The Klabin Portrait

The title of this page is The Klabin Portrait, but it could have just as easily have been called The Frick Portrait or The Brocklebank/Taylor Portrait.

What all of these three paintings have in common is that they have at some point all been identified as Lady Jane Grey.

For J. Stephan Edwards's assessment of the The Klabin Portrait, see p. 112-115 of A Queen of a New Invention, for the Brocklebank/Taylor Portrait, see p. 98-101. (There called the Tayler Portrait, it was Lee Porritt who discovered its provenance prior to 1998.)

Lee Porritt writes in Lady Jane Grey By Antonis Mor of the Frick Portrait that, «To me, it is more characteristic of a painting based on an existing portrait, pattern, or sketch by another artist of the sixteenth century than that of Mor. This may then have been copied on multiple occasions within a workshop to create an image and fill the demand for portraits to be used as decoration within the home. Workshop portraits were in high demand towards the end of the sixteenth century, and their creation required a lesser skilled artist than that of the great masters who may have painted the image in the first place. This theory is pure speculation at this time and will not be known for certain until the Frick portrait is located and studied further, however, the survival of other images which are close in comparison do suggest this.»

«The Frick portrait does show some similarities to a group of paintings depicting unidentified female sitters wearing similar clothing, including one once thought to depict Anne Boleyn. That painting is now identified as a portrait of an unknown woman and is in the collection of the Musee Conde in France.

The Musee Conde portrait is dated to the second half of the sixteenth century, according to the museum’s website records. Like the Frick Portrait, it is painted on wood, which does indicate that it may have been painted at a similar period. It is highly likely that the artist who created the Frick portrait used an image or pattern similar to this painting as a source of reference when creating the portrait and that the identity of the original sitter and artist who painted it have been lost, allowing Jane’s name to be associated at a later point in time.»

This led me to take an interest in the workshops.

Temporary Conclusions

A lot of these portraits are called, in various sales catalogues: François Clouet, attributed to François Clouet, after François Clouet, School of François Clouet, French School.

Where a definite reference image can be traced, more often than not it proves to be a portrait by Antonis Mor. Even more generally, a portrait depicting a lady located in Spain or the Spanish Netherlands.

Overall, the dominant trend is portraits depicting a lady in the fashion of Spain or the Spanish Netherlands.

One notable exception so far being the Clopton Portrait of Queen Elizabeth I Tudor, which appears to have been very popular.

Unknown Lady Previously Identified as Anne Boleyn (c) Musee Conde

Unknown Lady

Inscribed Marie Stvuart Reyne Descosse

Called Artwork by Jean Clouet, Portrait of a noble lady, Made of Oil on panel

Woman portrait Oil Białostocki and Walicja associated the painting with the circle of Jean and Francois Clouets. COLLECTIONS OF OLD EUROPEAN ART

Called Zofia Jagiellonka (Sophia Jagiellon, Duchess of Brunswick-Lüneburg)

Painting Associated with the Artist or the Workshop of Alessandro Allori (Italian Mannerist Painter, 1535-1607) Ritratto di Giovanna

The Klabin Portrait – Inscribed Lady Jane Grey

Sir Anthonis van Dashorst Mor, Bildnis der Gräfin Las Navas

Jerónima Enríquez de Guzmán, II Marquesa de Las Navas. She was the wife of Pedro Dávila y Córdoba, II Marqués de las Navas (d.1579). To bring everything full circle, it was her father-in-law, Pedro de Ávila y Zúñiga, I Marqués de las Navas, who was the one who in 1553 took the presents of Prince Felipe II to his fiancée the Queen of England Mary I Tudor, amongst them La Peregrina.

The first Marquess was received by Queen Mary with great pleasure and was the object of entertainment. In 1554 he was appointed ambassador to England, replacing Simon Renard.

Called Joanna of Austria, dressed in Portuguese fashion

Unknown Lady Manner of Francios Clouet (c) Glasgow Museums Resource Centre

Detail of Antonio Moro's painting in which he portrayed the II Marquesa de las Navas, Mrs. Jerónima Enríquez de Guzmán, possibly on the occasion of her marriage to Don Pedro Dávila and Córdoba. © Ducal House Foundation of Medinaceli

Called Mary Stuart (1542–1587), Queen of Scots, unknown artist. Photo credit: Glasgow Museums

Called La princesse d'Orange by Antonis Mor

Called Portrait a lady, bust-length, in a black dress and gold necklace with jewel encrusted head-dress by Follower of Frans Pourbus the Elder

Called Portrait of a Princess, French School, Late 16th Century

Margaret of Parma

Portrait of Margaret Duchess of Parma, Regent of the Netherlands, c.1559/67 Oil Painting Reproduction – Francois Clouet (c.1510-1572)

Presumed Portrait of Margaret of Austria, Duchess of Parma (1522-1586) School François Clouet, sixteenth century

Inscribed La Philippina Austr~

17th Cen. Queen Isabel de Valois after Francois Clouet

MANNER OF FRANCOIS CLOUET (1522-1572) A portrait of a lady

Portrait of a Young Lady, Circle of Pieter Jansz Pourbus

Companion Portrait

Portrait of a Lady, Traditionally Identified as Mary Tudor (1496-1533), by a Follower of Anthonis Mor

Companion Portrait – MANNER OF FRANCOIS CLOUET (1522-1572) A portrait of a lady – Duke's

Portrait of a Lady, Traditionally Identified as Mary Tudor (1496-1533), by a Follower of Anthonis Mor. «By descent in the Hesketh family, Heslington Hall, Yorkshire, to Anne, daughter and co-heir of Thomas Hesketh of Heslington (d. 1708), who married in 1692 Lieutenant Colonel James Yarburgh (d. 1728) of Snaith Hall, Yorkshire» – Sotheby's

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Portrait of a young woman Unknown - Flemish area - 1550-1580 Uffuzi, Inventory of 1890 Item #3138

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Portrait of lady, half-length, in white bejewelled dress and headress by circle of Frans Pourbus the Younger

María Enríquez de Toledo y Guzmán (died 1583)

An Unknown Woman, by an Unknown Artist, 16th century – Snowshill Manor, South West, National Trust | NT 1336287

Empress Isabella (of Portugal) Empress of Spain (1503-1539) (after Titian) possibly Miguel de la Cruz, Charlecote Park, Warwickshire, National Trust | NT 533873

Isabel de Portugal After François Clouet, Museu Antônio Parreiras

William Scrots – Portrait D'une Femme De Cour

1530s William Scrots - Isabella of Portugal (National Museum, Poznań)

REGINA D ANGLITER

Queen Elizabeth I of England

Cristofano di Papi dell'Altissimo, Ritratto di Elisabetta I d'Inghilterra

REGINA DANGLIETERRA

The Clopton Portrait

Inscribed REGINA DANGLIETERRA – Called Mary, Queen of Scots (1542-87), c.1558 Franco-Scottish School – Philip Mould. I have no idea why the excellent people at Philip Mould have tied themselves into knots trying to prove that this is Mary, Queen of Scots. This is literally Elizabeth I Tudor. It's another version of the Clopton Portrait. That's the consort necklace she is wearing around her neck.

Portrait of Queen Elizabeth I ''The Clopton Portrait'' 1558c. English School – Philip Mould

Joanna of Austria (1535-73) c.1552-3, by a follower of Anthonis Mor (detail)

ab. 1545-1550 Unknown artist, probably Corneille de Lyon - Portrait of a lady, probably Philippine Welser (Veste Coburg Castle)

Portrait of a lady of the court of the Habsburgs Flemish and German School of the XVI th century Oil on wood. Inscription at the top: A / CONT. SVARZEMBVRG

Called Portrait of Mary Queen of Scots. Musee Conde

Called Mary Queen of Scots

Called Mary, Queen of Scots (1542–1587) – British (English) School

Portrait of a lady of the court of the Habsburgs Flemish and German School of the XVI th century Oil on wood. Inscription at the top: A / CONT. SVARZEMBVRG

Called Mary Queen Of Scots – Fine Art America

Called Mary, Queen of Scots (1542–1587), British (English) School, Hardwick Hall, National Trust | NT 1129179 «This picture has been extensively repainted, so its original appearance can hardly be detected. Her headdress (but not hat), high collar and panel, and the shape of her dress (but not the exaggerated slashing and puffs) are just as in the profile engraving published by Hieronymus Cock in 1559, just after her accession to the throne of Scotland. The man’s hat symbolises her authority.»

Mary Queen of Scots (1542-1587)

Mary, Queen of Scots

c. 1560-1592

National Portrait Gallery | NPG 1766

 

«This portrait of Mary, Queen of Scots has recently been rediscovered as an image painted within her lifetime or very shortly after her death. The painting had long been considered to date from the eighteenth century, but recent tree ring analysis (known as dendrochronology) has established that the panel was felled in the sixteenth century. The work can now be dated to 1560 -1592. Recent conservation work has also revealed an original oval background with a marbling effect, which had previously been overpainted with dark brown paint.»

Mary Queen of Scots (1542-1587)

Elizabeth of Austria

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Anna of Austria by Juan Pantoja de la Cruz

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Anna of Austria

Anna of Austria

Anna of Austria

Anna of Austria

Anna of Austria

The Brocklebank/Taylor Portrait – Formerly known as Lady Jane Grey, either Elizabeth or Anna of Austria

Called Elizabeth of Austria

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Anna of Austria by Alonso Sánchez Coello, 1571 (detail)

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The Klabin Portrait – Inscribed Lady Jane Grey

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Anna of Austria

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Anna of Austria by Alonso Sánchez Coello, 1571

Anna of Austria – Portrait of Anne of Austria (1549-1580), daughter of Emperor Maximilian II, Queen of Spain, wife of Philip II Oil on panel. 29 x 22 cm Annotations on verso, in ink. Works in relation: The portrait of Anthonis Mor (Prado Museum). Another portrait, close to the one presented here (Paris sale, December 14, 2007, n ° 20). We thank Mrs. Alexandra Zvereva for her help and character identification – Beaussant Lefèvre

Formerly known as Lady Jane Grey, either Elizabeth or Anna of Austria – It was J. Stephan Edwards who identified this portrait as either Elizabeth or Anne of Austria. For his assessment of this portrait see p. 98-101 of his book A Queen of a New Invention.

Called Elizabeth of Austria – Sotheby's

Anna of Austria by Alonso Sánchez Coello, 1571 – Kunsthistorisches Museum Wien, Gemäldegalerie

Anne Van Buren

Anna van Egmond en Buren, first wife of William the Silent

Portrait of Anne de Buren

Portrait of Anne de Buren

Anna van Egmont de Buren (March 1533 – 24 March 1558)

Anna van Egmont de Buren (March 1533 – 24 March 1558)

Called Portrait of a Lady, Possibly Anna Von Egmont reproduction procédé giclée par Francois Clouet

Anna van Egmont, Countess of Buren and Lady of Egmond, Princess consort of Orange

Portrait of Anne van Buren after Mor, Antonis (North Netherlandish painter, born 1512-1516, died c. 1576), Walker Art Gallery, Liverpool Artist – «The sitter was the first wife of William of Orange. This is one of many copies of a lost portrait, the original of which was painted by Mor in 1555. Mor was apprenticed to Jan van Scorel in Utrecht and became his assistant. After visiting Italy, he joined the painters' Guild of Saint Luke in Antwerp and became painter to Emperor Charles V's minister in 1549. For twenty years Mor travelled between the Habsburg courts of Europe and his portraits comprise a hall of fame of the era's rulers. Mor added Netherlandish attention to detail and insight into character to the grandness of Titian's portrait style.»

https://blouinartsalesindex.com/auctions/Antonis-Mor-6477727/La-princesse-d'Orange

Inscribed CHATILINA D HOLANDIA

Charlotte of Bourbon

Charlotte of Bourbon

Inscribed 'CHATILINA D HOLANDIA' – Chatilina of Holland or the Netherlands

Charlotte of Bourbon (1546/1547 – 5 May 1582) was the third wife of William of Orange, and could possibly be described as being 'of Holland' or 'of the Netherlands'.

Called Catherine de Lorraine, Duchesse de Joyeuse, 16th Century France

Inscribed 'GENTE DAMME'D BRUSELLE'

Philippina Welser

Margaret of Parma

Anna of Austria

Anna of Austria

Follower of Cornelis Ketel Portrait of a lady, bust-length, in a jewel-encrusted doublet and lace ruff

Portrait of a lady, Louise de Lorraine (?) by Follower of François Clouet

16th century – 4th quarter » Date unknown – Unknown noblewoman

FILIA D HISPANIA

Portrait of a lady, bust-length, in an embroidered dress and lace collar inscribed 'FILIA D HISPANIA' (lower edge) by Follower of Antonis Mor van Dashorst – Christie's

Probably Catherine Michelle of Spain, Duchess of Savoy.

After tracing the evolution of the portrait of her step-mother Anna of Austria, Queen Consort of Spain, I am convinced that there is some connection.

Perhaps it was created as a part of a set of the two of them? (Or the whole family?)

It seems to be patterned after a workshop copy of that portrait.

Isabel of Bourbon, Queen Consort of Spain, is also a possibility.

An Unknown Woman (possibly Joanna of Austria, Princess of Portugal [1535 - 1573])

Called Margaret Luttrell, Mrs Peter Edgcumbe | English School | 1500-1599 | oil on panel | National Trust; Dunster Castle | NT 726103

Called Margaret Luttrell, Mrs Peter Edgcumbe | English School | 1500-1599 | oil on panel | National Trust; Dunster Castle | NT 726103

British School (17th Century), Portrait of Mary Queen of Scots

Portrait of a noblewoman, said to be Queen Mary [I Tudor]

1580 Eva Truchseß von Rheinfelden by Hans Bock The Elder (Kunstmuseum Basel - Basel, Basel-Stadt, Switzerland)

Unknown Lady Manner of Francios Clouet (c) Christie’s

The Frick Portrait Called Lady Jane Grey By Antonis Mor (c) Frick Art Reference Library

FILIA GENOVESA

French School, 16th Century Portrait of a Noble Lady with Lace Collar (Elisabeth of Austria?), 16th century, inscribed FILIA GENOVESA – Genoese daughter. At this point I feel that the workshop copyists are just messing with us.

(Or does it really say SENOVESA? That's what I thought at first, but I rejected it because, well, Genovesa is an actual Latin word. Also I thought that I had seen another of these portraits with the brown inscription border in which the letter S and the letter G were interchangeable. But now I can't find it, so it seems I was mistaken, unlikely as that sounds.)

Of Savoy?

Catherine Michelle of Spain, Duchess of Savoy (10 October 1567 – 6 November 1597), daughter of Philip II of Spain? That seems too late for this portrait. Of the many, many, many portraits of Catherine Michelle there is no corresponding that I can find.

Of Senova?

Felice della Rovere (c. 1483 – 27 September 1536), daughter of Pope Julius II? That seems too early for this portrait. No corresponding portrait that I can find.)

If anything, the portrait resembles more a type called Genoese Lady by Anthony van Dyck. These seem to date too late, however, and the resemblance is by no means perfect.

The one below is ironically located in the Frick Collection, and dated to ca. 1625–27.

There is one in the Louvre with even more elements from our portraits, but again, too late, and the resemblance is by no means perfect.

Genoese Noblewoman by Anthony van Dyck (detail)

Portrait d'une noble génoise by Anthony van Dyck – Louvre

c. 1559. Portrait of Margaret of Parma Antonis Mor, Netherlandish, c. 1512/16 - c. 1576 Philadelphia Museum of Art

Called Mary Stuart, Queen of Scots

Called Mary, Queen of Scots by George Perfect Harding, probably after Lucas de Heere, watercolour, 1831

Mary, Queen of Scots (1542–1587) Henry Bone, RA (Truro 1755 – Somers Town, London 1834)

Called Mary, Queen of Scots

Called Mary, Queen of Scots by George Perfect Harding, probably after Lucas de Heere, watercolour, 1831 – National Portrait Gallery

Mary, Queen of Scots (1542–1587) Henry Bone, RA (Truro 1755 – Somers Town, London 1834) – National Trust Collections – Portrait miniature, enamel, Mary, Queen of Scots, (1542–1587) by Henry Bone, RA (Truro 1755 – Somers Town, London 1834). 1812. Rectangular with rounded corners at top. Three-quarter length portrait of a young woman, turned slightly to the right, gazing at the spectator, wearing a dark bejewelled dress with white and gold banded sleeves, a small ruff, and a bejewelled necklace. Pale brown hair, small hood cap with a pendant peark on her forehead. with Mary is supposed to be aged 17 years. London, May 1812. Inscribed on back of enamel, 'Painted by Henry Bone R.A. England. Painter in Ordinary to H.R.H. The Prince Regent from the original in the collection of the Marquis of Salisbury at Hatfield House'.

Portrait of a Noblewoman with a Puppy 1555 by Anthonis Mor Van Dashorst

Portrait of a Woman, said to be Mary Queen of Scots, 16th century, Oil on panel

Portrait of a lady, traditionally identified as Elizabeth of Valois (1545-1568) In the manner of François Clouet (French, b. before 1522–1572)

Elizabeth de Valois, Queen of Spain by Anthonis Mor

Portrait of a lady, thought to be Mary Queen of Scots (1542-1587), Follower of François Clouet

Called Portrait of the Duchess of Medina by (after) Anthonis Mor Van Dashorst

Called Margaret Seton

Joanna of Austria, Granduchess of Tuscany

Erzherzogin Johanna (1547-1578), Großherzogin von Toskana in ganzer Figur

Portrait of Joanna of Austria, Granduchess of Tuscany (1547–1578) – The present portrait is closely related to a full-length portrait of Joanna of Austria by Giovanni Bizzelli (1556–1607 or 1612) in Vienna (Kunsthistorisches Museum Wien, Gemäldegalerie, Inv.-Nr. GG 3243).

Erzherzogin Johanna (1547-1578), Großherzogin von Toskana in ganzer Figur – Kunsthistorisches Museum Wien

Called French School, Portrait of a lady, half-length, wearing a black embroidered dress

Alleged Portrait of Anne de Pisseleu, Duchesse D'Étampes, Mistress of François I