Charlotte: Well, I am Senior Curator with responsibility for research and the sixteenth-century collections at the National Portrait Gallery. However, in addition, an unfinished painting can tell us a great deal about the techniques used at the time.
It had belonged to the parents of the owners who sold it at auction. It could have been the downfall of the Seymour family during Edward’s reign that the artist realized their patron was never going to pay their bills.
There is a sense that areas of the portrait have been very over-cleaned in the past and that has perhaps the painting has lost some of its information. Sarah: Oh, I bet!  After the christening, it became clear that she was seriously ill. She died on 24 October 1537 at Hampton Court Palace. Do you have specialist knowledge or a particular interest about any aspect of the portrait or sitter or artist that you can share with us? This makes this portrait very recognizable as Jane Seymour. "The Death of Queen Jane" is an English ballad that describes the events surrounding the death of a Queen Jane. It’s an eye-opener! The key question that we wanted to ask first was concerning the thick varnish that was obscuring the background. Jane died twelve days later and was deeply mourned by Henry, who ordered that he would be buried beside her at Windsor.
You have taken is on a deep dive into the painting. Why was it never finished? Charlotte: Well, yes, that is the tantalizing thing. Your contributions must be polite and with no intention of causing trouble. It may have been there that the king "noticed" Jane. Charlotte: That is the thing, there is something very suggestive about this portrait. Well, I’m sure a lot of people are very envious of just how fascinating your job sounds. Historians have speculated she was his favourite wife because she gave birth to a male heir. That was the one area that we knew we wanted to research further. It was a very restricted pool. Whereas for most of the works that we have in the National Portrait Gallery collection, there’s a sort of grey area in the seventeenth, eighteenth and nineteenth centuries.
Jane Seymour (c. 1508 – 24 October 1537), also known as Jane Semel, was Queen of England from 1536 to 1537 as the third wife of King Henry VIII. Portrait acquisitions in the sixteenth century, which is the area of the National Portrait Gallery collection that I am responsible for, are somewhat few and far between. Perhaps they wanted to champion their position at court through their connection to Jane, particularly during Edward Vl’s reign. The one area that we had many questions about was the curtain in the background because it was covered by a very thick varnish that was ‘alligated’. In September 1535, the King stayed at the Seymour family home in Wiltshire, England. We have a wonderful microscope table at the Portrait Gallery that allows us to take detailed images to understand how the surface is working. It is catalogued by Francis James Child as Child #170.  Her needlework was reportedly beautiful and elaborate; some of it survived as late as 1652, when it is recorded to have been given to the Seymour family. That’s what I found out during my recent conversation with Charlotte Bolland from the National Portrait Gallery. It was clearly a very, very high-status commission because of the effort that has gone into the additional, compositional elements. Please note that we cannot provide valuations. We were very interested to see that the dendrochronology showed that it was dated from the 1530s. Sarah: I’m always interested in the provenance of paintings and how they survive over time.
Henry Seymour Edward Seymour, Duke of Somerset Charlotte: That’s the wonderful thing about Jane Seymour.
Charlotte: Thank you so much for the invitation. Charlotte: A different one. This is the case with this portrait. Charlotte: I think the closest we can get to is to say that it might be from Holbein’s studio environment, because of the skill with which it’s been executed.  In January 1537, Jane conceived again. Charlotte: Well, it’s a three-quarter portrait of a woman facing to the left.  Her only reported involvement in national affairs, in 1536, was when she asked for pardons for participants in the Pilgrimage of Grace. These survive as a portrait drawing in the Royal Collection, as well as a painting of Jane Seymour that’s in the Kunsthistorisches Museum in Vienna. So, all the areas that would be gold – in her headdress, in her necklace and in the large jewel at her bodice have this very rough finish, very simplified. She doesn’t engage directly with the viewer. Janet Wertman, $11.57 trade paper (280p) ISBN 978-0-9971338-1-3", "Book Review: Jane Seymour: Henry VIII's True Love by Elizabeth Norton", "The death of Queen Jane: ballad, history, and propaganda", "The Toughest Scene I Wrote: The Coen Brothers on Inside Llewyn Davis", "The death of Jane Seymour – a Midwife's view", A quick overview of Jane's life, with a good portrait gallery as well, A more in-depth historical look at Jane's life and times, https://en.wikipedia.org/w/index.php?title=Jane_Seymour&oldid=981490535, Creative Commons Attribution-ShareAlike License, In 1969, Lesley Paterson portrayed Jane briefly in, In 1972, this interpretation was repeated in the film, Seymour is a supporting character in the 2003 BBC television drama, Jane Seymour is portrayed in the stage adaptation of, Lucy Telleck played Seymour opposite Charlie Clements as Henry VIII in Suzannah Lipscomb and Dan Jones, Appears as a lady serving both Catherine of Aragon and Anne Boleyn in, This page was last edited on 2 October 2020, at 16:47. In the reign of the young King Edward VI, Edward set himself up as Lord Protector and de facto ruler of the kingdom. Sarah: Charlotte, welcome to The Tudor Travel Show!
The lavish entertainments, gaiety, and extravagance of the queen's household, which had reached its peak during Anne Boleyn's time, was replaced by strict decorum. Charlotte: Yes, absolutely. Search over 215,000 works, 150,000 of which are illustrated from the 16th Century to the present day. That hasn’t been established. You can listen to the entire show here. The label suggests that it was in a collection in St James’, London, in the late nineteenth-century, but that’s as far back as we’ve been able to go. For example, we often use infra-red reflectography, which reveals the under-drawing beneath the surface. Her well-publicised sympathy for the late Queen Catherine and her daughter Mary showed her to be compassionate and made her a popular figure with the common people and most of the courtiers. She brought up the issue of Mary's restoration both before and after she became queen.
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