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.