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| Keywords: edward vi edwardvi king of englnd kingofenglnd henry viii henryviii jane seymour janeseymour english royalty englishroyalty 16th century 16thcentury portrait child tudors people Phillip Mould: This outstanding historical portrait relates to the Holbein drawing of Edward, Prince of Wales, dating from circa 1542/3, now in the Royal Collection at Windsor 1. In conscious emulation of the famous Whitehall portrait of Henry VIII, the Prince is cast in the role of his father and the style is entirely within Holbein's tradition: full-square, precise and disdaining the use of shadow. This same face pattern of head and hat must also have served for another portrait-type currently known by two versions recorded in Strong. However in those portraits, both of rather primitive quality, the Prince is shown holding a flower and in sombre dress 2. Our Lumley portrait relates much more closely to the drawing at Windsor and shows the boy Prince with a much sturdier physique and richer costume. Of crucial significance is the painted cartellino, or label, which signifies that this painting once belonged to the first Lord Lumley (c.1534-1609) 4. Lumley, who as a child had been educated with Edward VI, amassed through a combination of inheritance, astute purchase and commission one of the greatest collections outside that of the royal court, consisting of sculpture, paintings and books. Following the death in 1580 of Lumley's father-in-law, the last Earl of Arundel, Lumley fortuitously inherited Henry VIII's fabled palace of Nonsuch, including all its priceless contents. This portrait may well have been part of that bequest. The inventory of Lumley's magnificent collection - also known as the ''Red Velvet Book'', so-called on account of its binding - still survives today and stands as the single most important document for the study of art in Elizabethan England. Compiled in 1590 by John Lampton, steward of the Lumley household, its significance lies not merely in the fact that it is a comprehensive list of the largest private collection of its time, with well over two hundred portraits, but for the number of paintings to whom artists names are given. Apart from Holbein, the hitherto little-known painters identified included Hans Eworth, Gerlach Flicke, Steven van der Meulen and Sir William Segar. Lord Lumley owned two portraits of Edward VI. One, which is listed amongst those described as ''statuary'', i.e. full length, is today attributed to William Scrots and is now in the Royal Collection at Hampton Court. The other, our portrait, is amongst those listed in the inventory as being of a smaller ''scantlinge'' or size . The collection was subject to several dispersals in the eighteenth and early nineteenth century; most notably at the probate sale held at Lumley Castle in August 1785 and two further probate sales held at Sandbeck Hall, Yorkshire and Lumley Castle in November and December 1807 respectively. This portrait left the collection in 1785 when it was sold to a ''''Mr Terry'''', for six pounds, sixteen shillings and sixpence, then an exceptional sum for a Tudor panel portrait. Edward VI was the only legitimate son of Henry VIII and his third wife, Jane Seymour. He was born at Hampton Court on October 12th 1531, his mother dying twelve days later. The heir to the throne, ''His Majesty''s most noble jewel'' was brought up with every precaution to ensure his good health. Recent research reveals him as a normally strong and healthy boy fond of athletic exercises such as hunting and hawking. Edward was little more than nine when he succeeded to the throne on the death of his father in 1547. In April 1552 he suffered from both measles and smallpox, recovering by the end of May and thereafter he was very much under the influence of the Duke of Northumberland. Early in 1553 Edward became ill with consumption, from which he never recovered. At this time the Duke of Northumberland convinced Edward to ''devise'' the succession to Lady Jane Grey, Northumberland''s daughter-in-law. Edward died on 6th July, 1553, and was buried at Whitehall. Phillip Mould: This outstanding historical portrait relates to the Holbein drawing of Edward, Prince of Wales, dating from circa 1542/3, now in the Royal Collection at Windsor 1. In conscious emulation of the famous Whitehall portrait of Henry VIII, the Prince is cast in the role of his father and the style is entirely within Holbein's tradition: full-square, precise and disdaining the use of shadow. This same face pattern of head and hat must also have served for another portrait-type currently known by two versions recorded in Strong. However in those portraits, both of rather primitive quality, the Prince is shown holding a flower and in sombre dress 2. Our Lumley portrait relates much more closely to the drawing at Windsor and shows the boy Prince with a much sturdier physique and richer costume. Of crucial significance is the painted cartellino, or label, which signifies that this painting once belonged to the first Lord Lumley (c.1534-1609) 4. Lumley, who as a child had been educated with Edward VI, amassed through a combination of inheritance, astute purchase and commission one of the greatest collections outside that of the royal court, consisting of sculpture, paintings and books. Following the death in 1580 of Lumley's father-in-law, the last Earl of Arundel, Lumley fortuitously inherited Henry VIII's fabled palace of Nonsuch, including all its priceless contents. This portrait may well have been part of that bequest. The inventory of Lumley's magnificent collection - also known as the ''Red Velvet Book'', so-called on account of its binding - still survives today and stands as the single most important document for the study of art in Elizabethan England. Compiled in 1590 by John Lampton, steward of the Lumley household, its significance lies not merely in the fact that it is a comprehensive list of the largest private collection of its time, with well over two hundred portraits, but for the number of paintings to whom artists names are given. Apart from Holbein, the hitherto little-known painters identified included Hans Eworth, Gerlach Flicke, Steven van der Meulen and Sir William Segar. Lord Lumley owned two portraits of Edward VI. One, which is listed amongst those described as ''statuary'', i.e. full length, is today attributed to William Scrots and is now in the Royal Collection at Hampton Court. The other, our portrait, is amongst those listed in the inventory as being of a smaller ''scantlinge'' or size . The collection was subject to several dispersals in the eighteenth and early nineteenth century; most notably at the probate sale held at Lumley Castle in August 1785 and two further probate sales held at Sandbeck Hall, Yorkshire and Lumley Castle in November and December 1807 respectively. This portrait left the collection in 1785 when it was sold to a ''''Mr Terry'''', for six pounds, sixteen shillings and sixpence, then an exceptional sum for a Tudor panel portrait. Edward VI was the only legitimate son of Henry VIII and his third wife, Jane Seymour. He was born at Hampton Court on October 12th 1531, his mother dying twelve days later. The heir to the throne, ''His Majesty''s most noble jewel'' was brought up with every precaution to ensure his good health. Recent research reveals him as a normally strong and healthy boy fond of athletic exercises such as hunting and hawking. Edward was little more than nine when he succeeded to the throne on the death of his father in 1547. In April 1552 he suffered from both measles and smallpox, recovering by the end of May and thereafter he was very much under the influence of the Duke of Northumberland. Early in 1553 Edward became ill with consumption, from which he never recovered. At this time the Duke of Northumberland convinced Edward to ''devise'' the succession to Lady Jane Grey, Northumberland''s daughter-in-law. Edward died on 6th July, 1553, and was buried at Whitehall. | ||||
