formerly in the collection of Andre Seligman»[103]
Literature
Paul Ganz writes in 1922: «The small white label painted on the background to the left of Erasmus’ head, with the inscription, “Erasmus of Rotterdam” is an attribute, never used by Holbein. The label is fixed on to the wall by two small red seals, painted in a realistic way. The label in its minute execution indicates that it was used as a signature and will help in the identification of the artist.
From the same hand must be the small circular portrait representing Thomas Cromwell5 (Fig. 1), afterwards Lord Chancellor, a half-length, the head turned three quarters to the left in the same pose as on the well-known large portrait, formerly in the Earl of Caledon’s collection in Tyttenhanger.6 The picture is painted on oak, the reverse shows a collector’s mark burnt into the wood in the form of a twisted knot (Fig. 2). The colouring is as delicate in this portrait as on a miniature; the colour is low in tone, drawing and modelling are excellent, the cold high-lights give a slight harshness to the work and differentiate it from Holbein’s. The greenish-grey tints, in which the modelling is done, do not produce such a harmonious effect as they do, for example, on the small round portrait of Lucas Horenbouts in the collection Paravicini-Engel,7 painted by Holbein about the same time, though the eyes are very near to the great master’s way of rendering them; the red of the lips has a slight violet hue, and herein lie the chief differences between the two artists. To the right of the head a small label with two fine red seals is painted on to the background, and an inscription in two lines tells us the name: “Thomas Cromwell.”
5 In a private collection in France.
6 Ganz, Holbein’s Gemälde, Nr. 106 [sic should be page 106], now in the Frick Collection, New York. Published in Art in America, Vol. III, pages 141, 173–174, by Prof. Frank J. Mather, Jr.
7 Ganz, Holbein’s Gemälde, Nr. 115 [sic should be page 115]»[104]
David Piper writes in 1957: «Inventoried [in the Lumley Collection]. Not there-after recorded at Lumley Castle. A small-scale version, roundel, bust only, of the usual Holbein pattern (see Ganz, No.81). P. GANZ, Art in America, 10 [1922], pp.153 ff. (repr.); H. A. SCHMID: Hans Holbein d. J. [1948], p. 369.»[105]
Notes
It would be tempting to speculate that the cartellino on the little roundel was part of the painting, except that David Piper writes: «The source whence he is likely to have derived the format of his labels is obvious – from Holbein, if one assumes that the Sir Henry Guildford ‘drawne by Haunce Holbyn’ that he owned was of the half-length type, and not a version of the head-and-shoulders variant. The Guildford, as in the version at Windsor generally associated with Lumley's, bears a cartellino giving the date and the sitter's age, as do several others of Holbein's first English period (the latest apparently being the George Gisze of 1532); Holbein himself may have picked up the device from the Venetians. Lumley's labels are based faithfully on the Holbein pattern, except that their function is to record the sitter's name, which Holbein's never do.»[106] (Emphasis mine)
Leo Gooch writes: «This portrait, a roundel bust after Holbein and bearing a cartellino, is lost. Another portrait, of uncertain date, with an obliterated cartellino is at NPG No. 1727.»[107]
Roy Strong writes of NPG No. 1727: «A copy of uncertain date of the portrait now in the Frick Collection, New York (see Iconography). It was engraved by Houbraken in 1739 when in the Southwell Collection at King’s Weston. The background blue is painted over a cartellino bearing an inscription: EARL OF ESSEX. Although the portrait comes from a good provenance elements suggest that it may be a post Tudor copy, e.g. the letter on the table makes the Ss and Fs into a later copperplate script. Unfortunately the repainting is so extensive it is difficult to determine its status; the blue-green background contains a 19th century pigment (viridian) and the tablecloth and stone in the ring Prussian blue (not in general use before the middle of 18th century). These observations are the result of a technical examination by Miss Joyce Plesters.» (Tudor & Jacobean Portraits (1969), by Roy C. Strong, National Portrait Gallery, p. 113)
Roy Strong makes no suggestion of this cartellino being a Lumley cartellino, and NPG No. 1727 seems to be from a later date than 1590.
Thomas Wentworth, 1st Baron Wentworth
Thomas Wentworth, 1st Baron Wentworth
Unknown Anglo-Netherlandish Artist
Oil on Panel | 30 3⁄8 in. x 28 ⅞ in. (771 mm x 734 mm)
National Portrait Gallery | NPG 1851
Of the first Lo: Wentworth, Lo: Chamberleyne to K: Edw: 6.
Inscriptions and Marks
«INSCRIBED to left: G/ratioret pulchro ventens et corpore virtu]s/ Corporis effigie pulchrior est (ani?) /Anno AEtatis Suae [48]; and other, later, inscriptions.»[108]
Provenance
«[P]robably identical with that recorded in the Lumley collection in 1590 (Walpole Society, VI, 1918, p23); first recorded at Wentworth Castle in 1770; sold Christie's 13th November 1919 (65).»[109]
Literature
Roy Strong writes in 1969: «Collections: a second cartellino (now painted out) below the present one, beneath the inscription in black, is probably a Lumley cartellino (see below) and therefore the picture should be identical with that in the inventory of 1590, ‘of the first Lo: Wentworth, Lo: Chamberleyne to K: Edw: 6’ (Walpole Society, VI, 1918, p. 23); there is no record of when it left Lumley Castle; probably by descent through a number of possible branches of the Wentworth family to William Wentworth, 2nd Earl of Strafford of Wentworth Castle, d.s.p. 1791; first recorded at Wentworth Castle in 1770 (Additional MS 5726, E5, f. 12(3)); thence by descent to Captain B. C. Vernon-Wentworth; Wentworth sale, Christie's, 13 November 1919 (lot 65)» (Tudor & Jacobean Portraits (1969) by Roy C. Strong, National Portrait Gallery, p. 326)
Leo Gooch writes: «A portrait, dated 1547, has had its Lumley cartellino painted over with a stiffer, heavier, and larger Wentworth one. It is now at NPG No. 1851.»[110]
Oil on Panel | 22 ¾ x 17 inches (57.8 x 43 cm)
Of the last Lord Braye.
Provenance
«Probably, Lord Lumley, 1590 Lumley Inventory; The Brays of Shere; Sir Jocelyn Bray, by whom sent to Christies in 1950, but not sold.» (Historical Portraits Image Library | Philip Mould)
Provenance
«Vertue listed a portrait at Lumley Castle of ‘John Lesley Lord Brays’. A head and shoulders portrait with a cartellino was with Philip Mould Ltd., in 2008 (ex Stanford Hall).»[111]
Oil on panel | 36 ⅜ in. x 29 ½ in. (924 mm x 749 mm)
National Portrait Gallery | NPG 5186
[Sr Anthony Browne Mr of the horse to K: H: 8. and K: Edward ye 6.]
Provenance:
«LUMLEY CASTLE Sale of household Furniture, etc., the property of the late Earl of Scarborough, dec., at Lumley Castle. By Mr. Christie on the Premises. Monday August 8, 1785 and 3 following days. FOURTH DAY'S SALE, AUGUST 11, 1785. [...] Portrait of [...] 11. ditto less half length, Sir Anthony Browne, Viscount Montague. £3 18 0 [No.] 12. ditto £1 11 6» (The Lumley Inventories III, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 31–32. Published By: The Walpole Society)
Provenance:
«LUMLEY CASTLE Catalogue of excellent Household Furniture, etc. of the Earl of Scarborough, Deceased, Lumley Castle. To be sold by auction by Mr. Dawson (by order of the Executors) on the Premises on Wednesday the 16th. of December 1807, and three following days. THIRD DAY'S SALE. [...] LARGE DRAWING ROOM: [...] 33. Sir Anthony Brown, Knight of the Garter. £4 10 0 [...] DRESSING ROOM: 35. Half length of Sir Anthony Brown Montague £1 7 0» (The Lumley Inventories V, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 34–35. Published By: The Walpole Society)
Provenance:
The Gages, of Hengrave Hall, Suffolk (The Brownes of Bechworth Castle by John Pym Yeatman (1904), p. 52)
Hampton and Son in their sale catalogue, August 5th, 1897, and following days:—as Lot 520 (The Brownes of Bechworth Castle by John Pym Yeatman (1904), p. 54)
James Watts, Esq., at Abney Hall, Cheadle, Manchester in 1903 (The Brownes of Bechworth Castle by John Pym Yeatman (1904), p. 52–54 & dedication)
Provenance:
Purchased 1978 (National Portrait Gallery | NPG 5186)
Literature:
«Sir Anthony Brown. A head of Sir Anthony Brown, a favorite of Henry VIII. with a bushy beard, bonnet, and order of the garter. He was master of the horse to that prince, and appointed by him one of the executors of his will; and of the council to his young successor.» (Thomas Pennant, A Tour in Scotland in 1769 (1774); ditto in 1772 (1776), p. 322)
Literature:
«In the drawing-room,
Sir Anthony Browne was master of the horse to Henry VIII. and one of the executors to his will. This is a most curious half-length.» (Richard Warner, A Tour through the Northern Counties of England and the Borders of Scotland—Volume 1 (1802), p. 302)
Literature:
«SIR ANTHONY BROWNE, Master of the Horse to Henry the Third, and one of the executors to his will. This is a very curious half length. He is portrayed with a bushy beard, a bonnet, and the insignia of the order of the Garter.» (Edward Wedlake Brayley, The Beauties of England and Wales—Volume V (1808), p.193)
Literature:
Leo Gooch writes: «It was described by Brayley and Warner as ‘a very curious half length’, probably because it depicts Browne as a bust on a plinth with a very long inscription beneath. It was probably Lot No. 12 in the auction at Lumley Castle in 1785 when it was bought in at £2.5s. and was the first picture in Lot No. 33 in the auction of 1807 when it realised £4.10s. It is now in NPG. [Pennant p. 322; Cust pp. 32/35; Brayley p. 193; Warner p. 302; ODNB illus.]»[112]
Notes:
Edward Wedlake Brayley in The Beauties of England and Wales—Volume V has clearly taken his descriptions from the two earlier travelogues by Thomas Pennant in the 1760’s–1770’s and Richard Warner in 1802, when they in fact probably described two different portraits—of father and son.
This is probably helped by Thomas Pennant mixing up the biography of the two in his description.
At least one other version of this portrait exists: Media Storehouse, or here: Sir Anthony Browne | Bridgeman Art Library images
I do not rule out that there could be a cartellino’ed version out there, but there are some things that point to Leo Gooch being right in pointing to this portrait as the one that was in the Lumley Collection. The first is spurious:
Three portraits of people whose portraits we know that were sold in the 1807 Lumley sale were painted by Sarah, Countess of Exeter:
«Sarah Capel-Coningsby, Countess of Essex (née Bazett; 11 July 1759[1]– 16 January 1838)[2] was an English amateur artist. She specialised in making watercolour copies of old portraits of 16th century personages and other paintings,[3] and her surviving copies in many instances are the only evidence of the now lost originals.[4] Over a hundred of her portraits in watercolour and gouache on paper were published in the 1825 edition of Lucy Aikin's Memoirs of the Court of Queen Elizabeth, first published in 1818 as a two-volume work and re-issued in several editions (4th edition 1819,[1] further edition 1823). The fact that she frequently added the subject's coat of arms and other heraldic devices to her copy portraits suggests that she was knowledgeable in the field of heraldry.»
«Bridgeman Art Library images of 121 works of "Essex, Sarah Countess of"[2]»
To wit, Robert Devereux, 2nd Earl of Essex, Gilbert Talbot, 7th Earl of Shrewsbury, and Sir Anthony Browne.
Another one, that of Thomas Cromwell, does look awfully like the one which was in this collection, but there is no record of it being sold in the sale of 1807.
A copy of this portrait was made by George Perfect Harding, and in turn engraved by Joseph Brown. The engravings can be seen here: NPG D19831 and NPG D32234.
The National Portrait Gallery only states that this portrait of Sir Anthony Browne, NPG 5186, was: «Purchased, 1978». (National Portrait Gallery | NPG 5186)
However, I have been able to discover somewhat of the portrait's provenance, thanks to Higginson Book Company.
A photograph of this portrait taken by Mr. Watts was used as the frontispiece of the book The Brownes of Bechworth Castle by John Pym Yeatman in 1903.
In the book, John Pym Yeatman writes extensively of this portrait:
«There is a curious history attached to the fine portrait of Sir Anthony Browne, father of the first Viscount Montague, which adorns this hook as a frontispiece, and which is here shown as it hangs on the grand staircase of Mr. Watts’, at Abney Hall. It was purchased by Mr. Watts at the sale of the Gages, of Hengrave Hall, Suffolk, who were doubly connected with Sir Anthony.
Sir Mathew married Winifred, daughter of Sir Richard Guildford, and her sister married Sir Henry Gage, Knight. His first cousin, Sir Anthony, married a daughter of Sir John Gage, and this picture may have always remained at Hengrave, or possibly it may have been taken there for safety.
In the Vetusta Monumenta there is a confused account of the pictures which were at Coudray before the disastrous fire, written by R. G. (writing November 7th, 1793).
He describes the pictures destroyed at the fire, but evidently from statements made to him at different times, for his details do not run consecutively.
At page 2 he states: “There were portraits of the Brownes, Anthony, father and grandson, first and second Viscounts Montague.” In the next page (3) he writes of Sir Anthony Browne (son of Sir Anthony, the first seated here in 1485). There were several portraits:
(1) One from a Bust by Van Reis;
(2) One in the gold frame before-mentioned;
(3 and 4) One whole-length in the party coloured paned dress in which he betrothed Ann of Cleves, as Proxy for Henry VIII, and a copy of it by Lucy, to which is added in a note: “His neck and shoulders bare, and very browne, a monstrous sword, his breeches straight and slashed, countercharged, the left side blue and white, the right white, a hat and feather, the George round his neck.”
He then adds:—One of the portraits of Sir Anthony Browne had this inscription under it and at the side:—
“He ended hys lyfe the sixth of May in the second year of Kynge Edward the Sixth 1548 at Byflet House in Surrey by him buylded and lyeth buried at Battle in Sussex by Dame Alice his fyrst wife where he began a stately house since proceded in by hys son and heyre Anthony Viscount Mountague Chiefe Standard bearer of England Levtenant of the forrest of Wyndsor with other Parks one of the Queen Marys honourable Privy Council and Knight and Companion of the most noble Order of the Garter He had by Dame Alyce daughter to Sir John Gage Knyght of the noble Order of the Garter controuler to Kynge Henry the Eight and Chawncellor of his Duchy of Lancaster and after Lord Chamberlain to Queen Mary Constable of the Tower London and one of their honourable Privy Council seaven sons Anthony of his proper name, William Henry, Francis, Thomas, George, and Henry Browne. He had also by her three daughters, Mary, Mabel, and Lucy. His second and last wife was the lady Elizabeth Garret after Countess of Lincoln and one of the daughters of Garrold Earl of Kyldare by whoe he had two sonnes Edward and Thomas which died both in their infancie.”
(5) A head in a bonnet and ruff, with the Montague arms and the motto: “Futura firmiora.”
Page 11 he writes:—‘‘In the drawing-room, hung with tapestry, was the picture of Anthony Browne, taken from a bust by Van Reis, under him with the inscription given p. 3.” This is exactly the account given on the Watts picture, which would seem therefore to be taken from Reis’s bust.
Page 13, on the picture of Sir Anthony Browne, mentioned page 3 and note was this inscription :—
“SIR ANTHONY BROWNE, K.G.
“He lyvynge was all at one time and to hys death Master of the Horse to Kynge Henry the Eyghe and after to Kynge Edward the Syxthe Capytayne of both theyre Maisties Gentlemen Pentioners Chiefe Standard bearer of England Justice in Oyer of all theyre forrestes parkes and chases beyond the River of Trent northward Levtenant of the Forests of Wyndsor Walmer and Ashdowne with dyvers Parkes and Chases southward one of the Executors to Kynge Henry the Eyght one of theyre Maiesties honorable Privy Council and Knight and Companion of the most noble Order of the Garter.’’ In this dress he marvied by proxy Princess Anna Cleves, relex of King Henry VIII.
This cannot be Mr. Watts’ picture, because his is obviously taken from a bust, and has no hat and feather, no sword and no breeches; but, curiously, it has the same inscriptions which appear on No. 3, except the words relating to the dress worn at the marriage.
From the fact that Mr. R. G. wrote his accounts in scraps it is obvious that he took it from different sources, probably at different times.
The picture was thus described by Hampton and Son in their sale catalogue, August 5th, 1897, and following days:—
“Lot 520.—A portrait of Sir Anthony Browne, in panel. Holbein. Of Battle Abbey and Coudray. Master of the Horse to Henry VIII. Married Alice, daughter of Sir John Gage, K.G. This picture is mentioned in Vol. III. of the Vetusta Monumenta as amongst those stolen from Coudray at the time of its destruction by fire in 1793. Sir Anthony is here represented in the dress he wore when he married by proxy Anna of Cleves, wife of Henry VIII, 1538.”» (The Brownes of Bechworth Castle by John Pym Yeatman (1904), p. 52–54)
Henry FitzAlan, 19th Earl of Arundel
Henry FitzAlan, 19th Earl of Arundel
Of the last Earle of Arundell Fitzallen, drawne twise by the famous paynter Steven.
Provenance:
«- version with the Lumley cartellino, previously in the collection of Commander Phillips - sold at Christie’s on 23 November 1979 (lot 135). Presumably one of the two portraits by Steven mentioned in the Lumley inventory.» (Conservation Research on NPG 5296 | The National Portrait Gallery)
Henry FitzAlan, Lord Maltravers
Henry FitzAlan, Lord Maltravers
Panel | c.63 x 51.5 cm[69]
Of his sonne the Lord Mautrevers.
Provenance:
«Collection: Major Henry Howard (in 1930)»[70]
Robert Dudley, 1st Earl of Leicester
Robert Dudley, 1st Earl of Leicester
1587[71][72]
William Segar
Private Collection
Of him after he was Earle of Leicester Lo: Steward, twise drawne bye Seigar.
Provenance:
«LUMLEY CASTLE Sale of household Furniture, etc., the property of the late Earl of Scarborough, dec., at Lumley Castle. By Mr. Christie on the Premises. Monday August 8, 1785 and 3 following days. FOURTH DAY'S SALE, AUGUST 11, 1785. [...] MUSIC ROOM: [...] whole length portrait [...] 39. ditto Dudley, Earl of Leicester, 1587. £3 3 0» (The Lumley Inventories III, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 31–32. Published By: The Walpole Society)
Provenance:
«LUMLEY CASTLE Catalogue of excellent Household Furniture, etc. of the Earl of Scarborough, Deceased, Lumley Castle. To be sold by auction by Mr. Dawson (by order of the Executors) on the Premises on Wednesday the 16th. of December 1807, and three following days. THIRD DAY'S SALE. [...] SIR G. SAVILE ROOM: [...] 43. Robert Dudley Earl of Leicester, 1587. £2 6 0 (The Lumley Inventories V, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 34–35. Published By: The Walpole Society)
Provenance:
«It was bought in at the Lumley Castle auction in 1785 for £3.3s. and went for £2.6s. in 1807. It is now in a private collection»[73]
From the Literary Cabinet:
«Dudley, Earl of Leicester, 1587. ¾, with collar of garter, a staff in right hand.» (The Lumley Inventories II, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 30. Published By: The Walpole Society
Robert Devereux, 2nd Earl of Essex
Portrait of Robert Devereux, 2nd Earl of Essex (1566-1601)
National Gallery of Ireland | NGI.283
Of the second Earle of Essex [Robert] Devereux, Mr of the horse, doone by Seigar.
Provenance:
«LUMLEY CASTLE Sale of household Furniture, etc., the property of the late Earl of Scarborough, dec., at Lumley Castle. By Mr. Christie on the Premises. Monday August 8, 1785 and 3 following days. FOURTH DAY'S SALE, AUGUST 11, 1785. [...] Portrait of [...] 14. ditto of Devereux, Earl of Essex, 1590. £4 4 0» (The Lumley Inventories III, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 31–32. Published By: The Walpole Society)
Provenance:
«LUMLEY CASTLE Catalogue of excellent Household Furniture, etc. of the Earl of Scarborough, Deceased, Lumley Castle. To be sold by auction by Mr. Dawson (by order of the Executors) on the Premises on Wednesday the 16th. of December 1807, and three following days. THIRD DAY'S SALE. [...] TAPESTRY ROOM: 58. Earl of Essex £4 0 0 (The Lumley Inventories V, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 34–35. Published By: The Walpole Society)
Provenance:
«It was auctioned at Lumley Castle in 1785 and bought in for £4.4s and went for £4 in 1807. It was sold from the Earl of Stafford’s collection in 1885 and later bought by the National Gallery of Ireland.»[74]
Provenance:
«Collection of Lord Stafford, Costessy Hall, Norwich; Christie's, 30 May 1885, lot 380; purchased, H. Graves & co., London, 1886» (Portrait of Robert Devereux, 2nd Earl of Essex (1566-1601) | National Gallery of Ireland)
From the Literary Cabinet:
«Earl of Essex. Full length, in black covered with white embroidery.» (The Lumley Inventories II, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 31. Published By: The Walpole Society)
John Talbot, 1st Earl of Shrewsbury
John Talbot, 1st Earl of Shrewsbury
Oil on Panel | 71 x 60.4 cm[75]
The Collection of the Marquess of Northampton
Compton Wynyates[76]
[Of the firste Earle of Shroesburie.]
Gilbert Talbot, 7th Earl of Shrewsbury
Gilbert Talbot, 7th Earl of Shrewsbury
1596
Private Collection
[Gilbert Earle of Shrewesburye that now is.]
Literature:
«A three-quarter length, unknown, dated 1596, aged 43, dressed in a striped jacket, blue and white; black cloak and breeches, white ruff, gloves on, collar of the garter.» (Thomas Pennant, A Tour in Scotland in 1769 (1774); ditto in 1772 (1776), p. 324)
From the Literary Cabinet:
«¾ unknown. 1596, æt. 43. Striped jacket, blue and white, garter.» (The Lumley Inventories II, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 31. Published By: The Walpole Society)
Leo Gooch writes: «The date and age correspond only with Shrewsbury. A portrait by William Segar, or his studio, of that date and fitting the description in the Weiss Gallery in 1998 was catalogued with the observation that the portrait was ‘not known by any other version’. It is now in a private collection.»[77]
Henry Parker, 10th Baron Morley (1476/1480/1481 – 3 December 1553/1556)
Of the old Lo: Henry Morley, A° 1523 done in water color by Albert Duer.
Comments
Chuck
19.05.2022 17:05
Where did the full length portrait of Anne Boleyn go and when?
Luke Aaron
05.02.2022 11:02
I believe that the Christina of Denmark is the lost full-length of 'Anne Boleyn.' When something major goes missing it is probably still right there in plain sight. Thanks.
Julia
21.01.2021 20:23
And yes, it's valid. I have also an official one.... But I did not know if this website would show it...
Site Owner
21.01.2021 20:38
Very prudent, that's why I thought to check that it was a real one 😊 Great! I shall see what I can find.
' fill='rgb(0%2c 0%2c 0)'%3e%3ctitle%3ereply%3c/title%3e%3cpath d='M32 20q0 2.976-2.272 8.064-0.064 0.128-0.192 0.416t-0.224 0.544-0.256 0.384q-0.192 0.32-0.48 0.32t-0.416-0.192-0.16-0.448q0-0.16 0.032-0.48t0.064-0.416q0.096-1.216 0.096-2.208 0-1.792-0.32-3.232t-0.864-2.464-1.44-1.792-1.888-1.248-2.368-0.768-2.752-0.384-3.136-0.096h-4v4.576q0 0.448-0.32 0.8t-0.832 0.352-0.8-0.352l-9.12-9.152q-0.352-0.32-0.352-0.8t0.352-0.8l9.12-9.152q0.352-0.32 0.8-0.32t0.832 0.32 0.32 0.8v4.576h4q12.736 0 15.616 7.2 0.96 2.4 0.96 5.952z'/%3e%3c/svg%3e)
Julia
21.01.2021 20:18
Thanks for your help! I already searched everything, but perhaps you are luckier. Lucky you, as owner of a copy.
Site Owner
21.01.2021 20:37
Alright, then I shall see what I can find 😊 Thank you! Yes, it is a treasure.
Julia
21.01.2021 18:32
All our libraries here, like the Munich State Library, don't have it and are closed. Really strange and bad!
Site Owner
21.01.2021 19:50
Ah. I see. I forgot the state of the world for a second. Felt nice. Is the email address you post with your comments a valid one? (No need to post it in a comment, I can see it when I am logged in!
Site Owner
21.01.2021 19:50
Just need to know if it's valid) If you'd like I can scour the Internet to see if I can find it somewhere for sale for you? I am pretty good at scouring the Internet and finding stuff 😊
Julia
18.01.2021 23:36
Love this homepage full of information!!
Is there any chance getting in touch with the owner/ creator of this amazing blog?
I'm a German researcher about the Howard Family....
That would be amazing!
Site Owner
21.01.2021 17:46
Oh, yes, that book is absolutely essential! Have you tried the library? That's where I got a hold of a copy 😊
Julia
21.01.2021 14:38
For example, how you acquired Leo Gooch's book "A complete pattern of nobility: John, Lord Lumley (c.1543-1609). I would really need that for further research, but it seems one cannot buy it anymore.
Site Owner
21.01.2021 12:58
Hi! Thank you so much! That would be me 😊 What are you wondering about? I am happy to help if I can! 😊
The opening of Jane Lumley’s translation of Evagoras: Royal MS 15 A II, f. 4r, wriiten in her own hand (Lady Lumley’s Literary Endeavours)
All we need now is a photograph of the handwriting on the back of the miniature to compare with.
Jane FitzAlan, Lady Lumley (1537 – 27th July 1578)
Jane FitzAlan, Lady Lumley
1563[158]
Steven van der Meulen[159]
Oil on panel | 37 ½ x 31 in. (94.4 x 78.7) cm[160]
The Collection of the Earl of Scarbrough[161]
Sandbeck Park[162]
Of yor Lo: first wife daughter to the old Earle of Arundell [Fitzallen] drawne by Steven.
Inscriptions and Marks
«Inscribed top right: 8 MAII A.DNI 1563 / AETA SV AE 27; to the left on the Lumley cartellino: Jane Fitzalan Daughter to / Henry Earl of Arundel firste / wife to John Lord Lumley.»[163]
Notes
Lithographs with hand-colouring of this portrait and the Pendant of her husband John Lumley is at the British Museum as Museum number 1873,0510.1001-1002.
Mary Wotton, Lady Guildford (1499-1544+)
Saint Louis Art Museum | 1:1943
Of the La: Guilfourd wife to Sir Henry Guilfourd Coumptroller, drawne by Haunce Holbyn.
(In its description of the portrait, the Saint Louis Art Museum expresses some doubt whether it was this portrait or the well-known copy (for a long time assumed to be the original ) now in the Metropolitan Museum of Art which is the one recorded in the Lumley collection.
It is perhaps worth noting that the Lumley inventory never states the identity of a copy as painted by the artist of the original.
In the case of the portrait of Margaret Wotton, Marchioness of Dorset, for instance, we have a sketch in the Royal Collection by Holbein, so the original must have been by him, yet the copy shown here above and which belonged to the Lumley colletion was not described as being by Haunce Holbyn.
Similarly with the portrait of Jane Seymour recorded in the Lumley collection. In all probability this was a copy of the famous one by Hans Holbein, yet it was not described as being by Haunce Holbyn in the inventory.)
Notes on other portraits in the Lumley Collection
The Statuaryes of xvien Auncestors of yor Lo: lyneally descending from the Conquest unto yor self.
According to Leo Gooch (A Complete Pattern of Nobility, p. 111) the first fifteen portraits belong to the Lumley Trustees and are on loan to Leeds Castle, those of John Lumley and his second wife Elizabeth are at Sandbeck Park. One ancestor, Sir Roger, has been left out.
The Statuary of the Lorde Darneley [afterwards K: of Scott] and his brother Charles Stewarde in one table.
According to Leo Gooch (A Complete Pattern of Nobility, p. 119) it is this painting in the Royal Collection. The Royal Collection makes no mention of this, however.
[The Statuary of Robert Dudley Earle of Leicester.]
According to Leo Gooch (A Complete Pattern of Nobility, p. 119) this painting is now at Parham Park. This one? There is no cartellino as far as I can see, however.
Of Quene Marye, drawne by Garlicke.
Of Quene Elizabeth as as she was comyng first to the Crowne.
And agayne, as she was the xxxth yeare of her Reigne.
Queen Mary and Queen Elizabeth. Of a severe countenance. The Literary Cabinet
Like this one? Queen Elizabeth I (1533–1603) by Hans Eworth (c.1520–after 1578), Ancient House, Museum of Thetford Life
This link is no longer working, but google results indicate that it has once led to something interesting in this regard:
It is possible that the link above was once supposed to contain information about this painting:
Of Thomas his sonne the 4 Duke of Northfolke.
No known portrait of Thomas Howard, 4th Duke of Norfolk with the cartellino exists today, according to the National Portrait Gallery.
Of the Lo: Robert Dudley, Mr of the horse to Quene Elizabeth.
Of him after he was Earle of Leicester Lo: Steward, twise drawne bye Seigar.
One of these is in a private collection, according to the Weiss Gallery –Robert Dudley 1st Earl of Leicester (1532 – 1588) circa 1587 Attributed to Sir William Segar
(Edited to Add: Probably the one now shown above)
The Earl of Leicester, by William Segar | All Things Robert Dudley
Article:
The identity of ‘the famous paynter Steven’ Not Steven van der Meulen but Steven van Herwijck
Of Sir Thomas Moore, Lo: Chauncellor, [drawne by Haunce Holbyn.]
[Margaret daughter to Duke of Anjoy and wife to K. Henry 6th.]
Other Collections which Employed the Cartellini
PORTRAIT OF THE HON. DOROTHY LATIMER, WIFE OF THOMAS CECIL, LATER 1ST EARL OF EXETER HOLDING A PENDANT DEPICTING PERSEUS (1549-1608)by Master of the Countess of Warwick – Sotheby's
Portrait of a young man, identified as John Brydges, 1st Baron Chandos (1492–1557) – Christie's
Frances Clinton, Lady Chandos by Hieronymus Custodis – The collection of the Duke of Bedford at Woburn Abbey
Elizabeth Brydges, later Lady Kennedy, daughter of Giles Brydges, 3rd Baron Chandos and maid of honour to Elizabeth I of England, aged 14 – The collection of the Duke of Bedford at Woburn Abbey
Sir Nicholas Throckmorton – Formerly in the collection of the Duke of Bedford at Woburn Abbey, now at the National Portrait Gallery | NPG 3800
Sir Edward Rogers – Formerly in the collection of the Duke of Bedford at Woburn Abbey, now at the National Portrait Gallery | NPG 3792
Edward Fiennes de Clinton, 1st Earl of Lincoln (1512-1585) – Formerly in the collection of the Duke of Bedford at Woburn Abbey, sold by Christie's
Francis Russell, 2nd Earl of Bedford
Lord Edward Russell (1551-1572), Eldest son of 2nd Earl of Bedford – The collection of the Duke of Bedford at Woburn Abbey. Copy by George Perfect Harding in the National Portrait Gallery
Portraits that can be found again in the Arundel Collection
Except for the portraits of the Duchess of Milan, Sir Henry Guildford, Lady Guildford and Erasmus by Hans Holbein the Younger and the watercolour of Henry Parker, lord Morley by Albrecht Dürer (all shown above) all of these are untraced today.
I would have started looking for them on the continent.
The Statuary of the Duches of Myllayne, afterwards Duches of Lorreyn daughter to [Christierne] king of Denmarke doone by Haunce Holbyn.
Christina of Denmark (1521–1590), Duchess of Milan, then Duchess of Lorraine
193. The Duchess of Loraine, life-size.
The Statuary of the Duches of Parma, Regent in Flaunders, Base doughter to the Emperor Charles the fiveth.
Margaret of Parma (1522–1586), Governor of the Netherlands
436. Margaret of Parma.
[Of Sigismond Kinge of Poland sonne to John Kinge of Swethland.]
Sigismund III Vasa (1566–1632)
694. Sigismund, King of Poland.
Of the Duke of Richemond, base sonne to K: H: 8.
Henry FitzRoy, Duke of Richmond and Somerset (15 June 1519 – 23 July 1536)
642. The Duke of Richmond. Wood.
Of the old Lo: Henry Morley, A° 1523 done in water color by Albert Duer.
Henry Parker, 10th Baron Morley (1476/1480/1481 – 3 December 1553/1556)
111. Henry Morley. Water-colour. This portrait is found in the Lumley Inventory of 1590: it is now in the British Museum.
Of Sir Henry Guilfourd Coumptroller to K: H: 8. [drawne by Haunce Holbyn.]
Sir Henry Guildford (1489–1532)
185. Portrait of Sir Henry Guldford. Royal Collection, Windsor.
Of Erasmus of Roterdame,
drawne by Haunce Holbyn.
Erasmus of Rotterdam (28 October 1466 – 12 July 1536)
174. Erasmus.
Of [Isabel] wife to Charles the Vth Empor, mother to K: Phillip.
Isabella of Portugal (1503–1539), Holy Roman Empress and Queen of Spain, Germany, Italy, Naples and Sicily and Duchess of Burgundy
791. Isabella, wife of Charles V.
[Of Isabel daughter to Phillip the second K: of Spayne.]
Isabella Clara Eugenia of Austria (1566–1633), Infanta of Spain, Regent of the Spanish Netherlands
433. Portrait of the Infanta Eugenia Clara. Regent of the Spanish Netherlands.
Of the Duchesse of Savoye.
Catherine Michelle of Spain (1567–1597), Duchess of Savoy
432. Portrait of the Infanta.
Of the La: Guilfourd wife to Sir Henry Guilfourd Coumptroller, drawne by Haunce Holbyn.
Mary Wotton, Lady Guildford (1499-1544+)
186. Portrait of his Wife (Lady Guldford). Vanderbilt Collection, New York.
Of Shores wyfe concubyne to K: Edw: 4.
Jane Shore (c. 1445 – c. 1527)
714. Joan Shorr, advocate.*
* One Italian transcription reads Joan Shorn, advocato, which made me wonder if it were a misreading of John, and it instead referred to a portrait of John Schorne or something similar.
The Arundel Inventory of 1655 has precisely one entry for Joan, however, this one, and 27 involving the name John, making me believe that the chances of a misreading are slim.
For a discussion of portraits of Jane Shore see our Lady Jane Grey page and our The Anglesey Abbey Portrait page.
Anne Russell, Countess of Warwick (1548/1549 – 9th February 1604)
Anne Russell, Countess of Warwick
Master of the Countess of Warwick[152]
Oil on Panel | 21 x 16 ½ in. (53.3 x 42 cm)[153]
The Collection of the Duke of Bedford[154]
Of the Countesse of Warwicke, daughter of the Earle of Bedfourd.
(This portrait is apparently from the Woburn Collection, another collection which employed the cartellini. I am leaving it up for now. It will at least give us an idea as to what image to look for, though I suppose that is also true for a great many others whose portraits were in the Lumley collection, and whose other portraits are not and will not be represented on this page. Still, so it shall be. I will replace this portrait of Anne Russell, Countess of Warwick, with the one that was in the Lumley collection should I find it.)
(For more pictures of Anne Russell, Countess of Warwick, please see our Anne Russell, Countess of Warwick page. There one can see different portrait types of her, more than just this one, her most famous picture. An eagle-eyed obsever may one recognise from them the portrait that was once in the Lumley Collection should he or she come over it.)
Frances Walsingham, Countess of Essex (1567 – 17th February 1633)
Frances Walsingham, Countess of Essex (new link)
Attributed to Robert Peake the Elder (new link)
Oil on Wood Panel | 33 ½ x 29 ½ (85.1 x 74.9 cm) (old link)
Fine Arts Museums of San Francisco | 1954.75 (old link)
Of the Countesse of Essex wife to the 2 Earle of Essex and widow to sir Phillip Sidney.
(Identification is based on: This does look like a Lumley cartellino. Probably the same lady as in this portrait. Of the unidentified ladies in the Lumley inventory, only Frances Walsingham, Countess of Essex, was pregnant in this period. I did also consider Mary Kytson, Lady Darcy of Chiche, later Lady Rivers, but she has two authenticated portraits here and here, and I thought the nose in particular dissimilar. Though neither Mary Kytson, Lady Darcy of Chiche, later Lady Rivers, or Mary Cavendish, Countess of Shrewsbury, were known to have been pregnant in this time period, I did consider the latter also. Her portrait can be found here and here. Here it was the eyes I thought was markedly different (with all due consideration for difference of painters and technique etc.). In this well-known portrait of Frances Walsingham, Countess of Essex, you can clearly see that she has the same nose and eyes. Plus, this portrait has been traditionally identified as Frances Walsingham.
I might be retreading old ground here, but none of the above information was noted on the website for the portrait (old link), which calls it simply Portrait of a Lady.)
EDITED TO ADD 3rd December 2024: Elise Effmann Clifford, head of paintings conservation at Fine Arts Museums of San Francisco, has since positively identified this portrait through an amazing bit of work, as that of Frances Walsingham. Read her article: Who’s That Lady? Identifying the Sitter in Our Tudor Portrait by Elise Effmann Clifford, published on the 20th July 2023.
Thanks to this stellar work the lady is now given her identity in the Fine Arts Museums of San Francisco entry for the portrait as Frances Walsingham, Lady Sidney.
Leo Gooch wrote in 2009: «This is perhaps the companion marriage-portrait with that of her husband by Segar c.1590. In the nineteenth century it was altered in three ways to suggest that the sitter was Mary Queen of Scots: the Lumley cartellino was painted over with MARIA REGINA SCOTIAE; another false inscription in English was added at the bottom; and a crucifix was painted hanging from her left hand. The portrait was auctioned from Lumley Castle in 1807 for £5.5s. It is now in the California Palace of the Legion of Honour.» (A Complete Pattern of Nobility, p. 153)
Katherine Grey, Countess of Hertford (25th August 1540 – 26th January 1568)
Katherine Grey, Countess of Herford
Watercolour on vellum | 35 mm (diameter)
Victoria and Albert Museum | P.10&A-1979
Of the Lady Katheryne Graye, married to the Earle of Hertfourd.
"The La Kathe'/ Graye. / Wyfe of Therle of / Hertford" is inscribed on the reverse of this miniature by Levina Teerlinc, c. 1560.[155]
Notice the absolute similarity of the descriptions. Not the spelling, the spelling on the back of the miniature seems even 'older'.
An identical spelling can be found in a document from around precisely 1553. After the death of King Edward VI the contents of the palace were compared to an inventory of 1547, and the absence of the portrait of Christina, Duchess of Milan was explained thusly: This Table Therle of Arundell hathe of the kinges maiesties gift as he saithe. (A Complete Pattern of Nobility by Leo Gooch, p. 94)
(The Earl of Arundel was of course Jane Lumley's father.)
But the wording in the Lumley collection and on the back of the miniature is practically precisely the same.
Not only that, but this manner of wording of the identification is absolutely unique for Lady Katherine Grey, Countess of Hertford in the Lumley inventories. Almost as if they were ... copying a label.
No other lady is identified as [First name] [Maiden name] [(Husband's) Title]. in the inventories.
Even Jane Lumley is not identified by her Christian name there, she is described as Of yor Lo: first wife daughter to the old Earle of Arundell [Fitzallen] drawne by Steven., versus the actual cartellino which reads Jane Fitzalen, daughter to Henry Earle off Arundell, first wife to John Lord Lumley.[156])
The inventorist was probably more familiar with his employer's first wife than her first cousin, enabling him to 'go off script' as it were.
If this were the miniature that were in the Lumley collection, a standard Lumley cartellino would have ruined it, covering nearly or all of the entire miniature. A miniature is usually by the size of a big coin or a small snowball.
There was at least one other miniature in the Lumley Collection, that of Queen Mary I Tudor (shown above) by Gerlach Flicke. That one does have a cartellino, but it probably took considerably less space to write Queene Marie[157] than the description of who Lady Katherine Grey, Countess of Hertford, was.
Many of the old Lumley cartellini have become illegible. If, however, the portrait of Anne Russell, Countess of Warwick, was indeed a part of the Lumley collection Anne Countess of Warwick Wife to Ambrose Dudlye Earle we see that the wording of that inscription correlates pretty closely with the wording of the inscription on the back of the miniature of Katherine Grey, Countess of Hertford. However, Ambrose Dudley was married to two women named Anne, so they probably wanted to clarify which one she was.
Katherine Grey, Countess of Hertford's inscription handily had all of that information already. A secondary reason might have been that the handwriting was very small and they had to sound out each word, though without actually seeing the inscription on the back of the miniature, that is hard to say.
It would appear that the portrait of Anne Russell, Countess of Warwick, above, belonged to a different collection that employed the cartellini, the Woburn collection. Any basis for comparison is therefore moot. A more relevant comparison is perhaps therefore the cartellino on the portrait of Sir Nicholas Carew.
Of Sr Nichls Carewe Mrof the horse to K: H: 8.
Sr Nicholas Carewe Master of the horse to Kinge Henry y 8.
As we see, the inscription on the cartellino and the entry in the inventory corresponds extremely closely, just as it is my suggestion that the inscription on the back of the miniature (its variant of Lumley cartellino) does to the entry in the Lumley inventory.
Of the first Duke of Northefolke Hawarde.
Jhon Howarde the firste Duke of Norfolk of that name.
Of the Duke of Alva, governor in Flaunders, doone by Anthony Moorey.
Fernandes de Toledo Duke of Alva ; 1557 . comm(?)
Of the Countesse of Essex wife to the 2 Earle of Essex and widow to sir Phillip Sidney.
The Ladie Sidney daughter to Secretarye Walsingham
Of the Countesse of Lincolne, daughter to the Earle of Kildare.
The Countesse of Lincolne Doughter to the Earle of Kildare
Of his sonne the Lord Mautrevers.
Henry Lo. Maltravers Sonne to ye laste Henry Fitzallan Earle of Arundell
The Statuary of the Duches of Myllayne, afterwards Duches of Lorreyn daughter to [Christierne] king of Denmarke doone by Haunce Holbyn.
Christine Daughter to Christie(rne) k of Den(mark) ... of Lor(rai)ne and he(...) Dutches of Milan.
Sir Nicholas Carew – Lumley Cartellino
John Howard, 1st Duke of Norfolk – Lumley Cartellino
Fernando Álvarez de Toledo, 3rd Duke of Alba – Lumley Cartellino
Frances Walsingham, Lady Sidney, Countess of Essex and Clanricarde – The Lumley cartellino with the recreated inscription. From Who’s That Lady? Identifying the Sitter in Our Tudor Portrait by Elise Effmann Clifford, published on 20th July 2023
Elizabeth FitzGerald, Countess of Lincoln – The Lumley cartellino. From All in the Details by Libby Howlett, published on 31st March 2022
Henry FitzAlan, Lord Maltravers – The Lumley cartellino
Christina of Denmark, Duchess of Milan – The Lumley cartellino
So one way to test my hypothesis that this was the painting of Katherine Grey, Countess of Hertford registered in the Lumley Collection would be to compare the handwriting on the back of the miniature with the handwriting on the surviving, still legible cartellini.
Another would be to compare the handwriting on the back of the miniature with surviving samples of the handwriting of Jane FitzAlan, Lady Lumley, to whom it was surely a gift directly from her first cousin, Lady Katherine Grey, if my hypothesis is right. For the importance of miniature gift-giving in female friendships see The Feminine Dynamic in English Art, 1485-1603: Women as Consumers, Patrons and Painters by Susan E. James.
As we have seen, an identical spelling of the word Therle (the Earl) can be found found in a document written not long after the death of Edward VI in 1553. At the same time, the inscription must necessarily date to after the marriage of Lady Katherine Grey to Edward Seymour, 1st Earl of Hertford in December 1560, otherwise she would have hardly been described as being his wife. Furthermore, it seems reasonable that it dates to after news of that marriage became public, in 1561.
This time period, 1553–1561, corresponds very closely as we see with the creation of the miniature 1555–1560.
Furthermore, the inscription seems to predate certainly the spelling in the Lumley inventory, and quite possibly it predates the other cartellini themselves.
It is entirely possible the inscription on the back of the miniature is in Jane Lumley's own hand.
EDITED TO ADD 6th December 2024: The British Library has now digitised the four surviving volumes that belonged to Jane Lumley (b. 1537, d. 1578), English noblewoman, Renaissance scholar and translator. All four manuscripts have been digitised thanks to generous funding from Joanna and Graham Barker, and can now be read online for the first time. In Lady Lumley’s Literary Endeavours, Calum Cockburn at the British Library writes: «Two of the three surviving volumes containing Jane’s work also feature added inscriptions by her husband, John Lumley, who marks them explicitly as ‘The doinge of my Lady Lumley dowghter to my L. Therle of Arundell’, a reflection of his own respect for and acknowledgement of his wife’s work and achievement.»
So John, Lord Lumley, also spelled ‘the Earl’ Therle.
This digitization has given us several examples of the handwriting of Jane FitzAlan, Lady Lumley:
From a dedicatory letter addressed to Jane’s father, which she signed, ‘filia tua tibi deditisimma Joanna Lumleya’ (your most dedicated daughter Jane Lumley) (Lady Lumley’s Literary Endeavours)
Thomas Wyndham (1508–1554)
Vice-Admiral Thomas Wyndham
1550[128][129][130]
Oil on panel | 33 x 26 ½ in. (83.9 x 67.4 cm)[134]
The Collection of the Earl of Radnor, Longford Castle[135][136]
Of Mr Thomas Wyndeham drowned in [the Sea returneinge from Ginney.]
Inscriptions and Marks
«INSCRIBED on the barrel of the gun: AETATIS XLII MDL HE/TW (i.e. Thomas Wyndham).» (Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 85)
Provenance
«[P]resumably identical with that recorded in the Lumley inventory of 1590 (Walpole Society, VI, 1918, p 24); sold Lumley Castle sale, 8th August 1785 (21); anonymous sale Willson’s 9th June 1810 (35); bought by the Earl of Radnor, 1813, as Sir Anthony Denny by Holbein.»[137]
There seems to be general consensus that this is the painting that was in the Lumley Collection, though it is by Hans Eworth and this is not noted in the inventory, and the portrait does not bear a cartellino. Nor does it carry the inscription noticed by the Literary Cabinet: «Mr. Thomas Wyndham. Good half length, a robust figure in green, with a red sash and a gun in his hand. Aged 42 MDL.»
(̶C̶o̶u̶l̶d̶ ̶t̶h̶e̶ ̶a̶g̶e̶ ̶a̶n̶d̶ ̶y̶e̶a̶r̶ ̶b̶e̶ ̶i̶n̶f̶o̶r̶m̶a̶t̶i̶o̶n̶ ̶a̶l̶s̶o̶ ̶i̶n̶c̶l̶u̶d̶e̶d̶ ̶o̶n̶ ̶a̶ ̶p̶o̶s̶s̶i̶b̶l̶y̶ ̶n̶o̶w̶ ̶l̶o̶s̶t̶ ̶c̶a̶r̶t̶e̶l̶l̶i̶n̶o̶,̶ ̶a̶n̶d̶ ̶n̶o̶t̶ ̶a̶n̶ ̶i̶n̶s̶c̶r̶i̶p̶t̶i̶o̶n̶ ̶a̶t̶ ̶a̶l̶l̶?̶)̶
The inscription is part of the painting.
Wyndham wears a powder flask at his neck and a gun over his shoulder inscribed: TW, aetatis XLII.MDL.[138][139]
Roy Strong (The English Icon: Elizabethan and Jacobean Portraiture, p. 85), Lionel Cust (The Lumley Inventories, p. 24) and Leo Gooch (A Complete Pattern of Nobility, p. 142), and presumably also Rocco Caravato in Shakespeare, Caravaggio, and the Indistinct Regard[140] all point to this as the portrait that was in the Lumley Collection.
Fernando Álvarez de Toledo y Pimentel, 3rd Duke of Alba (29th October 1507 – 11th December 1582)
Oil on wood | 42 ½ x 32 ⅞ in. (108 x 83.5 cm)
The Hispanic Museum & Library | A105
Of the Duke of Alva, governor in Flaunders, doone by Anthony Moorey.
Katherine Parr (1512 – 5th September 1548)
Katherine Parr
Oil on wood panel | 21 ¼ x 16 ½ in.[141]
The Northwick Park Portrait
Private Collection[142]
Of Quene Katherin Parre, last wife to K: H: 8.
Provenance:
«Mr George Fripp, Kent, by 1939, as Queen Elizabeth when Princess, by Holbein;
Christie’s, London, 23 July 1948, Lot 144, as Portrait of Queen Elizabeth;
Sotheby’s, London, 28 October 1953; Lot 28;
George Spencer-Churchill, Northwick Park, Gloucestershire;
Sotheby’s, London, 5 June 1965; Lot 2;
Sir Hugh Wontner;
Private collection.»[143]
«[T]he Northwick Park collection was liquidated through Christie’s in 1965 [...]3
3 Catalogue of Important English Pictures circa 1550 – circa 1880 from the Northwick Collection, Christie’s (London), 25 June 1965, Lot 23, as “Portrait of a Lady, said to be Katherine Parr, by Holbein.”»[144]
A beautiful colour photograph of this painting can be seen on p. 38 of the book A Queen of a New Invention by J. Stephan Edwards.
For more portraits of Katherine Parr, please see our Katherine Parr page.
Margaret Wotton, Marchioness of Dorset (died 1541+)
Margaret Wotton, Marchioness of Dorset (dead link)
After Hans Holbein the Younger (dead link)
Oil on panel | 30 ½ x 25 in. (77.5 x 64 cm.)
[Of the olde Marquesse of Dorcett syster to Sir Edw: Wotton.]
Margaret Beauchamp, Countess of Shrewsbury (1404 – 14th June 1467)
Margaret Beauchamp, Countess of Shrewsbury
Oil on Panel | 71 x 60.4 cm[145]
The Collection of the Marquess of Northampton
Compton Wynyates[146][147]
[Of the Counties of Shroesburie 2 wyffe to the first Earle of Shroesburie, eldest daughter to Richard Earle of Warwicke, Beachampe.]
Elizabeth FitzGerald, Countess of Lincoln (1527 – March 1590)
Elizabeth FitzGerald, Countess of Lincoln
1560[148]
Oil on Panel | 36 x 29 in. (91.6 x 73.7 cm)[149]
Of the Countesse of Lincolne, daughter to the Earle of Kildare.
Inscriptions and Marks
«INSCRIBED top right: 1560; to the left a Lumley cartellino: The Countesse of Lincoln / Daughter [...] Earle of Kildare.»[150]
Provenance
«[F]irst recorded in the Lumley inventory of 1590: ‘Of the Countesse of Lincolne, daughter to the Earle of Kildare’ (Walpole Society, VI, 1918, p 26); sold 16th December 1807 (64); then at Clumber in the collection of the Dukes of Newcastle; sold Christie's 31st March 1939 (36); again Sotheby’s 13th November 1963 (10); the property of the late N. H. Rollason.»[151]
Sir John Luttrell (c. 1518/19 – 10th July 1551)
Allegorical Portrait of Sir John Luttrell
Oil on panel | 109.3 cm x 83.8 cm
Samuel Courtauld Trust, The Courtauld | P.1947.LF.119
Of Sir John Lutterel, who died of the sweat in K. Edw: 6: tyme.
Inscriptions and Marks
«INSCRIBED on the rock, bottom left, damaged: MOR THE ROCK AMLODYS Y* RAGING SEAS / THE CONSTAT HEART NO DAGER DREDDYS NOR PEYARS/[S.LL.]/ 1550 / HE (the inscription in uncorrupted form is on the Dunster copy); right hand bracelet: NEC FLEXIT LVCRVM, left: NEC FREGIT DISCRIMEN.»[125]
Provenance
«[P]resumably identical with that recorded in the Lumley inventory of 1590 (Walpole Society, VI, 1918, p 24); Mrs Warner Bromley, Badmondisfield Hall, Suffolk; sold Christie's 22nd July 1932 (8).»[126]
Provenance
«Mode of Acquisition
Arthur Hamilton Lee, bequest, 1947» (Samuel Courtauld Trust, The Courtauld | P.1947.LF.119)
Notes
There seems to be general consensus that this is the painting that was in the Lumley Collection, though it is by Hans Eworth and this is not noted in the inventory, and the portrait does not bear a cartellino. Both the National Trust and Leo Gooch (A Complete Pattern of Nobility, p. 141) point to this as the portrait that was in the Lumley Collection.
Roy Strong writes «presumably identical with that recorded in the Lumley inventory of 1590».[127]
Notes
[1] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), p. 227. doi:10.2307/872070
[2] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), p. 227. doi:10.2307/872070
[3] Leo Gooch, A Complete Pattern of Nobility, p. 111
[4] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 46
[5] Leo Gooch, A Complete Pattern of Nobility, p. 111
[6] Leo Gooch, A Complete Pattern of Nobility, p. 113
[7] Leo Gooch, A Complete Pattern of Nobility, p. 111
[8] Leo Gooch, A Complete Pattern of Nobility, p. 111
[9] Leo Gooch, A Complete Pattern of Nobility, p. 111
[10] Leo Gooch, A Complete Pattern of Nobility, p. 113
[11] Leo Gooch, A Complete Pattern of Nobility, p. 111
[12] Leo Gooch, A Complete Pattern of Nobility, p. 113
[13] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 46
[14] Leo Gooch, A Complete Pattern of Nobility, p. 114
[15] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 46
[16] Leo Gooch, A Complete Pattern of Nobility, p. 113–114
[17] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), p. 226–227. doi:10.2307/872070
[18] Leo Gooch, A Complete Pattern of Nobility, p. 114
[19] Ralph Lumley, 1st Baron Lumley – Wikipedia Article
[20] William Herbert, 1st Earl of Pembroke (died 1570) – Wikipedia Article
[21] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), pp. 230–231. doi:10.2307/872070
[22] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), p. 230. doi:10.2307/872070
[23] The 1st Earl of Pembroke, (c.1501-70) – Gallerix.org
[24] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), pp. 230–231. doi:10.2307/872070
[25] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), pp. 230–231. doi:10.2307/872070
[26]
[27] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 102–103
[28] Leo Gooch, A Complete Pattern of Nobility, p. 119
[29] Roy Strong, Tudor & Jacobean Portraits – Volume 2: Plates (1969), Plate 384
[30] Leo Gooch, A Complete Pattern of Nobility, p. 119
[31] Leo Gooch, A Complete Pattern of Nobility, p. 120
[33] Leo Gooch, A Complete Pattern of Nobility, p. 120
[34] Leo Gooch, A Complete Pattern of Nobility, p. 120
[35] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 80
[36] Leo Gooch, A Complete Pattern of Nobility, p. 123
[37] «Of Quene Marye, drawne by Garlicke.» The Lumley Inventories, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 22. Published By: The Walpole Society
[38] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 80
[39] Leo Gooch, A Complete Pattern of Nobility, p. 123
[40] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), pp. 226 and 228. doi:10.2307/872070
[41] Notes on a Tudor Painter: Gerlach Flicke—Ⅰ, Mary F. S. Hervey, The Burlington Magazine for Connoisseurs, Vol. 17, No. 86 (May, 1910), p. 72
[42] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 80
[43] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), p. 226. doi:10.2307/872070
[44] Gerlach Flicke - 1555 - Miniature of Queen Mary I (Durham College) – Wikimedia Commons
[45] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 80
[46] Leo Gooch, A Complete Pattern of Nobility, p. 123
[47] David Piper (1957). TThe 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), pp. 226 and 228. doi:10.2307/872070
[48] Leo Gooch, A Complete Pattern of Nobility, p. 123
[49] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 80
[50] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), p. 228. doi:10.2307/872070
[51] «And agayne, as she was the xxxth yeare of her Reigne.» The Lumley Inventories, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 22. Published By: The Walpole Society
[52] Leo Gooch, A Complete Pattern of Nobility, p. 123
[53] Westminster School – About our History at Web.Archive. Archive date: 1st of April 2019
[54] File:Elizabeth I of England Westminster School.jpg – Wikimedia
[55] Leo Gooch, A Complete Pattern of Nobility, p. 124
[56] Leo Gooch, A Complete Pattern of Nobility, p. 124
[57] Roy Strong, ‘Some Early Portraits at Arundel Castle’, Connoisseur (March 1978) 195, p. 194
[58] Roy Strong, ‘Some Early Portraits at Arundel Castle’, Connoisseur (March 1978) 195, p. 194
[59] The Lumley Inventory. Art Collecting and Lineage in the Elizabethan Age. [Facsimile and Commentary on the Manuscript in the Possession of the Earl of Scarbrough.] (2010) by Tarnya Cooper, Catharine MacLeod and Margaret Zoller. Edited by Mark Evans
[60] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), p. 228. doi:10.2307/872070
[61] Roy Strong, ‘Some Early Portraits at Arundel Castle’, Connoisseur (March 1978) 195, p. 194
[62] Roy Strong, ‘Some Early Portraits at Arundel Castle’, Connoisseur (March 1978) 195, p. 195
[63] Roy Strong, ‘Some Early Portraits at Arundel Castle’, Connoisseur (March 1978) 195, p. 195
[64] The Lumley Inventory. Art Collecting and Lineage in the Elizabethan Age. [Facsimile and Commentary on the Manuscript in the Possession of the Earl of Scarbrough.] (2010) by Tarnya Cooper, Catharine MacLeod and Margaret Zoller. Edited by Mark Evans
[65] The Lumley Inventory. Art Collecting and Lineage in the Elizabethan Age. [Facsimile and Commentary on the Manuscript in the Possession of the Earl of Scarbrough.] (2010) by Tarnya Cooper, Catharine MacLeod and Margaret Zoller. Edited by Mark Evans
[66] Roy Strong, ‘Some Early Portraits at Arundel Castle’, Connoisseur (March 1978) 195, p. 195
[67] Roy Strong, ‘Some Early Portraits at Arundel Castle’, Connoisseur (March 1978) 195, p. 195
[68] Roy Strong, ‘Some Early Portraits at Arundel Castle’, Connoisseur (March 1978) 195, p. 195
[69] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), p. 228. doi:10.2307/872070
[70] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), p. 229. doi:10.2307/872070
[71] «Dudley, Earl of Leicester, 1587» The Lumley Inventories, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 31–32. Published By: The Walpole Society
[72] «Robert Dudley Earl of Leicester, 1587» The Lumley Inventories, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), pp. 34–35. Published By: The Walpole Society
[73] Leo Gooch, A Complete Pattern of Nobility, p. 129
[74] Leo Gooch, A Complete Pattern of Nobility, p. 130
[75] The Lumley Inventory. Art Collecting and Lineage in the Elizabethan Age. [Facsimile and Commentary on the Manuscript in the Possession of the Earl of Scarbrough.] (2010) by Tarnya Cooper, Catharine MacLeod and Margaret Zoller. Edited by Mark Evans
[76] Leo Gooch, A Complete Pattern of Nobility, p. 131
[77] Leo Gooch, A Complete Pattern of Nobility, p. 132
[78] Leo Gooch, A Complete Pattern of Nobility, p. 134
[79] Leo Gooch, A Complete Pattern of Nobility, p. 134
[80] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 121
[81] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 121
[82] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 121
[83] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 121
[84] Leo Gooch, A Complete Pattern of Nobility, p. 134 & 155
[85] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 121
[86] The Lumley Inventory. Art Collecting and Lineage in the Elizabethan Age. [Facsimile and Commentary on the Manuscript in the Possession of the Earl of Scarbrough.] (2010) by Tarnya Cooper, Catharine MacLeod and Margaret Zoller. Edited by Mark Evans
[87] Leo Gooch, A Complete Pattern of Nobility, p. 134
[88] Leo Gooch, A Complete Pattern of Nobility, p. 134
[89] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 129
[90] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 129
[91] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 129
[92] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 129
[93] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 129
[94] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 129
[95] Leo Gooch, A Complete Pattern of Nobility, p. 135
[96] Paul Ganz, Art in America, 10 (1922), p.154 ff. (repr.)
[97] The Lumley Inventory. Art Collecting and Lineage in the Elizabethan Age. [Facsimile and Commentary on the Manuscript in the Possession of the Earl of Scarbrough.] (2010) by Tarnya Cooper, Catharine MacLeod and Margaret Zoller. Edited by Mark Evans
[98] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652),p. 228. doi:10.2307/872070
[99] Paul Ganz, Art in America, 10 (1922), pp.154–155 ff. (repr.)
[100] Paul Ganz, Art in America, 10 (1922), p.154 ff. (repr.)
[101] Paul Ganz, Art in America, 10 (1922), pp.154–155 ff. (repr.)
[102] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652),p. 228. doi:10.2307/872070
[103] The Lumley Inventory. Art Collecting and Lineage in the Elizabethan Age. [Facsimile and Commentary on the Manuscript in the Possession of the Earl of Scarbrough.] (2010) by Tarnya Cooper, Catharine MacLeod and Margaret Zoller. Edited by Mark Evans
[104] Paul Ganz, Art in America, 10 (1922), pp.154–157 ff. (repr.)
[105]David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652), p. 227. doi:10.2307/872070
[106] David Piper (1957). The 1590 Lumley Inventory: Hilliard, Segar and the Earl of Essex—Ⅰ. The Burlington Magazine, 99(652),p. 228. doi:10.2307/872070
[107] Leo Gooch, A Complete Pattern of Nobility, p. 135
[108] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 67
[109] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 67
[110] Leo Gooch, A Complete Pattern of Nobility, p. 135
[111] Leo Gooch, A Complete Pattern of Nobility, p. 136
[112] Leo Gooch, A Complete Pattern of Nobility, p. 136–137
[113] Susan Foister, Holbein in England (2006), p. 122
[114] List of paintings by Hans Holbein the Younger – Wikipedia Article
[115] Susan Foister, Holbein in England (2006), p. 122
[116] Susan Foister, Holbein in England (2006), p. 122
[117] John Rowlands, The Age of Dürer and Holbein (1988), London: British Museum, p. 121
[118] Duke of Buccleuch collection – Wikipedia Article
[119] John Rowlands, The Age of Dürer and Holbein (1988), London: British Museum, p. 121
[120] Leo Gooch, A Complete Pattern of Nobility, p. 137
[121] Susan Foister, Holbein in England (2006), p. 122
[122] Leo Gooch, A Complete Pattern of Nobility, p. 137
[123] Leo Gooch, A Complete Pattern of Nobility, p. 137
[124] Leo Gooch, A Complete Pattern of Nobility, pp. 138–139
[125] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 86
[126] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 86
[127] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 86
[128] «‘AETATIS XLII MDL HE/TW’». Leo Gooch, A Complete Pattern of Nobility, p. 142
[129] «Aged 42 MDL.» The Lumley Inventories, Lionel Cust, The Volume of the Walpole Society Vol. 6 (1917-1918), p. 31. Published By: The Walpole Society
[130] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 85
[131] Steven J. Gunn, The English People at War in the Age of Henry VIII, p. 68
[132] The Hans Eworth Catalogue Raisonné (2013) by Hope Walker
[133] «Lumley collection included Holbein's Duchess of Milan, his cartoons of Henry VII and Henry VIII, a book of portrait drawings, Eworth's portrait of Thomas Wyndham, and Antonis Mor's portrait of the Duke of Alva.» Rocco, Caravato, Shakespeare, Caravaggio, and the Indistinct Regard
[134] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 85
[135] Steven J. Gunn, The English People at War in the Age of Henry VIII, p. 68
[136] The Hans Eworth Catalogue Raisonné (2013) by Hope Walker
[137] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 85
[139] The Hans Eworth Catalogue Raisonné | Picture List (2009) by Hope Walker
[140] «Lumley collection included Holbein's Duchess of Milan, his cartoons of Henry VII and Henry VIII, a book of portrait drawings, Eworth's portrait of Thomas Wyndham, and Antonis Mor's portrait of the Duke of Alva.» Rocco, Caravato, Shakespeare, Caravaggio, and the Indistinct Regard
[141] A Queen of a New Invention by J. Stephan Edwards, p. 39
[142] A Queen of a New Invention by J. Stephan Edwards, p. 39
[143] A Queen of a New Invention by J. Stephan Edwards, p. 39
[144] A Queen of a New Invention by J. Stephan Edwards, p. 39 & 42
[145] The Lumley Inventory. Art Collecting and Lineage in the Elizabethan Age. [Facsimile and Commentary on the Manuscript in the Possession of the Earl of Scarbrough.] (2010) by Tarnya Cooper, Catharine MacLeod and Margaret Zoller. Edited by Mark Evans
[146] Leo Gooch, A Complete Pattern of Nobility, p. 152
[147] The Lumley Inventory. Art Collecting and Lineage in the Elizabethan Age. [Facsimile and Commentary on the Manuscript in the Possession of the Earl of Scarbrough.] (2010) by Tarnya Cooper, Catharine MacLeod and Margaret Zoller. Edited by Mark Evans
[148] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 124
[149] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 124
[150] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 124
[151] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 124
[152] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 113
[153] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 113
[154] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 113
[155] Katherine Grey, Countess of Hertford – Wikipedia Article
[156] The Gentleman's Magazine, Volume 154, p. 496, Monuments and Pictures of the Lumley Family
[157] Gerlach Flicke - 1555 - Miniature of Queen Mary I (Durham College) – Wikimedia Commons
[158] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 121
[159] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 121
[160] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 121
[161] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 121
[162] Leo Gooch, A Complete Pattern of Nobility, p. 134 & 155
[163] Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture (1969), p. 121