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Read a brief biography about Lady Jane Grey - Queen of England for a matter of Jane was born in the autumn of , the daughter of the Marquess of Dorset. his daughter and was attempting to save himself by proclaiming Mary queen.
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Crosse who was ordered to make it as beautiful as he could — by the duke. Still is a roundish face not agreeable to those most certain pictures of her — but his attestation of its being genuine, later part of Qu. The fact that Vertue himself expressed doubt in the eighteenth century as to whether the original miniature portrait was a representation of Mary Queen of Scots is interesting and today doubt as to the true identity of the sitter continues.

The above image was sold through Phillips Auctions of London, on 10 th November and was associated with the court painter Levina Teerlinc. The painting was officially sold as a portrait believed to be that of Mary Neville, Lady Dacre, with the auction house noting similarities to other known portraits of this sitter.

The provenance for this miniature is recorded as being in the collection of the Duke of Buckingham at Stowe house. When looking at this miniature it does appear to be too much of a coincidence to suggest that the similarities to the Okney Type is purely chance. Due to the similarities seen it is my opinion that this may just be the original miniature owned by the Duke of Hamilton and reported by George Vertue to have sold in It may just be possible that the identification as to which Mary it was meant to represent may have just got lost during its history.

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What is for certain is that the Teerlinc miniature neither represents Mary Tudor or Mary Queen of Scots and the similarities to portraits of Mary Neville as discussed in the auction catalogue is striking. The ketteringham Hall portrait most certainly was created during the eighteenth century and therefore cannot be a portrait of Lady Jane Grey painted from life.

The portrait was originally painted as an image of Mary Queen of Scots that was mislabelled by when seen by Prince Frederick Duleep Singh. This can now be removed from any list of potential likenesses of Lady Jane Grey. H Fielding Auctioneer.

Thomas Grey, Marquis of Dorset, Elizabeth Woodville’s Oldest Son

Ketteringham Hall, Norwich. My sincere thanks to Mary Parker for the assistance with the location of a copy of this catalogue and information regarding the Ketteringham sale. Notes on authentic portraits of Mary Queen of Scots, , page The sitter has been identified as at least three different members of the royal family from the Tudor period, and for around twenty-six years the sitter was thought to be Lady Jane Grey. Two artists have been associated with its creation, though no proof has surfaced to establish a known creator.

Due the sitter once being identified as Lady Jane Grey, I have decided to discuss this painting on this website. RCIN depicts a young lady facing full frontal, with grey eyes and light red hair. She wears a bodice of gold damask fabric cut square at the neck and a partlet of contrasting fabric with small figure-of-eight ruff that surrounds her face.

A black loose gown with small puff sleeves and false hanging sleeves is also seen worn by the sitter and is fastened at the front with the use of gold aglets. The sitter wears two chains around her neck of goldsmith work and pearls, and suspended from one is a large jewel containing five square cut diamonds and a large hanging pearl.

She is depicted on a blue background within a gold boarder. Nothing is known regarding the early provenance for this painting or how the image became identified as a portrait of Mary Tudor when Princess. The first documented record concerning the provenance of this portrait located to date is the sales catalogue for the collector and poet Samuel Rogers. Following his death in , his vast collection of art and antiques were sold as part of an eighteen-day sale commencing on 28 th April at Messrs.

Christie and Manson, St James Square.


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The portrait was purchased by collector Charles Sackville Bale, who appears not to have questioned the identity of the sitter or artist associated with it. An early photographic image of the portrait appears in a book published in by Amelia B Edwards, and the portrait was also submitted to The Miniature Portrait Exhibition of at the South Kensington Museum.

Upon the death of Charles Sackville Bale in , the miniature sold from his collection and entered the Royal Collection. Lady Jane Grey was put forward as a possible candidate and the miniature would continue to be described as a portrait of Jane for the next two decades. An article written by Richard Holmes, librarian to Queen Victoria, and published in in the English Illustrated Magazine does give us some clues as to the reason for the change of identification. This article appears to be the first time the portrait was publicly published as an image of Lady Jane Grey, and the article also included an engraving of the painting noting Jane as the sitter in its title.

Holmes reports the reasons for the change in identity as follows. It is that of Lady Jane Grey, of which we give an engraving.

It had passed for many years as a portrait of princess, afterwards Queen Mary, but it is unlike her in every feature. That it represents a Tudor Princess is undoubted, as in her hair are the red and white roses. What is interesting about the above statement is that Holmes reports that the sitter depicted in the miniature was thought at that time to correspond with all that was known of the characteristics of Lady Jane Grey.

Today, this description has been discovered to be a mere forgery.

BBC - History - Historic Figures: Lady Jane Grey ( - )

Lady Jane Grey. Hilliard, formerly in the collection of Charles Sackville Bale. The portrait continued to be displayed as an image of Lady Jane Grey and was Exhibited in the New Gallery exhibition of as a portrait of her. In , he produced a privately printed catalogue for the Royal Collection regarding the miniature portraits held within the Royal Palaces at that time.

In this, Cust dismisses the identification of Jane Grey and suggests Elizabeth I as an alternative sitter, noting that the miniature may have been produced by Levina Teerlinc and not Nicholas Hilliard. Nothing is documented in the book to inform us as to why Cust came to this conclusion, though it would be tempting to speculate that he noted the costume worn by the sitter was a little too late in period to be an authentic portrait of Lady Jane Grey. Upon the purchase of the second miniature by the Royal Collection, both were thought to depict the same individual. Due to the early Van der Doort description it was therefore thought that both miniatures represented the young Queen Elizabeth in the early years of her reign.

Lady Jane Grey – Facts, Biography, Information & Portraits

Both images continue to be catalogued as Elizabeth I today. Author Roy Strong was noted not to include either miniature in his book entitled Portrait of Queen Elizabeth. There does appear to be significant differences in the composition and costume worn by both individuals to identify that one is not a direct copy of the other. Whoever RCIN depicts will continue to be debated among art historians, but Lionel Cust was right back in to question the identity of the sitter being Lady Jane Grey.

There appears to be nothing within the image to suggest that the portrait was painted of her, and no detailed description survives today that tells us anything about what she looked like. This image can now be removed from any list of potential likenesses thought to depict her. The painting is associated with the artist Levina Teerlinc and is painted on vellum. Before we study this miniature portrait in detail, we must first examine the artist associated with it and determine whether Levina Teerlinc would have had access to paint Lady Jane Grey.

Born around , Teerlinc was the daughter of the famous Flemish illustrator Simon Benninck, and it is highly likely that she was taught to paint by her father. By , she was married, working, and living in England. Teerlinc was granted a salary of forty pounds a year by Henry VIII, and she is documented as having worked for the English crown until her death in Artists of the sixteenth century, even those with a large surviving output, are ordinarily not well documented today.

But the reverse is true of Teerlinc. The State Papers of four separate Tudor monarchs include specific mention of her, yet no portrait reliably attributable to her is known to have survived today.

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In July , a small number of miniature portraits were grouped together for the first time and exhibited as part of the Portrait Miniature Rediscovered Exhibition at the Victoria and Albert Museum. All of the images were thought in to have been produced by Levina Teerlinc, though there is no surviving evidence to prove that assertion conclusively. The sitters do all have rather large heads and stick-like arms, and some similarities in the brushwork were also noted, including the use of loose wash work to create the features.

Since the completion of the exhibition, a number of other miniature portraits showing the same compositional mannerisms, including the Beaufort Miniature, have been sold at auction and have also been associated with Teerlinc. Among the group of miniatures exhibited in the Portrait Miniature Rediscovered Exhibition and associated with Teerlinc is a portrait now in the collection of the Victoria and Albert Museum.

Teerlinc is also documented as producing several images of Elizabeth, including receiving payment in for a portrait of her as princess. Susan James has also suggested that Teerlinc painted Catherine Parr, which suggests that Teerlinc came into contact with people that Jane would have known personally. There is the slight possibility that she might have come into contact with Jane herself. Both hands are depicted in front, and she is holding a pair of gloves in her right hand, which has a ring on the fourth finger. On her head, she wears a French hood with both upper and lower billaments made up of goldsmith work and pearls.

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A black veil is also seen hanging down at the back. A black loose gown with a fur collar and fitted mutton leg sleeves is worn by the sitter. At her neck she wears a small ruff edged with gold thread.

The sitter is depicted on a blue background with a gold border.