This portrait is also mentioned in Christie's sale catalogue.

The fashions of Lady Jane Grey's youth. Notice the squared brim of the French hood and the raised neckline with ruffles.

*Both J. Stephan Edwards and Lee Porritt (The Beaufort Miniature Portrait – Lady Jane Grey Revisited) dates the Fitzwilliam Portrait to the middle of the 1550's, due to the flat crown of the French hood and the standing collar of the outer partlet (the black velvet piece across her shoulders, tied under the arms), which strongly indicate the mid-1550's, and the frill seen at the neck which by the mid-1550's had grown in size and had begun to surround the face.

(For my identification of the sitter in this painting as Katherine Brydges, Lady Dudley, please see my The Fitzwilliam Portrait page. Reasons for identification: The lady in the Fitzwilliam Portrait is also portrayed in a miniature by Levina Teerlinc from around 1560 now in the Victoria and Albert Museum. Katherine Brydges, Lady Dudley was a lady-in-waiting to both Mary I Tudor and Elizabeth I Tudor, and would therefore have been in the perfect position to be an object of portraits done by court painters Hans Eworth and Levina Teerlinc. Furthermore, she was born in c.1524, being in her early thirties when the Fitzwilliam Portrait was painted, and in perfect keeping with the age of the lady in the portrait. She was married in either late 1555 or early 1556 to Edward Sutton, 4^th Baron Dudley, in a match encouraged by Queen Mary, making it likely that this was a wedding portrait, as that date matches perfectly with the assessment of both J. Stephan Edwards and Lee Porritt that this portrait dates to the middle of the 1550's. Lastly, the embroidery of the lady's collar has a pattern that can be found again on other members of the Brydges family. It is probably a stylised version of a bridge, a play on the family name of Bridges. There is also the matter of the girdle prayer book the lady is holding in the portrait. It is decorated with what appears to be a D. Which would correspond with her new married name of Dudley. Two years previously Lady Jane Grey Dudley, daughter of the Marquess of Dorset had left her beloved girdle prayer book to Sir John Brydges, Lieutenant of the Tower of London. He was Katherine's father.)

Katherine Brydges, Lady Dudley

Unknown Lady Once Called Frances Brandon, Duchess of Suffolk © Victoria and Albert Museum

c.1560

Levina Teerlinc

Watercolour on vellum

Victoria and Albert Museum | P.48-1984

(For my identification of the sitter in this painting as Katherine Brydges, Lady Dudley, please see my The Fitzwilliam Portrait page.)

Amy Robsart Dudley

Called Lady Jane Grey

Second half of the second half of the 1550's

Levina Teerlinc

Watercolour on vellum applied to card

© Private Collection

The Beaufort Miniature

(For my identification of the sitter in this painting as Amy Robsart Dudley, please see my The Yale Miniature page. Reasons for identification: The lady in the Beaufort Miniature is the same one as the lady in the Yale Miniature. I have always found the arguments that the lady in the Yale Miniature is Amy Robsart persuasive.)

(For my identification of the sitter in this painting as Dorothy Wadham (née Petre), please see the discussion of this portrait on my For Reference page, and I believe I have conclusively identified the sitter on my The Pagets page.)

Portrait of Walter Devereux (1539–1576), First Earl of Essex

1572

British Painter

The Metropolitan Museum of Art

Dorothy Petre Wadham (1535 – 16 May 1618)

[1] That must be this portrait: «Indeed, despite her own affinity for things Spanish, Mary was herself depicted wearing a much narrower – and notably free-form and unstarched – Spanish-style ruff only once.² She more commonly wore the standing-collared partlet seen in so many of the other portraits included in this study. Even in portraits that depict Mary wearing a chemise under her partlet, the collar usually has a loosely flowing and unstarched simple ruffle.» (J. Stephan Edwards, A Queen of a New Invention, p.114) «² Queen Mary I, Hans Eworth, 1557, oil on wood panel, 8 x 6 1/2 in., private collection.» (J. Stephan Edwards, A Queen of a New Invention, p.115)

Dickinson Private Advisors & Fine Art Dealers does specify that the portrait is oil on panel, measuring 22 x 17.3 cm. (8⅝ x 6¾ in.).

This is almost exactly the exact measurements mentioned by J. Stephan Edwards, but not quite.

Another possibility is that J. Stephan Edwards is referring to the portrait in footnote 2.

These two portraits are almost (but not quite) identical. Mary is dressed in the same outfit, however, and this portrait too is dated to 1557.

[2] Of Crymsen Tissue: The Construction of a Queen. Identity, Legitimacy and the Wardrobe of Mary Tudor

This portrait is almost (but not quite) identical. Mary is dressed in the same outfit, however, and this portrait too is dated to 1557.

[3] This excellent overview over the portraits of Hans Eworth dates both portraits to 1557. It has this portrait as being 8 x 6 ½ inches, while the one that we only have a black and white photograph of as being 9 ⅞ x 7 ½ inches, so it appears to be this portrait J. Stephan Edwards meant.