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Lot 806
Follower of Hans Holbein the Younger (German, 1497-1543) Portrait of Queen Jane Seymour (1508-1537) half-length, her hands folded, wearing a pear-shaped pendant jewel of rubies and pearls oil on panel, in an elaborate frame surmounted by the Royal Crown carried by an angel's wings 64 x 48cm (25 x 19in) The angel’s wings at the top of the frame are part of the Seymour family coat-of-arms.The Seymour arms were then augmented with the lions of England with the consent of King Henry VIII himself. Provenance: Patrick Campbell Johnston, 16, St James's Place (according to a label on the reverse); Believed to have been acquired sometime in the first half of the 20th Century by the parents of the late owner. Other Notes: Jane Seymour (1509-1537) was the third wife of King Henry VIII of England and mother of the future King Edward VI. She succeeded - where Henry's previous wives had failed - in providing a male heir to the throne. Jane's father was Sir John Seymour of Wolf Hall, Savernake, Wiltshire. She became a lady in waiting to Henry's first wife, Catherine of Aragon and then to Anne Boleyn, who had married the King in 1533. On 30 May 1536, Henry and Jane were quietly married a few days after Anne's execution. In October 1537, she gave birth to Prince Edward but died a few days later and was buried at Windsor. During her life as Queen, Jane had managed to restore the Princess Mary, Henry's daughter by Catherine of Aragon, to her father's favour, presumably as the King was believed to have genuinely loved Jane and did this to please her. This portrait derives from the prime original which Holbein painted shortly after the sitter's marriage to the King, which is now in the Kunsthistorisches Museum, Vienna (also on panel, size 65 x 47cm), and for which there is a preparatory drawing now in the Royal Collection at Windsor Castle (50 x 27cm) [see K. T. Parker, The Drawings of Hans Holbein in the Collection of His Majesty The King, 1945, p.47, No.39]. Due to the Queen's untimely death giving birth to a male heir and the consequent elevation of the late Queen's Seymour relations, numerous repetitions were made in the Holbein studio for others at Court seeking the King's approval and the Seymour family's patronage (ref. K T Parker, ibid, " ... the artist seems to have used the study repeatedly"). One such, though considerably larger (on panel, 102 x 77.5cm) is at Woburn Abbey in the Bedford Collection which is believed to date between 1545 and 1550, at the very time that Jane's star during the reign of her son was in its ascendancy. The present painting is on a panel which has a felling date of post circa 1532. It is therefore perfectly possible that the present painting was worked on in Holbein's studio in his lifetime and its apparently earlier unfinished state would seem to suggest that. A version post-dating Holbein's death taken from the original or the preparatory drawing is more likely to have been completed. A copy is less likely to have been painted much later in the 16th Century during the reign of Elizabeth when the Seymours were no longer considered important or influential, and especially on a panel prepared from a tree felled in the 1530s. It would seem that the present painting was subsequently in the 19th Century "improved" by the addition of the gold and green curtain. The pear-shaped pendant-jewel, which Queen Jane is shown wearing, is that set with a table-cut sapphire and a red stone (either a ruby or a spinel) which was a piece of jewellery that Henry's fifth wife, Katherine Howard, is known to have worn. This sort of recycling of jewels was then common practice. The condition report concerning the dating of this painting and the panel, from the Hamilton Kerr Institute and the Dendrology report by Ian Tyers are both available upon request and also online.Oil on panel formed of three boards in vertical alignment. Central join has been recently repaired. Slight vertical warp to the panel. Retouching to sitter's forehead. Paint layer of face simply painted, slightly worn. Under drawings is now visible through the paint layers. Costume and curtain appear to be later reworkings, with unusual surface texture in the paint in these areas. Varnish is dull and uneven. Some wear to gilding on frame, crown decoration is insecure. Sold with a reproduction seal of the Queen's arms supported by the lion and unicorn . The condition report concerning the dating of this painting and the panel from the Hamilton Kerr Institute and the Dendrology report by Ian Tyers are both available upon request and also online. Jane Seymour, Queen of England 1536 Oil on wood, 65,5 x 40,5 cm Kunsthistorisches Museum, Vienna Label to reverse: Patrick Campbell Johnston 16 St James's Place
Lot 1111
A 9ct gold gentleman's single stone star set garnet ring, set with a ruby, a 9ct gold signet ring, an Arts and Crafts style silver brooch set with amber cabochon in a spray mount, a sterling silver hinged bangle with engraved decoration, a silver square locket inset with ?Connemara marble in a shamrock on silver chain, and assorted silver and costume jewellery
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162877 item(s)/page