Mary Tudor was the daughter of Henry VIII and his wife Katherine of Aragon. She was born in 1516 and was their only surviving child. After many years of trying for more Katherine recognized that she was unable to have more children. This was about the time when Henry grew restless and brought Anne Boleyn into the life of his daughter and devoted wife. Mary’s life would never be the same.
She went from being her father’s “Pearl of the Realm” and his Princess Mary, to being declared illegitimate and losing the love and affection from her father. Her life was indeed sad and unfortunately it was that way until the very end.
These portraits are in no particular order.
Provenance: By descent through the family of the Earl Carlisle, M.C., Naworth Castle, Cumbria
attributed to Lucas Horenbout (or Hornebolte) watercolour on vellum, circa 1525 NPG 6453
by Master John oil on panel, 1544 On display in Room 2 at the National Portrait Gallery NPG 428
by Hans Eworth oil on panel, 1554 NPG 4861
after Anthonis Mor (Antonio Moro) oil on panel, 1555 NPG 4174
Mor, Antonis; Queen Mary I (1516-1558); Colchester and Ipswich Museums Service; http://www.artuk.org/artworks/queen-mary-i-15161558-11425after Unknown artist plaster cast of a medal, (16th century) NPG D36118after Jacopo da Trezzo gilt electrotype of medal, (circa 1555) NPG 446(1)
Hans Eworth (circa 15201574?) – Dickinson Gallery, London and New York
after Unknown artist line engraving, 1554 or after NPG D17821antonis-mor-van-dashorst-portrait-of-queen-mary-i-(1516-1558)by Franz Huys, after Unknown artist, line engraving, circa 1555Portrait of Mary I of England, signed “HF 1554” (originally “HE”), Society of Antiquaries of London LDSAL 336, oil on oak panel, 1040 x 785mm (41 x 31 inches)by Francis Delaram, published by Compton Holland, engraving, circa 1600-1627
after Hans Holbein the Younger line engraving, circa 1700 NPG D17826
Antonis Mor – Museo del Prado Catalog no. P02108 [2]Antonis Mor (15121516c.1576) (after) Trinity College, University of Cambridge
after Unknown artist mezzotint, 18th century NPG D17823
by Unknown artist oil on panel, 1597-1618 On display in Room 1 at the National Portrait Gallery NPG 4980(16)
by Bart Vazquez, after Anthonis Mor (Antonio Moro) stipple engraving, 1793 NPG D20392
by Francesco Bartolozzi, after Hans Holbein the Younger stipple engraving, published 1796 NPG D24878
by Émile Desmaisons, printed by François Le Villain, published by Edward Bull, published by Edward Churton, after Unknown artist; hand-coloured lithograph, 1834; NPG D34627
I can only imagine how uncomfortable the ladies of the day must have been, wearing tons of heavy fabric from head to toe, layer after layer. On all but the coldest of days, it must have been ghastly, as well as smelly. No wonder Mary (et.al) all wear frowns.
Poor thing, no looks at all. Only in her younger portraits she looks ok. The dresses are beautiful, though.
I can only imagine how uncomfortable the ladies of the day must have been, wearing tons of heavy fabric from head to toe, layer after layer. On all but the coldest of days, it must have been ghastly, as well as smelly. No wonder Mary (et.al) all wear frowns.
I agree with you!
Very interesting portraits. In some she looks pretty and some she looks alright but those dresses are beyond beautiful.