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King Edward VI (1537–1553)

after Guillaume Scrots (fl.1537-1553)

Category

Art / Oil paintings

Date

circa 1500 - 1599

Materials

Oil on panel

Measurements

528 x 432 mm (20 3/4 x 17 in)

Place of origin

England

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Collection

Anglesey Abbey, Cambridgeshire (Accredited Museum)

On show at

Anglesey Abbey, Cambridgeshire, East of England, National Trust

NT 515443

Summary

Oil painting on panel, King Edward VI (1537-1553) after Guillem Scrots (fl.1537-1553), 16thC (?), inscribed across the middle 'Ano Domine MDL/Septembris XXIX', and above 'Edwardus Dei Gratia Sextus, Rex Angliae Franciae et Hisperne. Et Aetatis Suae XIII' -1550. Formerly attributed to Studio of Scrots or possibly by William Scrots - Guillim Streetes. Son of Henry VIII and Jane Seymour. Head and shoulders, turned slightly to left, gazing at the spectator, closely cropped fair hair, black cap, worn at a slant, trimmed with jewels and a black plume of feathers, narrow white pleated collar, embroidered in black; dark grey velvet doublet worn beneath a satin-lined coat, both trimmed with embroidered bands of gold cord and jewels. Behind a warm grey background.

Provenance

In the possession of the Cockayne family, Lords Cullen of Rushton Hall, Northamptonshire. Descended to the one of the heiresses, the Hon. Elizabeth Percy (d.1883). Anonymous Sale ('from Rushton Hall'), 3rd May, 1884, lot 75, as Qilliam Strete and bought by Lord Aldenham, [n.b. as painting was recorded as owned by H. Hucks Gibbs in 1886 and 1890 (loans to exhibitions), statement that it was bought by Lord Aldenham in 1884 is incorrect or two pictures are involved in these references. [Alastair Laing suggests that if the painting was not in the sale, it may somehow have passed from G.E.Cokayne to Viceroy Gibbs, they were successive editors of The Complete Peerage]. It was in Lord Aldenham's collection in 1909 (recorded in Burlington Magazine, June 1909, p.154) and still in his collection in 1937; Lord Aldenham Sale, Sotheby's, 24 February, 1937, lot 125, bought for Lord Fairhaven. Bequeathed to the National Trust by Huttleston Rogers Broughton, 1st Lord Fairhaven (1896-1966) with the house and the rest of the contents.

Credit line

Anglesey Abbey, The Fairhaven Collection (National Trust)

Marks and inscriptions

Recto: Inscribed in the centre: ANo DOMINE. M.D.L. / SEPTEMBRIS. XXIX and above: EDWARDUS DEI GRATIA SEXTUS. REX ANGLIAE FRANCIE ET HISPERNE. ET AETATIS SUAE XIII. Verso of Frame: Inscribed on label on reverse of frame:Painted 29th September 1550 by Guillim Streetes. Painter to the king. This portrait was formerly in the possession of the Cockaynes, Lords Cullen of Rushton Hall, in Northampton, and descended to the last of the name, the Hon. Elisabeth Percy, a relative of Lord Aldenham’s family, at whose sale he acquired it in 1884, and in whose collection it remained until 1937. Exhibited at Burlington House, Old Masters, 1886. Exhibited at the Guildhall, 1890. Exhibited at the New Gallery, Monarchs of Great Britain, 1902. Exhibited at the B.F.A.C, 1909. Exhibited at Burlington House, 1951. Verso: Inscribed label on reverse: H. H. Gibbs [note: H. Hucks Gibbs was a lender to the 1886 and 1890 exhibitions)

Makers and roles

after Guillaume Scrots (fl.1537-1553) , artist previously catalogued as studio of Guillaume Scrots (fl.1537-1553) , artist previously catalogued as attributed to Guillaume Scrots (fl.1537-1553) , artist

References

Skelton, 1893: Sir J. Skelton, Mary Stuart, 1893, Vol. I, reproduced. opposite p.32 Old Masters...with works of deceased masters of The British School...works of Joseph Wright (of Derby) and.....watercolour drawings by Turner, Royal Academy, 4th January-13th March 1886, No. 183, Pictures, Loan Exhibition, Guildhall, London, 1890 , No. 50, The Monarchs of Great Britain and Ireland, Winter Exhibition, The New Gallery, London, 1901/2 , No.60 Early English Portraits, Burlington Fine Arts Club, London, 1909, No.63 Hervey 1909: Mary F.S. Hervey ‘Notes on Some Portraits of Tudor Times’, Burlington Magazine, XV, No. LXXV, June 1909, p.154, Pl. 1: Works by Holbein and Other Masters of the Sixteenth and Seventeenth Centuries, Winter Exhibition, Royal Academy, London 1950-51 , No.89 Auerbach, 1951: Erna Auerbach, 'Holbein's Followers in England', Burlington Magazine, Vol. XCIII, No. 575, Feb 1951, pp.44-51, Fig. 8 (Part I for part 2 see below) Plate 8, opp. p.46. Auerbach, 1951: Erna Auerbach, 'Holbein's Followers in England', Burlington Magazine, Vol. XCIII, No. 575, Feb 1951, pp.44-51, Fig. 8 (Part 2 for part 3 see below) Auerbach, 1951: Erna Auerbach, 'Holbein's Followers in England', Burlington Magazine, Vol. XCIII, No. 575, Feb 1951, pp.44-51, Fig. 8 (Part 3 for part 4 see below) Auerbach, 1951: Erna Auerbach, 'Holbein's Followers in England', Burlington Magazine, Vol. XCIII, No. 575, Feb 1951, pp.44-51, Fig. 8 (Part 4, final part) Antique Collector, December 1951, p.234. Millar 1963 Oliver Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty the Queen, London 1963, 2 vols, no.49, p.66, plate 33: Strong 1969 Roy Strong, The English Icon, Elizabethan and Jacobean Portraiture, 1969, p.71, No. 6: Anglesey Abbey, 1990-1992 [The National Trust; Robin Fedden] 1972, revised 1990, reprinted 1992., p.14:

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